Berkshire On Stage Critics Pick Their Favorites of the 2018 Season

Some of the critics who review for – Gail M. Burns, Roseann Cane, Macey Levin, and Barbara Waldinger – have listed their favorite regional theatre productions of the past calendar year.

Because for the most part we all see and review different shows, our individual picks for our favorite shows, performers, directors, choreographers, and designers range widely across the marvelously diverse theatre offerings in the region.

Take a read and see who you agree with, then drop us a line and add your own. If we get enough responses we’ll share them here, anonymously, so that our readers get a broader picture of the regional theatre scene.


BARBARA WALDINGER: The Cake  (Barrington Stage Company)

Seared  (Williamstown Theatre Festival)

The Royale (Capital Repertory Theatre)

These plays stayed with me long after exiting the theatre.

ROSEANN CANE: The Humans (Proctors)

As I wrote about this road-company production, “I haven’t in recent memory experienced a play that so beautifully informs on so many levels, viscerally, visually, intellectually, emotionally. Joe Mantello keenly directs a devoted, loving, “average” American family, the members of which are at once torn apart and brought together by the pain of their interactions and individual inner turmoil. Karam’s writing and the cast that populates his play are so good that we are able to empathize even while flinching at certain inevitable, and often unconscious, pain these family members inflict on each other. Thanks in no small part to the playwright’s inherent kindness, this 90-minute work both defines and reminds us what it means to be human.”

GAIL BURNS: The Velocity of Autumn (Hubbard Hall) Two of our regions most skillful performers Christine Decker and Oliver Wadsworth brought humor and poignancy this story of the surprising forced reunion of a long-estranged mother and son in this memorable production.


ROSEANN CANE: The Sound Inside (Williamstown Theatre Festival)

This world premiere created a portrayal of two profoundly introverted people who struggle to find a way to ask for help. Playwright Adam Rapp and director David Cromer accomplished something extraordinary in making theater about two isolated people, a middle-aged Yale professor (Mary-Louise Parker) and a student with a roiling inner life (Will Hochman), who come together during a time of personal crisis for both. The Sound Inside triumphed in transmitting experiences of solitude, introversion, depression, and the innate human desire for connection.

BARBARA WALDINGER: Seared and Dangerous House (both Williamstown Theatre Festival)

GAIL BURNS: I agree with Roseann, The Sound Inside (Williamstown Theatre Festival) was a gripping play, sparely told, with fully embodied performances by award-winner Mary Louise Parker and newcomer Will Hochman. I found the lighting and projections subtle and evocative.


MACEY LEVIN: Anything Goes, (Sharon Playhouse)

The opening production at Sharon Playhouse is an entertaining and energetic celebration of Broadway’s enduring appeal.

On opening night there was even intermission entertainment as a crescent moon and Venus overhead seemed portentous of a new era at Sharon, which is that Sharon Playhouse is doing what it does best: high-level entertainment for the community.

Fun Home (Ghost Lit Rep)

Fun Home is not a fun play.  It is thoughtful, insightful and, ironically, entertaining.  This particular production brings these elements to the fore.

ROSEANN CANE: Ring of Fire (Capital Repertory Theatre)

Ring of Fire, a splendid celebration of the music of Johnny Cash, served up six singing, acting, dancing musicians whose ebullience was delightfully infectious. Audience hooting, hollering, and foot-stomping, not something typically encouraged in the theater, enhanced a rollicking good time.

GAIL BURNS: Stepping outside the Berkshire region, I was absolutely thrilled to see the production of Leonard Bernstein’s Peter Pan (Bard College) This score had never been professionally performed in its entirety until this thoroughly unique, outside the box production. Thank God for Leonard Bernstein’s centennial celebration!


BARBARA WALDINGER  Danielle Skraastad in Tony Kushner’s Homebody (Ancram Opera House)

Skraastad’s command of Kushner’s dense language as she created an unhappy woman with big dreams was astonishing.


MACEY LEVIN: The Aliens (Chester Theatre Company)

Ripka’s KJ is lovable despite his inability to lead a productive life; he’s not yet a vagrant though he is complacent about his place in life. Vulnerability peeks through as he reveals elements of his past.   In Barry’s hands, Jasper is is more emotional than his friend.    And, despite being uneducated, he is intellectually-oriented given his ability to write his book and his appreciation of poetry, especially by Bukowski.  Both men have a strong stage presence as does Pointrell, whose Shelmerdine (Jasper and KJ do not address him by his first name) grows from insecurity place to a firm sense of direction.  He is  awkward, but as he is inspired to read Bukowski and to call a girl he’s recently met, that adolescent quality fades.  The acting by all three is impressive.

ROSEANN CANE: Skeleton Crew (Dorset Theatre Festival)

It’s 2008, and we found ourselves inside the breakroom of the last exporting auto plant in Detroit. A decade later, we already know about the collapse of the automobile industry and the devastating effect of its bankruptcy on the city. But in this intimate setting, we experienced its effect on the lives of four individual African-American workers who have a long history with this workplace. All were superbly defined by playwright and actors, and throughout, they were real and consistently engaging.

BARBARA WALDINGER: There is a Happiness That Morning Is (Bridge St. Theatre)—the actors played professors who analyzed the poetry of William Blake and attempted to convince the dean to allow them to hold onto their jobs despite their bizarre behavior, all in rhymed couplets.

The Royale (Capital Repertory Theatre) a play so beautifully choreographed that every step, clap, and punch had to be timed perfectly, successfully simulating boxing matches without striking a single blow.

GAIL BURNS: Men On Boats, (The Acting Class with Patrick White at the Sand Lake Center for the Arts) This amateur, all-female cast knocked it out of the park in this ensemble treatment of the first Powell Expedition through the Grand Canyon on the Colorado River.Using the whole theatre, the performers and director created their own vision of how to present the show using virtually no set, but many props, most notably oars, to create a sense of place.

Three Sisters (Living Room Theatre) Lucy Caldwell’s adaptation Anton Chekhov’s 1899 play Three Sisters sets it in her native Belfast, Northern Ireland, during The Troubles of the 1990’s. Director Christopher McCann maneuvered his superb cast and the audience through four different configurations in the Carriage Barn at the Park-McCullough House, allowing the action to be revealed and concealed in intriguing ways.

Love’s Labors Lost (Shakespeare & Company) Kelly Galvin directed a cast of remarkably talented young actors who functioned both as outstanding individual performers and a cohesive whole in a delightful abbreviated version of this little-known early Shakespearean comedy. Great fun!


ROSEANN CANE: Bill Mootos in Mothers and Sons (Shakespeare & Company)

As a man surprised by a visit from his late partner’s angry, despairing mother, Katherine, Bill Mootos elegantly conveyed Cal Porter’s capacity for forgiveness. His steady, knowing portrayal, emanating loving kindness even as he steeled himself for Katherine’s resentment, graced us with a deeply affecting embodiment of a man who has learned to accept and embrace life’s changes.

BARBARA WALDINGER: Thomas Silcott in The Royale (Capital Repertory Theatre) and Hoon Lee in,Seared (Williamstown Theatre Festival)

These talented actors on top of their game created unforgettable characters while cooking meals (Hoon Lee) and boxing (Thomas Silcott)—requiring intense concentration and preparation

GAIL BURNS: Oliver Wadsworth in The Velocity of Autumn (Hubbard Hall) A warm and honest portrait of a son reunited with his estranged mother for a last ditch effort to get her to accept the reality of her aging with grace rather than with violence.


ROSEANN CANE: Annette Miller in Mothers and Sons (Shakespeare & Company)

As Katherine Gerard, who lost her son to AIDS 20 years earlier, Annette Miller played a lonely woman compelled to visit her late son’s partner. Wrestling with despair, anger, and regret, burrowing mightily through sadness and resentment, Miller’s quietly blistering performance was masterful.

BARBARA WALDINGER: Debra Jo Rupp in The Cake (Barrington Stage Company)

A daring, multi-faceted performance—comic and heartbreaking, shattering stereotypes

MACEY LEVIN: Shannon Tyo in The Chinese Lady, (Barrington Stage Company)

Ms. Tyo is charming in Afong Moy’s early years and becomes more and more reflective and harder, evaluating her past actions, as she ages.  Without a change in makeup she morphs from the 14-year-old girl to the 82-year-old woman (and even older) in her physical carriage and speech patterns.  It is a luminous, delicious performance.

GAIL BURNS: Mary Louise Parker in The Sound Inside (Williamstown Theatre Festival) Subtle and stirring, Parker held me spellbound.

Jayne Atkinson in ANN (WAM Theatre) A kick-ass performance!

Christine Decker in The Velocity of Autumn (Hubbard Hall) A finely crafted portrait of a strong woman and an artist dealing with the realities of aging.


ROSEANN CANE: Brandon Contreras in Hair (Berkshire Theatre Group)

A sexy Berger indeed, Brandon Contreras led a Tribe of joyful, exuberant young actors in this gem of a musical cherished by Baby Boomers.

GAIL BURNS:  William Michals in Peter Pan (Bard College) While covered in stage blood, this distinguished Broadway baritone played the creepiest Captain Hook EVER! Astonishing vocals!

Paul Urriola in The 25th Annual Putnam County Spelling Bee (The Theater Barn)  Urriola made William Barfee entirely human while retaining the annoying traits that make the character both instantly recognizable and hilarious.


ROSEANN CANE: Lauren Palmeri in Funny Girl (The Mac-Haydn Theatre)

I was at once curious and concerned about the actress cast as Fanny Brice in The Mac-Haydn’s production. Barbra Streisand, superstar, created a legendary portrait of Brice, and Funny Girl is the show that catapulted Streisand to international fame. But I needn’t have worried. From very early in the show, Lauren Palmeri proved herself a sensation in her own right, a triple-threat (actor/singer/dancer) to be reckoned with.

GAIL BURNS: Alexandra Foley in She Loves Me (The Theater Barn) A fine operatic soprano and an engaging performer, Foley was enchanting as the romantically inept Amalia. Her rendition of The Ice Cream Song was just as charming as it could (and should) be.


ROSEANN CANE: David Gow in Mothers and Sons (Shakespeare & Company)

David Gow’s portrayal of Will Ogden seemed effortless and natural, and the tender attachment between husbands Cal and Will was palpable, as was the love for their bright, energetic son.

BARBARA WALDINGER: These performers stood out because of their tremendous energy and ability to handle physically demanding roles, and a variety of different characters.

Mark W. Soucy and Jeorge Bennett Wilson The Royale (Capital Repertory Theatre)

Thomas Brazzle  As You Like It (Shakespeare & Company)

MACEY LEVIN: Brooks Ashmanskas in The Closet at (Williamstown Theatre Festival)

Ronnie Wilde (Brooks Ashmanskas,) a stitch as an exuberant, middle-aged gay man, arrives at the office and insists on renting the apartment.


BARBARA WALDINGER: There were so many wonderful performances in this category.  My three favorites were:

Roslyn Ruff in The Member of the Wedding (Williamstown Theatre Festival)

Ruff’s understated but powerful second act performance was the reason to see this revival.

MaConnia Chesser in As You Like It. (Shakespeare & Company)

What fun it was to see Chesser turning a male fool into a female nanny!

Nemuna Ceesay in The Cake, (Barrington Stage Company)

Ceesay’s journey from beginning to end of this serio-comic play was a lesson in acting

MACEY LEVIN: Nemuna Ceesay in The Cake at (Barrington Stage Company)

Macy is a firebrand defending her sexuality and her relationship with Jen. A charismatic Ceesay holds the stage in her scenes with both Della and Jen bringing difficult subjects to the fore.  Her opinions are bluntly stated with intensity; in her softer moments she is warm and charming.

ROSEANN CANE: Keira Naughton in Church & State (Berkshire Theatre Group)

As Alex Klein, Keira Naughton spectacularly embodied a complex, hardworking Democrat from New York who is devoted to her politics-makes-strange-bedfellows job as campaign manager of a Republican North Carolinian candidate for the Senate.


ROSEANN CANE: Will Swenson in The Royal Family of Broadway (Barrington Stage Company)

As John Barrymore stand-in Tony Cavendish, Will Swenson was delicious, all swagger and self-importance. His perfectly executed acrobatics, along with his histrionic machismo, also paid homage to Douglas Fairbanks and Errol Flynn in this lavishly entertaining musical.

GAIL BURNS: Chip Zien in The Royal Family of Broadway (Barrington Stage Company) Zien has been gracing William Finn musicals for decades, and you can see why. He is a true Broadway star.

A. J. Shively in The Royal Family of Broadway, (Barrington Stage Company) A smooth singing voice and the rubbery dance moves of Ray Bolger distinguished Shively performance.

Ali Louis Bourzgui in She Loves Me (The Theater Barn) This young Berkshire native was seen on many stages this summer, and was quite simply a stand-out in this strong cast, bringing youthful buoyancy and professional panache to the role of Arpad.

Levi Squier in She Loves Me (The Theater Barn) Squier just knocked it out of the park in the single number he appeared in. Zowee!


ROSEANN CANE: Laura Michelle Kelly in The Royal Family of Broadway (Barrington Stage Company)

Laura Michelle Kelly’s Julie was a beautiful, graceful firecracker, confident in her craft, conflicted about her love life. Her singing voice was astonishing in its range and depth, and how I wish she (along with the rest of the cast) hadn’t been mic’d.

GAIL BURNS: Alexa Renee in She Loves Me (The Theater Barn)

At The Theater Barn, young performers often appear in all three musicals, and such was the case with Alexa Renee, who played Prudie Cupp in Pump Boys and Dinettes, Ilona in She Loves Me, and then starred as Olive Ostrovsky in The 25th Annual Putnam County Spelling Bee. In total she had a great season, and was an excellent Olive, but her supporting role in She Loves Me was her best.


ROSEANN CANE: David Cromer for The Sound Inside (Williamstown Theatre Festival)

David Cromer has been quoted as saying, “I was struck by this really intangible, very-difficult-to-grasp idea that watching this play was going to be like reading prose alone in the dark with just a little lamp and a chair by yourself….We’re hoping it’s a slightly new kind of experience in the theater….I think it subverts normal expectations of watching a play.” (From an interview with Benjamin Cassidy, Williamstown Theatre Festival: Thoughts Preside in The Sound Inside, The Berkshire Eagle, June 29, 2018)

In this breathtakingly original play, Cromer brilliantly guided two actors who transmitted experiences of solitude, introversion, depression, and the innate human desire for connection.

BARBARA WALDINGER: Moritz von Stuelpnagel for Seared (Williamstown Theatre Festival)

Jennifer Chambers for The Cake, (Barrington Stage Company)

Megan Sandberg-Zakian for The Royale (Capital Repertory Theatre)

Gorgeous work:  Seared for its combination of physical action and emotional punch as art and commerce battled for supremacy;  The Cake for its powerful characterizations and uncanny ability, in our politicized times, to see both sides of a difficult situation; and The Royale for the presentational approach to its story

MACEY LEVIN: Daniel Elihu Kramer for The Aliens(Chester Theatre Company)

Director, and Chester’s artistic director, Daniel Elihu Kramer, straightforward staging recognizes that Baker’s work is more effective when it is simply allowed to happen.  Had he encumbered it with a lot of busyness it would be contrary to her intent. His characters are comfortable in the environment created by set designer Ed Check and Lara Dubin’s lighting.


ROSEANN CANE: John Rando for The Royal Family of Broadway (Barrington Stage Company)

I called John Rando “a preternaturally gifted director” in my review of The Royal Family... His direction of this sweetly silly behemoth of an old-fashioned musical gave us an evening of theater that was lavishly entertaining and very funny


ROSEANN CANE: Joshua Bergasse for The Royal Family of Broadway (Barrington Stage Company)

Joshua Bergasse’s choreography of The Royal Family… was a veritable visual feast.  As I wrote, “The energy of the entire ensemble, which included people of varying ages, shapes, and sizes, would be dizzying if it weren’t so good.”

BARBARA WALDINGER: Brian Knowlton for Damn Yankees (The Mac-Haydn Theatre)  for his ability to fit dozens of high-energy dancers on a postage stamp stage

GAIL BURNS: Jack Ferver for Peter Pan (Bard College)

Ferver, who also played Tinker Bell, created a Neverland movement-scape that often had performers dancing “together” while inches, or even yards, apart. It was astonishing and other worldly, just like Peter Pan himself.


ROSEANN CANE: Kristen Robinson for Skeleton Crew (Dorset Theatre Festival)

Skeleton Crew’s set design was as crucial as any character in the play. In my review, I wrote that “Kristen Robinson’s set design marries exceedingly well with Joey Moro’s projection design, presenting us with a naturalistic factory breakroom, complete with lockers, a table, refrigerator, and a microwave under an enormous projection screen. Between scenes the projections of an assembly line come alive, and the contrast of the human drama and the bleak, mechanical repetition is vivid and graphic.”

BARBARA WALDINGER: Tim Mackabee for Seared (Williamstown Theatre Festival)—for replicating a working restaurant kitchen, utilizing every ounce of space.

MACEY LEVIN: Wilson Chen for The Petrified Forest, (Berkshire Theatre Group)

The fittingly dingy set designed by Wilson Chin allows Auburn to create stage pictures that subtly suggest the ebb and flow of the various confrontations.  The set is also peppered by props that unmistakably denote the time period.

GAIL BURNS: Marsha Ginsberg for Peter Pan (Bard College)

On a vast chartreuse stage a (working) amusement park ride sat stage left, while stage right was open for the series of Awfully Big Adventures that comprised this unique staging of J. M. Barrie’s classic.


ROSEANN CANE: Alejo Vietti for The Royal Family of Broadway (Barrington Stage Company)

Alejo Vietti’s lush, period-perfect costumes were glorious

BARBARA WALDINGER: Govane Lohbauer for As You Like It, (Shakespeare & Company) for recreating the 1920s in the forest of Arden

GAIL BURNS: Once again, I agree with Roseann, Alejo Vietti for The Royal Family of Broadway (Barrington Stage Company) The costumes were endless and gorgeous!


ROSEANN CANE: Mike Riggs for Ring of Fire (Capital Repertory Theatre)

Mike Riggs’s lighting design enhanced the action, partnering beautifully with this blast of a show.

BARBARA WALDINGER: Matthew Richards for The Cake, (Barrington Stage Company) and Lap Chi Chu for Dangerous House (Williamstown Theatre Festival)

Richards for the fantasy sequences in The Cake, and Lap Chi Chu and his scene designer Dane Laffrey for establishing far-flung places and spaces, from London to South Africa


BARBARA WALDINGER: Palmer Hefferan for the between-scene music in Seared (Williamstown Theatre Festival), and Alexander Sovronsky for The Cake (Barrington Stage Company)

ROSEANN CANE: Rider Q. Stanton for Ring of Fire (Capital Repertory Theatre)

Kudos to Rider Q. Stanton, whose sound design skillfully and seamlessly intensified the action.

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