Author: Buffalo Theatre Guide

Theatre Review: ‘Les Miserables’ at RBTL’s Auditorium Theatre

/ Buffalo Theatre Guide

“One Day More” The National Touring Company of “Les Miserables.” Photo by Matthew Murphy.

The only thing I had known about “Les Miserables” was what I had heard on the “Forbidden Broadway” cast recording. “At the end of the play you’re another year older.” I thought that was funny, but I didn’t realize that it was actually true. That show was long. It is phenomenal, but my goodness, it goes on forever. To my amazement, the show is masterfully written and is masterfully performed. This show is an experience that I will never forget.

It is breathtaking, it is beautiful, and most importantly, it is timely.

“Les Miserables” is based on the Victor Hugo novel, taking place during the French Revolution and telling the tale of Jean Valjean (Nick Cartel) as he tries to redeem himself in society after spending the last nineteen years in slavery for a crime that he committed. After becoming a factory owner and changing his name, Valjean meets Fantine (Mary Kate Moore), who has an illegitimate daughter and on her deathbed, Valjean says that he will find her daughter and care for her. Valjean finds Cosette (Jillian Butler) at an orphanage of sorts, and purchases her, looking out for her wellbeing and raising her as his own. If this seems confusing, it is. I had to read the synopsis at intermission, and then it clicked!

The music in this show is hauntingly beautiful and I could not believe how much music there is in this show. It never stopped, and flowed effortlessly from one number to the next, barely leaving time for applause, and you know what, I loved it. I realized during this production just how much time we spend applauding during musicals. I love showing my appreciation and love to the actors on stage, but when the music segues to the next song, it keeps me in the moment and I stay tuned to the story. I never thought about this until this show.

Leading the show as Jean Valjean is Nick Cartel who has a voice of steel. His range is mind blowing as he controls his vocal prowess to hit magical notes. Cartel’s performance is raw, emotional, humane, and perfect.

Josh David is deliciously evil as Javert, the constable who is out to find Valjean to bring him back for skipping parole. You dislike him, but love every time he enters the stage. His vocal ability sends chills down your spine with how fantastic they are. He does not disappoint.

Éponine played by Paige Smallwood and Cosette played by Jillian Butler, are both phenomenal women who know how to entertain and who both bring tears to your eyes when they sing. They are both absolutely beautiful.

Overall, the show is long, but as a student of theatre, and let’s face it, who isn’t, this show should be on everyone’s theatre bucket list. It is breathtaking, it is beautiful, and most importantly, it is timely. When the tour comes to you, go see this show!

Running Time: 2 Hours 45 Minutes with one 15-minute intermission.

“Les Miserables” closed on November 24, 2018, and was presented at RBTL’s Auditorium Theatre in Rochester. For more information, click here.

Theatre Review: ‘Hamilton’ at Shea’s Buffalo Theatre

/ Buffalo Theatre Guide

Well, it finally happened. “Hamilton” has arrived in Buffalo. I feel like we have been waiting for this time to come for years. Oh wait, we have. “Hamilton” fever is alive and well and I have done all I could to keep myself out of the fever zone so that I would go into this show knowing nothing. For the exception of one or two songs, I succeeded. I wanted to be surprised and I didn’t want any biases forming. I wanted to see if this show is worth the hype. I wanted to see if this show really was worth the emptying of bank accounts to see. Well here is my answer. It might not be worth emptying your bank account completely to see, but it is extremely refreshing, and I absolutely loved it.

“Hamilton” is sure to be Broadway’s new “Phantom,” running for the next 30 years. . .The American Dream comes alive in this musical.

“Hamilton” is the brainchild of Lin-Manuel Miranda, who brought us one of my favorite shows “In The Heights.” “Hamilton” tells the story of Alexander Hamilton and our founding fathers as they go through the American Revolution and form our government that we have today. Blind casting allows the actors portraying the founding fathers to be of any ethnicity and it is brilliant. Oh, and Miranda’s Hip-Hop and R&B score is exhilarating. It takes the Broadway formula, and keeps the pace flowing with songs that segue almost seamlessly from one to another. Lyrics are masterfully crafted with historical accuracy and are incredibly witty and intelligent. Miranda doesn’t skimp out on substance for style. The substance in this show is phenomenal and it is fantastic that not only are we being entertained, but we are learning something too. The music is perfect.

This story doesn’t rely on pageantry to be told. The unit set of rafters and wooden walkways are stylistically pleasing and effective. A rotating platform proves to be very useful and adds a wonderful dimension to the story. The ensemble helps build the settings of various locations and the audience is called upon to fill in the blanks. I love the minimalistic approach to storytelling, where the audience is employed to use their imaginations. It shows that the audience does not need everything spoon fed to them for the story to be told.

This cast is extremely talented. From the ensemble to the leads, there is not one person onstage in this production that does not deserve to be there. Leading the show as Alexander Hamilton is Austin Scott who balances the character’s intellect and arrogance perfectly. Scott makes great artistic choices to make this character believable and relatable. We are able to connect with him and we see that he is not a perfect man, that he has flaws like the rest of our founding fathers, but that he is real. Scott is fantastic and does not disappoint.

Josh Tower plays Aaron Burr, the narrator of our tale. Tower plays the show’s antagonist if you will, perfectly. Not only does he effortless set our story up for us, but he enters and exits the story so well. Tower brings real pain to the character, and he has plenty of heart. Again, Tower creates a character that we can relate too. Jealously, envy, and anger all color his performance. It is fantastic to watch. His performance of “The Room Where It Happens” is incredibly enjoyable as well.

Hannah Cruz is wonderful as Eliza in this production. She has the pipes to hit all the notes, and the audience instantly falls in love with her when she comes to the stage. She spills her heart and soul into “Burn” and I can say that I actually teared up during her performance. She does a wonderful job.

Paul Oakley Stovall is brilliant as George Washington. His voice booms throughout the theater sending chills down your spine. His demeanor and portrayal of Washington is unique and enjoyable.

My favorite comic relief in this show is Peter Matthew Smith as King George. Reminding me of King Herod in “Jesus Christ Superstar,” Smith is hilarious as the King. Deep belly laughs are sure to hit you every time he enters the stage.

If I had to find anything negative to say about this show, I would say that it runs a little long. Although I enjoyed the entire experience, 15 or 20 minutes less would have been welcomed in my opinion.

So, does this show live up to all the hype? Yes. “Hamilton” is sure to be Broadway’s new “Phantom,” running for the next 30 years. You need to see this show? Oh, you didn’t get tickets? Well, Shea’s is releasing tickets everyday, and there are still plenty of chances to be in the room where it happens!” The American Dream comes alive in this musical. Go see this show!

Running Time: 2 Hours 30 Minutes with one 15-minute intermission.

Advisory: Adult Language and Situations

“Hamilton” runs until December 9, 2018 and is performed at Shea’s Buffalo Theatre. For more information, click here.

Theatre Review: ‘Christmas Over The Tavern’ at MusicalFare Theatre

/ Buffalo Theatre Guide
42bfade5d9c881aa427aa139fe2b97db.jpg

The cast of “Christmas Over The Tavern” at MusicalFare Theatre.

It is so incredibly rare that I get to review a show in Buffalo that is a world premiere. Buffalo is the home of tried and true classics, and it is common to review productions that have been done to death. It is refreshing every now and then when I get the opportunity to say something new about a piece of theatre that is also brand new. I feel like I am in New York! Although I am not, it is nice to be one of the first press members to give their opinions on a show, and thanks to the folks and MusicalFare, I get to do just that with their world premiere musical by Buffalo native Tom Dudzick, “Christmas Over The Tavern.”

. . .it is sure to entertain audiences all throughout the holiday season.

Based on the characters from his play “Over The Tavern”, Tom Dudzick creates a brand new musical story featuring the Pazinski family as they get ready for the holidays. Having workshopped the show at MusicalFare in 2017 and writing the book, lyrics, and score, Dudzick creates a musical the hits the beats that all musicals should, but lacks one thing, heart.

Starring in the role of Rudy is young actor Michael Scime, who shows no fear on stage, and earns his keep up there with veterans Jacob Albarella, Wendy Hall, and Pamela Rose Mangus. Scime is still learning his craft but does a great job delivering jokes and getting laughs. He is a crowd favorite.

Pamela Rose Mangus plays Sister Clarissa, and is hilarious. I never went to Catholic school, and never really encountered the wrath of a nun, but Mangus delivers a fantastic performance that is sure to make you laugh and smile, even if you are not of the catholic faith. She is a powerhouse on stage, and has wonderful comedic chops.

Jacob Albarella does a very nice job as Chet, the Pazinski patriarch, in this piece. Of all the characters in this show, his character is the most developed in Dudzick’s script, and shows the most arc in the overall storyline. You can empathize with his pain, and his frustration, throughout the holiday season, as he has flashbacks to the good days of yesteryear.

The rest of the cast, including Wendy Hall, Caroline Schettler, Issac Fesmire, and Samuel Fesmire do a great job rounding out the rest of the Pazinski clan, and all shine in their various numbers and sub-plots.

Dudzick’s musical numbers are fun and bouncy but are easily forgettable. There really are no tunes that you will be humming on your way out of the theatre, but he does a good job keeping his story moving and hitting all the beats that a musical needs to hit to keep the audience engaged.

All the characters have their storylines, Rudy wants to be in the christmas pageant, Georgie wants a to speak for Christmas, Ellen wants her husband to be happy again, Chet wants to relive the good old days, Annie is looking for love, and Eddie is contemplating enlisting in the army. These sub plots keep the story rolling, but as a viewer, I had trouble connecting with any of the characters, or caring if they succeeded in their goals. I guess the stakes were just not high enough for me, and if the Pazinski’s didn’t end up having a Merry Christmas, it wouldn’t have phased me in the slightest. The sad thing is, that I wanted to care about them, and I wanted to be welcomed into their lives, but the opportunity just never presented itself.

Dudzick does a great job putting in the Buffalo area references as well, like the Clinton Bailey Market, and the New York State Thruway, but I would be interested in seeing if these references mean anything to anyone outside of the Buffalo area. The nostalgia also ages this brand new show to a point that I fear contemporary audiences will have a hard time connecting with the humor and lives of the Pazinskis.

Overall, this show was a miss for me. But, it has sold out it’s run, so it is sure to entertain audiences all throughout the holiday season.

Running Time: 2 Hours 15 minutes with one-15 minute intermission.

“Christmas Over The Tavern” runs until December 19, 2018 and is sold out, at MusicalFare Theatre. For more information, click here.

Harmonia Chamber Singers Kicks Off New Season with Holiday Concerts

/ Buffalo Theatre Guide

Harmonia Rehearsal

Harmonia Chamber Singers will present Christmas by Candlelight, the group’s annual concert of holiday music, Saturday, December 15, 7:30 pm At St. Joseph University Church, 3269 Main St, Buffalo (purchase tickets at online at EventBrite Dec 15.

The same program will be repeated Sunday, December 16, 4:00 pm, at Ss Peter & Paul Church,5480 Main St., in Williamsville.(purchase ticketsonline at EventBrite Dec 16.)

Advance tickets are available online and are strongly suggested. Tickets will also be available at the door, beginning  one hour before each concert.

Christmas by Candlelight includes choral pieces by Mendelssohn, Sweelinck, and Stacey V Gibbs, and distinctive Christmas Carol arrangements by Ola Gjeilo and Matthew Culloton. A featured work will be an original setting of Silent Night by Western New York composer Stephen Shewan. Contemporary seasonal works for choir, harp and oboe by Stephen Paulus and Steve Heitzeg will be featured as well, in addition to the a cappella works, Lockport Stage Works has designed custom lighting for both venues to create a visual mood to support the lush and lovely music

This year’s Christmas by Candlelight is the first concert series under the direction of music director, Norman Zogaib. “Norm is an outstanding choral director, and we’re honored to bring his passion for this art form to Harmonia and our audiences,” says Harmonia Founder and Executive Director, Robert Pacillo.

This season’s sponsors include the Cullen Foundation and Pacillo’s Fitness Gear.

For more information on Christmas by Candlelight and the rest of Harmonia’s 13th concert season, visit. www.Harmoniacs.org.

ANNOUNCING #HAM4HAM LOTTERY IN BUFFALO 40 TICKETS FOR EVERY PERFORMANCE $10 EACH

/ Buffalo Theatre Guide

Producer Jeffrey Seller, Shea’s Performing Arts Center, and Albert Nocciolino announce a digital lottery for HAMILTON tickets will begin in conjunction with the show’s first performance (November 20) in Buffalo at Shea’s Buffalo Theatre.  Forty (40) tickets will be sold for every performance for $10 each.  The digital lottery will open at 11:00 AM ET on Sunday, November 18 for tickets to the Tuesday, November 20 performance.  Subsequent digital lotteries will begin two days prior to each performance.

HOW TO ENTER

  • Use the official app for HAMILTON, now available for all iOS and Android devices in the Apple App Store and the Google Play Store (http://hamiltonmusical.com/app).
  • You can also visit http://hamiltonmusical.com/lottery to register.
  • The lottery will open at 11:00 AM ET two days prior to the performance date and will close for entry at 9:00 AM ET the day prior to the performance.
  • Winner and non-winner notifications will be sent at approximately 11:00 AM ET the day prior to the performance via email and SMS (if mobile number is provided).
  • No purchase or payment necessary to enter or participate.
  • Each winning entrant may purchase up to two (2) tickets.
  • Only one entry per person. Repeat entries and disposable email addresses will be discarded.
  • Tickets must be purchased online with a credit card by 4:00 PM ET the day prior to the performance using the purchase link and code in a customized notification email. Tickets not claimed by 4:00 PM ET the day prior to the performance are forfeited.
  • Lottery tickets may be picked up at will call beginning 2 hours prior to the performance with a valid photo ID. Lottery tickets void if resold.

ADDITIONAL RULES

Patrons must be 18 years or older and have a valid, non-expired photo ID that matches the name used to enter. Tickets are non-transferable. Ticket limits and prices displayed are at the sole discretion of the show and are subject to change without notice.

Lottery prices are not valid on prior purchases. Lottery ticket offer cannot be combined with any other offers or promotions. All sales final – no refunds or exchanges. Lottery may be revoked or modified at any time without notice. No purchase necessary to enter or win. A purchase will not improve the chances of winning.

Tickets for HAMILTON are currently on sale.  Patrons are advised to check the official HAMILTON channels and Ticketmaster.com for late release seats which may become available at short notice.

HAMILTON is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary.  Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, HAMILTON is the story of America then, as told by America now.

With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by

Andy Blankenbuehler and music supervision and orchestrations by Alex Lacamoire, HAMILTON is based on

Ron Chernow’s biography of Founding Father Alexander Hamilton.

The HAMILTON creative team previously collaborated on the 2008 Tony Award ® Winning Best Musical

IN THE HEIGHTS. HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by Telsey + Company, Bethany Knox, CSA, and General Management by Baseline Theatrical

The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.

Launching April 2019 in Chicago, HAMILTON: THE EXHIBITION will take visitors deeper into the life and times of Alexander Hamilton through the immersive exhibit featuring a dynamic, interactive mix of in-depth scenography, lighting, sound, multimedia, music, and an audio tour narrated by Mr. Miranda. For more information and to sign up to be the first to receive news and ticket sales alerts about HAMILTON: THE EXHIBITION, please visit hamiltonexhibition.com.

The HAMILTON Original Broadway Cast Recording is available everywhere nationwide.  The HAMILTON recording received a 2016 Grammy for Best Musical Theatre Album.

For information on HAMILTON, visit www.HamiltonMusical.com, www.Facebook.com/HamiltonMusical, www.Instagram.com/HamiltonMusical and www.Twitter.com/HamiltonMusical.

Theatre Review: “Into The Woods’ at the Lockport Palace Theatre

/ Buffalo Theatre Guide

“Into the Woods” was thrust back into the cultural spotlight with the 2014 feature film starring a colorful cast of Hollywood and Broadway performers. It weaves numerous fairy tales into one flowing narrative, an emotional roller coaster. Lockport Palace Theatre, taking a step forward in their own story with a beautiful internal restoration and remodeling, presents the Sondheim classic with a well-staged and comprehensive production.

. . .[an] efficient and successful production.

“Into the Woods” only works when there are no weak links, when the entire ensemble is strong. The Palace has assembled an extremely capable cast, made up almost entirely of Palace regulars. Serving as the story’s Narrator, Jon May takes the audience along for a ride into the fairy tale world, aided by an unbelievable set design. May understands the nuances of the comedy and has the audience in the palm of his hand from the first chord. The story centers around the Baker (Bobby Cooke), the Baker’s Wife (Kelly Ersing), Jack (Zach Thomas), Little Red (Rheanna Gallego), and Cinderella (Emily Prucha). All these primary characters must travel into the woods in search of something. In the Baker and his wife’s case, to reverse a spell placed on their family by the next-door Witch (Taylor Carlson) that has kept them childless. The story evolves from here, detailing triumphs and tribulations in the journey of these main characters.

As the Baker and Baker’s Wife, Cook and Ersing are a perfect pair. Cooke has an indescribable charm in this role and brings an honest and organic portrayal to the character; we believe he will do anything to get a child, and yet he puts the feelings of others before himself, even when it means sacrificing a necessary item to lift their curse. The role sits right in his vocal range and makes for wonderful renditions of the Sondheim score. He is particularly good in his Act Two “No More.” Ersing is his match in every way. She is a stellar singer and can handle the serious moments too; her “Moments in the Woods” is a master class. Thomas handles Jack’s naivety well, without creating a caricature, and is a capable singer to boot. Gallego is perfect for the role of Little Red, she manages to play both the “sour” and “sweet” of the storybook child who loves to snack. Gallego brings depth to the character from the get-go, which is uncommon in most portrayals. Finally, Prucha’s Cinderella channels more Anna Kendrick (film) than Kim Crosby (Original Broadway); she’s a modern woman for sure. In this performance, I felt Prucha took a few scenes to warm up to her usual sharpness, but her Act Two was extremely strong. She’s off to get her wish and ends up marrying the less than charming Prince (Ricky Needham). He and his brother (Jackson DiGiacomo) are the stereotypical spoiled princes, but Needham especially brings humanity to the Prince. He is to be commended, as this is no easy task; the audience is supposed to dislike the Prince in Act Two, but Needham at least creates understanding.

Though all these performances are strong, the real standout of the evening is Taylor Carlson. She’s had terrific performances at the Palace before, but this one transcends even her normal successes. Everything is well rehearsed, tight, and executed almost flawlessly. She is an unbelievable vocal powerhouse, but she possesses a subtlety in this role I’ve not seen in her work before. This is clearly a dream role for her, and she plays it with a dream-like quality. It’s worth the price of admission itself.

“Into the Woods” is a wonderful piece of theater that is very difficult to execute with absolute perfection. My only complaint with the Palace production is one I can potentially attribute to only being two performances in. I felt like the pit was below performance quality; I heard frequent mistakes and jumbled tempos, which affected the actors onstage in turn. This was a small blip in an otherwise efficient and successful production.

Running Time: 2 Hours 30 Minutes with one-15 minute intermission.

“Into The Woods” runs untilNovember 11, 2018 and is presented at The Lockport Palace Theatre. For more information, click here.

First Look: ‘Christmas Over The Tavern’ at MusicalFare Theatre

/ Buffalo Theatre Guide

Tom Dudzick’s “Over The Tavern” is not only a local favorite that highlights our great city, but is one that is an international favorite as well. The characters are well known, it is nostalgic, and there is just something relatable about the “Over The Tavern” stories. This was something that Dudzick wanted to explore again, and because of this he began working on a new project with the characters that we all know and love, a musical “Christmas Over The Tavern.”

“It was a long time since Tom wrote a musical” says Randy Kramer, executive and artistic director at MusicalFare Theatre, “he came up with a new story that takes place during the holidays, and he sent it to me.”

Kramer says that Dudzick approached him some time ago to see if he would be interested in workshopping a new production at MusicalFare. “I was interested, and we had a few meetings about the show, and over the course of a year or so, Tom had a script written and a pretty good section of the score completed.”

MusicalFare did a workshop in spring of 2017 of the show. “This was a great experience for me to help create a new show, and for Tom because he was able to see how musicals worked and we gave notes to better his material,” says Kramer. “There are many things that musicals need to work, like pacing, time between songs, underscoring, these were all things that Tom got from working with us, and I think it was a great journey for him to go through.”

After the workshop, Dudzick continued the write the script. “Tom got it to a great point. It is a stand alone story that you don’t need to see the other shows to understand,” says Kramer, “there are no references to the other shows in it. I think the audiences will really enjoy it.”

Musical director Theresa Quinn is feverishly working on orchestrating the score. “Theresa is writing the orchestrations for a four piece band, taking Tom’s music and changing keys so that they would be more comfortable for the actors to sing,” says Kramer.

The cast is enjoying themselves. “There is always an excitement that an actor has when they get to originate a role,” says Kramer, “and this is a wonderful opportunity for them all.”

Tickets are selling fast. “We are completely amazed at how quickly these tickets are selling. It’s a good problem to have,” laughs Kramer. If you want to visit the Pazinski family this holiday season, you better get your tickets now!

“Christmas Over The Tavern” opens on November 14 and runs through December 16, 2018. For more information, click here.

Theatre Review: ‘Oliver!’ at Lancaster Opera House

/ Buffalo Theatre Guide

When I was in grade school, my music teacher liked to show videos. Musical videos. There wasn’t a large selection in his arsenal and the one that we watched over, and over, and over, and over again was “Oliver!” We watched “Oliver!” so many times that the VHS tape wore out, and then he purchased it on DVD. Lucky us. Needless to say that while in elementary school, you are forced to endure many things that you typically wouldn’t want to endure. This film was one of them. But, just like my first time seeing the film “Jesus Christ Superstar,” it wasn’t until I saw it live on stage that I enjoyed it. This goes for “Oliver!” now as well. Seeing it live is much more enjoyable, and the Lancaster Opera House’s production is phenomenal.

. . .the Lancaster Opera House’s production is phenomenal.

Based on the novel “Oliver Twist” by Charles Dickens, Lionel Bart created a musical adaptation of the story in the 60’s which had very good commercial success. Oliver is a boy who lives in an orphanage, asks for some more gruel, gets sold to an undertaker, falls in line with a bunch of lovable criminals and, then gets adopted into a wealthy family. It’s that feel good story that we love to hear. He should probably audition for “American Idol” or something.

Director David Bondrow assembles a phenomenally talented cast for this very enjoyable adaptation of the show. The show uses a very minimal set, with no wings on stage, or curtains. Typically I wouldn’t find this acceptable in a show, but I see what Bondrow was doing here, and it is very impactful. It is actually brilliant. You’ll see what I mean when you purchase your tickets.

Fran Landis leads a fantastic orchestra that plays the familiar tunes perfectly. The singing and music in this show is technically perfect. The attention to detail in the score and the vocals cannot go unnoticed, and the caliber of talent that is on the stage is mind blowing. This is the perfect production. You could not ask for more in a musical, and the Opera House delivers. . .big time.

Leading the show as Oliver is Joel Fesmire, who is fantastic in this part. His performance of “Where is Love” tugs at your heartstrings and his voice is wonderful. It brings a tear to your eye to see such a young man performing with no fear on stage. I know adult actors who wish they had this courage. He plays the role of Oliver very well, and I am looking forward to seeing his career unfold in Buffalo.

Kevin Leary is fantastic as the lovable anti-hero Fagan. His mannerisms and prowess on stage are admirable for this part, and he is very entertaining with his comic delivery and slimy demeanor. “You Got To Pick A Pocket Or Two” is one of my favorite songs in the show and he surly did not disappoint in his performance.

Ian Michalski is fantastic as Mr. Bumble. Along with Rebecca J. Runge’s Widow Corney, the two have great comic chemistry on stage.

Seth Phillyaw is Artful Dodger and this kid is brilliant. As a sophomore in high school, he too shows no fear on stage and makes wonderful artistic choices. His instinct is right on the money and his performance of “Consider Yourself” is a crowd favorite.

I cannot tell you how awesome this show is, you have to go see it for yourself, and judging by the opening weekend crowd, you should get your tickets right away, because this is a show that you definitely do not want to miss.

Running Time: 2 Hours 30 Minutes with one 15-minute intermission.

“Oliver” runs until November 18, 2018 and is presented at Lancaster Opera House. For more information, click here.

Theatre Review: ‘Sive’ at Irish Classical Theatre

/ Buffalo Theatre Guide

Josephine Hogan and Kiana Duggan-Haas in “Sive” at Irish Classical Theatre.

Matchmaking is a resounding theme in Buffalo’s theatre district this week.

At Shea’s Performing Art Center, Mama and Papa in “Fiddler on the Roof” use the services of the village Yente to seek spouses for their daughters. It’s a tradition.  Across the street at the Andrews Theatre, home of Irish Classical Theatre Company, the village matchmaker in “Sive” scouts a much older man for the production’s title character, but there are no happy songs to sing about it. It’s just tragic.

. . .a good solid drama with an extraordinary cast.

The world hadn’t changed much between late 19th century Imperialist Russia and the 1950s Irish countryside when it comes to young women and the pursuit of marriage. A young girl’s life is still a commodity to be sold for financial security.

“Sive,” written by John B. Keane is one of Ireland’s most produced plays and is a popular bit of required reading in the country’s high schools. It’s a compelling family drama where three generations of the Glavin family share a farm house, secrets, and enduring shame.

Sive the girl is the illegitimate niece of Mike Glavin who promised his sister on her deathbed that he would look after the girl. A noble plan, but Mike’s wife Mena (for those who like anagrams, ‘mean’ is the perfect fit)  resents Sive, the memory of her dead mother, and the presence of the Glavin matriarch who’s also in her home. Mena makes a plan with Thomasheen the matchmaker to marry off Sive to Sean Dota, an elderly farmer who has his eye on Sive’s youthful beauty. There’s a twist: the Glavin’s don’t need to provide a dowry. Sean Dota will pay Mena for Sive’s wedding vows plus a bonus to Thomasheen.  Sive wants nothing of this. She likes her convent school and the attention of a fine young lad name Liam, who unfortunately is kin once removed from the man who fathered her.

Long-simmering resentment pervades this dark story. The Mike and Nanna Glavin hate Liam and his family for causing shame to their family. Mena hates everyone who has more than she. Sive is young and hungry for details of the parents she never knew.  

Director Vincent O’Neill was working with the cream of the crop for this one. A tense and taut tragedy in a beloved script and a superb cast make for a excellent albeit heart-wrenching production. Aleks Malejs is absolutely hateful as Mena (when she’s called a ‘horrible bitch’ in the second act, you want to stand up and cheer). Her constantly scowling face, tightly pulled back hair, and drab outfits speak volumes at a glance. She rocks the evil persona. Patrick Moltane is her meek-as-a-lamb husband. Ray Boucher is Thomasheen, the all for the money matchmaker. He’s sprite as a pixie, artfully irritating, and cunning like a fox. Kiana Duggan-Haas is honest and forthright as Sive. She joins Peter S. Raimundo (Liam, Sive’s would-be young suitor) and Johnny Barden (the singing son of the village tinker) making ICTC debuts. So good to see young actors awarded meaty roles alongside strong and seasoned actors.  Josephine Hogan is Nanna Glavin, doing her best in a losing battle to protect Sive from Mena’s machinations. David Lundy is shuffling and stammering as the rheumy-eyed old farmer who desires Sive as his bride. Gerry Maher is the traveling tinker, the source of news and prescient entertainment in the parish.

“Sive” is the kind of production that leaves you emotionally drained. You’re angry about the injustice for a young girl’s hardship and empathetic about rural poverty. Remembering that the show is only set in 1950 – not that long ago – is even more disconcerting.

While this isn’t an uplifting night in the theatre, it’s a good solid drama with an extraordinary cast. Brian Cavanaugh’s set design captures the rough hewn life in the Irish countryside (the only distraction was the obviously plastic dinner plates clattering alongside tin cups and plank tables). I love how he suggests walls and windows and doors with free-hanging frames and hardware. Tom Makar’s subtle sound design had me looking over my shoulder for cows lowing in the distance. They create the atmosphere that I always love about ICTC productions.

Ironically while this is Duggan-Haas’ ICTC debut, she and Boucher were last seen together in this TV commercial. That’s Buffalo for you.

Running Time: 2 hours with a 15-minute intermission.

“Sive” is presented at Irish Classical Theatre Company, until November 25, 2018. For more information, click here.

Theatre Review: ‘The Mystery of Edwin Drood’ at Niagara Regional Theatre Guild

/ Buffalo Theatre Guide

The cast of “The Mystery of Edwin Drood” at NRTG.

Interactive theatre can go one of two ways. It can be exciting for the audience, or it can be terrible for the audience. Luckily, if it is done well, the audience will be able to connect with the material and will have a great experience, and that is exactly what happens with the current production at the Ellicott Creek Playhouse, “The Mystery of Edwin Drood.”

. . .a goofy good time.

Niagara Regional Theatre Guild continues their season lineup with the 1985 smash hit musical, with book, lyrics, and music by Rupert Holmes. The concept is based on Charles Dicken’s unfinished novel, “The Mystery of Edwin Drood” where when he passed, he left no clue as to how the story would end, or what would come of the story’s protagonist. Holmes decided that the show would be decided by the audience and that they would vote on how the story would end, and who would be called the murderer, allowing each performance to end differently and be unique. Throwing in the Music Hall traditions of Dickens’ time, “The Mystery of Edwin Drood” is a goofy good time.

Overall, the actual story of the show is not very interesting. I actually found myself getting lost a few times, but the true entertaining portion of this production are the characters that the actors play when they aren’t telling the Drood story. The actor characters are full of life and excitement, greeting the audience as they entered and getting them ready for the evening at hand.

Leading the show as Mr. William Cartwright, the chairman of the Royale Music Hall, is Fran Newton who keeps the show rolling along nicely, getting plenty of laughs, and teasing the audience with one liners and puns. Newton does a fantastic job in this role, and you can tell that he is having a great time playing for the crowd.

Playing the villain of the piece, John Jasper and the actor Mr. Clive Paget, is John Panepinto, who takes on this part of getting booed and hissed at every time he enters the stage on the chin. He has great comedic chops and has a great mug that he uses to acknowledge the audience during his scenes. He is very entertaining to watch.

Carolyn Quigley takes on the role of Edwin Drood in the piece, along with the role of Miss Alice Nutting, the famous gentlemen impersonator. Quigley is just quirky enough to pull off this part and keep the audience entertained during the dry story of Edwin Drood. We might not always know what the Dicken’s story is about, but we do know that Quigley is going to make it very entertaining, and keeps us engaged.

Notable standouts in this production go to Chris Cummings as Durdles, the groundskeeper of a cemetery who is also the comic relief in this story, and Christopher Andreana as Bazzard who gets laughs from the moment the audience enters the theatre, all the way to the final bow. These two are hilarious and will keep the deep belly laughs coming all throughout the performance.

With the characters playing the actors and the characters they are portraying in the play within the play, I would have liked to see a greater differentiation between the Drood Story and the performer. Sometimes the two just meshed together and it took a few minutes for me to realize that the actors were speaking, and that the show was not happening. A sharper change would have really let the two stand out, but overall, the show was entertaining.

If you like a good whodunnit, then you need to get to the Ellicott Creek Playhouse to see NRTG’s fun and enjoyable production of “The Mystery of Edwin Drood.” You won’t want to miss it!

Running Time: 2 hours 45 minutes with one 15-minute intermission.

“The Mystery of Edwin Drood” runs until November 18, 2018 and is presented by NRTG at the Ellicott Creek Playhouse. For more information, click here.