Tag: Tom Hauck review

FUNNY, FABULOUS, AND FANTASTIC – DO NOT MISS GLOUCESTER STAGE “THE 39 STEPS!”

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At Gloucester Stage, “The 39 Steps” Amazes and Astounds

By Tom Hauck

In this era of computer generated film “performances” that create an artificial reality of human capabilities, it’s a daunting task indeed for a regional stage company, in a production with only four actors, to startle an audience and leave them breathless. Yet this is what “The 39 Steps,” expertly directed by Robert Walsh, now through July 28 at The Gloucester Stage Company, does handily.

It begins with the fast-paced script, adapted by Patrick Barlow from the 1915 novel by John Buchan. The play premiered in 1995 and ran for nine years in London’s West End. It’s a laugh-out-loud parody of the 1935 Alfred Hitchcock thriller, and lest you think that this makes it somehow less artistic, you’d be mistaken. This physical comedy relies on the precise split-second timing of the four actors, who tangle in a string of set pieces that strive to top each other for outrageous choreography. The gags, relentless and perfectly executed, compel you to watch closely so that you won’t miss a single nuance.

The cast is superb. Stage veterans Amanda Collins, Gabriel Kuttner, Paul Melendy, and Lewis D. Wheeler are a well-oiled comic machine. Wheeler plays Richard Hannay, a man caught up in a mysterious espionage kerfuffle, while Collins, Kuttner, and Melendy trade off multiple roles as if it were as easy as trading hats—which is what they literally do! The stage performers are ably assisted by Malachi Rosen, who from his onstage office provides a steady stream of sound effects, and to whom the actors occasionally direct their complaints (in this show, no wall is left unbroken!).

When celebrating such an outstanding ensemble cast, the reviewer is rightly reluctant to shine a spotlight on any individual performer, for fear that by doing so the brilliance of the other three might appear to be dimmed. Yet I would be remiss if I failed to give special notice to the mind-blowing physical and vocal skills of Paul Melendy. There is no Walt Disney cartoon character or SNL cast member who can prepare you for the astonishing, barely human shrieks and sneers that issue from this actor’s mouth. When midway into the show he appears as Professor Jordan, the energy of the production, already high, goes through the roof.

Whether you’re a denizen of the theater or you haven’t bought a ticket in years, this production will amaze you. It will bring you to a place you might think has vanished forever—a place where real humans create marvelous magic, right in front of your eyes.

“The 39 Steps” is playing now through July 28 at The Gloucester Stage Company. For tickets, call 978-281-4099, or go to gloucesterstage.com.

Snapshots from The 39 Steps Cast Podcast

CYRANO: FAST-PACED FAMILY FUN AT THE GLOUCESTER STAGE CO!

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Cyrano: Fast-Paced Family Fun at Gloucester Stage Company

By Tom Hauck

With a script by Jason O’Connell and Brenda Withers, Cyrano, making its New England area premiere at Gloucester Stage Company, takes direct aim at our traditional notions of onstage storytelling. The opening scene, in which a group of people who appear to be real-life stagehands suddenly assume the roles of the characters, alerts us that this adaptation of the 1897 play by Edmond Rostand knows not the artificial boundary of the fourth wall. The costumes worn by the five energetic actors are a mishmash of ordinary street clothes, community-theatre “swashbuckler” capes, and various forms of period headgear, further reinforcing the idea that we’re seeing an edgy, improvisational performance.

The story is familiar and needn’t be told again here. During the two and one-half hour (including intermission) romp, the sparkling ensemble cast, anchored by Jeremiah Kissel as Cyrano and Andrea Goldman as Roxane, puts out enough comic energy to keep the audience riveted. James Ricardo Milord reveals the humility and humanity of love-struck Christian, and Erin Nicole Washington masterfully handles split-second costume changes to bring her five characters to life. Among his three other roles, GSC favorite Paul Melendy delights as Count De Guiche, the pompous commander of the army unit to which Cyrano and Christian belong, and who’s also smitten by Roxane.

Despite the slapdash appearance of the blocking, there are moments of precision choreography, most notably the breathtaking sword fight in which Cyrano efficiently dispatches a succession of foes. But again, the notion that we’re attending a contrived “play” is confirmed by seeing a vanquished actor roll off the platform only to spring to life, grab a different cloak, and attack again. Thus five actors economically create a swirling melee of dozens of combatants.

In keeping with the improv vibe, the set is minimal and the actors themselves are the stagehands, busily drawing curtains and positioning chairs as needed. Deftly directed by GSC artistic director Robert Walsh, Cyrano provides a feast of fine acting, frivolity, and family fun. Now through August 11. For tickets, go to www.gloucesterstage.com, or call 978-281-4433.

SEE MADAME DEFARGE AT THE GLOUCESTER STAGE COMPANY BEFORE IT GOES TO BROADWAY!

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See Madame Defarge at GSC Before It Goes to Broadway

By Tom Hauck

In the world of theatre there’s nothing more thrilling than attending a new work and, after the curtain falls and the applause dies away, you get up from your seat convinced the show you’ve just seen is destined for Broadway.

Such is the case with Madame Defarge, the new musical by Wendy Kesselman now making its world premiere at the Gloucester Stage Company. Directed by Ellie Heyman, this grand historical epic, based on the Charles Dickens classic A Tale of Two Cities, packs a solid emotional punch while presenting themes of authoritarianism and state power that resonate today.

When entering the theater, the first thing you’ll notice is the jagged, multilevel set designed by James Fluhr. It’s an angular yet fluid space, penetrated by sharp arrows of light and given a sense of gloom by the ever-present haze in the air (absolutely safe to breathe, we’re reassured). In a bold choice, the orchestra—a superbly polished trio of piano, clarinet, and cello—occupies the middle of the space, around which the actors pursue their personal objectives and occasionally physically chase each other. The back wall of the stage is a set of prison bars—the dreaded Bastille, where Dr. Manette has been imprisoned for eighteen years and whose release ignites the story.

The cast of ten is outstanding. On the French side we find the revolutionaries Therese and Ernest Defarge (Jennifer Ellis and Benjamin Evett), the cruel and pompous Monsieur Le Marquis (John Hillner), and the lately imprisoned Dr. Manette (Rob Karma Robinson). Across the Channel reside the handsome nephew of Monsieur Le Marquis, Charles Darnay (Matthew Amira); the barrister Sydney Carton (Jason Michael Evans), who happens to look like the twin of Charles Darnay (this is key to the plot); Dr. Manette’s daughter Lucie Manette (Sabrina Koss); and her guardian, Miss Pross (Wendy Waring).

Meanwhile, expertly handling a total of five roles is John Shuman (to quickly know whom he’s playing, keep an eye on his costume changes).

While everyone on the stage shines, particular note must be made of Marissa Simeqi, who in the multiple roles of Little Lucie, Young Therese, and Street Urchin takes the spotlight with confidence.

The cast will be remembered for originating their roles, and justly so. Together they work through the complex plot with its many twists and turns, and make the emotional connections with the audience that bring the sweeping scale of the story down to a human level.

While the show’s program provides a brief introduction to the characters and setting at the beginning of the play, it’s probably a good idea to familiarize yourself with the intricate plot of A Tale of Two Cities. If you know the story before you take your seat, you’ll be able to focus on the outstanding performances without the burden of keeping a scorecard of who’s doing what to whom.

It’s easy to imagine Madame Defarge being scaled up to a full Broadway production with big sets, lavish costumes, and a full orchestra and cast. The story is solid and the characters are well developed. In short, you have a choice: See Madame Defarge now at our own Gloucester Stage Company where the talented actors perform up close up and personal, or wait and pay $100 a ticket for nosebleed seats in a vast auditorium on Broadway.

Congratulations to the Gloucester Stage Company for opening its 2018 season with a stunning gem. Madame Defarge is playing now through June 2. For tickets, go to http://www.gloucesterstage.com or call 978-281-4433.