Upcoming Plays - December

At the Hartford Stage, Hartford, Connecticut: “A Christmas Carol” by Charles Dickens, adapted and directed by Michael Wilson. Runs through December 31st, 2010

At the Katharine Hepburn Cultural Center for the Arts, Old Saybrook, Connecticut: The National Theatre of London presents “Hamlet” December 9th.

“Nicholas Hytner, the National's artistic director, crafts a Hamlet for our time with Rory Kinnear, son of the late comic actor Roy, as an everyman melancholy Dane. A Hamlet for the Whatever generation, Kinnear's ‘performance is superb in its resonance and intelligence’- Libby Purves, The Times He's a ‘thrilling Hamlet in a hoodie’ - Charles Spencer, The Daily Telegraph. Come see what the British critics are raving about. Simulcast from the National Theatre of London.”

At the Merrimack Repertory Theater, Lowell, Massachusetts, “Beasley's Christmas Party”, adapted by C.W. Munger, from the story by Booth Tarkington. Runs through December 19th.

“From the Pulitzer Prize-winning author of The Magnificent Ambersons comes this story of a curious journalist and his extremely eccentric next door neighbor who is planning a most unusual Christmas party. Magically and imaginatively delivered, it is a distinctly American and spiritually uplifting holiday story for the whole family filled with humor, heart and hope.”

The Portland Stage, Portland, Maine is also performing Dickens’ “A Christmas Carol” December 3rd through 24th.

“Travel back in time to Victorian England where ghosts, time travel, and memories help a cold and lonely old miser regain his heart. Our adaptation remains remarkably true to Dickens' original book. Dickens' story seems best told in his words, allowing audiences to hear the richness of his language, and to experience the story of Scrooge's encounters with the spirits of past, present, and yet-to-come in the way that the author intended.”

The Shubert Theater of New Haven, Connecticut presents “Sister’s Christmas Catechism” December 3rd through 5th.

“The Mystery of the Magi's Gold…

“It's "Forensic Files goes to Bethlehem" in this holiday mystery extravaganza, from the author of Late Nite Catechism, as Sister takes on the mystery that has intrigued historians throughout the ages - whatever happened to the Magi's gold? ("We know that Mary used the frankincense and myrrh as a sort of potpourri - they were in a barn after all.")

Retelling the story of the nativity, as only Sister can, this hilarious holiday production is bound to become a yearly classic. Employing her own scientific tools, assisted by a local choir as well as a gaggle of audience members, Sister creates a living nativity unlike any you've ever seen. With gifts galore and bundles of laughs, Sister's Christmas Catechism is sure to become the newest addition to your holiday traditions.”

Off Topic and Off Blog - Interview

John Hayes of “Robert Frost’s Banjo” recently ran interview with me on my novel “Meet Me in Nuthatch.” Have a look here. And for those in the U.S., Happy Thanksgiving.

Maude Adams' Boston Box-Office Bonanza

(This portait photo of Maude Adams, taken when she was about 20 in the early 1890s, is in the public domain.)

In 1901, it was reported of actress Maude Adams, “Miss Adams’ receipts last week in Boston were the largest in the history of Boston theaters or anywhere -- $23,000.” Not bad when you think most ticket prices were probably around fifty cents.

This quote chronicled in “Curtain Time - The story of the American Theater” by Lloyd Morris (Random House, NY, 1953), though a cold, if impressive fact, barely scratches the surface to describing the popularity of Maude Adams.

Born in the 1870s, she toured in stock since her early childhood, and by the turn of the century was at the top of her game. The works of J. M. Barrie were paramount in her repertoire (his “What Every Woman Knows” was written for her), and she is noted as the first American actress to play Barrie’s “Peter Pan” in 1905. It was the highpoint of her career, an enormous success in an era where theatre was the primary entertainment and had no competing media.

Author Lloyd Morris notes, “Miss Adams was…winsome rather than pretty, slight, frail and girlish. Her lilting speech and muted laughter, the delicacy of her treat, the graceful swiftness of her movement, gave her a quality that soon was described as ‘otherworldly’. Though intensely feminine, she made a curious impression of elusiveness, as if she had an elfin strain.”

Such qualities gave magic to anyone playing Peter Pan.

“Millions of Americans saw Miss Adams on stage, rejoiced in her performances, cherished a sense of genuinely personal relationship to her. Yet, paradoxically, only a handful of people really knew her. Frohman (producer Charles Frohman) believed that the illusions of the theater would be shattered if the public saw his stars off-stage, or knew too much about them.”

Intriguing, and somehow sad. So much devotion, so many box office receipts, to be really known by only a handful of people.

The Audience That Wouldn't Leave

Sometime in the mid-1800s, when theatre was hundreds of years old and yet still, seemingly to our modern sophistication, still in its infancy, “Oliver Twist” was presented in Lowell, Massachusetts. The play, based upon the Charles Dickens novel, must have been a hit, because the audience did not want to leave.

According to the “Before the Footlights and Behind the Scenes”, a book on American theatre stories by Olive Logan, (Parmelee & Co., Philadephia, 1870), after the play ended, the audience stayed in their seats, looking, perhaps expectantly, at the drawn curtain.

It is a painful moment in theatre when the audience walks out before the play is over, but perhaps merely awkward when they choose not to leave at all.

At last, the stage manager came out in front of the curtain and handled the problem, as stage managers are supposed to do, with absolute authority, and if possible, tact. He announced,

“Ladies and gentlemen, I wish to inform you that the play has terminated. As all the principal characters are dead, it cannot, of course, go on.”

That seemed reasonable to the audience, who finally went away.

"Claudia" at the Court Square Theater

“Claudia” came to the Court Square Theater in Springfield, Massachusetts for three performances in March 1943. The play had just closed on Broadway the month before after a successful run of almost two years. The lead in that Broadway production, Dorothy McGuire, was whisked off to Hollywood to make her first motion picture. Phyllis Thaxter played the irrepressible young bride, Claudia in this road production.

This show also featured Donald Cook and Frances Starr reprising their Broadway roles. Both stage veterans with long careers, Mr. Cook also appeared in films, including the 1936 “Show Boat.”

Rose Franken, author of the play, directed both the Broadway and road shows.

Upcoming Plays

Upcoming plays for November:

At the Hartford Stage, Shakespeare’s “Anthony and Cleopatra” featuring Kate Mulgrew and John Douglas Thompson currently runs through November 6th.

At the Majestic Theater, West Springfield, Massachusetts, “Escanaba in Love” by Jeff Daniels runs October 29th through December 5th.

The Merrimack Repertory Theatre presents the east coast premiere of “Four Places” by Joel Drake Johnson through November 7th.

“This honest, compassionate and profound drama evokes the most familiar and heartfelt aspects of family relations. Two middle-aged siblings take their mother out to lunch where the conversation turns from routine banter to life-changing revelation. The indelible characters are both marvelously funny and devastatingly human as they lead one another to a place where forgiveness and understanding are tested, but love is still possible. (Contains Adult Language and Suggestive Dialogue).”

The Vermont Actors Repertory Theatre presents “The Savannah Disputation” by Evan Smith November 17th through 20th.

 “The theological back-and-forth shines a light on the combatants’ personalities, so we get a glimpse into, if not the souls, then at least the hearts and minds of four people who are secretly grappling with doubt, fear, loneliness, and regret about paths not taken. Along the way, there are plenty of laughs…In other words, faith is a complicated business-and even sometimes, as DISPUTATION shows, a funny business, too.” -Boston Globe “Smith’s script is, above all else, VERY funny; it’s comedy rooted in situation and character in the best way…blissfully entertaining. But at the same time, Smith never shies from the important subjects at the heart of his play…This is a play filled with heady and fascinating theological and philosophical debate.” -NYTheatre.com”

At the Huntington Theater in Boston, The Shirley, Vermont Plays presents “Circle Mirror Transformation” by Annie Baker, directed by Melia Bensussen, through November 14th.

See you next week.

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