Wednesday, February 3, 2010

The Mikado and Royal Court to travel from Cohoes, NY to Pittsfield, MA


The Mikado is a sparkling and lavish comedic operetta written by Gilbert & Sullivan at the height of their creative genius. Yum-Yum, Nanki-Poo and other charming and absurd characters will amuse and entertain both long time fans and first time explorers of this Victorian forerunner to musical comedies.

The Mikado tells a tale of preposterous carryings on in the mythical Japanese village of Titi-pu. A Japanese prince will do just about anything to win the hand of the national executioner's daughter, for she is his one true love. Over a century later, the themes of The Mikado still resonate with modern audiences with references used in films and television from "Chariots of Fire" to "The Chipmunks". The ultimate classic love story set in the most famous Savoy Opera continues to captivate audiences.

This is the Hill Country's own production, initially mounted in Cohoes, New York at their Victorian Music Hall by C-R Productions and then moved, cast, sets and orchestra to Pittsfield where Berkshire audiences can easily enjoy it. If this is half as good as their sell out production of The Producers last year which played the Colonial under similar arrangements, then we are all in for a real treat, especially if the company's legendary Jim Charles plays The Lord High Exectioner in full over-the-top costume.

Before there was Saturday Night Live, there was Gilbert and Sullivan spoofing the norms and conventions of the time, and drawing other countries and cultures in caricature. Considering the size of this production, the ticket prices are very reasonable.

Performance Schedule:

AT THE COHOES MUSIC HALL IN COHOES, NY:

February 18-28
Thursday-Saturday at 8:00pm
Saturday and Sunday at 3:00pm
Tickets: $25-$35
Box Office: 518.237.5858
http://www.cohoesmusichall.com/

AT THE COLONIAL THEATRE IN PITTSFIELD:

Saturday March 6, 2010
Performances at 3 PM and 8 PM
Tickets $25-$45
Box Office: (413) 997-4444
www.thecolonialtheatre.org

Shakespeare & Company: "Les Liaisons Dangereuses" and "Women of Will"

Josh Aaron McCabe and Alexandra Lincoln in Les Liaisons Dangereuses. Photos by Kevin Sprague.

There's activity aplenty in South County as Shakespeare & Company lights its marquee for two events in February. Both are must-see performances.

Les Liaisons Dangereuses

The first is the much anticipated Les Liaisons Dangereuses by Christopher Hampton and adapted from the novel by Pierre Choderlos de Laclos which opens this week. It is directed by Tina Packer and presented at the intimate Elayne P. Bernstein Theatre from through March 21, 2010.

Love is the ultimate weapon! This wickedly entertaining story of love, sex and betrayal is as sumptuously guilt-inducing as a decadent chocolate you just can't resist. Depicting the devious schemes of French aristocrats on the cusp of the Revolution.

Elizabeth Aspenlieder

Packer directs Elizabeth Aspenlieder, who won the coveted Elliot Norton Award for her tour de force performance in Bad Dates last winter, and Josh Aaron McCabe, most recently seen last fall as Sherlock Holmes (and a host of other characters, both male and female) in the runaway hit The Hound of the Baskervilles. Les Liaisons Dangereuses (Dangerous Liaisons) was ahead of its time as a novel in 1782 and it still may be ahead of its time today.

Women of Will

Tina Packer and Nigel Gore.

On February 28, in the Bernstein Theatre, there will be a sneak peek of Women of Will. A true tour de force of performance, discussion, and just a bit of crowd participation, this pla, written by Founding Artistic Director Tina Packer, and directed by Eric Tucker is the much-anticipated, masterful summation of Tina Packer's 40-odd years of deep investigation into all things Shakespeare. Performing with Packer is Nigel Gore.

After years of work, refinement, and workshop performances, Tina is making the world premiere of Women of Will at the Mercury Theatre in Colchester, England this March. For one night only, our audience will get a sneak peek of this remarkable survey here in Lenox—before Tina takes it across the pond.

How did Shakespeare's view of women and the feminine impulse change throughout his career? And what can his 400-year-old insights teach us today about our own lives, as we each figure out for ourselves what it means to be alive?

My colleague Chales Giuliano does a nice advance take on Women of Will and its place in the Shakespeare & Company repertoire. Berkshire Fine Arts

For ticket and specific performance information, visit www.shakespeare.org

Shakespeare & Company is located at 70 Kemble Street in Lenox, MA.
Box office: 413-637-3353
Main office: 413-637-1199

February at the Mahaiwe - Coming Attractions

The uplifting Cherish the Ladies takes the stage on February 27.

Ticket information: www.mahaiwe.org

Thursday, February 4 at 8pm
Mahaiwe Presents
A rairie Home Companion: Live in HD
Garrison Keillor's public radio program
$23 Adult/$21 Seniors/ $16 Children 12 and under

Friday, February 5 at 7pm
Greenagers Presents
The Gods Must be Crazy (film screening)
$8

Saturday, February 6 at 1pm (SOLD OUT)
Mahaiwe Presents
Metropolitan Opera: Live in HD
Verdi's Simon Boccanegra
$23 Adults / $21 Seniors / $16 Children under 13

Saturday, February 6 at 10:45am
Mahaiwe Presents
Scott Eyerly Opera Lecture about Verdi's Simon Boccanegra
$10 General Admission

Sunday, February 7 at 3pm
Mahaiwe Presents
Ladysmith Black Mambazo
Grammy Award-Winning South African Singing Group
$39 / $34 Members

Saturday, February 13 at 7pm (talk) and 8pm (movie)
Mahaiwe Presents
Valentine's Talk by Food Historian Francine Segan Aphrodisiacs: Myth or Reality
and Screening of Moonstruck (1987)
$5 Talk/ $6 Movie/$10 for Talk & Movie General Admission

Saturday, February 20 at 6pm
Close Encounters with Music Presents
A Night of Quartets (with Avalon String Quartet)
$35 / $10 Students with valid ID

Sunday, February 21, 7pm
Mahaiwe Presents
McCoy Tyner Trio
Legendary Jazz Pianist
$67 Golden Circle/ $47/ $42 Members

Saturday February 27 at 7pm
Mahaiwe Presents
Cherish the Ladies
All-Women Traditional Irish Band
$38 / $33 Members


Mahaiwe Performing Arts Center
14 Castle Street. Great Barrington. MA 01230
Box Office: 413-528-0100
Note Box Office Hours:
Wednesday - Saturday: 12noon - 6pm
plus 3 hrs prior to all show times

www.mahaiwe.org

February at the Colonial - Coming Attractions

This Romeo and Juliet is not your embalmed version, but set more recently, with stunning action and comedy sequences.

Tickets: www.thecolonialtheatre.org

Mike Dugan’s Men Fake Foreplay
Sat 2/06/10 8pm

VIP: $65 preferred seating with post-show Artist meet & greet
A: $35 B: $25
“It was never about finding the right woman. It was about becoming the right man.” Men Fake Foreplay is a hilariously funny, yet pointed commentary on relationships and the battle of the sexes, written and performed by Emmy-winning writer and Tonight Show comedian Mike Dugan.
www.menfakeforeplay.com

The Balcony Scene is as touching as ever.

Romeo & Juliet
Presented by The Acting Company and The Guthrie Theater

Fri 2/12/10 8pm
A: $45 B: $25
The Acting Company, the most respected and praised touring repertory theater in America, and the renowned Guthrie Theater proudly present Romeo & Juliet. It opened last month for a healthy run in Minneapolis, and is currently on a short 25 city tour. Pittsfield is among the lucky cities it will visit. This production presents another approach to Shakespeare. Young love has never been so delightful, or as dangerous, as in this stirring, full-length production. This production comes with our personal recommendation for its thoroughly contemporary reading of Shakespeare's classic lines. Though unchanged, this staging has an impact and is staged for twenty-somethings as well as lovers of the Bard.
www.theactingcompany.org

Love Me Tender: The Ultimate Elvis Valentine Bash
Starring Mike Albert, Scot Bruce and the Big “E” Band
Fri 2/19/2010 at 8PM

A: $45 B: $25
Celebrate Valentine’s Day with the ultimate Elvis tribute show starring two of the world’s finest Elvis impressionists. Mike Albert is second to none in bringing to life the Elvis of the '70s, while Scot Bruce looks like, sounds like—and swings his hips like—Elvis in his younger days. Many hit songs made famous by the legendary entertainer are featured in the show, including “Blue Suede Shoes,” “Heartbreak Hotel,” “Burning Love,” “Love Me Tender,” “Jail House Rock” and more.
http://www.mikealbertsings.com/
http://www.scotbruce.com/

Corbian The Dinosaur: A Glow In The Dark Adventure
Sponsored by Greylock Federal Credit Union
Sat 2/27/10 3pm

All seats: $15
Truly unique and visually dazzling, Corbian is an innovative theatrical experience that sparks imagination and inspires creativity. Audiences will be awed as electroluminescent crayon-like creatures and characters light up the stage in this heart-rending tale of a dinosaur that discovers the true meaning of love.
Recommended for ages 7 and up
www.iancarney.com

Tickets and information:


www.thecolonialtheatre.org
The Colonial Theatre
111 South Street
Pittsfield, MA 01201
P: (413) 448-8084

Tuesday, February 2, 2010

At the Third Japan-Black Sea Dialogue

As I mentioned before, I attended the third Japan-Black Sea Dialogue at the International House of Japan, which was hosted by the Global Forum of Japan with the help of Japanese Ministry of Foreign Affairs, Turkish Embassy, Bulgarian Embassy, and the Wider Europe Research Center at the University of Shizuoka.

At the beginning of this event, President Kenichi Ito at the Global Forum of Japan mentioned common policy agendas between Japan and Black Sea nations, ie, the global financial crisis and the Russo-Western conflicts. Secretary General Leonidas Chrysanthopoulos of the Organization of the Black Sea Economic Cooperation (BSEC) and Director General Yasuaki Tanizaki of European Affairs Bureau at Japanese foreign Affairs Ministry outlined the importance of the Black Sea area in security and the economy of the world. The Black Sea area is located at the crossroads among Europe, Central Asia, and the Middle East. It is a cradle of ancient civilizations, such as Scythia, Thrace, Anatolia, and Greek colonists.

As for Japan’s role in this region, the focus tends to be those on economic and development cooperation such as infrastructure building and so forth. Director General Mithat Rende of Economic Affairs Bureau at Turkish Foreign Ministry mentioned Japanese Foreign Minister Katsuya Okada’s visit to Turkey from January 3 to 4 to commemorate “2010 Year of Japan in Turkey” as a breakthrough in Turkish-Japanese relations.

Since the Black Sea region is a frontline of the Russo-Western conflict and a route of energy resource, multilateral interaction cannot be dismissed to talk about Japanese diplomacy in this area. BSEC nations possess the second largest reserve in oil and gas after the Middle East. Particularly, Russia and Azerbaijan are major producers. Regarding the oil and gas trade and geopolitical rivalries, China is supposed to pose significant influences as it does in Africa. However, it is not clear how China gets involved in the energy dispute and geopolitical interactions.

Quite interestingly, comparisons of EU and ASEAN regional integration were discussed, and explored how BSEC integration should proceed. While the EU is a common political value club, ASEAN is more focused on economic cooperation within the region. In case of BSEC, the Russo-Western tug war in the former Soviet Union makes things complex.

In security, Europe and Japan share many agendas in common as democratic allies of the United States. Issues like US military bases are one of them, in view of the Futenma dispute between Okinawa residents and US armed forces. As Romania and Bulgaria joined NATO, the United States has military facilities close at hand Russia. However, Former Romanian Defense Minister Ioan Pascu, currently Vice Chairman of the Foreign Affairs Committee of the European Parliament, points out that those facilities jointly used with Romania and Bulgaria, not exclusively by the United States. Thus, he says that things are completely different from the Futenma case in Japan.

Toward more multilateral approach to this region, I am impressed with a comment by Director Atsushi Kaifu of Central and South Eastern Europe Division of European Affairs Bureau at Japanese Ministry of Foreign Affairs. He mentioned the New Silk Road Speech by Prime Minister-then Ryutaro Hashimoto and the Arch of Peace and Prosperity Speech by Foreign Minister-then Taro Aso as breakthroughs for Japanese commitment to global security and well-being. The latter speech sounds something like echoing foreign policy of George W. Bush. In a journal jointly published by the Institute for Central Asian and Caucasian Studies in Sweden and the Institute of Strategic Studies of the Caucasus in Azerbaijan, Gursel Ismailzada, Counselor of the Azerbaijani Embassy in Japan, presents an extensive analysis on the Aso Speech (“A New Pillar of Japanese Foreign Policy: The Arc of Freedom and Prosperity—Japanese Policy toward the GUAM Organization”; CENTRAL ASIA AND THE CAUCASUS Journal of Social and Political Studies; No. 3-4 (51-52), 2008).

I appreciate Aso’s speech much more than current Prime Minister Yukio Hatoyama’s controversial East Asian initiative, because I firmly believe that Japan be at the heart of the Western alliance of free nations along with the United States, Britain, Germany, and France. Japan should be a member of the anchor of world peace and prosperity, constituted of top industrialized democracies. Through this “best and brightest” club, Japan will augment its political presence on the global stage.

As Kaifu advocated more active Japanese involvement beyond the neighborhood, I wish he had talked furthermore. Generally, people see Japan and the Black Sea area has been remote each other, and new relationships are currently being built. However, I strongly disagree to such a viewpoint. In my eyes, it appears that policymakers are obsessed with “Scandinavian” roles for Japan, ie, economic and development assistance. I would argue that Japan also pursue “Anglo-American” liberal imperialist roles, such as commitment to the War on Terror and a regime change.

I firmly believe that Japan has a historical role in the Black Sea, the Middle East, and the Caspian Sea area. Most notably, Turkey under Kemal Ataturk and Iran under Reza Shah Ⅰ followed Japan’s path for modernization in the Meiji Revolution. Japan can help de-Islamification of Turkey, and endorse Turkish membership for the EU. This will be an invaluable contribution to defeat Islamic radicals in the War on Terror. In addition, as a top industrialized democracy, Japan should actively get involved with governance reform in Eastern Europe and former Soviet Union to help eastward expansion of the alliance of free nations.

The Japan-Black Sea Dialogue was a great opportunity to understand Japanese diplomacy and interactions among global powers in this region. I really appreciate the Global Forum of Japan for inviting me to this event. It is a pity that I cannot mention so many valuable views and insights presented by the panelists in this post.

Monday, February 1, 2010

"Cabaret" at the Colonial Theatre Gets the Basics Right

Oakley Boycott - an ascending Broadway star to watch.

The temperature barely rose above the zero mark this past Saturday, but inside the Colonial Theatre in Pittsfield, it was hot, even torrid, on stage as the famous musical, Cabaret, was brought to life once again. The famous Kander-Ebb work is evergreen, audiences never seem to tire of it. Though only in the Berkshires for the day, with a matinee and evening performance, this was no bare pipe production.

Windwood Productions, which specializes in what are called "bus and truck" shows threw up a wonderful set to recreate the Kit Kat Klub, and had a full complement of stage lighting and sound that made it feel that this was a show that was settling in for a long run. And they filled the Colonial stage with a cast of two dozen plus an eight piece band that moved on a platform from backstage to front at several points in the show.

As the Emcee, Zac Mordechai skipped the usual heavy makeup and went for a more naturalistic look and his performance was not as over the top as many I have seen. Perhaps more suitable for conservative rural audiences, but I think the lack of zing is one reason the matinee audience seemed to sit on its hands.

Oakley Boycott as Sally Bowles delivered a very workmanlike performance, finding the sweet spot between Sally's impulsive nature and her humanity. This was no spoiled brat, but rather a frightened young woman who sought the shelter of friends and lovers rather than independence. It seemed that she and the company hit their stride in Act Two, where we saw flashes of a real talent at work. Her rendition of the title song was very touching. Given more seasoning and a maturing of her vocal and movement skills, she's on her way to becoming a Broadway triple threat.

The brief fight scene was very well choreographed, even if the dance numbers themselves needed more polish. The difference between a good performance and a great performance is attention to detail, and only directors and choreographers with sufficient rehearsal time can reach the stars.

Most of you probably missed this show. Admittedly, the publicity focused far too much on the Broadway and Hollywood versions, and gave precious little detail as to the Windwood production. In fact, it was not even clear if there would be live music, and casting information and good photographs were virtually nonexistent. This is the fault of the producers, not the Colonial. Some good photos of that Kit Kat Klub set with the large band and cast prominently visible would have gone a long way to helping potential ticket buyers know what their dollars were buying. Most theatre-goers I know are still watching their dollars, and you have to work extra hard to convince them to part with them.

Nevertheless, in the quiet off-season the Colonial, Mahaiwe and Mass MoCA all do us proud by finding and presenting theatrical attractions to keep theatre alive when the lakes freeze and life moves indoors. This coming weekend will see a staged reading of ART at the Clark, and the opening of Les Liaisons Dangereuses at Shakespeare and Company. There is even a much anticipated premiere of The Waypoint from the Berkshire Fringe at Mass MoCA on February 6. Then on February 12, the Acting Company-Guthrie Theatre production of Romeo and Juliet brings theatre to the Colonial again.

Also worth noting, is Frank LaFrazio in Living With It coming to the Mahaiwe Performing Arts Center on March 13.

Many of our area community and resident theatres are hard at work keeping theatre seats warm and their stages full as well. Check out Gail Sez for a complete calendar.

Publicity, audience development and the art of selling tickets

Photos: The WSJ's Terry Teachout saw and reviewed both Ghosts in Stockbridge, MA and Heartbreak House in Peterborough, NH last summer. (L) Mia Dillon and Randy Harrison in Ghosts, Jaime Davidson photo and (R) George Morfogan and Ellie Dunn in Heartbreak House.


The WSJ Covers Berkshire Theatre Companies

Here in the Berkshires, many of our professional resident companies do exceptional work, and as a result, have attracted national attention. It doesn't happen nearly often enough, but when this sort of publicity lightning strikes, large audiences usually follow. All four of our resident professional companies - Barrington Stage Company, Berkshire Theatre Festival, Shakespeare & Company and Williamstown Theatre Festival - have often been reviewed by the Wall Street Journal's traveling critic, Terry Teachout. Critics from the New York Times and Boston Globe are also often seen in the local audiences.

When the Guthrie Theatre's Joe Dowlling put their "Everything Kushner" Festival together last Spring, he created the perfect storm of publicity. Not only did he undertake the Pulitzer Prize winning Angels in America but the Guthrie also commissioned a new play, The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures. They also did an evening of Tiny Plays in which five of Kushner's lesser known short works were performed.

They did this with panache, offering terrific photos and news releases with real news and interesting facts. Their incredibly helpful public relations attracted interest from across the country, including this blog. The critics from the national media flocked to Minneapolis, and the out of town audiences were so large the theatre company hired a concierge to help with hotel arrangements. Selling almost every ticket they could print, the festival's revenues covered a healthy portion of the expenses involved. It was both an artistic and financial success.

Berkshire theatres often note that tickets only cover half of their operating expenses. But that is because they only sell 50-60% of their tickets. Imagine what consistent sell-outs would do. When I was at the Boston Ballet, we managed to get that figure up to 92% of all tickets sold, and that greatly reduced the need for panic fundraising.

Marketing and PR is often handled by people with little real expertise in the art of developing audiences, and so tickets go wanting. Part of the problem is that many companies don't take the task seriously as evidenced by the majority of recent college graduates and actor wannabes in that role in some American companies. With more attention to these staff positions, it is possible that for each additional $10,000 budgeted to hire a real professional in the field, you can expect an increase of $100,000 in ticket revenues. This is not a job for an intern or novice. Nor is it a job to be lumped with sixteen other responsibilities.

Teachout wrote that Elizabeth Aspenlieder is "a splendid stage comedienne whose zany acting is part of what makes Shakespeare & Company the best theater troupe in the Berkshires." She is also a very adroit publicist.

Of course, trying to find audiences when there have been a series of poor choices in production can also have a devastating effect. Audiences know when they are getting a cheap, under-rehearsed product, or an artistic director's vanity project instead of something worth paying for. There is also the important matter of audience comfort. How can it be that we pay ten times the price of a comfortable stadium movie theatre seat for perches barely able to contain a midget? That's a topic that will get analysis from me this spring.

But I digress from the main point of this entry. Which is to recommend a wonderful guide written today by Terry Teachout from the Wall Street Journal. If you have wondered what it takes to get someone from a major publication like the WSJ to cover your "hot" production, this is the ultimate guide. Teachout reveals his agenda and actually lists the playwrights and plays he will consider, and those he avoids like the plague.

He also takes on the common practice of sending out press releases for every minor event, and how it important it is to keep a theatre's website up to date and functional. Here's a sample:

Terry Teachout


"You probably know that I'm the only drama critic in America who routinely covers theatrical productions from coast to coast. As I wrote in my "Sightings" column a few years ago:

"The time has come for American playgoers--and, no less important, arts editors--to start treating regional theater not as a minor-league branch of Broadway but as an artistically significant entity in and of itself. Take it from a critic who now spends much of his time living out of a suitcase: If you don't know what's hot in "the stix," you don't know the first thing about theater in 21st-century America.

"I also have a select list of older shows I'd like to review that haven't been revived in New York lately (or ever). If you're doing The Beauty Part, The Cocktail Party, The Entertainer, Hotel Paradiso, The Iceman Cometh, Loot, Man and Superman, Rhinoceros, The Skin of Our Teeth, The Visit (the play, not the musical), or anything by Jean Anouilh, Bertolt Brecht, Horton Foote, William Inge, Terence Rattigan, or John Van Druten, kindly drop me a line."

You can find his email address and the rest of his thoughts at the Arts Journal's About Last Night
blog which he writes with Laura Demanski (Our Girl in Chicago) and Carrie Frye.