“Charles Dickens’ A Christmas Carol” through Dec. 29,2019 at Shakespeare Theatre of N.J.

Ames Adamson and Company 

Credits: Joe Guerin

It is a treat to see Neil Bartlett’s inventive but purposefully faithful stage adaptation of  “Charles Dickens’ A Christmas Carol” in this return visit after almost a decade to the Shakespeare Theatre of New Jersey. Except for the strange action of having the old geezer Scrooge light up his bedroom by screwing in an electric bulb (not yet invented during the time of the story in 1843), everything about this audacious and yet also scary production is sheer bliss.

I’m inclined to forgive the light bulb’s inexplicable presence in light of all the amusing props and clever bits of business that add wonder to the many song-filled tableaus that help to propel the familiar story. Under the richly detailed direction of Brian B. Crowe, this play version is derived entirely from the original novella and uses nothing but Dickens’ text, often in humorous ways that are meant to delight, and it does. Seen by us but not by the play’s characters, a meandering chorus moves about in and out of scenes providing specific sound effects as animated inanimate objects, as in the ticking of a clock, (won’t be a spoiler and disclose more.)

  

Primarily a story of how the aging, mean-spirited skinflint Scrooge (Ames Adamson) is given a new lease on life after being visited by the ghost of his former friend and partner Jacob Marley (Lindsay Smiling) and the three spirits he summons to show Scrooge what terrible fate awaits him in the afterlife if he doesn’t mend his ways. Be prepared to shudder a little when the chillingly realized Ghosts of Christmas Past, Christmas Present. and Christmas Yet To Come give Scrooge exactly the kind of shake-up he needs. By morning Scrooge is a changed man and we are as happy and as grateful as he is.

But happiness comes only after we have shared the sorrow that befalls Bob Cratchit (Clark Scott Carmichael) and his poor but loving family when they have to face the death of their fragile, physically challenged son Tiny Tim (Quenton McCuiston.)

The thing that makes this production so special is how we are made to feel not only the sorrows caused by the mean-spirited Scrooge living a misguided life but share in his dismay and horror as he sees himself as he once was as a young boy (Billy Wyatt) and as a young man in love (Garrett Lawson).

STNJ veteran Ames Adamson is more than just splendid as Scrooge but gives us an insight into Scrooge with a performance that is rife with impassioned conflicts. Terrific performances are the rule in this cast that features many of STNJ’s seasoned regulars.

The transitions in time and place are wonderfully executed as we are whisked from the streets of London to Scrooges’ stark office, to his gloomy bedroom on to the Fezziwigs’ home and their grand Christmas party. Best of all are Scrooge’s truly nightmarish journeys through time.

The mobile settings designed by Dick Block, eerie sound design by Steven L. Beckel, stunning lighting designed by Andrew Hungerford and the eye-filling period-perfect costumes designed by Summer Lee Jack are as impressive in their artfulness as in any production of this oft seen story I have seen. If there is one performance that stands out or rather sits it out it is given by the prize turkey...perhaps more animated than any turkey has a right to be heading for the roaster.

    

This is one version of the Dickens classic that will not only haunt you by design but designed to bring you a feeling of joy. It succeeds admirably.

Performances continue through Dec. 29 at The Shakespeare Theatre of New Jersey, located on the campus of Drew University in Madison. For tickets, call 973-408-5600 or visit ShakespeareNJ.org.          

“Rodgers and Hammerstein’s Cinderella”

(L-R) Angel Lin (Charlotte), Dee Hoty (Madame), Ashley Blanchet (Ella), and Rose Hemingway (Gabrielle)- photo by Jerry Dalia

It won’t matter very much to most audience members attending the Paper Mill Playhouse sumptuous production of “Rogers and Hammerstein’s “Cinderella” that I much preferred the one they presented in 2005 with its book (based on the fairy tale, of course) adapted for the stage by Tom Briggs from the original 1957 Teleplay by Robert L. Friedman. 

The current staging is understandably using the newer book written for the 2013 Broadway version by Douglas Carter Beane in which the story has been given a politicized edge. In it, Cinderella makes Prince Topher aware of the injustice in the kingdom. A new character is Jean-Michel, an activist for social changes in a kingdom that oppresses the poor and takes their homes away.

Joining him in his mission to overthrow the corrupt government is Gabrielle, one of Cinderella step sisters. Meanwhile the handsome prince, who is somewhat of an ill-informed doofus, has little on his agenda except finding a pretty girl to marry. The new book has not worn well, but the grand score lingers on. 

On the plus side is the lovely performance by Ashley Blanchet in the title role. Under the assured direction of Mark S. Hoebee, Blanchet sings the gorgeous melodies with a confidence that is also reflected in her acting as Ella the unloved step-daughter. She is contrasted perfectly against the more accommodatingly abrasive personalities of her two step-sisters Gabrielle (Rose Hemmingway) and Charlotte (Angel Lin). Dee Hoty is terrific as “Ella’s” bitter and self-centered step mother. Blanchet is so winning that it is easy to see how Prince Topher (well sung and acted by Billy Harrigan Tighe) falls for her at first sight.

The show only falters when Jean Michel invades a scene with a slew of cringe-worthy one-liners and amateurish posturing. Evidently encouraged to be as objectionable as possible, Andrew Kober is relegated to shouting his lines.  One wishes that he either go away quickly or at least get turned into a pumpkin by the nearest wish-fulfiller.

That would be Donna English who is enchanting as Marie the beggar woman who makes the magical transition into Cinderella’s glittery gowned Fairy Godmother. She also almost stops the show with her glorious rendition of “There’s Music in You.”

 Not sure why the intended humor fall so flat but the sweet sounds of the music come back often enough to save the day. The score may not be top drawer R & H, but you will find it hard to not swoon  listening to “In My Own Little Corner,” and “Do I Love You Because You’re Beautiful,” among the other lilting melodies that fill the show. They include the best-known songs from the original version and features four songs from the Rodgers and Hammerstein catalogue, including "Now is the Time", cut from “South Pacific.” 

 

The settings by Anna Louizos are pretty as a picture book and the costumes by William Ivey Long remain stunningly award-worthy. All is enhanced by the sparkling lighting designed by Charlie Morrison. The choreography by Joann M. Hunter is unnecessarily campy and sadly compromises the otherwise fine male dancers.

Michael Wayne Wordly, as the tongue-in-cheeky Lord Pinkleton and Christopher Sieber as Sebastian, the kingdom’s devious prime minister contribute to the broad comedic strokes that too often punctuate but do not necessarily enhance (as in the song title) “A Lovely Night.” 

Through December 29 at Paper Mill Playhouse, Millburn, New Jersey. Wed & Fri at 7pm; Thurs, Sat & Sun at 1:30 and 7pm, with some variances during the holiday weeks. For info and tickets: 973-376-4343  or at www.papermill.org

“Little Shop of Horrors” at the Westside Theatre/Upstairs

Tammy Blanchard and Jonathan Graff

 Photo: Emilio Madrid-Kuser

Everyone’s favorite mutating carnivorous plant is in bloom again. This time back Off Broadway where it belongs and where it began in 1982 and remained potted for 2,209 performances. If the 2003 Broadway production failed to capture a large enough following,  it didn’t dissuade the current team (and there are plenty of them) producers and collaborators from bringing it to the Westside Theater for what they hope will be a long and successful run. Happy to report that this new production is terrific fun while the elaborate staging reflects money well spent.

The musical version of schlock film-maker Roger Corman's comically tacky 1960 black comedy remains an inanely amusing but also vaguely politicized entertainment with a moral: that society is doomed in the face of commercialized imperialism. (But who is willing to think about it that way?)

Currently in charge of the hilariously horrific mayhem is Michael Mayer, who, along with his production collaborators, resourcefully exploits the musical's horticultural doings. And thanks to original puppet designer Martin P. Robertson, the excellent lighting design by Bradley King and Julian Crouch’s fantastically  squalid-looking skid row shop and street setting, the atmosphere is just right for encouraging the plant's fearsome growth in laugh-inducing stages.

Howard Ashman's book and lyrics and Alan Menken's music has always been one of the best doo-wop/ rock theater scores. Certainly the bouncy title song and the humorously plaintive "Suddenly Seymour," are classics of the genre. The cast is relatively small: just four principal roles, a trio of street urchins, various denizens played by actors doubling up, and the basso voice of the insatiable plant Audrey II (Kingsley Leggs). But their collectively impressive talents easily fill up the stage.

Jonathan Groff, who was a Tony nominee for both “Hamilton,” and “Spring Awakening,” more than fulfills the nebbish(y) demands of Seymour, the timid, withdrawn employee in a Skid Row flower shop. He underplays to perfection as he takes great pains to care for a hybrid plant of his own creation, and also, of course, nurtures his affection for Audrey (Tammy Blanchard). Blanchard, a multi-Tony Award nominee for “Gypsy” and “How To Succeed....” is terrific as the pretty but cheaply flashy Audrey whose masochistic bent keeps her in emotional bondage to Orin, the sadistic laughing gas-addicted dentist. Orin is played with an hilariously over-the-top swagger by Tony Award-winner (“Something Rotten,” “Peter and the Starcatcher”) Christian Borle,  who also appears in a parade of caricatured roles of both sexes.

Broadway veteran Tom Allen Robbins perfectly fills the bill as the suddenly entrepreneurial Skid Row shop keeper Mushnik. His perverse delight is a pleasure to watch when business picks up as the plant grows and draws attention from the public. But what price fame and fortune when Seymour discovers that the plant needs blood to survive? As the plant's victims are gobbled up, we find ourselves suddenly caring and concerned for the characters, silly and one-dimensional as they are. Ari Groover, Salome Smith and Joy Woods are appropriately sassy and perky as the girl-group/urchins that sing and swing in designer Tom Broecker’s Matthew Hemesath's kicky costumes. I'm happy to report that the unseen but heard band members Will Van Dyke, Nate Brown, Dena Tauriello, and Sue Williams survive Audrey II's ravenous appetite. Bon appetit.

“As You Like It” at the Shakespeare Theatre of New Jersey through September 29.

Ben Jacoby & S K Harris

To give its writer William Shakespeare his due: The title of Shakespeare’s comedy takes a lot for granted. With the ageless displays of invention and high spiritedness in what is commonly known as one of the Bard’s “joyous” comedies, it isn’t surprising to see  director Paul Mullins uproot it to the mid 20th century. 

In this instance, the Shakespeare Theatre of New Jersey production, its first “As You Like It” in more than a dozen years, appears to be taking place somewhere in the north western American territory. Here, a winter-attired band of rugged-looking exiles have made it a home away from home.

I can’t imagine purists or the Bard himself objecting to the pastoral romances taking place among the barren wooden posts that presumably pass for foliage-free trees courtesy of the functional bi-level set designed by Brittany Vasta. Whether or not it conjures up the Midlands Forest of Arden is a moot point. 

After all, the dirty political doings are only an excuse for Rosalind masquerading as a man to win over the easily fooled Orlando; her cousin the devoted Celia to beguile the wicked Oliver; Touchstone to seduce the provocative Audrey; the disdainful Phoebe to settle for the lovesick Silvius; and for them all to be united in wedded bliss.

In this play, the characters willfully embrace life with  a mixture of silliness and sophistication. The plot takes off interestingly enough as Orlando, under threat of death, flees the court of Duke Frederick (Earl Baker, Jr.) and his cow-towing courtiers to find himself safe among a resourceful band of political outsiders. 

Among them is the dramatically over-the-top and self-servingly melancholy Jaques (Anthony Marble) who delivers the famously cynical speech about “the seven ages of man.” He has the job of upholding the play’s philosophy in the light of all the hanky-panky going on around him. Marble adds a refreshingly volatile aspect to Jaques giving the play its most recognizably human center. Marble is remembered for his terrific performance in the title role in “The Rainmaker” earlier this season.  

A very charming and convincing Safiya Kaija Harris mixed Rosalind’s ingrained wit and calculating adventurousness with a temperament that compliments this gal’s  upper-crust breeding. Winning the heart of the fair Rosalind after his impressive match with Charles (Jonathan Higginbotham), the Duke’s wrestling champ is the besotted Orlando, as commendably played by Ben Jacoby. He defines Orlando as an unconventionally vigorous boy-next-door-ish hero-at-large....even in suspender-supported jeans and a shoulder bag. 

Especially exciting is the kick-boxing that gives an added wallop to the fight scene as staged by Rick Sordelet. Nick Corley’s Touchstone brims to overflowing with innuendo. As the country wench, Elizabeth Colwell behaved as one might expect a Shakespearean slut to behave.

Devin Conway left no doubt the disdain she held for the impervious Silvius (Ryan Woods). Finding fault with Sarah Nicole Deaver’s unpersuasive interventions as Celia added nominally to my acquired tolerance for this rather long evening of “country copulations.” The popularity of  “As You Like It” through the years may baffle some, as it does me. But it nevertheless delivers a healthy, often comical, dose of the many facets of love...take it or leave it.