Nancy Grossman - Page 40

The national tour of THE LION KING returns to kick off the 10th Broadway In Boston season at the Boston Opera House, most fittingly as the musical reopened the venue following its historic renovation in 2004. Some of the effects have diminished over the years, but the opening night audience roared its approval.

It was a winning night at Fenway Park for the Commonwealth Shakespeare Company and the hometown fans as they celebrated with an all-star roster for SHAKESPEARE AT FENWAY. The one-night event had comedy, tragedy, and some extra excitement (not unlike the Red Sox) for a great start to CSC's 20th anniversary season.

Gloucester Stage Company concludes its 35th season with Pulitzer Prize-winning drama FENCES, the sixth in August Wilson's ten-play chronicle of 20th century American history from the perspective of African-Americans. In Director Eric C. Engel's production that strives to illustrate the universal nature of one man's story, we can identify with the protagonist's anger and struggle for control in a rapidly-changing world. Daver Morrison and Jacqui Parker bat leadoff in a lineup of strong performances.

Playwright Amy Herzog's 4000 MILES is a slice-of-life drama that observes a month in the relationship between a 91-year old grandmother (Nancy E. Carroll) and her 21-year old grandson Leo (Tom Rash) who drops in on her in the middle of the night at the end of a harrowing cross-country bicycle trip. The reason for the visit is a mystery, which is oh-so-gradually revealed, but the story doesn't cover much territory between point A and point B. Director Eric C. Engel grasps the timing necessary to bring out the play's humor and Carroll is a master of delivering a very funny line with a deadpan expression.

Broadway legend Chita Rivera makes her Williamstown Theatre Festival debut opposite Festival favorite and former Artistic Director Roger Rees in the newest incarnation of Kander and Ebb's THE VISIT, the musical based on the 1956 tragicomedy by Swiss playwright Friedrich Durrenmatt, with book by Terrence McNally. Director John Doyle has reimagined it as a one-act with a focus on the love story, and his collaboration with Choreographer Graciela Daniele results in a show that makes movement a vital component to convey elements of the narrative without words.

PUMP BOYS AND DINETTES is a country music revue that feels right at home in the big old barn that is the Cape Playhouse in Dennis. It offers up rockin' music, folksy charm, and good home cookin' with a cast of six who sing, dance, and play a variety of instruments.

Writer/director Kevin Cirone's labor of love is having its world premiere in the subterranean Davis Square Theater in Somerville. Good musical variety and an ensemble of eager, committed actors are among the positive attributes, but character development and storyline need some fine-tuning.

Gloucester Stage Company presents the Boston area premiere of Jack Neary's AULD LANG SYNE, an uneven vehicle driven by stellar performances from Paula Plum and Richard Snee, under the direction of Douglas Lockwood.

Reagle Music Theatre of Greater Boston brings back this crowd-pleasing British musical comedy about a cockney gent who learns that he is the 14th heir to the Earl of Hareford, but must choose between love and money. Director/Choreographer Cynthia Thole appeared in the original Broadway revival of ME AND MY GIRL and transmits her familiarity with the show to an exuberant cast, led by engaging, talented Peabody native Joshua Holden.

In celebration of its 25 years on Broadway, Cameron Mackintosh brought forth a new production of Andrew Lloyd Webber's THE PHANTOM OF THE OPERA for a North American Tour, now in its Boston premiere at the ornate Boston Opera House. Directed by Laurence Connor, with choreography by Scott Ambler, impressive set design by Paul Brown, Maria Bjornson's Tony Award-winning original costume design, and evocative lighting design by Paule Constable, the show is a visual spectacle that has enough magical effects to transport the audience to the Paris Opera House in the late 19th century.

PATTERN OF LIFE asks a lot of questions and challenges the audience to search for their own answers. In this play about life and death, McGough exposes a situation that most of us have not thought about very much and asks us to put ourselves in the other person's sandals. Director Bridget O'Leary and the cast of Nael Nacer and Lewis D. Wheeler focus on the human aspect of the story.

Good music stands the test of time and the Gloucester Stage Company celebrates its 35th Anniversary Season by revisiting one of their most requested productions. JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS still shows a lot of life more than 45 years since its off-Broadway debut. A quartet of polished actor-singers reveals the heart and soul in Brel's music and the brilliant complexity of his lyrics.

Huntington Playwriting Fellow Lydia Diamond delves into uncharted territory in her provocative new comedy having its world premiere at the Huntington Theatre Company under the direction of Artistic Director Peter DuBois. She introduces four incredibly smart Ivy Leaguers who dare to budge the boundaries of polite conversation about racism by posing the question of whether our beliefs and prejudices are hard-wired.

They don't make 'em like this anymore, so book your passage to Reagle Music Theatre in Waltham for an enchanted evening at SOUTH PACIFIC. Director David Hugo returns and sets the bar high with topnotch performances from Katie Clark, Peter S. Adams, and an ensemble of enlisted men and women who know their way around the terrific Rodgers and Hammerstein score.

Bridge Repertory Theater of Boston concludes its first season with Johnna Adams' timely play about the aftermath of a traumatic school event. Noted Boston actor Karen MacDonald directs Olivia D'Ambrosio and Deb Martin in two stunning, emotional performances, challenging the audience to choose sides and try to untie the storyline's Gordian knot.

Hershey Felder returns to ArtsEmerson for his third solo musical theater piece after charming and enlightening local audiences with GEORGE GERSHWIN ALONE and MAESTRO: LEONARD BERNSTEIN in recent years. This time he departs from staging the lives of genius composers to delve into the tragic death of a giant of American history by blending Civil War-era songs and first-person stories in an imaginative retelling of the assassination of President Abraham Lincoln.

THE SECRET GARDEN needs a good dose of Miracle-Gro to overcome a lack of vitality. A beautiful, lush score is weighed down by the sluggishness of the tale and static direction. The company has the vocals to do justice to the music and several performers shine, but this garden has a dearth of color.

The Boston Theater Critics' Association hosted the 32nd anniversary presentation of the Elliot Norton Awards last night at the Wheelock Family Theatre. Barely before people were in their seats, the tap dancing ensemble of Stoneham Theatre's THOROUGHLY MODERN MILLIE, led by Ephie Aardema, shuffled, ball changed, and kicked off the festivities. An enthusiastic Joyce Kulhawik, President of the BTCA, took the podium as Master of Ceremonies to introduce a parade of fellow critics and past winners as presenters, as well as two more nominated musical performances later in the program.

All hell breaks loose in CARRIE THE MUSICAL at SpeakEasy Stage Company thanks to a match made in heaven between The Boston Conservatory's rising junior Elizabeth Erardi and local diva Kerry A. Dowling as the tormented teen and her fanatical mother. Directed by Paul Melone with Musical Direction by Nicholas James Connell and Choreography by Larry Sousa, the much talked-about musical will give you plenty to talk about.

Feminist fantasy about three time-traveling Victorian-era women who set out to explore 'Terra Incognita' is playwright Eric Overmyer's paean to language and the art of the spoken word. His craftsmanship as a writer is on display in ON THE VERGE, but the quartet of accomplished, committed actors aren't enough to keep everyone onboard until the end of the ride.