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.