Tony Estrella News

Voting is fully underway for the 2015 BroadwayWorld Rhode Island Regional Awards! Check out the latest live stats as of December 11. Nominations were reader-submitted and after the nomination period ended, BroadwayWorld's local editors proofed the list for eligibility and errors. Voting runs through December 31.

The Sandra Feinstein-Gamm Theatre (The Gamm) opens the new year with the New England premiere of Grizzly Mama by award-winning playwright George Brant (Grounded, Gamm 2014). With biting humor and shocking twists, Brant's timely play explores political extremism from both sides of the aisle. Rachel Walshe (Marie Antoinette) directs Gamm Resident Actor Casey Seymour Kim as Deb Marshall, a newly feminist homemaker with a death wish for her neighbor, an ultra-conservative political candidate; with Amanda Ruggiero as Deb's apathetic teenager, Hannah, and Betsy Rinaldi as her adversary's celebrity daughter, Laurel.

Voting has opened for the 2015 BroadwayWorld Rhode Island Regional Awards! Check out the latest live stats as of November 27th. Nominations were reader-submitted and after the nomination period ended, BroadwayWorld's local editors proofed the list for eligibility and errors. Voting runs through December 31.

Voting has opened for the 2015 BroadwayWorld Rhode Island Regional Awards! Check out the latest live stats as of November 27th. Nominations were reader-submitted and after the nomination period ended, BroadwayWorld's local editors proofed the list for eligibility and errors. Voting runs through December 31.

THE RANT takes place in Brooklyn, NY, not too long ago--that's what the program says. It feels like it could have easily taken place within the past year, month or week. Denise Reeve's son, a black teenager, was shot to death by a police officer on her front porch while she and her husband ate Eskimo Pies inside. At least that's what the audience hears first. From there, the story devolves into different versions of what might be the truth from Ms. Reeves, police officer Charles Simmons, investigator Lila Mahnaz and journalist Alexander Stern. In the end, the story is so twisted and murky with events, intentions and agendas that the actual events become secondary to the perceived situation.

The Sandra Feinstein-Gamm Theatre(The Gamm) stages the New England premiere of The Rant by Andrew Case. Timely and gripping, this taut drama tells the story of the shooting of an unarmed black teenager through the eyes of the boy's grieving mother, a police officer, a journalist, and the investigator assigned to the case. Tyler Dobrowsky (Morality Play, The Big Meal) directs Gamm new-comers Kym Gomes and Nikki Massoud as the mother and investigator respectively; Amos Hamrick (Gbatokai in Festen) as the police officer, and Gamm Artistic Director Tony Estrella as the journalist.

The Sandra Feinstein-Gamm Theatre (The Gamm) announces 6 additional performances of A Streetcar Named Desire, extended by popular demand through October 25. Tennessee Williams' classic American masterpiece, directed by Tony Estrella, has been playing to full houses and critical praise since it opened a week ago.   

The Sandra Feinstein-Gamm (The Gamm) opens Season 31 (2015-2016) with a timeless American classic, Tennessee Williams' A Streetcar Named Desire. This Pulitzer Prize-winning drama by the author of The Glass Menagerie (Gamm 2010) and Cat On A Hot Tin Roof(Gamm 2002) is an undisputed masterpiece and a landmark of 20th-century theater. Gamm Artistic Director Tony Estrella directs, featuring Marianna Bassham (Hedda Tesman in Hedda Gabler, 2014) as Blanche DuBois, the former southern beauty whose fragile world is crumbling; resident actor Karen Carpenter (Thea Elvsted in Hedda Gabler, 2014) as Blanche's sister, StellaKowalski; and Anthony Goes (Barnabas in Paul, 2010) as her brother-in-law, Stanley Kowalski.

The Sandra Feinstein-Gamm (The Gamm) opens Season 31 (2015-2016) with a timeless American classic, Tennessee Williams' A Streetcar Named Desire. This Pulitzer Prize-winning drama by the author of The Glass Menagerie (Gamm 2010) and Cat On A Hot Tin Roof(Gamm 2002) is an undisputed masterpiece and a landmark of 20th-century theater. Gamm Artistic Director Tony Estrella directs, featuring Marianna Bassham (Hedda Tesman in Hedda Gabler, 2014) as Blanche DuBois, the former southern beauty whose fragile world is crumbling; resident actor Karen Carpenter (Thea Elvsted in Hedda Gabler, 2014) as Blanche's sister, StellaKowalski; and Anthony Goes (Barnabas in Paul, 2010) as her brother-in-law, Stanley Kowalski.

A Streetcar Named Desire by Tennessee Williams directed by Tony Estrella Sept. 17-Oct. 18 Sandra Feinstein-Gamm Theatre, 172 Exchangs St., Pawtucket, RI Tickets: gammtheatre.org/401-723-4266 previews (Sept. 17-20) $30. Regular tickets: $41, $49 depending on day/time

The Sandra Feinstein-Gamm Theatre (The Gamm) has received the prestigious $25,000 Shakespeare in American Communities grant to perform its Season 31 production of The Winter's Tale (April 21- May 29, 2016) for at least 10 area middle and high schools. The award will also pay for accompanying educational activities including in-school residencies, workshops, and post-performance discussions. This is The Gamm's second Shakespeare in American Communities award, having received the same grant to support education efforts surrounding its 2014 production of Macbeth.

At times, it can be hard to imagine that there was ever a period in history when society was as celebrity-obsessed as we are right now. With the internet, social media, Twitter, 24-hour cable news and everything else, information about the rich and famous is everywhere, all the time. It seems impossible to avoid and seems that the public's appetite for it is insatiable. On the other hand, David Adjmi's play Marie Antoinette, now playing at the Gamm Theatre, casts the famous French queen in much the same kind of world. And while the uneven play doesn't offer much that's new or original, it does provide another lens through which we can view and examine our own society and it's problems.

The Sandra Feinstein-Gamm Theatre (The Gamm) continues its 30th anniversary season with American playwright John Guare's dark comedy The House of Blue Leaves. This multi-award-winning piece of comic chaos by the author of Six Degrees of Separation is the story of a family so obsessed with fame and the American Dream that its members are incapable of connecting with each other. Fred Sullivan, Jr. directs a crazy cast of characters including a zoo-keeper who aspires to be a songwriter (Tom Gleadow) and his wife who won't leave the house (Jeanine Kane) in a production that is by turns laughable, thought-provoking and deeply moving.

Tony Estrella, artistic director of The Sandra Feinstein-Gamm Theatre (The Gamm), has announced the theater's 2015-2016 season. Season 31 includes two undisputed classics, a contemporary favorite, and two works new to Gamm audiences, as described by Estrella:

The Sandra Feinstein-Gamm Theatre (The Gamm) continues its 30th anniversary season with American playwright John Guare's dark comedy The House of Blue Leaves. This multi-award-winning piece of comic chaos by the author of Six Degrees of Separation is the story of a family so obsessed with fame and the American Dream that its members are incapable of connecting with each other. Fred Sullivan, Jr. directs a crazy cast of characters including a zoo-keeper who aspires to be a songwriter (Tom Gleadow) and his wife who won't leave the house (Jeanine Kane) in a production that is by turns laughable, thought-provoking and deeply moving.

The Sandra Feinstein-Gamm Theatre board of directors will host the theater's annual fundraiser on Monday, March 30 at 6 p.m. at the Center by the Blackstone, 175 Main St., Pawtucket.

An audience member sitting by me at the Gamm's performance of Morality Play mentioned that one of the reasons she loves the company is their penchant for putting on plays that are daring, challenging and different. They do not just do the same old thing, she said, and she's absolutely correct. It is one of the characteristics of the Gamm that make it stand out among the theatrical crowd, that they take on plays that are more unique or risky than other companies might dare to produce. Morality Play is, arguably, a bit of a risk. While successful at being something unique, it is not as successful at being an entertaining, compelling or enjoyable piece of theater. Based on a novel of the same name, by Barry Unsworth, Morality Play is adapted for the stage by the Gamm's Tony Estrella. The story revolves around a roving troupe of actors, traveling the harsh English countryside in the winter of 1361. This gang of thespians are among the earliest practitioners of theater, actors who performed morality plays, one of the three major types of drama in the Middle Ages (the other two being miracle plays and mystery plays). In morality plays, a figure representing the common man, often called something like Everyman, is tempted by the personification of qualities such as Vice, Avarice or Lust, but is then saved by the appearance of, for example, Truth, Faith or Conscience. In the case of this play, our actors have just suffered the death of one of their company. Almost immediately, they meet a runaway priest who they allow to join them as a player, to take on the roles of the dead actor. Shortly thereafter, the troupe, very short on funds, arrives at a town where they will perform one of their morality plays. After that play fizzles, they decide to perform a new kind of play, one based on an actual real-life event, a true crime that has just occurred, the murder of a young boy. While doing so, they begin to solve the crime and put their own lives in jeopardy. If that sounds like an interesting idea, actors solving a crime using their powers of performance, it truly is. Unfortunately, this play is more of a collection of interesting ideas and concepts than an engaging piece of theater. Much of the play's early going feels like the Theater History 101 class that every theater major takes in college. It's as if the professor said, “Come up with a morality play and put it on for the class, just how the actors of the time would have.” And I'm willing to give Estrella and director Tyler Dobrowsky the benefit of the doubt that they have accurately recreated the feeling of the times and created an accurate and true recreation of the drama of the Middle Ages. Still, most of it is fascinating but boring and uninspired, not likely to excite many audience members, other than those who took that class in college. After getting through all of the “this is what theater was like in the 1300's” stuff (and it takes a long time), we finally reach the play's central story, the true-crime murder mystery. Unfortunately, this part of the play just demonstrates how many times we've seen all of this before. It quickly becomes an episode of C.S.I.: Broadway, with actors, instead of scientists, running around investigating and solving the crime. And in the third act, there are enough twists and turns to fill a season's worth of Law & Order episodes, with everything from corrupt heads of state to pedophiles and mysterious diseases. Yes, I realize that part of the point is that things that happened way back then are still relevant today, but in this case, they just make for a dull, predictable mystery, rather than an exciting and compelling story. One reason why it's not compelling is that we never really get to know any of these characters, not well enough to really connect with or care about them. The runaway priest, Nicholas Barber, is given a bit of backstory here and there, but not enough (he also may suffer from the fact that he is no longer the central character and narrator of the story, as he is in the novel). The “master player,” Martin Bell, also has some hints thrown his way about a possible checkered past, but not enough is provided to really make us feel for him. The other players are almost nameless and mostly interchangeable. Most of the rest of the characters, the King's Justice, for example, are just stereotypes, given no depth whatsoever, as they are only there to further the plot. Not helping is the actors milling about before the show, interacting with the audience as themselves, not in character, as far as I can tell. It adds to the feeling that we are watching Providence actors giving us a demonstration of early drama, not watching real, developed and believable people who lived at that time. Having said that, the Gamm has assembled an all-star team of some of the area's best acting talent. The dashing and charismatic Jesse Hinson makes his Gamm debut as the priest, Nicholas Barber. Hinson is masterful in the role and provides a number of the play's highlights, from his scene with the accused woman's father to another scene with the acting troupe's “whore,” who is about to get out before it's too late. Hinson makes every moment count and is impossible to not watch when he's in a scene. On the other end of the “who is the protagonist?” tug-of-war is Martin Bell, played by Tony Estrella. Bell is the leader of the troupe of actors, their motivator and moral compass, or at least he tries to be. Estrella, as usual, plays all of the nuances with skill and dexterity. At times, he is the seeker of truth and justice, and at other seems like a bit of a snake-oil salesman. It's a balancing act that he's able to pull off better than most. Our travelling troupe of performers are played by an excellent ensemble, all giving fine performances, even if they aren't ever given the chance or reason to dig very deep emotionally. Steve Kidd is a standout as Stephen, as is Elliot Peters as Springer. Jed Hancock Brainerd is also wonderful, though given a bit less to do. All three shine especially bright during the scenes when the troupe puts on their plays, from the biblical story of Adam to the true-crime tale of murder. All of the movement and physical action in those scenes is especially interesting and partly due, I assume, to Normand Beauregard, who plays one of the actors, Tobias, but is also one of the area's best fight choreographers. In what seems at times like a cast of thousands, a number of other actors appear and vanish. The wonderful Jeanine Kane, as the Innkeeper and wearing a hat she stole from Pharrell Williams, is mostly wasted. Jim O'Brien also gets little to do but does give a brilliant turn in one scene as the weaver, the father of the accused woman. And that woman herself, who is deaf and mute, is played by Clara Weishahn, providing one of the show's best performances. Her scene with Estrella, where they communicate without words, is beautiful and mesmerizing. It's unfortunate that the rest of play could not be as spellbinding or entertaining as that one scene. Instead, it relies of far too much speechifying and talking a lot about big ideas. Much of it is also heavy handed, as if they really want to make sure the audience gets the message, loud and clear. There are certainly some interesting themes and messages for the audience to ponder as they leave the theater, but the rest of the production may leave them cold and wanting more.

2014 was a powerhouse year for theater in the Ocean State. BroadwayWorld Rhode Island is pleased to feature some of the exceptional performers and artists who made this year a most memorable one on local stages.

The Sandra Feinstein-Gamm Theatre (The Gamm) opens the new year with a thrilling world premiere, 15 years in the making! Morality Play, adapted for the stage by Tony Estrella from the best-selling novel by Booker-Prize winner Barry Unsworth, is historical fiction in the form of a Plague-time whodunit, with intrigue, suspense and fascinating insights on the evolution of story telling. Tyler Dobrowsky, Associate Artistic Director at Trinity Rep, directs a cast of Gamm veterans and newcomers portraying travelling actors, clergy, royalty and townspeople intertwined in a medieval murder mystery.

The Gamm's production of HEDDA GABLER is sharp and smart, a beautifully-paced and thoroughly-absorbing theatrical experience.