Marc Savitt - Page 6

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.

ONCE is one of those productions that comes along, once in a while, where audience members can truly sit back, relax, get comfortable, and enjoy as a delightful experience sweeps them up, carries them away, and lets them feel all the feels. ONCE continues at Berkshire Theatre Group’s Colonial Theatre in Pittsfield.

The season opener of Berkshire Theatre Group’s 2022 season B.R.O.K.E.N CODE B.I.R.D SWITCHING is not, as the title might suggest to some, about Native American Communication Specialists during WWII. It is one of those relatively infrequent theatrical experiences in which each of the many individuals involved in the production, and their skillful execution of their relative elements supports one another so particularly well, that that the whole is greater than the sum of the parts it’s made of. A powerful piece of theatre in which art imitates life extremely well. An experience that leaves the viewer mouth agape saying WOW and providing an abundance of food for thought.

To be clear, there is absolutely nothing about this production that is dull, dated, or dusty. The joint is most certainly jumpin’ for an evening full of rowdy, raunchy and humorous songs that capture the love longing and zest for life in the 1920’s/’30s.

World premiere presentations like ANDY WARHOL IN IRAN offer Berkshire audiences a special opportunity to experience a work in progress, recognized for their potential. While I won’t term this as a must-see; it is most certainly a fine piece, well worth seeing. If not for the creative aspects touched upon above, it serves a fantastic look at nearly forgotten period in modern history and a strong reminder both that things are not always as they may at first appear; as well the notion that we are all far more alike than different. Read the review!

What on the surface appears to be a lovely “little Irish play”, performed near flawlessly by three talented actors is one of the most powerful and deeply profound pieces of black box theatre I have seen in many years.

Directed by Bartlett Sher this production remains true to the original, but some updates have been made including some refreshing of the book and dialogue some of which shine a brighter light on the equality of the sexes despite social norms of the time.  Much of which was notably popular with the audience.

Although no theme is clearly communicated in the promotional materials, the common thread that seems to be woven throughout the collection this year is comedy and perhaps seeing things from a differing perspective.  Think – do not judge a book by its cover.  

There is much to enjoy in this stage adaptation of the 1954 American Musical film. This production features David Adkins as General Henry Waverly; Allison Briner Dardenne as Martha Watson; Alanna Saunders as Judy Haynes; Claire Saunders as Betty Haynes; Michael Starr as Phil Davis and Michael Wartella as Bob Wallace.

THE CHAIRS is an absurdist 'tragic farce' by Eugène Ionesco. It was written in 1952 and debuted the same year. THE CHAIRS concerns two characters, known as Old Man and Old Woman, frantically preparing chairs for a series of invisible guests who are coming to hear an orator reveal the Old Man's discovery.

In the hands of Hill and May audiences sit back, relax, and fall spellbound as she shares stories of her very average ordinary daily existence. May’s command of the stage for two hours is impressive. Her Shirley is comfortable, relaxed, and easy to get familiar with. She evolves into a wise and trusted old friend.