Marc Savitt - Page 5

Although one may learn some new tidbits about the artists, it really isn’t the thinnish volume of connective tissue incorporated between the 22 musical numbers, but those very Rock-a-Billy songs themselves, that offer the primary reason to see MILLION DOLLAR QUARTET.

Overall, the presentation is synergistic as well as effective and we become absorbed in what starts out with an examination of the humorous side of reality and ends with the sense and sensibilities many face in this thing we call life.

The subject matter, like Rosalind, does not allow for jokes. As the dialogue confirms, the world of science can be a rather lonely place. The ensemble cast is professional, polished, and well balanced.

The season opening CABARET on the Boyd-Quinson Stage, should leave little doubt that Alan Paul doesn’t play around; intends to carry on in the style and tradition that Berkshire audiences have come to both anticipate, and appreciate; and Julie’s words were justified.

St. Germain, Lagomarsino, and Tigar have woven a tight presentation that despite the often-unthinkable subject matter, intersperses a pleasantry, and even a chuckle or two. The audience is undeniably moved as evidenced by the audible responses of shock and disgust. Often taking us to the edge without going too far.

The company and seemingly all involved with BSC’s 10X10 NEW PLAY FESTIVAL have done an admirable job creating and presenting an event that is enjoyable, relatable, entertaining, and thought provoking. The 12th ANNUAL 10 X 10 NEW PLAY FESTIVAL continues on the St. Germaine Stage with performances through March 5.

After 28 Seasons Julianne Boyd, co-founder and Artistic Director at Barrington Stage Company, passed a brightly burning torch and retired at the end of the 2022 season. Marc Savitt, sat down with Boyd to gather some information and insight into Boyd, her experiences, and her undeniable impact on the state of the arts in the region.

Typically, I don’t care much for works that fall into the realm of existentialism, theatre of the absurd, and the like. SEASCAPE, however, is different. Perhaps because it is primarily focused on interpersonal communication. Also, the characters, for the most part are dynamic, interesting, and rather unusual.

GOLDEN LEAF RAGTIME BLUES does provide a pleasant hour and 20 minutes of pleasant entertainment free of politics, angst and the chance to sit back and relax, and focus on something completely different for a bit which most of us can use and appreciate these days.

ALL OF ME is all kinds of good. Not good for a show about a particular group or type of people, it’s just good. There is some aspect that should fit or tickle the funny bone for just about everyone. So, as the song with the same title asks: why not take ALL OF ME?

Where most productions paint the duo as downtrodden and rather depressed, here the two main characters are painted with s sense of comedic timing and light-heartedness that almost seems choregraphed. A performance harkening back to some of the greatest comedic duos. The likes of Lewis and Martin, Abbott and Costello, Laurel and Hardy.

Each player has moments of strength, weakness, anguish, despair, all presented well individually. I did not, however, feel as if I were watching a cohesive unit, in their element, weaving a tapestry as their lives intertwine. More that of a group of individuals well skilled at delivering Shakespearian dialogue, than a collective ensemble.

As is often the case the BTG production is a high-quality production where seemingly everyone involved has played their role and done their work well. There is, however, one aspect I certainly did not expect. Laughter. At several points throughout the three acts in 2-hours, audience members responded with giggles, which I found rather confusing

There are a few technical glitches that presented themselves to a keen eye, but virtually something for everyone to like.  Overall, BSC’s production of ALITTLE NIGHT MUSIC represents another triumph for both Barrington Stage and the woman who has steered the company’s successful course for the past 27 years.   

In their promotional materials for NEXT TO NORMAL, Mac-Haydn, advised it would be “unlike anything you have seen on our stage. Trust us when we tell you, this show is not to be missed.” I am very happy to say they were correct. This production is phenomenal.

Simon and his mother, Ora, have always been close. She’s been his champion, his defender, and his friend. But when a life-changing secret comes to light, can their bond survive? 2020 Foeller Fellow Tyler Thomas directs this exquisitely wrought WTF-commissioned play by Harrison David Rivers that explores how people can change and how love can evolve

There is not one single word of spoken dialogue. The driving, exquisitely crafted score is brilliant. It draws you in and in most cases, regardless of who might be performing a given piece, you find yourself caught up in the lyrics feeling as if they could be telling your story or at least a good portion of it.

ANNA IN THE TROPICS is something like a well curated and presented collection of themes that are both timeless and universal. Coming quite close to the proverbial, perhaps lofty goal of, having something for everyone. One thing we agreed upon is that ANNA IN THE TROPICS is the latest high caliber professional theatre in the Berkshires this season

The relevancy to current issues such as Me Too, Feminism, Sexism, Abuse of Power, Patriarchal Systemic Inequality, Masculine Toxicity, My Body – My Rights, See Something – Say Something … abound. Will these dynamic, seemingly “ordinary / normal” young women persist, or give in and conform to the overwhelming pressure and go along to get along?

At two very different public schools in the same city — an underserved school on the verge of shutdown, and an elite magnet program nearby — pressure to perform well on standardized tests drives students and teachers to compromise their integrity. Kudos to Artistic Director, Julie Ann Boyd and the team at Barrington Stage Company for giving yet another new promising playwright and their highly relevant work life.