Yup. Charles Dickens is back in town. Played with great good humor by the veteran Tom Gleadow, this year’s “A Christmas Carol” has Mr. Dickens on stage often and to considerable effect.
The rotund Gleadow is one of those luminous actors whom you find yourself watching anytime he’s on stage. And he’s there a lot, giving this year’s version more of the dialogue from the novel then perhaps ever. He also chides, and directs, poor old Ebenezer Scrooge a bit, too, which lends a nice comedic touch.
Yes, indeed. There are lots of reasons why this production is a splendid piece of theater. First and foremost is Sandra Laub, the actress playing the one-time prime minister of Israel, Golda Meir.
Most theater people, especially actors, will tell you that doing a one-woman or one-man show is the most difficult of assignments. After all, it is just one soul out there, alone. It’s a matter of getting the audience to fall for you, and there’s nobody to help out. You, and you alone, must keep the play’s pulse moving, must make the character live.
Ah yes, the late Vince Lombardi. I can see him now, back in the black and white TV era of the 1960s. He’s standing like a statue on the sidelines on the tundra that is a Green Bay football field. Legs apart, polo coat covering his broad shoulders, absurd fedora on his head. And most of all there’s his shouting, bellowing, at anyone nearby. The refs, his own players, his assistant coaches, were all fair game, targets of his single minded drive.
He was the Bill Belichick of his time, the best-known coach in all of football. Only louder, tougher, harder to deal with.
Tuesday is the last day on the job for Raymond Bacon, co-manager of Woonsocket’s Museum of Work & Culture. Bacon’s retirement ends 16 years working at the museum.
Before his time at the museum, Bacon spent 30 years as a high school teacher. Before that he worked his way through college at The French Worsted Mill. That experience, Bacon said, helped connect him to the people whose lives are chronicled at the Museum of Work and Culture. He said he knew some of the people in the pictures on display.
“Sons of the Prophet” comes to Rhode Island with a pretty darn good reputation. Brown University graduate Stephan Karam’s play was a finalist for a Pulitzer Prize in 2012 and did win several awards that year. It was a favorite of Manhattan’s downtown theater crowd, too.
So, what happened?
At 2nd Story this work, which the author calls “a comedy about a guy coping with chronic pain” seems pretty much weak-kneed. Its “comedy” never really clicks; its philosophy, which seems to be that coping with the unspeakable can be nourishing, doesn’t seem real, or true.
As a 10-year-old child, Howard Phillips Lovecraft would tuck himself into his grandfather’s library and read. Lovecraft’s father had gone mad and his mother eventually would too, making his wealthy grandfather – and all of those books –the center of Lovecraft’s world. Then his world fell apart. Lovecraft’s grandfather died and the estate was badly managed, wiping away his comfortable life in Providence. To earn much needed income Lovecraft, at 13-years-old, carefully crafted astronomy pamphlets and sold them, essentially starting his career as a published writer.
This latest “Up Close” offers dances from the 19th century to world premieres. Topics range from a smartly funny, and goofy, piece called “Tea Time” to a heart-rending vision of the end of life. The music? Well, that goes from Igor Stravinsky and Gustav Mahler to Ray Charles and Jacques Brel.
The dancing by Festival’s best is, generally, at a high level. And, of course, in that rehearsal room the dancers are right there in front of you.
Yes, you could figure that “Les Mis” might be just a tad over-saturated these days.
Many have seen it at least once. Or, they’ve heard the wonderful score.
But, you know what? “Les Mis” is still worth seeing, worth being affected by, worth pondering for its immense world view. And the production opening the season at Ocean State is a first-rate effort. No, it doesn’t have the great turntable racing the pace on stage. It hasn’t reached the incredible settings of Broadway or top flight road shows.