The year's best and worst in theater

By Ralph HammannPrint Story | Email Story
Demonstrating the kind of work that won it the Tony award for best regional theater, the Williamstown Theatre Festival easily dominated the season with a roster of six productions out of nine on my best list. From its epic productions on the Main Stage to some small gems on the Nikos Stage, it really was the best season in years. Two out of the four productions on the main stage of the Berkshire Theatre Festival were similarly excellent (and a third had much to offer), but the Unicorn Theatre was oddly disappointing. Matters remained mostly unchanged at Oldcastle Theatre Company, but its season was at least marginally better than last. Having endured too much from their assaults on Shakespeare last season, I opted for only two trips to Shakespeare and Company — with mixed results. Another writer for this paper covered most of their other productions, as well as those at Barrington Stage, so I can’t speak for them. I suppose it says something that I felt little lure to their offerings this season. In North Adams, the Main Street Stage continued its struggle to become professional. Herewith, one critic’s delights and nightmares, with no apologies to those who think one must be charitable at this time of the year. If you want the compliments, you’ve got to take the complaints. The year’s best productions 1. “Travesties,” Williamstown Theatre Festival — Gregory Boyd directed Tom Stoppard’s grand, rattling experience that left one happily exhausted from laughter, thought and more laughter. Audacious, playful, anarchic, overwhelming, stimulating, over-stimulating, this was as good as theater gets. A travesty — or collection of travesties — of the highest order. 2. “Enemy of the People,” Williamstown Theatre Festival — In the festival’s season-closer, Gerald Freedman guided Henrik Ibsen’s skillfully wielded sledgehammer to the failures of capitalism and even democracy. Mandy Patinkin was brilliant as the quintessential outcast in this essential play about the individual’s stand against corrupt society. 3. “Peter Pan,” Berkshire Theatre Festival — directed by that Napoleon of creativity, Eric Hill, it was a fabulous flight of imagination that never subsided. Hill’s vigorous staging invited viewers to collaborate with actors and designers in bringing exquisite life to the remote worlds of Victorian England’s Bloomsbury and Neverland. The journey was lovely, comical and touching in a manner both sentimental and rueful, revelatory and darkly poignant. 4. “The Threepenny Opera” Williamstown Theatre Festival — Director Peter Hunt returned victorious to the WTF and created the perfect atmosphere for Brecht’s condemnation of his pre-World War II decadent society and our post-Enron, pre-God-knows-what decadence. The Dickensian wheels of Victorian society continued to turn the best of times into the worst of times in this epic production. 5. “Big Bill,” Williamstown Theatre Festival — Playwright A.R. Gurney continued his seven-year WTF relationship with one of the best plays of his remarkable career, a study of the life and legend of tennis star, William Tilden. “Big Bill” was a big hit and is slated to transfer to Lincoln Center. Mark Lamos directed. 6. “The Stillborn Lover,” Berkshire Theatre Festival — Directed by Martin Rabbett, Timothy Findley’s play was the dramatic equivalent of the thrillers and espionage novels of Graham Greene and John Le Carré that interweave the profession of deception with the process by which one deceives oneself and the toll exacted. Highlighted by Richard Chamberlain’s dignified, eloquent, deeply moving performance. 7. “The Tiger Lillies,” Massachusetts Museum of Contemporary Art — Strictly speaking, it may be a cabaret, but it was more theatrically electrifying than much else. Unique, disturbing, hysterical and weirdly touching in unexpected places, it was material such as Kurt Weill might write if he were crossed with Edward Gorey and the Marquis de Sade. And the deeply idiosyncratic performances might have come out of an insane asylum for the criminally gifted. 8. “Berkshire Village Idiot,” Williamstown Theatre Festival — Michael Isaac Connor’s mostly autobiographical one-man show in which he played various denizens of a tiny, rustic neighborhood. Connor’s poetic voice rang with clarity under Barry Edelstein’s imaginative direction that beautifully exploited every square foot of the set. 9. “Uncle Vanya,” Williamstown Theatre Festival — A staged reading, actually, but as acted by Austin Pendleton and Kate Burton, something of a revelation. A reminder of how Chekhov should and can be done. The year’s worst productions 1. “Mark Twain’s The Man That Corrupted Hadleyburg,” Oldcastle Theatre Company — An act of literary corruption perpetrated by Steve Gillette, Cindy Mangson and writer/director Eric Peterson, who may have called this Mark Twain’s, but never the twain did meet. 2. “Ethan Frome,” Shakespeare and Company — A sense of malaise attended this lethargic production, gracelessly written and directed by Dennis Krausnick. The sort of wooden-clogged show that could give Edith Wharton, from whose novella it was burgled, a bad name. 3. “Landscape of the Body,” Williamstown Theatre Festival — Michael Greif continued his unexplainable existence as a favored director at WTF with this dried up landscape from John Guare, who is becoming as much a chore as Greif. 4. “The Dinner Party,” Oldcastle Theatre Company — Some party. Of all the wonderful plays Simon has written, why Oldcastle sought out this forgettable third-rate sitcom material is a moot question. Rather than a repast, it remained a mere indigestible morsel, capable of inducing acid reflux. Directed by Eric Peterson. 5. “Mother of Invention,” Williamstown Theatre Festival — While I am not convinced that this play is entirely necessary or that the entirety of the play is necessary, it could never realize its potential with Estelle Parsons, who daftly dithered about with an annoying voice that resided somewhere between a drone and a whine. 6. “Enter Laughing,” Berkshire Theatre Festival — Scott Schwartz directed with an over-boiled borscht belt humor suitable for dulled palates. Burdened with a lame concept and a limp lead, “Exit Crying” would have been a better title. 7. “Assassins,” Berkshire Theatre Festival — Advertised as a black comedy (the only way most of it could work), instead, it came across too clinically contrived, as if the director, Timothy Douglas, were afraid of offending anyone. Lacking conviction and focus, he shot blanks. 8. “Damn Yankees,” Colonial Theatre — It had heart, but this was less theater than an unusual fairground event that was best attended with hot dogs and a good deal of beer. Badly miked actors tried to communicate across a wide gulf and through a foul ball screen. Foul! 9. “The Real Inspector Hound,” Main Street Stage — The critic barked. The loyal, myopic and undiscerning howled. And Stoppard got stoppered. But things are looking up: It was the least offensive of the worst. The best performances 1. Mandy Patinkin, Williamstown Theatre Festival, “Enemy of the People.” 2. David Garrison, Williamstown Theatre Festival, “Travesties.” 3. John Michael Higgins, Williamstown Theatre Festival, “Big Bill.” 4. Richard Chamberlain, Berkshire Theatre Festival, “Stillborn Lover.” 5. Kate Jennings Grant, Berkshire Theatre Festival, “Talley’s Folly.” 6. Stephen Spinella, Williamstown Theatre Festival, “Travesties.” 7. Bill Bowers, Berkshire Theatre Festival, “Peter Pan.” 8. Meredith McCasland, Oldcastle Theatre Company, “Glass Menagerie.” 9. Isadora Wolf, Berkshire Theatre Festival, “Peter Pan.” 10. Gregor Paslawsky, Williamstown Theatre Festival, “Travesties.” 11. Walter Hudson, Berkshire Theatre Festival, “Peter Pan.” 12. Melissa Errico, Williamstown Theatre Festival, “Threepenny Opera.” 13. April Nixon, Colonial Theatre, “Damn Yankees.” 14. Laurent Giroux, Williamstown Theatre Festival, “Threepenny Opera.” 15. Kali Rocha, Williamstown Theatre Festival, “ˆTravesties.” 16. Lynn Collins, Williamstown Theatre Festival, “Travesties.” 17. Tina Packer, Shakespeare & Company, “Lettice and Lovage.” 18. Michael Stuhlbarg, Williamstown Theatre Festival, “Travesties.” 19. Julian Alexander Barnett, Berkshire Theatre Festival, “Tommy.” 20. Stephanie Girard, Berkshire Theatre Festival, “Tommy.” 21. Robert Emmet Lunney, Berkshire Theatre Festival, “Landscape of the Body.” 22. Betty Buckley, Williamstown Theatre Festival, “Threepenny Opera.” 23. Rachel A. Siegel, Williamstown Theatre Festival, “Threepenny Opera.” 24. Dylan Baker, Williamstown Theatre Festival, “Under Milk Wood.” 25. Michael Isaac Connor, Williamstown Theatre Festival, “Berkshire Village Idiot.” 26. Justina Trova, Berkshire Theatre Festival, “Peter Pan.” 27. Robert Hunt, Colonial Theatre, “Damn Yankees.” 28. Diane Davis, Williamstown Theatre Festival, “Mother of Invention.” 29. Tara Franklin, Berkshire Theatre Festival, “Peter Pan.” 30. Kate Maguir, Berkshire Theatre Festival, “Peter Pan.” 31. E. Gray Simons, Berkshire Theatre Festival, “Peter Pan.” 32. Bill Tatum, Oldcastle Theatre Company, “The Dinner Party.” 33. Diane Prusha, Shakespeare & Company, “Lettice and Lovage.” 34. Michael Trainor, Main Street Stage, “The Real Inspector Hound.” 35. Lisa Murray, Main Street Stage, “The Real Inspector Hound.” The worst performances 1. Frank La Frazia, Main Street Staghe, “The Real Inspector Hound.” 2. Steve Boss, Shakespeare & Company, “Ethan Frome.” 3. Jesse Bernstein, Berkshire Theatre Festival, “Enter Laughing.” 4. Billy Taylor, Oldcastle Theatre Company, “The Man That Corrupted Hadleyburg.” 5. Daryl Kenny, Oldcastle Theatre Company, “The Dinner Party.” 6. Estelle Parsons, Williamstown Theatre Festival, “Mother of Invention.” 7. Alix Korey, Berkshire Theatre Festival, “Enter Laughing.” 8. Cyndi Logan, Oldcastle Theatre Company, “The Dinner Party.” 9. Joseph Kolinski, Colonial Theatre, “Damn Yankees.” 10. Christine Decker, Williamstown Theatre Festival, “The Glass Menagerie.” 11. Maureen O’Flynn, Colonial Theatre, “Damn Yankees.” 12. Catherine Taylor-Williams, Shakespeare & Company, “Lettice and Lovage.” 13. Joan Barber, Colonial Theatre, “Damn Yankees.” 14. Mindy Dougherty, Oldcastle Theatre Company, “The Man That Corrupted Hadleyburg.” 15. Jarlath Conroy, Williamstown Theatre Festival, “Under Milk Wood.” 16. Barbara Cardillo, Main Street Stage, “The Real Inspector Hound.” 17. Dana Ivey, Williamstown Theatre Festival, “Under Milk Wood.” 18. Elizabeth Aspenlieder, Shakespeare & Company, “Ethan Frome.” 19. Dan Duquette, Colonial Theatre, “Damn Yankees.” Best production values 1. “Threepenny Opera,” Williamstown Theatre Festival, John Conklin (set), Rui Rita (lighting), James Sampliner (music direction). 2. “Travesties,” Williamstown Theatre Festival, John Gromada (sound and music), Neil Patel (set), Judith Dolan (costumes), Rui Rita (lighting). 3. “Peter Pan,” Berkshire Theatre Festival, Tim Saternow (set), Dan Kotlowitz (lights), Olivera Gajic (costumes), Scott Killian (sound). 4. “Enemy of the People,” Williamstown Theatre Festival, John Ezell (set). 5. Under Milk Wood, Williamstown Theatre Festival, Alexander Dodge (set), Rui Rita (lights) and Linda Cho (costumes). 6. “Big Bill,” Williamstown Theatre Festival, John Lee Beatty (set). 7.” Berkshire Village Idiot,” Williamstown Theatre Festival, Derek McLane (set), Russell H. Champa (lighting). 8. “Tommy,” Berkshire Theatre Festival, Yoshinori Tanokura (costumes), Paul Hudson (set), Brian Patrick Byrne (lights), Julian Alexander Barnett (choreography). 9.”Enter Laughing,” Berkshire Theatre Festival, Beowulf Boritt (set). 10. “The Stillborn Lover,” Berkshire Theatre Festival, Michael Downs (set), Fabrice Kebour (lighting), David Murin (costumes). 11. “The Glass Menagerie, Oldcastle Theatre Company, Kenneth Mooney (set). 13. “Damn Yankees,” Colonial Theatre, Joel Revzon (music direction). Worst production values 1. Jared Coseglia and Nick Borisjuk, sound design, “Tommy,” Berkshire Theatre Festival. 2. Frank LaFrazia, lighting, “The Real Inspector Hound,” Main Street Stage. 3. Nathan Towne-Smith, lighting, “Ethan Frome,” Shakespeare & Company. 4. Jason Fitzgerald, sound design, “Ethan Frome,” Shakespeare & Company. 5. Allen Moyer, set, “Landscape of the Body,” Williamstown Theatre Festival. 6. Kris Stone, set, “Ethan Frome,” Shakespeare & Company. 7. Darrell Pucciarello, choreography, “Damn Yankees,” Colonial Theatre. 8. Michael Greif, for allowing or deciding to mike the actors in “Landscape of the Body,” Williamstown Theatre Festival. Best direction 1. Gregory Boyd, “Travesties.” 2. Eric Hill, “Peter Pan.” 3. Peter Hunt, “The Threepenny Opera.” 4. Gerald Freedman, “An Enemy of the People.” 5. Mark Lamos, “Big Bill.” 6. Barry Edelstein, “Berkshire Village Idiot.” 7. Martin Rabbett, “The Stillborn Lover.” Worst direction 1. Michael Greif, “Landscape of the Body.” 2. Eric Peterson, “The Man That Corrupted Hadleyburg” and “The Dinner Party.” 3. Dennis Krausnick, ”Ethan Frome.” 4. Timothy Douglas, “Assassins.” 5. Scott Schwatrz, “Enter Laughing.” 6. James Warwick, “Damn Yankees.” Ralph Hammann is The Advocate’s chief theater critic.
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Senior Golf Series Returns in September

Community submission
PITTSFIELD, Mass. -- The Berkshire County Fall Senior Golf series returns in September with events on five consecutive Wednesdays starting Sept. 18.
 
It is the 22nd year of the series, which is a fund-raiser for junior golf in the county, and it is open to players aged 50 and up.
 
The series will feature two divisions for each event based on the combined ages of the playing partners.
 
Golfers play from the white tees (or equivalent) with participants 70 and over or who have a handicap of more than 9 able to play from the forward tees.
 
Gross and net prices will be available in each division.
 
The cost is $55 per event and includes a round of golf, food and prizes. Carts are available for an additional fee.
 
Golfers should call the pro shop at the course for that week's event no sooner than two weeks before the event to register.
 
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