Cape Cod theater: Shepard, Coward, Lives, guys, dolls, Snoopy, Hamlet

2022-07-01 22:27:21 By : Mr. WensFahion A

What did our reviewers think of shows now on Cape Cod stages? Here's a look at shows continuing into July of Provincetown Theater's "The Lady Hamlet"; College Light Opera Company's "Kiss Me Kate" in Falmouth; Harbor Stage Company's "Buried Child" in Wellfleet; "Private Lives" at Cape Playhouse" in Dennis; "You're a Good Man, Charlie Brown" on the new outdoor stage at Cotuit Center for the Arts; and the Academy of Performing Arts production of the classic musical "Guys and Dolls" in Orleans.

Written by: Sarah Schulman, directed by David Drake, presented by The Provincetown Theater

What it’s about: Miss Margo Staden Burns (Jennifer Van Dyck) is the talented, confident and self-absorbed leader of a struggling 1920 New York City theater company who is breaking ground as a woman playing Shakespeare’s Hamlet on stage. She was inspired by seeing a female Hamlet played by Madame Helene de Montpelier (Kate Levy) in Paris, but now both actresses want to take that famed role to Broadway. When their very different personalities and interpretations collide, sparks fly and they joust both verbally and with swords as their female lovers, a theatrical producer and an actor/waiter try to help sort it all out.

See it or not: This world premiere is a fast-paced, intelligent farce that is reliably funny, thought-provoking and brimming with ideas about how women are perceived (on stage and in the world), what they are allowed to do and who decides, lesbian relationships and societal taboos. Schulman has so many intriguing and provocative things to say in 90 minutes that you almost want to press “pause” to consider many of them more fully — except that would interrupt the sometimes frantic fun that director Drake (the theater’s artistic director) uses to make the delivery of these ideas so entertaining.

Highlights: Buoyed by Carol Sherry’s gorgeous costumes, Ellen Rousseau’s richly detailed multi-use set and Drake’s top-notch direction, each of the six cast members is marvelous on their own and in creating an ensemble that really gels. The center is Van Dyck’s tornado of a performance as Margo, but she meets her match in Levy’s more refined, self-assured and steely Helene and both are swayed by Anne Stott’s insightful Clara, who is discovering herself in her Ophelia portrayal. Laura Scribner adds humor and poignancy as Margo’s co-star/lover Frances; John Shuman is amusingly conniving and greedy as producer Leo Lefkowitz; and Brandon Cordeiro adds hilarity to every scene as an over-admiring co-star of Margo’s who is also a sneaky waiter in the right place at the right time. 

Fun fact: Plays by Schulman, a Guggenheim playwriting fellow, have been produced around the country, but she is also the author of 20 novels and nonfiction books, including her 2021 “Let the Record Show: A Political History of Act Up New York 1987-1993.” The book recently won the 2022 Lambda Literary LGBTQ Nonfiction Award and has been optioned for a television production.

Worth noting: Schulman’s script first came to Provincetown Theater a few years ago as part of a staged-reading series of new work, and Drake has helped to develop the play since. While already supremely topical considering the important recent recognition of a need for more inclusion of women, people of color and LGBTQ+ stories and voices in the theater, many of the lines in “The Lady Hamlet” are even more resonant in light of Friday’s U.S. Supreme Court decision against abortion (with some moments provoking applause on opening night). Lines that have long been true but even more key since last week include: “A theater where women take our full place before the world. What could be more just? We’re radicals far beyond the Suffragists. The right to be seen and heard is more essential than the right to vote for a man who neither sees you nor hears you.”

One more thing: While potentially not necessary, a working knowledge of “Hamlet” would increase enjoyment of “The Lady Hamlet” so you could catch the quick-moving references to characters, scenes, lines and motivations from Shakespeare’s classic and timeless play.

If you go: 7 p.m. Mondays through Thursdays through July 21, with no show July 4 and an extra show Friday, July 8 at Provincetown Theater, 238 Bradford St.; $40; http://www.provincetowntheater.org, https://ci.ovationtix.com/27665

Written by: Sam and Bella Spewack with music and lyrics by Cole Porter, directed by Jennifer Delac with music direction by Tim Laciano, presented by College Light Opera Company

What it’s about: Life imitates art in this 1948 musical about a struggling theater company producing Shakespeare’s “Taming of the Shrew” as the leading actors — ex-spouses — bicker, battle and compete behind the scenes over themes of love and duty similar to the play’s.

See it or not: Go for the wonderful Cole Porter score of songs that have become classics (“So in Love,” “Brush Up Your Shakespeare,” “Too Darn Hot,” “Another Op’nin’, Another Show” etc.), how well this year’s CLOC cast and orchestra perform that music, and the terrific dancing choreographed by Caitlin Belcik. But you'll have to get past the script’s misogyny and other troubling and dated aspects of the plot, particularly regarding women (this does revolve around “Shrew” and its notorious spanking after all). Some parts of the script may have been updated from the original, and Delac plays some lines successfully for humor, but it's just not enough.

Highlights: The CLOC cast snaps audience members’ attention back after intermission with the rollicking showstopper “Too Darn Hot” to kick off Act 2 that showcases the strength of the ensemble and its dancing. Adam Forward as Bill also wows with his tap-dancing in “Bianca.” For humor throughout, count on Sam Joseph and Alvaro Medina as bumbling gangsters forcing the show to go on to collect an unpaid gambling debt who become starry-eyed over being on stage and deliver an endearing take on “Brush Up Your Shakespeare.”

Interesting fact: Current political thinking mixed with a more than 70-year-old script on Tuesday’s opening night with a line by Lilli’s new fiancé, World War II General Harrison Howell (a stoic and pushy Kevin Dyson). He praised the gangsters for carrying guns in the theater because it’s a Second Amendment right, and got a loudly disapproving response from the Falmouth audience.

Worth noting: Leads and CLOC returnees Carlyn Barenholtz and Teddy Ladley as warring ex-lovers Lilli and Fred have outstanding voices and delivery and do their best to make us care about not particularly likable characters. Barenholtz especially has fun with the rousing and amusing “I Hate Men,” while Ladley highlights include “Where is the Life that Late I Led?” and his broadly comic facial expressions. Bella Bosco impresses as a strong and appealing performer, despite her Lois character being a promiscuous airhead played for laughs.

One more thing: Delac’s director’s note asks the audience to look for the nuance in this battle of the sexes and reflect on the story’s homage to the trials of a life on the road for artists. She reflects on how artists struggle with communication and commitment like anyone else but do it in front of a public that often follows their woes as entertainment. “I hope this piece will help us look more closely at the pressure cooker the show within a show puts on relationships … and the work we must all do to be more compassionate and loving towards one another,” she writes.

If you go: 7:30 p.m. June 29 and July 1-2 and 2 p.m. June 29-30 at Highfield Theatre, 58 Highfield Drive; $40; 508-548-0668, http://www.collegelightoperacompany.com/.

Written by: Sam Shepard, presented by The Harbor Stage Company

What it’s about: A Midwestern family has a miserable day-to-day existence made worse by all-around abuse and a group decision to hide a big secret. Five family members and a girlfriend provide chaos, confusion and disrespect, demanding particular behaviors of each other while simultaneously denying each other’s ability to achieve those behaviors. The American dream has been won and lost, and what’s left is the broken family structure that preys on itself.

See it or not: This is a definite must-see. While the subject matter is challenging, the performances are riveting. The company members are excellent in their presentation of this stimulating, well-written play. Watching the drama unfold is nothing short of fascinating.

Highlights of the show: The interaction between Halie (D’Arcy Dersham) and husband Dodge (Dennis Cunningham) is laden with shared history, familial concern, and disgust. They know how to drive each other nuts – not that each hasn’t already arrived there separately – and bring their sons, grandson and his girlfriend into the darkness with them. Dersham could wear a T-shirt that says “I’m talking and I can’t shut up” because when she’s on stage, she literally almost never does. Cunningham coughs like he has consumption and is convincingly pathetic and repulsive. While both would be likable away from family life, they are deplorable within it.

Fun fact: Shepard won 10 Obie Awards for writing and directing, the most ever in his field. He also won the Pulitzer Prize for Drama for “Buried Child” in 1979. Shepard uses chaos to explore dysfunction with a result, at least in this play, not unlike being descended upon by a swarm of biting bugs and slapping frantically at all of them.

Worth noting: Each of the seven actors are spot-on in their portrayals of members of a seriously dysfunctional family. Cunningham has the pressure-relief laughs and he delivers unrelenting demands and insults for much of the show’s two hours and 10 minutes running time. Dersham is great at being both present and unhinged. William Zielinski (Tilden) and David Fraioli (Bradley) powerfully portray brothers who are both creepy but with different perspectives and inner demons. Jack Aschenbach as grandson Vince conveys his emotions with powerful body language and Allison Zanolli as his girlfriend Shelly portrays the only character tied firmly to reality with both sweetness and ferocity. Robin Bloodworth as Father Dewis displays utter helplessness in the chaos.

One more thing: The actors do absolute justice to the layered meanings of the play that speaks of a literal buried child while the characters grapple each with their own “buried child.” The performance is a cautionary tale that is as fascinating as it is distressing, offering a safe viewing distance while we contemplate what parts of this drama may be uncomfortably familiar.

If you go: 7:30 p.m. Wednesdays through Saturdays, 5 p.m. Sundays through July 9; the Harbor Stage Company, 15 Kendrick Ave, Wellfleet; $25; Harborstage.org or 508-349-6800. Masks and proof of vaccination required.

Written by: Noël Coward, directed by Martin Platt, presented by Cape Playhouse

What it’s about: Elyot and Amanda’s tempestuous marriage unsurprisingly ended in divorce five years ago. Quite by accident, these two former sparring partners discover they’re sharing adjacent balconies while honeymooning with new spouses in France. The unexpected meetup rekindles their volatile romance and proves to be a delicious recipe for mayhem. It’s a perfect vehicle for Coward’s special talent for delivering clever insults, wild banter and bring-down-the-apartment pillow fights.

See it or not: Theatergoers who appreciate sophisticated and often withering wordplay with fast-moving verbal gymnastics will turn with glee to Coward’s classic 1930s comedy of manners, with the humor spinning out as Elyot and Amanda spontaneously combust. Martin Platt’s direction is spot on, capitalizing on the cast’s ability to deliver non-stop dialogue without batting an eyelash.

Highlights: Keep your eyes on the two lover-combatants, played by Chris Thorn and Charlotte Bydwell, who are strung up by both love and antipathy. There’s a hint of sadness in the realization that the two are likely trapped by their own cleverness, because despite their affection for one another, they’re unable to break free from their quarrelsome give-and-take. Coward’s tried-and-true approach keeps the action bright and sophisticated without toiling over deep characterization or backstory.

On stage:Two female Hamlets, a new rock musical & other shows happening at Cape Cod theaters

Interesting fact: Famed actor Gertrude Lawrence co-starred with Coward himself in the London and Broadway premieres of “Private Lives” in 1930 and 1931, and she again performed the role of Amanda when the show came to the Cape Playhouse in 1940. Lawrence’s second husband was Cape Playhouse managing director Richard Aldrich, and the two became a familiar presence on Cape Cod, living in a house adjacent to the theater property.

Worth noting: Thorn and Bydwell are marvelous in the lead roles of Elyot and Amanda, participating in warfare of all kinds — slinging insults with perfect timing and trashing a Paris apartment with glee and good humor. As for their unfortunate new spouses, it at first appears that Ali Rose Dachis (Sybil) and Duane Boutté (Victor) can’t compete with the fireworks display, but they surprise by ending up detonating a few of their own.

One more thing: Marceline Hugot gives a gem of a performance as French housemaid Louise. She speaks entirely in her own brand of French, but for the audience, there’s no doubt at all what she’s saying.

If you go: 8 p.m. Monday through Saturday through July 2, with matinees at 4 p.m. June 25 and 2 p.m. June 29-30, at Cape Playhouse, 820 Main St. (Route 6A), Dennis. Tickets: $45-$80; 508-385-3911 or http://www.capeplayhouse.com/.

Written by: Clark Gesner based on the comic strip “Peanuts” by Charles M. Schultz, with additional dialogue by Michael Mayer and additional music and lyrics by Andrew Lippa; directed by Mary Arnault with music direction by Bob Wilder and choreography by Suzette Hutchinson; presented by Cotuit Center for the Arts

What it’s about: The 70-minute musical brings to life long-beloved “Peanuts” characters from comic strips and classic TV specials in a story about the simple joys and worries of childhood. Uncertain but ever-hopeful Charlie Brown, sassy sister Sally, imaginative dog Snoopy and friends Linus, Lucy and Schroeder navigate schoolwork, relationships, kite-flying, a baseball game, dreams and more as they try to better understand the world.

See it or not: Go, and chances are you’ll have a smile on your face through most of this show. This is a delightfully presented nostalgia trip for those of us who grew up with these characters or a sweet and funny introduction for younger theatergoers who might not know the depth of Linus’ love for his blanket or how Charlie Brown pines for the Little Red-Haired Girl.

Highlights: The six adult actors are completely believable as children, and charmingly channel the very specific quirks of these classic characters. Under Arnault and Wilder’s direction, they work together seamlessly as an ensemble, then each have their moments in song to shine. Nick Romano’s expressive face makes him instantly sympathetic and likable as Charlie Brown, while Jamie Lynn Price is a spitfire as sister Sally, radiating childlike glee and guile, particularly in “My New Philosophy.” Martha Paquin’s Lucy remains a self-absorbed bully but becomes fun and approachable with her dreams of queendom and skewed explanations of Nature. Danny Price’s practical Schroeder is particularly good at piano-playing and acting out a “Robin Hood”-themed book report, while Max Dexter as wise-beyond-his-years Linus and Hadassah R. Nelson as loyal pup Snoopy both nail wonderful dance numbers. 

Fun fact: Broadway/TV actress Kristin Chenoweth’s Tony Award is for playing Sally in the 1999 revival of this show, a revision of the original 1967 production. Also in that cast were Roger Bart as Snoopy (also winning a Tony), Anthony Rapp as Charlie Brown and B.D. Wong as Linus.

Worth noting: Snoopy has long been a fan favorite, with a rich inner life behind his dog days, and Nelson does him adorable justice, making her loose-limbed canine appealing and amusing, particularly in the welcome “The Red Baron” sequence as the World War I flying ace on his doghouse Sopwith Camel (references that may need to be explained to younger viewers).

One more thing: “You’re a Good Man, Charlie Brown” is the first production on the Cotuit Center for the Arts’ new outdoor stage, turned into a children’s world with designer Andrew Arnault and scenic artist Cris Reverdy’s colorful set pieces and oversized props. The stage is temporarily set up in part of the parking lot, but when delayed landscaping can be finished, the plan is to move the stage to a woodsier setting nearby with strings of lights decorating an area that will be used for concerts, theater and other shows.

If you go: 6 p.m. June 22-24, 27, 29-30 and July 1, 5-8 on the outdoor stage at Cotuit Center for the Arts, 4404 Falmouth Road (Route 28); $30 with $5 discount for members, $2 discount for seniors and veterans; https://artsonthecape.org/, 508-428-0669.

Written by: Jo Swerling and Abe Burrows, with music and lyrics by Frank Loesser, based on the story and characters of Damon Runyon, presented by the Academy of Performing Arts.

What it's about: In its program, the Academy refers to this uber-classic as “a musical fable of Broadway,” and that about sums it up. It’s a brightly colored, affectionate snapshot of a whole kitbag of New York originals. There’s the man about town, Sky Masterson (Brendon Prentiss), Salvation Army crusader Sarah (Jennifer Almeida), confirmed gambler Nathan Detroit (Ryan Van Buskirk), and the sweet and long-suffering chorus girl Adelaide (Ann Vohs). And who could forget Nicely Nicely Johnson (Terrence Brady) and out-of-town tough Big Jule (Bragan Thomas). The story offers romance times two, with the audience hoping from the start that Sarah and Adelaide get their guys.

See it or not: Go for the sheer joy of this song-and-dance classic, along with a little romance for good measure.

Highlight of the show: At this show’s heart of this show is Loesser’s unforgettable music and, under Sue Lindholm’s direction and Chris Morris’ musical direction, the Academy troupe does it justice. Duets like “I’ll Know” (Prentiss and Almeida) and “Sue Me” (Van Buskirk and Vohs) are sweet showcases of the chemistry in each set of sweethearts. And the ensemble song-and-dance numbers like “Take Back Your Mink,” “Luck Be a Lady” and “Sit Down You’re Rockin’ the Boat,” fill the theater with the lively music and movement at the heart of this show’s amazing longevity. (DJ Kostka is choreographer.)

And while the show is filled with good vocalists, Vohs stands out with a powerful delivery that sends her voice up to the rafters of the venerable Academy Playhouse in songs like “Adelaide’s Lament” and “Take Back Your Mink.”

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Fun fact: The show was first performed on Broadway in 1950, based on the 1930s Runyon short stories, “The Idyll of Miss Sarah Brown” and “Blood Pressure.”

Worth noting: Costumes, by director Lindholm, are simply priceless. The highlight has to be those of the chorus of Hot Box Girls (Jess Phaneuf, Brynn Grambow, Jasmine Netherwood and Rebecca White), with hysterical get-ups for “Take Back Your Mink.”

One more thing: If you’re looking for something to do with the kids this summer, the theater will be featuring “101 Dalmatians” at 10 a.m. Saturdays from July 8 through Aug. 14.

If you go: 2 p.m. Sundays June 19 and 26; 7 p.m. June 24, 25 and 30 and July 1 and 2 at the  Academy Playhouse, 120 Main St., Orleans. Tickets: $30 adults, $20 under age 16; 508-202-1952, www.academyplayhouse.org