Spa Time in Vancouver at the Trendy Wedgewood Hotel

The Day Spa at the Wedgewood Hotel in Downtown Vancouver

The Spa at the Wedgewood Hotel in trendy downtown Vancouver opened in the spring of 2003 and has won numerous awards, including "Best Day Spa in Vancouver". It is a terrific way to unwind after touring the urbane city's museums, parks and shops. Clients do not have to be guests at the Wedgewood to enjoy a treatment here.

Begin your relaxation in the Fitness Center, which provides all the latest fitness equipment, or the Eucalyptus Steam Room.

For a limited time, the Spa at the Wedgewood will be offering a 50 min Bio-Swiss Organic Brightening Facial and a 50 min Wild Lavender Body Treatment. The Organic Facial using botanical extracts including Mallow, Peppermint, and Liquorice promises to rejuvenate skin and naturally assist the brightening of the complexion while the refreshing Wild Lavender aids in a feeling of renewal.

Anny Tu as a new member of the excellent aesthetics team. She studied Aesthetics, and Nail Care extensively in Houston, Texas where she then worked for several years before moving to Canada.
She is known for her fab pedicures and, on the other "end," a luxurious facial that leaves your skin looking and feeling amazingly fresh, reinvigorated and healthy. If you go, ask for Anny.

One exclusive treatment features the renowned Epicurean Skin Care line, made with all natural ingredients.

Signature Treatments are favorites of Wedgewood Hotel & Spa owner, the vivacious Eleni Skalbania whom I have had the pleasure to know for many years. Some of these treatments are:

~ The Signature Thai Fusion Massage -- As one of our most innovative treatments, this hybrid massage combines yoga-like stretches and the use of acupressure with deep tissue massage modalities. Utilizing an aromatic lemongrass oil this massage will soothe tired muscles while energizing and invigorating the body, says Ms. Skalbania.

Another is the Chocolát Vanilla Decadent Body Treatment -- This treatment begins with a Vanilla Brown Sugar Body Scrub to deeply moisturize and exfoliate your body, followed by a Chocolate Crème Mineral Mask rich in antioxidants and nourishing oils. Then relax in a warm comforting body wrap while you receive a soothing scalp treatment ending in a moisturizing application of Epicuren's Chocolate Crème lotion.

~ Crystalline Gemstone Facial -- This exceptional facial utilizes the energy of micronized crystalline gemstones blended with bentonite clay to create a high energy tightening, healing and detoxifying result. This facial provides instant noticeable results, leaving your skin feeling firm and smooth. Ideal for all skin types.

The Spa at the Wedgewood Hotel offers personalized gift certificates for any service or for any value. Gift Certificates can be ordered over the phone and mailed to you, as well as purchased directly from the Spa.
For Appointments Please Call 604.608.5340.

Wedgewood Hotel & Spa, Vancouver Boutique is one of Vancouver’s leading luxury downtown Vancouver hotels. Located amidst the gardens and waterfalls of the fashionable Robson Square in the heart of Vancouver, the Wedgewood has become a landmark. Privately owned and operated by Greek born owner, Eleni Skalbania. The Wedgewood has been a family-run boutique hotel providing a home away from home for countless guests. I highly recommend it.

Wedgewood Hotel Vancouver - 845 Hornby Street, Vancouver, British Columbia, Canada, V6Z 1V1.

Dirty Rotten Scoundrels, a Laugh-a-Minute at NSMT

REVIEW -- Dirty Rotten Scoundrels is a fun night out with a terrific cast. A ribald, raucous, resplendently fun adult musical comedy is a MUST SEE laugh fest at the North Shore Music Theater. Don’t miss it. Vaudevillian, with a lot of burlesque, wit, double entendres, whopping, hollering and fun time at the theater. Never stopped laughing.


Brent Barrett, as suave con man Lawrence, and D. B. Bonds, as “ordinary guy” Freddy, become unexpected partners in deception. Bonds’ comic timing is impeccable, and he plays beautifully off the stuffy Barrett (Lawrence). I kept thinking Martin and Lewis. Their shenanigans and double crosses, switchovers keep the show in high gear. The songs and music keep up the zany pace. The most hysterically funny number in the show is “Oklahoma,” with a real hee-haw giddy-up rhythm.

From the creators of The Full Monty and based on the popular 1988 MGM film starring Michael Caine and Steve Martin, DIRTY ROTTEN SCOUNDRELS centers on two con men living on the French Riviera – the suave and sophisticated Lawrence Jameson (think Cary Grant), who makes a lavish living by conning rich ladies out of their money; and a small-time crook named Freddy Benson, who swindles women by waking their compassion with fabricated stories about his grandmother’s failing health. After meeting on a train, the unlikely duo decide to team up their cons together but he small French Riviera town isn’t big enough for the two of them. They decide that the first one to swindle $50,000 from a young heiress will keep the “territory,” triumphs and the other must leave town. What follows are a series of schemes, masquerades and double-crosses in which nothing may ever be exactly what it seems.
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This adult musical comedy left me smirking, guffawing, howling and rocking with laughter – along with the rest of the audience – for almost the entire musical. Innuendo, double entendres, risqué lyrics, sexy dancing, singing, patter combine with a lilting, hip, happy beat and songs made this a Numero Uno night at the theater. The show is non-stop action, with never a minute to catch my breath. Sitting on an aisle, with cast rushing down towards the stage for the multitude scene changes, I felt part of the action. And I loved it.

The fab actors, and ensemble, kept a smart pace with the words and song, from Act I as the show opens on the French Riviera, where Lawrence is a con artist making a very nice living off the lonely wealthy women who vacation there, although he justifies that they are equal partners in deluding themselves (Give Them What They Want). His story is that he is a prince whose kingdom is being threatened by revolutionaries, and he is attempting to find the money to raise an army.

One of the women who donates to his cause, a divorcee named Muriel, whom he met on the train to finds herself wondering the next morning if there isn't more she can to help (What Was a Woman to Do).

Lawrence gets word that another well-known con artist, who goes by the name of "The Jackal", is heading to town. On a return trip from Switzerland, he meets Freddy, who is working his small-time grift on a fellow passenger. Assuming that Freddy is the Jackal, Lawrence convinces him that Beaumont Sur Mer is not worth his while and sends him on his way. However, a chance encounter with Muriel shows Freddy that Lawrence is a fraud, and he confronts him at his palatial estate. The splendor of Lawrence's world overwhelms Freddy, who begs him to teach him what he knows so that he too can get some Great Big Stuff. Meanwhile, Lawrence asks Andre to make sure Muriel stays away.
Now comes the scene that steals the show: Oklahoma! With the lithe, gorgeous, Jolene played by Jennifer Cody. She is engaged to Lawrence, who is about to break up with her, after taking some of her dough, but she had planned to have her Daddy’s private jet fly in that night pick them both up and high-tail it to Oklahoma for the wedding. Lawrence doesn’t want to live with her – she is an empty-headed, bossy twit, albeit rich, so devises a plan so she will dump him.
When Lawrence attempts to show Freddy how it's done by winning over the rich Jolene, his plan backfires as she becomes convinced they will marry and move back to her home (Oklahoma). In order to get out of this mess, Freddy poses as Lawrence's younger brother, who manages to repulse Jolene enough to make her leave (All About Ruprecht).

Lawrence's assistant-in-crime, the police chief Andre, is unimpressed with Freddy (Chimp in a Suit), and warns that he could give them all away. Meanwhile, the Colglate heiress, Christine, arrives and Lawrence and Freddy both woo her. Brynn O’Malley, as Christine, is a treasure, a great singer, actress and dancer and a beautiful. Another women, flitting through the play, is the plain Muriel, played by Lynne Wintersteller, who’s got her own surprise.

Oh, but wait until Act II to see who gives the game up. I’m not telling. Who is the Jackal? Who is the biggest con artist of all?

Book by Jeffrey Lane, Music and Lyrics by David Yazbek, Based on the film "Dirty Rotten Scoundrels" written by Dale Launer and Stanley Shapiro & Paul Henning. The North Shore Music Theatre Orchestra, conducted by Steven Freeman, was terrific. Costumes tantalizing, especially in the Oklahoma number; lighting, good, sets, good, direction by Mark Martino, superb; choreography by Denis Jones, terrific.

A Chorus Line Casting Call at NSMT

"Casting Call -- North Shore Music Theatre (NSMT) is holding auditions for performers for its upcoming production of A CHORUS LINE directed by Mark Martino. Auditions will be held on Saturday September 25, 2010 at North Shore Music Theatre in Beverly, MA. Break a leg. A CHORUS LINE rehearsals begin October 18 and performances are November 2 – 21. A specific rehearsal and performance schedule will be provided at the auditions.For A Chorus Line,NSMT is seeking male and female dancers who sing well. All ethnicities are encouraged to audition. NSMT will see female dancers at 10 AM and male dancers at 1PM. All those auditioning should arrive early to warm up and register. Auditions will start at specified times. Callbacks will be at 4pm. Those auditioning should be prepared to dance. Also, please prepare an appropriate standard Broadway song to sing after all have danced. Please bring sheet music, an accompanist will be provided. Please bring a picture and resume, stapled together. Auditions will be held in NSMT’s Theatre Arts and Education Building behind the theatre at 62 Dunham Rd., Beverly. For more information email NorthShoreMusicTheatre@nsmt.org or call (978) 232-7200.

“An Ideal Husband”Oscar Wilde is a Hit at Gloucester Stage

REVIEW – Onstage now at the Gloucester Stage Theater, “An Ideal Husband” is an 1895 comedic play by Oscar Wilde which satirizes political corruption, image, hypocrisy, redemption, jealousy, honesty in government and the moral superiority of some women. Sound familiar? Themes just as pertinent today as in Victorian times.

This is a must-see play and offers great summertime fun especially as our political season heats up. In “An Ideal Husband” Wilde satirizes noble nobles, political shenanigans, financial insider trading, loyalty and foolishness. The comedy is produced, performed, staged and directed with panache, great comedic timing, and crisp diction allowing the audience to enjoy Wilde’s wit and wisdom. Under the direction of Karen MacDonald, with an adaptation by Daniel Morris, a handsome set by Julia Noulin-Merat, and in a classy Victorian set, with period costumes by Molly Trainer.

Four actors portray nine characters, some requiring cross-dressing, adding to the humor of this roller coaster, fast-witted, fast- paced s comedy of manners about friendship, political corruption, blackmail, and redemption. Listen up, Rod Blagojevich. Thanks to Karen MacDonald’s crisp direction, and the actors’ good acting, the play is a great night at the Gloucester Stage Theater.

The witty Wilde wrote many now-classic lines in this play, I kept scribbling away in my notebook in an effort to remember them. Some of my favorites: “I always pass on good advice. It is the only thing to do with it. It is never of any use to oneself.”

"To love oneself is the beginning of a life-long romance."

"Philanthropy seems to me to have become simply the refuge of people who wish to annoy their fellow-creatures."

"Questions are never indiscreet. Answers sometimes are."

As the play gets going, we are introduced to the main characters in this social and political contretemps involving the upper and ruling British class. Sir Robert Chiltern, is angry at his wife’s refusal to sanction his past corruption and his about-t-be-repeated second act of political corruption (issuing a favorable report on an Argentine Canal scheme so the British cabinet will endorse it),

"How many men there are in modern life who would like to see their past burning to white ashes before them!" Sir Robert eventually says, explaining why he’s ready to give in to blackmail that will destroy his marriage, good name and career in the British government. But his wife, Gertrude, morally indignant, gets him to apologizes and show moral courage even if it will ruin him. She also aims to save him, and expose sexy, evil Mrs. Cheveley, his blackmailer, save his career and honor. Friends help her, too.

The ensuing plot complications, drawing room comedy involving grand drawing rooms, fathers, sisters, and friends offer great entertainment and pointed political and moral barbs.

The appearance of Angie Jepson as Mrs. Cheveley, a seductive schemer who’s blackmailing Sir Robert Chiltern (Brendan Powers), a rich aristocrat who’s undersecretary for foreign affairs. Brendan Powers is a handsome, believable and eventually likeable character who I wanted to triumph, especially after he spoke against the Argentine scheme.

A romance between Sir Robert’s intelligent sister, Mabel (also played by Angie Jepson), and Lord Goring (Lewis D. Wheeler), who once was engaged to Mrs. Cheveley, a former classmate of Lady Chiltern who even then was a thief and liar keep the plot lively.

The production’s four actors acquit themselves ably, British accents and ease handling multiple parts (the men play minor female characters and the women play minor male characters).

As Lady Chiltern, Carrie Ann Quinn, is simply wonderful, a bit idealistic and simpering at first, then strong and determined. Good job. Lewis D. Wheeler has many of Wilde’s best lines as Lord Goring, and he delivers them with am aristocratic nonchalant air.

AN IDEAL HUSBAND Play by Oscar Wilde, adapted by Daniel Morris, Directed by: Karen MacDonald. Sets, Julia Noulin-Merat. Costumes, Molly Trainer. Lights, Kenneth Helvig. Sound, David Remedios. Gloucester Stage Company, Gloucester, through Aug. 29. Tickets: $37. 978-281-4433, www.gloucesterstage.org.

NEXT AT THE GLOUCESTER: Trad -- September 2 – 12, by Mark Doherty, A hit in Boston, Trad is the hilarious fable of hundred-year-old Thomas and his improbably ancient Dad. When Thomas reveals that he once fathered a son in a long-ago fling, the pair set off across the Irish countryside to find the child, with nothing more than a hobble and a limp to help them. • Artists’ post-show“Talk Back” Sunday, September 5. Directed by Carmel O'Reilly, Starring original cast members, Nancy E. Carroll, Colin Hamell & Billy Meleady. Tickets available now.

Joseph and the Amazing Technicolor Dreamcoat Sensational at NSMT

Sometimes it felt like a three-ring circus, so much is happening at once. Deliciously wonderful, its universal themes, and catchy music make it a classic treat for families.

REVIEW: Joseph and the Amazing Technicolor Dreamcoat is a fun, frolicking, energetic, high-spirited musical narration of the Old Testament story from Genesis of Joseph, father, Jacob, and Joseph’s 11 jealous brothers. Eventually, the 12 reconciled and became the 12 Tribes of Israel. The timeless, fun show is entertaining for audiences of all ages and performers, superbly staged and performed, with dazzling costumes and dances.

Andrew Lloyd Webber and Tim Rice’s musical retelling of the Biblical story of Joseph is high-powered fun for the whole family.
Sitting in the North Shore Music Theater, Beverly, audience in the round, so close to the action onstage, I felt transported to the Biblical days in the land of Canaan and Egypt. The non-stop singing, and terrifically entertaining dancing left me happy when Joseph was thrown into jail and had to sing a solo. Whew! Time to just hear his voice. The lovely silken voice of Jennifer Paz, The Narrator, Joseph’s brothers, patriarch Jacob, Egyptian dancers, and children’s chorus, Potiphar, the Cook in Prison, romped up and down the aisles, hopping easily on and off stage, through the trap in the floor – Joseph was thrown into the pit.

Anthony Fedorov (American Idol) as Joseph has a soaring, strong voice stars in the title role. A handsome guy, with a natural ease on stage. Jennifer Paz as the Narrator is engaging and enchanting with her soaring voice and graceful movement. Gary Lynch as Pharaoh is a hoot as a pre-incarnation of Elvis.

The opening night audience including dozens of kids who appreciated the kid chorus, whooped and hollered in appreciation. Andrew Lloyd Webber and Tim Rice's kaleidoscopic family musical retelling of the biblical story of Joseph, his devoted father, his jealous brothers, and his incredible series of adventures leading him to become the Egyptian Pharaoh’s high ranking official, in large part thanks to his ability to interpret dreams.

In this all-sung piece the story is told through a variety of melodic musical styles. Andrew Lloyd Webber’s music ranged from country to calypso, reggae, vaudeville, and rockabilly and rock ‘n roll in a series of musical numbers. Tim Rice’s lyrics are witty and hilarious. Sometimes it felt like a three-ring circus, so much is happening at once. Deliciously wonderful, its universal themes, and catchy music make it a classic treat for families.


JOSEPH’s songs include "Any Dream Will Do," the Caribbean infused "Benjamin Calypso," the dazzling "Jacob and Sons/Joseph's Coat," the rockabilly sensation "Song of the King (Seven Fat Cows)" and the unforgettable "Go, Go, Go Joseph."

Kudos to imaginative director/choreographer Jayme McDaniel who seamlessly delivers an original spectacular, high-energy production. My one complaint was that a group of black-robed women stood still in a group for too long during an Act I song, blocking the center stage. Otherwise, the creative crew was superb -- Eric Alsford (Musical Director), Campbell Baird (Scenic Designer), Jose Rivera (Costume Coordinator), Chris Chambers (Lighting Designer), James McCartney (Sound Designer), and Gerard Kelly (Wig Designer). The psychedelic curly wigs the Hair dancers wore made me laugh; while the Pharaoh’s wife and attendants sequined sexy costumes were fascinating, showing the pickle Joseph was in as she tried to seduce him. Oops, then he landed in jail.

In Act I we learned about Joseph’s dream. Able to interpret the dream, he bragged about his future greatness to his brothers. Joseph, dressed in simple white, was their father’s favorite, wore the coat of many colors his father bestowed upon him. He was also the only blonde in the tribe of dark-haired raggedy-clothed brothers, all “The Sons of Jacob” (another raucous song with dance, Andrew Lloyd Weber song “Any Dream Will Do” earned the envy of his older brothers. Not so peaceful in Canaan because not only was Joseph his father’s favorite, but he also had the gift of prophecy.

The 11 brothers let their hatred consume them. Watching their sheep, they plotted to get rid of Joseph in the desert. They tore off his robe, threw him into a pit, then pulled him out and sold him to traders heading to Egypt, Whew. But surely we all know the story?

This first full-length musical by theatrical team Sir Andrew Lloyd Webber and Tim Rice, JOSEPH is a retelling of the biblical story of Joseph, his devoted father, Jacob, his jealous brothers, and his incredible series of adventures. The musical was only 20 minutes long when unknown 19-year-old Andrew Lloyd Webber created it for a British school choir in 1968. He asked his friend Rice to write the lyrics and soon they expanded it to 40 minutes and took it to the London stage. Since then, JOSEPH has continued to grow, both in length and popularity.

The NSMT production features a gaggle of local gleeful kids as chorus, who were seen throughout the show skipping rope, throwing balls, playing and singing. The present and past.

The high-stepping choreography, snappy staging, neon, psychedlic costumes, and many hilarious dance numbers. Hints of “West Side Story” and Elvis’ songs add to the frivolity.

Jennifer Paz The Narrator with the children's Choir,
Rachelle Rak (Mrs. Potiphar) and ensemble, a seductress who didn’t get her “man” so had Joseph thrown into jail where our her to began the journey out of jail and into Pharaoh’s inner court.
Gary Lynch as The Pharaoh – an Elvis look-alike – made the audience howl when he first appeared, shaking and singing. In "Those Canaan Days" - Daniel C. Levine as Napthali reviewed the tribes’ tribulations. "Benjamin Calypso" - Anthony Fedorov (Joseph), Brandon O'Neill (Asher) and ensemble was a song that was hard not to dance to.

The ensemble cast features Bob Amaral (Jacob, Potiphar), Will Cohen (Judah), Anthony Christian Daniel (Zebulun), Nick Kenkel (Simeon), Miles A. Johnson (Dan), Daniel C. Levine (Napthali), Brandon O'Neill (Asher), Matt Owen (Levi), Frankie Paparone (Gad), Christopher Spaulding (Issachar), Allan Snyder (Reuben), and Michael Warrell (Benjamin). Katie Leigh Allen, Lauren Lukacek, Rachelle Rak (Mrs. Potiphar), reminded me of some again Hollywood star aiming for another conquest. Ann-Marie Sepe, Allysa L. Shorte, Emily Tyra, and Megan Wean. All terrific.

JOSEPH also features a chorus of 20 talented local children. Tickets for JOSEPH are $35 - $65. Performances are August 3 - 22, Tue - Thurs at 7:30 pm, Fri & Sat at 8 pm, matinees Wed, Sat and Sun at 2 pm. For tickets and information call (978) 232-7200, visit www.nsmt.org, or in person at 62 Dunham Rd. Beverly.

North Shore Music Theatre's Gypsy, Joseph Rock the House

The North Shore Music Theater reopened with “Gypsy”, after being closed for one season. Thanks for our own angel, musical theater believer producer Bill Hanney. Mr. Hanney launched the 2010 Broadway musical series and greeted the cheering, exuberant theatergoers opening night. When Bill Haney was introduced before Act I, the crowd jumped up, applauded, hooted, whistled and hollered in gratitude for his reopening this theater. Thank you so much, Bill Haney, NSMT”S shining star and angel.

Gpysy and star Vicki Lewis soar in this lively, fun show. Many of the songs became popular standards including “Small World,” “Everything's Coming up Roses,” “You'll Never Get Away from Me,” and “Let Me Entertain You.” DO NOT MISS THIS OUTSTANDING MUSICAL -- it’s great.

Standing ovations rocked the theater-in-the round 1100+ seats throughout the night, both for Bill Haney and for the performances and production. And especially for Vicki Lewis as Rose. Impeccable voice, riveting performance, and energetic movement riveted my attention on her throughout the show.

Gypsy, the 1959 musical with music by Jule Styne, lyrics by Stephen Sondheim, and book by Arthur Laurents, is loosely based on the 1957 memoirs of Gypsy Rose Lee, the famous striptease artist. The show focuses on her mother, Momma Rose, "the ultimate show business mother." Rose ultimately alienated both girls, and stole her daughters’ youth. But funny isn’t it, both girls did became stars – June became June Havoc, Louise, Gypsy Rose Lee.

Momma Rose’s ambition, chutzpah, verve, nerve, drive, talent and unrelenting personality led her to take her two young daughters from “humdrum” Seattle into tawdry show business, then the “big time” excitement of Vaudeville. Throughout the years, June (June Havoc) headlined the musical act while Louise sewed costumes and played the back end of a cow. Rose constantly assailed her for having no talent.

In Gypsy, Vicki Lewis is a big Star with incredible voice and charisma. My one critique is she is ageless throughout the show. I wish makeup would have added a bit of age to her, maybe grayed her auburn hair a bit.

The production include gorgeous, colorful costumes, just-enough set, great use of the central stage’s elevator and bright lighting. The ensemble cast is superb. As young Baby June, Sarah Safer is superb; Amanda Lee Lavergne, as older June, terrific; Hannah Piispanetn, as young Louise, very good. Gypsy is crisply directed and choreographed by Richard Sabellico. Except for a few flyaway hats and a scarf, it was smooth as silk.
The creative team also includes Nick DeGregorio (Musical Director) whose orchestra sounded gorgeous. Campbell Baird (Scenic Designer), Jose Rivera (Costume Coordinator), Jack Mehler (Lighting Designer), James McCartney (Sound Designer) and Gerard Kelly (Wig Designer).

Catherine Walker as older Louise, is lovely, convincing as the girl who desperately wants her mother’s love and attention, then, gorgeous as she Gypsy Rose Lee, the beautiful star of burlesque who transcended that genre. Louise’s onstage transformation from no talent, awkward girl in baggy clothes to a confident, comic innovative “stipper” is the audience, and I, cheered. In an onstage seamless sequence of slinky sequined gowns, plain Louise became a glamorous, sensual woman we applauded.

By the end, Momma Rose was jealous as Louise finally breaks the stranglehold Momma had on her. Vicki Lewis’s dramatic “Momma’s Turn” was stunning, ending with her belting our her song, standing atop the rising mid-stage oval, throwing out her arms as the theatre was ringed by light bulbs spelling out “ROSE.” Her dream. The audience gave this number an ovation.

Rose’s ambition led her to leave a hum-drum life living with her father and daughters her in Seattle, and performing in kiddies like Uncle Jocko’s, she wanted to head to Los Angeles and ultimately get on the Orpheum vaudeville Circuit.

The opening number, “May We Entertain You”, featured blonde Baby June, Baby Louise, and the act singing, ‘May We Entertain You.” It’s not a very good act, but Momma Rose forced Uncle Jocko to award them the prize for his kiddies show.

“Some People” showcased Vicki Lewis’ magnificent voice and acting, as she explained why she wasn’t content to paying rent. Her father didn’t want her to leave, but she sold her father’s gold retirement trophy to get the $88 she needed for new costumes for her Baby June act, began hitching to LA with the girls and gathering up young boys along the way to star in the Act I This clever staging had the chassis and driver of a car, chug around the stage, picking up other hitchhikers, until they arrived in LA. A quick exit and transition, from young to older was seamless.

Two of the funniest scenes in the musical were “Mr. Goldstone, I love You,” when Mr. Goldstone visited Rose at her seedy boarding house to tell her the act was going to be in the Orpheum Circuit. Herbie, Rose’s agent and boyfriend, signed the deal, as the family shoveled eggs rolls, spare ribs, and other Chinese tidbits onto his plate.

The transition from young to older June and Louise was cleverly done as strobe lights flashed on and off during a “young” dance, then stopped flashing to reveal grownup June and Louise and ensemble in the same costumes. This was typical of the professional staging, involving dozens of scenes and years

Another fun number, which had the audience and me, howling, was the hilarious burlesque striptease number “You Gotta Get a Gimmick” featuring Laurie Gamache as Tessie Tura, Jacquelyn Piro Donovan as Mazeppa and scene- stealer Jan Neuberger as Electra, the three strippers Louise roomed with in the burlesque house they’d been mistakenly booked into. Herb, finally fed up with Rose who insisted Louise could do a modest strip routine, left Rose. Rose quickly recovered her shock, and started coaching Louse, as the three strippers – looking very much over the hill – coached her in “You Gotta Have A Gimmick.” Electra, the least glam, lit up the lights on her costume. Yow, maybe we do need burlesque?

Indomitable Momma was heartbroken and angry when teenage June left to live her own show biz lives. But it didn’t take her longer than one song to rebound, and she soon went and recruited new girls to travel with her in a new act starring the long-suffering and talent less Louise.

Eventually, Louise became a star. The emotional, dramatic, "Rose’s Turn," at the end of the show reveals, finally, after Louse has left her, too, what motivated Rose. Throughout, Rose never apologized, picked herself up after every setback, and went onward. But Rose did turn “baby,” in real life June Havoc, and Louise, in real life “Gypsy” Rose Lee into true stars.

Featured in the cast are Nisa Ari, Richard Bell, John Allen Biles, Jack Doyle, Alliy Drago, Hayley Driscoll, Amanda Frennier, Laurie Gamache (Tessie Tura), Sarah Hicks, Tony Johnson, Amanda Lea LaVergne (June), Trey Mitchell, Matthew Moore, Jan Neuberger (Electra), Marty Passante, Jacquelyn Piro Donovan (Mazeppa), Eric Shorey, Sarah Safer (Baby June), Matthew Simpkins, Diane Terrusa, Catherine Walker (Louise), Kirby Ward (Herbie), and Pearce Wegener (Tulsa). Pearce Wegener, as Tulsa, was grown-up June’s boyfriend, and his tap dancing was outstanding.


Next shows are "Joseph and the Amazing Technicolor Dreamcoat:" Aug. 3 to 22, starring "American Idol" finalist Anthony Fedorov. Tickets $35 - $65. For tickets: call (978) 232-7200, visit www.nsmt.org, or in person at 62 Dunham Rd. Beverly MA. For more on North Shore Music Theatre and its upcoming season, visit www.nsmt.org or call 978-232-7200.

Tender Drama At Gloucester Stage Highlights American Dream

Tender is a compelling two-act drama, filled with insights, laughs and painful choices for a once-thriving middle-class family facing the nightmares of the American recession instead of their once-gilded American Dream in Southern California. Living it, with a big house, private school for 11-year old daughter, Lexi, Brian, his overworked, frantic wife, Amanda, and her vitriolic dad, Frank. Financial devastation due to a failed economy – Brian lost his job, realator Amanda can’t sell a house -- father, Frank, slowly fading into dementia, has a financial secret.
Faced with financial ruin, a foreclosure, loss of “pride,” and a feeling of shame, the family rebalances, writes off its debts and recalibrates its American Dream, and heads for the Open Road. Hoping to find something.

In this world premiere of his new play, playwright Kelly Younger delivers a way out of a family’s shattered suburban dream. Walls come tumbling down, figuratively and literally, after Frank accidentally backs up a “borrowed” Winnebago RV into the living room. Boom. House, dreams, and a valiant attempt to keep the dream alive came to an end as the family slowly takes a new path to a new beginning.

The compelling, realistic portrayal of a family facing bankruptcy that forces them to abandon their once-stable lives, to start over. But where? As they plan to leave Southern California. Like a 1930s Dust Bowl family, they were also devastated by the drought in their well-educated, lush suburban lives, and finally pack it in, heading out for a new start in California.

Amanda (performed, nay, inhabited by the amazing Denise Cormier) struggles to close a real estate sale, to then refinance and save their home from foreclosure. A hard worker, she’s disillusioned and angry as hell. As his wife works long hours, Her out-of-work husband, Brian (played by the able Brendan Powers), runs the house and takes care of his daughter. He is taunted mercilessly by vitriolic father-in-law, Frank, (played with depth and humor by Richard McElvain) who lives with them. Frank is a pain, occasionally joining in or starting heated arguments, sometimes throwing out his zingers. Frank’s a know-it-all, sarcastic and mean spirited. He’d cared for himself and Amanda since his wife and her mother left them. “You owe me,” he states, over and over, in a mean little guilt trip. The little post-it notes plastered on the dining room walls, we learn late in the play, are actually I.O.U.s Frank has put there: “Lexi, you owe me for 45 minutes of tutoring” and the like.

But Frank is a dreamer, too, and convinces his family to take to the open road, to see America, in the Winnebago he parked in their front yard. To relive his past drive up the Pacific Coast to tour William Randolph Hearst’s castle in San Simeon. Frank also longs for freedom from his mindless job as a truck driver driving a car nicknamed a “yard goat’’ that moves trailers around a warehouse yard. Never driving on the open road. Pent up.

“When I was in Hearst’s Castle with your mother, the tour guide showed us “Forty-one fireplaces!’’ he keeps exclaiming, and a magnificent pool. Frank is a shrill, false conscience, insisting the bankrupt family “owe” him. The I.O.U.s came due and can’t be paid. But ultimately, that dream – and burden -- must be released let go, and a new reality faced in order for Amanda, Brian, Frank, and US to move on. Amanda, the sole support of the family, has been desperately clinging to the dream, to the house, to “respectability.” She won’t let it go. One dramatic, painful theme in the play is her last ditch chance to sell a property, and refinance the house and avoid foreclosure.

SO when the Winnebago, driven by not-quite-together Frank into the living room, explodes into the living room at the end of ACT I, and the walls come tumbling down, liberation pierces their home. And sets them all free to make difficult choices. To face the new reality, try to build a new life. Outside of their “secure” home, community, schools, suburban life.

He felt trapped in his life as Amanda and Brian now feel trapped in theirs. “You owe me,’’ he tells Amanda repeatedly. The walls of the house are bedecked with IOU’s Frank has written to remind the others of their obligation to him for every gesture, no matter how small. Finally, the bills came due, for him, too, as he faces a new future. Apart from his family.

Seamlessly directed by Eric C. Engel, the drama slowly enfolded me in its world, leaving me sad, sympathetic and worried at the end of the play. Worried about the couple’s uncertain future, but hoping they’d make another stand.

Nice sets, by Julia Noulin-Merat, hinted at the lost wealth of a couple that've been selling possessions on e-bay and yard sales. Costumes, Molly Trainer. Lights, by Russ Swift, added a nice touch with the transparent “walls” to the kitchen and living room.
At Gloucester Stage Company, 267 East Main St., Gloucester, MA. Through July 25. Tickets $37 ($32 for students and senior citizens). 978-281-4433. www.gloucesterstage.org

Next play at the Gloucester Stage is Trying, By Joanna McClelland Glass, winner of the prestigious Jefferson Award for Best New Play, 2004. Directed by Eric C. Engel and featuring Richard Mawe and Becky Webber, it is a cross-generational tour de force ensues when Sarah, a young secretary from the Canadian prairie, fi nds herself working for the aging Francis Biddle, Attorney General during World War II and the primary American judge on the postwar Nuremberg Trials. This intimate and inspiring story, based on the playwright’s own experience, has been acclaimed by audiences and critics in the United States and Canada. • The show runs from July 29 to August 8.

Gloucester Stage Company, opened for its 31st consecutive season with “Table Manners”

GLOUCESTER STAGE THEATER OPENED its 31st season with the comedy “Table Manners,’’ announced artistic director Eric C. Engel. The season continues with “Tender Mercies,” “Trying,’’ July 29-Aug. 8; “Riders to the Sea’’ and “Brilliant Traces,’’ Aug. 12-22; and “An Ideal Husband,’’ Aug. 26 to Sept. 12.

“Table Manners,’’ the first play in “The Norman Conquests’’ trilogy by Alan Ayckbourn, is a hilarious comedy of dysfunctional family life is the first in the wildly acclaimed trilogy the Norman Conquests by Alyn Ayckbourn. The raucous family reunion of adult siblings and their spouses, the brilliant, insightful, entertaining, and laugh ‘til you cry comedic trilogy, “Table Manners’’ —The three comedies, which each look at a disastrous family weekend from a different perspective, are each self-contained.

Engel’s seamlessly directed a cast including Gloucester resident Lindsay Crouse, and Boston actors Paula Plum, Richard Snee, and Steven Barkhimer.

The repartee goes lickety split, and director Eric Engel’s direction is pitch perfect. He guided the terrific cast deftly as they delivered the playwrights’ zippy one-liners at Vaudevillian speed, Acyrburn throws in the full comedic treasure trove, from slapstick (a sight gag of Tom, in Act II, sitting at a low stool at the dining room table during a meal of mystery stew, caused a sweep of laughter opening night. Throw in some farce – who did Norman want to bed besides his icy wife? – and excellent, madcap plot and it’s comedy which Jerry Seinfeld would adore. Friends? Family? Enemies? It’s all here.

Jenna McFarland Lord’s excellent tri-level set is a country dining room with several doors leading out and in, allowing for quick exits and entrances, timed like a Marx Brothers movie.

Sarah Newhouse as Annie, is he the daughter who’s s stayed home to tend to their invalid mother. Her sister and brother, Reg (played by Richard Snee) and Ruth (Jennie Israel) have left home and have their own lives. As the play opens, good-natured Reg and his bossy wife Sarah (Lindsay Crouse), arrive to watch their mom so Annie can take a weekend’s vacation.

Trouble breaks out when Sarah discovers that Annie is going off not with Tom (Barlow Adamson), the unassertive veterinarian who’s been hanging around her for years, but with Norman (Steven Barkhimer), married to none other than Ruth Annie’s own sister. Sarah intervenes, Norman gets drunk, Ruth shows up, and comic complications build up.

Lindsay Crouse is aptly stuffy – and funny -- as Sarah, always taking charge, she annoys everyone, especially her husband. Sarah, a compulsive, uptight and a constant complainer bosses everyone around, but aims to especially “correct” baby sister Annie who’d tried to tryst with Norman. But Sarah the morality police discovers this, and then stops her from going. Sarah (Lindsay) drove me crazy as she fastidiously folded and refolded napkins, stuffing them into the glasses as if she were smacking each of her family members.

We adore funny, sweet Norm, who dresses for dinner in a too-big red tuxedo, puts his head on the table and his knees on the chair.

Tom and Reg (Richard Snee) are nice guys. Barlow Adamson Brown is lackadaisical and distant as Tom. Richard Snee is a giggling Reg who agrees with his wife's perception that "inertia is his outstanding characteristic." But married to Sarah, it’s a good defense. Jennie Israel is the blasé Ruth. Being at the family reunion she yells we’re upset "because none of us happens to like each other."

Sarah complains endlessly about her rashes, nervous trembling and tiring life raising two kids. She berates Norm non-stop. Until Norman says he wants to make her happy. Oops – she likes that, she really does.


Tickets are $37, $32 for students and senior citizens. The first Saturday matinee of each production is “pay what you can.’’ The 8 p.m. performance on Thursdays is half-price for Cape Ann residents. Call 978-281-4433 or visit www.gloucesterstage.org.
Photo Credit: Eric Levenson

Theater Review: Gypsy a Rave at NSMT

North Shore Music Theater reopened with “Gypsy”, after being closed for one season. Thanks for our own angel, musical theater believer producer Bill Hanney. Mr. Hanney launched the 2010 Broadway musical series and greeted the cheering, exuberant theatergoers opening night. When Bill Haney was introduced before Act I, the crowd jumped up, applauded, hooted, whistled and hollered in gratitude for his reopening this theater. Thank you so much, Bill Haney, NSMT”S shining star and angel.

Gpysy and star Vicki Lewis soar in this lively, fun show. Many of the songs became popular standards including “Small World,” “Everything's Coming up Roses,” “You'll Never Get Away from Me,” and “Let Me Entertain You.” DO NOT MISS THIS OUTSTANDING MUSICAL -- it’s great.

Standing ovations rocked the theater-in-the round 1100+ seats throughout the night, both for Bill Haney and for the stunning performances and production. And especially for Vicki Lewis as Rose. Impeccable voice, riveting performance, and energetic movement riveted my attention on her throughout the show. She was in almost every act.

Gypsy, the 1959 musical with music by Jule Styne, lyrics by Stephen Sondheim, and book by Arthur Laurents, is loosely based on the 1957 memoirs of Gypsy Rose Lee, the famous striptease artist. The show focuses on her mother, Momma Rose, "the ultimate show business mother." Rose ultimately alienated both girls, and stole her daughters’ youth. But funny isn’t it, both girls did became stars – June became June Havoc, Louise, Gypsy Rose Lee.

Momma Rose’s ambition, chutzpah, verve, nerve, drive, talent and unrelenting personality led her to take her two young daughters from “humdrum” Seattle into tawdry show business, then the “big time” excitement of Vaudeville. Throughout the years, June (June Havoc) headlined the musical act while Louise sewed costumes and played the back end of a cow. Rose constantly assailed her for having no talent.

In Gypsy, Vicki Lewis is a big Star with her incredible voice and charisma. My one critique is she is ageless throughout the show. I wish makeup would have added a bit of age to her, maybe grayed her auburn hair a bit.

The production values include gorgeous, colorful costumes, just-enough set, great use of the central stage’s elevator and bright lighting. The ensemble cast is superb. As young Baby June, Sarah Safer is superb; Amanda Lee Lavergne, as older June, terrific; Hannah Piispanetn, as young Louise, very good. Gypsy is crisply directed and choreographed by Richard Sabellico. Except for a few flyaway hats and a scarf, it was smooth as silk. The creative team also includes Nick DeGregorio (Musical Director) whose orchestra sounded gorgeous. Campbell Baird (Scenic Designer), Jose Rivera (Costume Coordinator), Jack Mehler (Lighting Designer), James McCartney (Sound Designer) and Gerard Kelly (Wig Designer).

Catherine Walker as older Louise, is lovely, convincing as the girl who desperately wants her mother’s love and attention, then, gorgeous as she Gypsy Rose Lee, the beautiful star of burlesque who transcended that genre. Louise’s onstage transformation from no talent, awkward girl in baggy clothes to a confident, comic innovative “stipper” is the audience, and I, cheered. In an onstage seamless sequence of slinky sequined gowns, plain Louise became a glamorous, sensual woman we applauded.

By the end, Momma Rose was jealous as Louise finally breaks the stranglehold Momma had on her. Vicki Lewis’s dramatic “Momma’s Turn” was stunning, ending with her belting our her song, standing atop the rising mid-stage oval, throwing out her arms as the theatre was ringed by light bulbs spelling out “ROSE.” Her dream. The audience gave this number an ovation.

Rose’s ambition led her to leave a hum-drum life living with her father and daughters her in Seattle, and performing in kiddies like Uncle Jocko’s, she wanted to head to Los Angeles and ultimately get on the Orpheum vaudeville Circuit.

The opening number, “May We Entertain You”, featured blonde Baby June, Baby Louise, and the act singing, ‘May We Entertain You.” It’s not a very good act, but Momma Rose forced Uncle Jocko to award them the prize for his kiddies show.

“Some People” showcased Vicki Lewis’ magnificent voice and acting, as she explained why she wasn’t content to paying rent. Her father didn’t want her to leave, but she sold her father’s gold retirement trophy to get the $88 she needed for new costumes for her Baby June act, began hitching to LA with the girls and gathering up young boys along the way to star in the Act I This clever staging had the chassis and driver of a car, chug around the stage, picking up other hitchhikers, until they arrived in LA. A quick exit and transition, from young to older was seamless.

Two of the funniest scenes in the musical were “Mr. Goldstone, I love You,” when Mr. Goldstone visited Rose at her seedy boarding house to tell her the act was going to be in the Orpheum Circuit. Herbie, Rose’s agent and boyfriend, signed the deal, as the family shoveled eggs rolls, spare ribs, and other Chinese tidbits onto his plate.

The transition from young to older June and Louise was cleverly done as strobe lights flashed on and off during a “young” dance, then stopped flashing to reveal grownup June and Louise and ensemble in the same costumes. This was typical of the professional staging, involving dozens of scenes and years

Another fun number, which had the audience and me, howling, was the hilarious burlesque striptease number “You Gotta Get a Gimmick” featuring Laurie Gamache as Tessie Tura, Jacquelyn Piro Donovan as Mazeppa and scene- stealer Jan Neuberger as Electra, the three strippers Louise roomed with in the burlesque house they’d been mistakenly booked into.

Herb, finally fed up with Rose who insisted Louise could do a modest strip routine, left Rose. Rose quickly recovered her shock, and started coaching Louse, as the three strippers – looking very much over the hill – coached her in “You Gotta Have A Gimmick.” Electra, the least glam, lit up the lights on her costume. Yow, maybe we do need burlesque?

Indomitable Momma was heartbroken and angry when teenage June left to live her own show biz lives. But it didn’t take her longer than one song to rebound, and she soon went and recruited new girls to travel with her in a new act starring the long-suffering and talent less Louise.

Eventually, Louise became a big star and left Rose, too. "The emotional, dramatic, "Rose’s Turn," at the end of the show reveals, finally, after Louse has left her, too, what motivated Rose. Throughout, Rose never apologized, picked herself up after every setback, and went onward. But Rose did turn “baby,” in real life June Havoc, and Louise, in real life “Gypsy” Rose Lee into true stars.

Featured in the cast are Nisa Ari, Richard Bell, John Allen Biles, Jack Doyle, Alliy Drago, Hayley Driscoll, Amanda Frennier, Laurie Gamache (Tessie Tura), Sarah Hicks, Tony Johnson, Amanda Lea LaVergne (June), Trey Mitchell, Matthew Moore, Jan Neuberger (Electra), Marty Passante, Jacquelyn Piro Donovan (Mazeppa), Eric Shorey, Sarah Safer (Baby June), Matthew Simpkins, Diane Terrusa, Catherine Walker (Louise), Kirby Ward (Herbie), and Pearce Wegener (Tulsa). Pearce Wegener, as Tulsa, was grown-up June’s boyfriend, and his tap dancing was outstanding.

Young actors and actresses from the North Shore, who might have a show business career in their futures, also appeared.

Tickets for GYPSY are from $35 - $65. Performances are July 6 - 25, Tue – Thurs at 7:30 pm, Fri & Sat at 8 pm, matinees Wed, Sat and Sun at 2 pm. For tickets: call (978) 232-7200, visit www.nsmt.org, or in person at 62 Dunham Rd. Beverly, Massachusets. Next shows are "Joseph and the Amazing Technicolor Dreamcoat:" Aug. 3 to 22, starring "American Idol" finalist Anthony Fedorov.

For more on North Shore Music Theatre and its upcoming season, visit www.nsmt.org or call 978-232-7200.

Gaslight, the Play, a Spooky Hit

Stoneham Theater opened Gaslight as a play this past weekend and it's spooky and good dynamic fun. Like the classic movies, this theatrical version makes a theatergoer jump from fright and anticipation more than one time.
Stoneham Theatre presents Gaslight; directed by Weylin Symes and featuring Marianna Bassham and Robert Sorrel. Performances run from May 27 through June 13: Thurs. (7:30 pm), Fri. (8 pm), Sat. (4 pm & 8 pm), Sun. (2 pm). Tickets: $38-$44 regular admission, $34-40 for seniors, $20 for students; with student/senior discount matinees available. [Special pay what you can performance on Thurs., May 27.] Stoneham Theatre. 395 Main Street, Stoneham. Wheelchair accessible. For advance tickets and information, visit or call the Box Office at 781-279-2200 (hours Tues.–Sat., 1–6pm) or log onto www.stonehamtheatre.org.

Bella Manningham worries that her husband may be right when he says she’s going mad. But on one eventful night, a mysterious stranger arrives and Bella begins to understand the truth behind the disappearing pictures, mysteriously dimming lights, and haunting footsteps from above. Immortalized in a 1944 film treatment starring Ingrid Bergman, Patrick Hamilton’s chamber mystery (c1938, known as Angel Street in the U.S.) is a thrilling twisty and twisted portrait of a late Victorian London marriage.

Weylin Symes, Producing Artistic Director of Stoneham Theatre, directs this classic case of complete deception, with a plot laden with carefully crafted illusions, which have been maintained throughout a 5-year marital relationship. Unparalleled with any known actual experiences at the time it was written and later filmed, Gaslight is an eerie forecast of how just a title alone can perfectly describe numerous present day relationships.

Award winning Marianna Bassham steps into the shoes of Bella Manningham while Robert Serrell portrays her less than amiable consort Jack Manningham. Serrell returns to Stoneham Theatre following his terrifying portrayal of Robert Bruno in last year’s acclaimed Strangers On A Train, which was also directed by Symes and received an IRNE award for best sound design. Christopher Webb as Inspector Rough, Angie Jepson as Nancy, Dee Nelson as Elizabeth, and Ian O’Connor as the policeman support the lead characters. The artistic team is rounded out by Jeff Adelberg (Lighting Designer), Gail Astrid Buckley (Costume Designer), Katy Monthei (Set Designer), David Reiffel (Sound Designer), and Julie Tidemand (Props Master).

Coming up next as Stoneham Theatre Special Events: “The Edwards Twins”; featuring twin brothers Anthony and Eddie Edwards, impersonators of the stars, June 18-20, 2010.
“Always … Patsy Cline”; created by Ted Swindley and starring Becky Barta, July 8-25, 2010.
For details, www.stonehamtheatre.org/patsycline09.