Keeping the Faith

Review of Godspell, ACT of Connecticut

The show opens in a dilapidated church that still has lovely stained glass windows and impressive arches but with construction materials littering the floor, in Reid Thompson’s fascinating set. It’s a down-at-heels sacred building, now the home to a group of squatters, many of them children. They come from the shadows to occupy the space and then go into hiding when a troupe of would-be renovators barges in, all giddy with the place’s possibilities as high-end condos.

The newcomers discover a huddled child, then the other kids and their adult leaders present themselves, and presto! the eight interlopers—Jacob (Jacob Hoffman), Katie (Katie Ladner), Alex (Alex Lugo), Andrew (Andrew Poston), Monica (Monica Ramirez), Phil (Phil Sloves), Morgan (Morgan Billings Smith), and Emma (Emma Tattenbaum-Fine)—are transformed into disciples of Jesus (Trent Saunders) and John the Baptist (Jaime Cepero), who proceeds to give Jesus a sponge-bath.

Jesus (Trent Saunders), seated; kneeling: Andrew Poston, Jaime Cepero, Morgan Billings Smith; standing: Phil Sloves, Monica Ramirez, Alex Lugo, Jacob Hoffman, Emma Tattenbaum-Fine, Katie Ladner in The ACT production of Godspell (photo by Jeff Butchen)

In its original incarnation, Godspell, with music by Stephen Schwartz and book by John-Michael Tebelak, dates from the early 1970s and arrived in the context of the hippie movement and the effort by U.S, churches to reach out to the young (remember the invention of the guitar mass?). Jesus’s teachings—with their communal emphasis and their ethical embrace of the poor rather than the rich and powerful—and his leadership of a band of guys who gave up their day-jobs to follow him certainly had immediate appeal in that period. Which may have something to do with reviving the show now. We would seem to have reached an all-time low for ethical behavior in the U.S. of A.

The show, which acts out stories and parables derived from the Gospels of Matthew and Luke, interspersed with songs, mostly of the uplifting variety, has been updated at ACT by Schwartz and director Daniel C. Levine, and that means there are topical references from our day and some new lyrics. An early example, bound to be a favorite bit, features Jesus preaching to “Save the People” while the would-be disciples keep working in comical references to major Broadway shows. Any guesses which ones?

The cast of the ACT production of Godspell, directed by Daniel C. Levine (photo by Jeff Butchen)

What really makes the show at ACT is the spiritedness of the troupe, which manages to shun for the most part the insipid cuteness that may still dog the show from the film version of 1973. Here, the cast is fun and inviting and their professionalism never flags—whether leading the group in the vibrant radio-hit “Day by Day” (Katie), or hitting a pure high note in “All Good Gifts” (Andrew), or belting out “Bless the Lord” (Morgan), or hamming up as fallen goats for “We Beseech Thee” (led by Jacob), or enacting a contrite Magdalene (Monica) in “By My Side,” or demanding we heed the teachings, in “Learn Your Lessons Well,” led by Alex, or putting audience members on the spot as Emma leads off Act II with “Turn Back, O Man.” There are also many nice touches to make the preachiness of all those parables (even a church service is generally limited to a few!) go down easier, including a biblical king (Phil) like Trump by way of Alec Baldwin, and a sleazy judge by the name of Weinstein (Phil), as well as puppetry for the story of the Good Samaritan, interesting use of a painting for a grilling by those pesky Pharisees, some nimble stepping by Jesus and Judas to strobe lights in “All for the Best,” and captivating work with lights in “Light of the World,” led by Phil.

Jesus (Trent Saunders) and Judas (Jaime Cepero) in the ACT production of Godspell (photo by Jeff Butchen)

Throughout Act One, Saunders is a genial and soulful Jesus and casting has wisely eschewed the blond heart-throb type of the most recent New York revival. Saunders is a performer of color and he brings to the role an easy-going gentleness that suits it. In Act Two, when he has to chastise—“Alas For You”—the lyrics get a bit buried by the blasting band, but his passion in the song is convincing. As John the Baptist and Judas, Jaime Cepero is a great asset as well, always commanding attention and playing like a dutiful second lieutenant even when that means a betrayal (which Judas can barely bring himself to do—Jesus kisses him rather than vice versa).

Monica (Monica Ramirez), Jesus (Trent Saunders) in the ACT production of Godspell (photo by Jeff Butchen)

Unlike Jesus Christ Superstar, which visits much of the same hallowed text, the libretto of Godspell stresses the parables of Jesus and avoids presenting his trial before Pilate. The death of Jesus is depicted, and seems a sacrificial gesture by someone whose death is meant to be a good thing. And yet, if you don’t know the story you might be baffled by the mystery of what exactly transpires. The lovely song “Beautiful City” is sung late in the show by Jesus at his most beatific and holds out the hope of “a city of man” rather than a “city of angels” (meant to be a way of saying we need to take responsibility for this world and not expect an otherworldly reward, unless it just means to imply that New York is better than LA).

With its eager effort to make the audience feel themselves in the midst of the action—and the spacious amphitheater at ACT aids greatly in that effect—and its many enthralling effects of light (Jack Mehler) and color and costuming (Brenda Phelps), its engaging cast and its very tight band, this 2020 revival of Godspell is bound to inspire more true believers.

The cast of the ACT production of Godspell, directed by Daniel C. Levine (photo by Jeff Butchen)

Godspell
Conceived and originally directed by John-Michael Tebelak
Music and new lyrics by Stephen Schwartz
ACT production conceived and directed by Daniel C. Levine

Choreography: Sara Brians; Music Supervision: Bryan Perri; Music Direction: Danny White; Scenic Design: Reid Thompson; Lighting Design: Jack Mehler; Costume Design: Brenda Phelps; Sound Design: John Salutz; Props Designer: Abigail Bueti; Production Manager: Tom Swetz; Production Stage Manager: Michael Seelbach

Band: Danny White, conductor, keyboards; Miles Aubrey, electric guitars, acoustic guitars, mandolin; Arnold Gottlieb, electric bass, fretless bass, acoustic guitar; Dennis Arcano, drums & percussion

Cast: Jaime Cepero, Shaylen Harger, Jacob Hoffman, Katie Ladner, Alex Lugo, Cameron Nies, Andrew Poston, Monica Ramirez, Trent Saunders, Phil Sloves, Morgan Billings Smith, Emma Tattenbaum-Fine

Children: Nikki Adorante, Marley Bender, Nate Cohen, Sully Dunn, Adelaide Kellen, Colby Kipnes, Jack Rand, Amélie Simard, Caroline Smith, Dean Trevisani

ACT of Connecticut
February 6-March 8, 2020

Little Shop of Pleasures

Review of Little Shop of Horrors, ACT of Connecticut

Halloween comes every year. And it seems like barely a year passes without Howard Ashman and Alan Menken’s Little Shop of Horrors playing somewhere in Connecticut, a theater perennial. And why not? The show is tuneful, kooky, creepy, and full of fun nostalgia for the ‘60s. The 1960 original was a Roger Corman quickie flick—and intentionally funny, unusual for Corman—with Jack Nicholson in a small part as an eager dental patient. The musical retains much the same plot and makes the prospect of a man-eating plant an excuse for macabre laughs, songs silly and infectious, and what at first appears to be a rags-to-riches, poor orphan boy makes good and gets the girl story. And that’s part of the attraction of the show: the way it all goes wrong!

Audrey II, Seymour (Robb Sapp), Audrey (Laura Woyasz) in ACT’s production of Little Shop of Horrors

Seymour Krelborn (Robb Sapp) seems to be your typical sad sack nebbish, working in a flower shop that lacks customers while pining for his colleague, Audrey (Laura Woyasz—last seen at ACT in Working), who often shows up for work bearing the marks of her boyfriend’s physical abuse. That element of the show might seem less than funny, but it plays into the characterization of her boyfriend, Orin, a sadistic dentist. The joke draws on childhood (and maybe even adult) fears of visiting the dentist and makes such phobia reasonable. Orin, as enacted with scene-stealing glee by ACT Artistic Director Daniel C. Levine, is creepy and instantly unsettling. Good, given the fate that will befall him.

Chiffon (Kadrea Dawkins), Crystal (Ashley Alexandra Seldon), Orin (Daniel C. Levine), Ronnette (Rachelle Legrand)

Granted, the fate of these characters—including the shop’s boss Mr. Mushnik, ably played with a Gleason-like volume by William Thomas Evans—isn’t pleasant, but that’s also a key aspect of what makes the show fun. Ashman knows that, when watching the Creature Features of the commercial television era, we were often rooting for the monster. Here, the monster begins as a cute little plant Seymour has nurtured, its origins somewhat obscure. It’s such an anomaly, it soon draws sightseers and even some well-heeled customers to the shop. It’s a hit and Seymour gains notoriety as the plant’s handler. Dubbed Audrey II, the plant speaks—at least it does to Seymour—and its voice, provided by Kent Overshown, is richly cartoonish. Even when it’s demanding more and more blood—its necessary nutrient—and growing larger and larger, the plant seems a likeable if fractious pet. And yet, a blood-sucking plant with a mind of its own is not something you want to have to keep under wraps.

The show, with its seedy Skid Row set on a spinning stage that shows both the atmospheric outside and the changeable inside of the shop, has great tech—set by Ryan Howell, lighting by Jack Mehler, Sound by John Salutz and costumes by Ryan Park (my tip of the hat for the poster of Frankenstein vs. the Wolfman). The band kicks loud but doesn’t overwhelm the singers.

Chiffon (Kadrea Dawkins), Audrey (Laura Woyasz), Crystal (Ashley Alexandra Seldon), Ronnette (Rachelle Legrand), second row

The original musical never went to Broadway and ACT’s revival retains all the charm of quality Off-Broadway shows: it’s incredibly intimate, with the actors able to look much of the audience right in the eyes—Seymour even hands a flower to a lady to hold for him till needed. The chorus of backup girls—think The Supremes or Dream Girls, or (the girls’ names) The Chiffons (Kadrea Dawkins), The Ronnettes (Rachelle Legrand), The Crystals (Ashley Alexandra Seldon)—work the crowd as well, acting as the knowing narrators of this cautionary tale (the moral: “don’t feed the plants!”). And Levine, who keeps coming back as one creep after another, feeds off the audience’s energy the way Audrey II feeds off Seymour’s plasma.

Audrey II, Seymour (Robb Sapp), Audrey (Laura Woyasz)

As our unlucky lovers Seymour and Audrey, Robb Sapp and Laura Woyasz are attractive, romantic, and give off the aura of many a sitcom couple. We might almost believe they’ll work it out and make this a little shop of amours. And that’s what keeps viewers engaged, the way director Sparks capitalizes on the play’s varied tone—from romance to horror to comedy, or all at once. There’s even a classic bit of male bonding—“Mushnik and Son”—that comes off as if the start of a story about earning respect and finding one’s place in life. In fact, the show’s real moral might be said to show how outlandish success must generally own a few skeletons in the closet—or corpses in the vegetal maw. If you’ve already seen the show, it’s worth a drive out to Ridgefield to see again. And if you haven’t—don’t miss this chance to see this oft-produced show in such a wonderful theater. ACT has a great space where every seat has good sightlines.

A final word about puppeteer Thomas Bergamo. Audrey II is no electronic gizmo or special effect. He’s animated by Bergamo with a great sense of living presence and personality. Get ready, this invading vegetation is going places. Today Ridgefield, tomorrow—the world!

Little Shop of Horrors
Book and Lyrics by Howard Ashman
Music by Alan Menken
Based on the film by Roger Corman, Screenplay by Charles Griffith
Directed and Choreographed by Jason A. Sparks

Music Supervisor: Bryan Perri; Music Director: P. Jason Yarcho; Scenic Designer: Ryan Howell; Lighting Designer: Jack Mehler; Costume Designer: Ryan Park; Sound Designer: John Salutz; Wig and Hair Designer: Tommy Kurzman; Prop Master: Abigail Bueti; Puppeteer: Thomas Bergamo; Production Manager: Annie Jacobs; Production Stage Manager: Theresa S. Carroll

Band: P. Jason Yarcho, conductor/piano; Isaac Hayward, conductor/piano (10/31-11/3); Tom Cuffari, keyboards; Jeff Carlson, electric & acoustic guitars; Arnold Gottlieb, electric bass; Dennis Arcano, drums & percussion

Cast: Kadrea Dawkins, William Thomas Evans, Rachelle Legrand, Daniel C. Levine, Jaclyn Mercer, Kent Overshown, Robb Sapp, Ashley Alexandra Seldon, Ian Shain, Laura Woyasz

 ACT of Connecticut
October 3-November 3, 2019

Reworked "Working" Works at ACT

Review of Working, ACT, Ridgefield

There’s a new kid on the block. ACT, or A Contemporary Theatre of Connecticut, a new musical theater in Ridgefield, CT, has launched its first full season with a reworking of Stephen Schwartz’s Working. The original debuted in 1977, turning the stories collected by Chicago-radio personality Studs Terkel for his best-selling book on working lives into occasions for song and dance. A later version received an Off-Broadway production in 2012 and featured new songs by Lin-Manuel Miranda. The 2019 version at ACT,  revamped by Artistic Director Daniel C. Levine, in consultation with Schwartz, updates elements of the show and, significantly, incorporates material from interviews Levine conducted with Ridgefield workers. The new version offers the best of both worlds: the Broadway polish of the original show together with home-grown local elements.

The cast of Working at ACT, directed by Daniel C. Levine: front row: Brad Greer, Zuri Washington, Laura Woyasz; second row: André Jordan, Monica Ramirez, Cooper Grodin (photos by Jeff Butchen)

Schwartz in fact combines both aspects as well: a Ridgefield resident, he is a very successful Broadway composer, with shows like Godspell, Pippin, and Wicked to his credit. He is one of the inspirations behind ACT, and the first three seasons will each feature one of his works as part of the Presenting Stephen Schwartz series. But ACT isn’t only about classic musicals. The second slot of the debut season is taken by Austen’s Pride, a new musical about ever-beloved author Jane Austen that is on its way to Broadway, and the third show at ACT will be the popular musical comedy, The 25th Annual Putnam County Spelling Bee, winner of the 2005 Tony for Best Book of a Musical.

The theater at ACT features seating higher than the stage, creating a very open playing space for this very energetic play, accessorized with scaffolds and screens as both backdrops and moveable scenery. The ladders and stairs and various props used to suggest different working areas are augmented by a wide variety of multimedia effects, including clips of local workers at work while their voices can be heard ruminating about their lives and their jobs (Scenic Design, Jack Mehler; Media Design, Caite Hevner). It all blends together seamlessly with the songs and speeches presented by the six-member cast. The intimacy of the staging is such that every member of the audience feels directly addressed by the performers, and that makes for a vibrant community feel.

Brother Truckers (André Jordan, Brad Greer, Cooper Grodin)

In swift vignettes, we learn something about a range of occupations—tree-cutter, waitress, teacher, firefighter, trucker, mason, care-provider, office worker, fast food deliverer, housewife, housecleaner, millworker, drugstore clerk, tech support, receptionist, deli owner—and can let ourselves by cheered by the fact that there are people who perform these tasks, some of whom are deeply gratified by the nature of the work they do. The point of the show, not without its tensions, is that work is essential to one’s identity and to feeling part of a community, to say nothing of the capitalist system in general. Leisure may be a wonderful thing, but here it’s all about getting down to what needs to be done, for the sake of work itself.

Housewives (Laura Woyasz, Zuri Washington, Monica Ramirez)

The cast of three men—Brad Greer, André Jordan, Cooper Grodin—and three women—Monica Ramirez, Zuri Washington, Laura Woyasz—maintains familiar gender binaries of the working world: the cleaners are women, the truckers are men. There is a female millworker (Ramirez) and a male caregiver (Jordan), but a bit more mixing might add some new wrinkles. Craig Carnelia’s “Just a Housewife,” given a soulful rendering by Washington, serves up the plaint of the stay-at-home mom, which may be pertinent again as it was back in the ‘70s. Stay-at-home dads—was that just an ‘80s thing? Another song with a nice sense of occupational anxiety is Woyasz’s believably ethnic teacher in “Nobody Tells Me How,” a sharp aside on how education is always inflected by its setting (lyrics by Susan Birkenhead, music by Mary Rodgers).

From the guys, there’s an inspiring speech by Greer as a firefighter; he also, guitar in hand, serves up Carnelia’s “The Mason” as a celebration of folk endurance; in the staging of James Taylor’s “Brother Trucker,” the guys are serviced by the female cast members in sexy attire, to let us know that the road has its rewards as well as its regrets. Then there’s “Joe,” Carnelia’s ode to the retiree (Grodin) whose life without work is a struggle to maintain interest. The man’s failing health segues nicely into Lin-Manuel Miranda’s “A Very Good Day,” a song for caregivers and nannies which strikes a plaintive note about doing the work that family members shirk.

The firefighter (Brad Greer)

With such a range of musical collaborators, the songs are varied in their styles, but all land with a snap, and the unseen musicians pack a punch in Dan Pardo’s arrangements for what is essentially a rock band. Particularly memorable, as a blend of movement and song, are Schwartz’s “It’s an Art,” a tribute to the finesse of waitressing led by Woyasz, and, incorporating significant media effects, “Brother Trucker” and Miranda’s “Delivery.” Other songs, such as Schwartz’s potentially mawkish “Fathers and Sons,” work well in context: here, we’ve just heard three Ridgefield students talking about their families, their studies, and their hopes for their own professional futures.

Formerly a two-act show, the current version plays under 90 minutes with no intermission. And so the two closers of the respective acts follow one another to form the finale. This means that the rueful sense of lost opportunities in Micki Grant’s “If I Could’ve Been” is immediately parried by Carnelia’s “Something to Point to.” The juxtaposition is telling. Whatever we become, in this world, there may be a sense, perhaps known to none but ourselves, of what we might have been or wanted to be; however that plays out, it’s the reality principle that ultimately triumphs in Working, where you are what you do.

The cast of Working, as millworkers, top to bottom: Cooper Grodin, Zuri Washington, Laura Woyasz, André Jordan, Monica Ramirez

It’s rare enough to find the workers of non-glamorous careers celebrated. In our era of celebrity for the sake of celebrity, learning how regular people live can be a worthwhile antidote. There ought to be school trips to see Working, if only to touch base with modern society’s bedrock. And the show isn’t only an occasion for admiring lives given over to workaday jobs, director Daniel C. Levine’s Working is a snappy example of musical theater that really works.

Working: A Musical
From the book by Studs Terkel
Adapted by Stephen Schwartz and Nina Faso
With additional contributions by Gordon Greenberg and Daniel C. Levine
Songs by Craig Carnelia, Micki Grant, Lin-Manuel Miranda, Mary Rodgers and Susan Birkenhead, Stephen Schwartz, James Taylor
Directed by Daniel C. Levine

Choreography: Chip Abbott; Music Director: Dan Pardo; Music Supervisor: Bryan Perri; Costume Design: Brenda Phelps; Scenic and Lighting Design: Jack Mehler; Media Design: Caite Hevner; Sound Design: John Salutz; Wig Design and Hair Supervision: Liz Printz; Production Manager: Annie Jacobs; Production Stage Manager: Michael Seelbach; Orchestrations by Alex Lacamoire

Cast: Brad Greer, Cooper Grodin, André Jordan, Monica Ramirez, Zuri Washington, Laura Woyasz

Musicians: Dan Pardo, conductor/keyboard; Matt Hinckley, electric and acoustic guitars; Arnold Gottlieb, electric and acoustic bass; Dennis Arcano, drums and percussion

ACT of Connecticut
February 14-March 10, 2019