The Fantasticks

She will be performing in her own Cabaret and doing a Q&A after a selected performance.

Stay tuned for exact times and dates to see this Broadway Star and The Fantasticks-always a favorite!

Location and Show times TBA

Rita Gardner has had a long career on and off Broadway, she is best known for originating the role of The Girl in the longest running musical of all time, The Fantasticks. Her Broadway credits include A Family Affair, Ben Franklin In Paris, 1776 and Last of the Red Hot Lovers. Most recently, she created the role of Rosie in the musical The Wedding Singer.

September 28-October 7, 2012

A Collaborative Project Between Fiddlehead Theatre and the ACLU of Massachusettes

Location and Show Times TBA

During the first act of this particular production of Pirates one phrase kept hitting my consciousness: “It’s nearly perfect.” I’ll try to keep my nit-picking to a minimum.

One critical feature of your show was that rather than caricaturing characters who are already written as caricatures, you allowed your cast to play it straight. And they all did look as though they sincerely believed in what they were doing as they let Gilbert’s dialogue and lyrics speak for themselves. This is among the “secrets” of doing G&S properly.

I’ve never been a fan of stage business during the overture. That remained true this time as well.

I was slightly disappointed when I saw in the program that there would be a mere six pirates and six maidens–and then they sang! How amazing that such a small chorus could fill the auditorium with such incredible sound! I was struck by the individual quality of each of the leading characters:

Omar Najimi’s voice is that warm baritone I’ve come to love in these shows. I was hooked even before I noticed the hardware that replaced one of his hands.

Men who play the Pirate King often “mug” or slip in “cute” or silly bits. Samuel Perwin’s Pirate King did none of that. He commanded the respect of his pirate band, and of the audience, with a twinkle in his eye, with vocal strength, and with carefully controlled body language throughout the show.

I wondered why Ruth was so fancily dressed, till the second act when she was traditionally clothed. It was then that I realized her first act costume was probably inspired by the fact that she was dressed up for Frederic’s birthday celebration! Ruth is a very special character. She’s hard and soft at the same time. Jo Jo Karlin played that character well. I felt sad for her in act one, and was impressed by her “woman scorned” portrayal during Paradox in act two. I’m always disappointed when Ruth is not played by what I’ve called a “chocolate” contralto. Jo Jo’s singing more than made up for that disappointment. Her duet with Frederic moved me to tears.

I was so glad when Mabel arrived carrying a parasol. It’s too bad that each of the women didn’t have one. Parasols are such fun to direct during the climb over rocky mountain. (Speaking of rocks, I wish that the trunks on the stage in Act 1 were piles of rocks–for a couple of reasons: They’d have been more natural places for singers to mount when it was necessary for them to be higher than the rest of the cast, and of course, it’d have been more in keeping with “…first human beings ever to have set foot…”) But back to Mabel. From the moment Heather Karwowski opened her mouth I was utterly enchanted! Vocally superb–my favorite moments of Mabel’s aria were delivered exactly as I wanted to hear them, including the interpolated high whatever-note-it-was at the end. It was easy to believe that Mabel and Frederic hit it off so well. Their interactions throughout the show–whether center stage or in the background–were quite authentic.

Michael S. Dunavent’s earnest portrayal of Frederic elevated the dramatic aspects of the show while not sacrificing the comedy. I was particularly amused by his naive glee, the “little boy of five” portrayal in a “lad of twenty-one.” I wonder if he was aware of one smattering of applause after his first act aria. How naughty of Sullivan not to have provided an opportunity for an audience to show appreciation for this song!

Ray O’Hare’s delivery of the Major General’s song was most impressive. It was clear that this major general was used to introducing himself to groups of people throughout the British Commonwealth. This is why he didn’t need that traditional pause-to-think-of-a-rhyme at the close of each verse. I always enjoy a Major General who takes himself seriously. I was not disappointed here.

I wonder if anyone else in the audience sang along (softly) with Hail Poetry. I couldn’t help myself.

Before Act 2 opened I wondered aloud if you’d commit the error which so many directors (INCLUDING MYSELF) have committed, that of costuming the the maidens in peignoirs and the Major General in a nightshirt. It wouldn’t be as big a deal had Gilbert not emphasized “so very incompletely dressed” at the end of the act. This being Victorian England none of them would so blithely have come to the chapel dressed so. Besides, I think it’s much more effective if we see them all in their nightclothes for the first time during Sighing Softly. Of course, I dried my glistening tear quickly, and went on to enjoy the second act–relieved that Mabel sang “twilight hour has passed,” rather than “midnight hour…” which is misprinted in so many scores.

Again, I was impressed by how such a minuscule chorus of Police could fill the theater with such wonderful sound. David Schrag’s sergeant was a joy to hear and to watch! (Heresy here: Though Pirates is my favorite G&S show–Patience is a close second–I’ve never been fond of the policemen’s numbers) David Schrag’s platoon delivered well, with refreshing choreography and exceptional individual facial expressions.

THANK YOU MEG for proper blocking of the entrance of The Pirate King and Ruth before Paradox. Far too many directors ignore the humor (and opportunity) in “so, I will be merciful!”

A patter song from Ruddigore does not belong in The Pirates of Penzance, but it really didn’t matter. The altered lyrics and SPECTACULAR delivery more than made up for the interruption of the show I’d come to see.

“All is prepared” is among my favorite scenes in all of Gilbert & Sullivan. You didn’t rob me of my inestimable treasure here. I wanted to cry, and I did.

I have very specific expectations for Cat-like Tread. Here, the number came close, but I was sorry that the police were not used as effectively as they could have been–I’ve seen shows where this number received four encores. We’ll talk about it one day.

The show wrapped up beautifully. From the opening of Sighing Softly to the River (done properly, of course), right up through the grand finale(made extra special by the gorgeous little duet of Mabel and Melanie Leinbach’s Edith), I was transported to another place, and sang along (again, softly) the final eight words of the show.

I left the theater wanting more. I wanted to have been around during rehearsals to BE these people who had the good fortune to play in your cast. It was such a treat to be able to see the show again five days later.

(Just an add on that he sent today after I thanked him for the review)

I’m glad it was well received. I’ve been thinking about it all day. I gasped audibly while at a Christmas open house when I realized I omitted mention of your WONDERFUL orchestra! And I guess I should have included the fact that it really was the best Pirates I’ve seen since 1976.

entire contents copyright 2011 by Tony Annicone

Fiddlehead Theatre’s current production is Gilbert and Sullivan’s “The Pirates of Penzance”. The show was their fifth collaboration together. It is wacky, irreverent and as entertaining today as it was when it first opened in 1879. It opened in New York on December 31, 1879 but a new version opened on Broadway on January 8, 1981 and ran for 817 performances. “The Pirates of Penzance” is a hilarious farce of sentimental pirates, bumbling policeman, dim-witted lovers, dewy-eyed daughters, and their eccentric Major General father who are all morally bound to the often ridiculous dictates of honor and duty. It tells the story of a young pirate apprentice named Frederic who has come to the end of his indenture period which was done by mistake. His half-deaf nurse, Ruth, had been instructed to apprentice the boy to being a pilot not a pirate. Upon turning 21, Frederic now rejoices that he has fulfilled his duties with the band of tender-hearted orphaned pirates and is now free to return to respectable society. Alas, he was born on February 29 remaining apprenticed to the pirates. Frederic who has never seen any woman except his old nurse, stumbles upon a bevy of beautiful maidens. He casts his eye on the loveliest one of all, Mabel, and falls in love with her immediately. This production features stellar professional performers from New York, Boston and beyond. It also boasts Original Broadway costumes and a professional live orchestra in a beautiful theater. Director Margaret Fofonoff, music director, Brendon Shapiro and choreographer, Kristen Kuznezov bring this 19th century show into the 21st century with a terrific group of performers who handle the tongue twisting songs and dialogue with ease, earning them a tremendous ovation at the close of the show.

Meg directs and blocks this show with ease. She also gives them plenty of shtick to do to keep the audience in stitches all night long with the cast members clever antics. The cast also executes a couple of sword fighting sequences. Brendon taught them the intricate lyrics so you can understand each and everyone of them with gorgeous harmonies in the solos, duets, trios and group numbers. One of the loveliest harmonies occurs in heavenly maidens. Brendon also conducts a spectacular 12 piece orchestra while playing the lead keyboards. Kristen taught them the dances including spectacular dancing by the pirates, maidens and Keystone Kop policemen with twirling police batons. Michael Romero is the hard working stage manager who keeps things moving smoothly all night long. The two leads in this show are Michael S. Dunavant as Frederic and Heather Karwowski as Mabel. His strong tenor voice soars especially in “Oh, Is there not one Maiden Breast” when he first meets the daughters and in the two duets with Heather, “All is Prepared” and Stay, Frederic, Stay”. Michael sings in over 17 numbers and acts as well as he sings with his comic reactions to the other characters as well as his loving expressions to Mabel and her sisters. He will be playing Matt in Fiddlehead’s next show “The Fantasticks” in March. Heather is a gorgeous brunette. Her strong, magnificent, colatura soprano voice soars during all her numbers especially “Poor Wandering One” and the two duets as well as the finale where her obligatos soar off the charts. Heather is a joy to watch and listen to all evening long and has wonderful chemistry with her leading man. She is an excellent comedienne, too.

Jo Jo Karlin plays the comic pirate maid, Ruth, who lusts after Frederic. Ruth was his slightly deaf nursemaid who gave him to the pirates by mistake years ago. She is a mezzo-soprano and is hilarious as the man chasing pirate. Jo Jo shows off her voice in “When Frederic was a Lad” and in a trio with Frederic and the Pirate King. The first is “Paradox” where they do a kick line dance and “Matter” which is sung to the Major General melody with them singing faster and faster each time. She resembles Angela Lansbury in this role only Jo Jo is much younger. The mighty Pirate King is played by baritone, Samuel Perwin. He is tall, dark and handsome. Samuel commands the stage in this role and is terrific in all his scenes. He does a splendid job as the leader of these rogues and outdoes himself in the “I Am a Pirate King” number where he shows off his topnotch voice. He also does a fantastic job in the “Paradox” and “Matter” number. Samuel sings his version at warp speed.

The biggest scene stealer of this show is Ray O’Hare as the Major-General. His version of the “I am the very Model of a Modern Major-General” is perfect as he annunciates every word distinctly so you can understand every comic moment of it. The comic gem of performance comes in the second act when he sings “Sighing Softly to the River” while dancing around the stage with a stuffed animal. The cast does a grand waltz to the finale. Ray’s strong baritone voice and comic timing also shine during his performance. Other comic performers include Omar Najmi as Samuel, the pirate lieutenant and as the sergeant of police. Omar is a tenor. He plays the pirate who loves parrots and has a hook for one of his hands while David Schrag, a bass-baritone, plays the head of the Keystone Cops police force. The girls most glorious harmonies occur in “Climbing over Rocky Mountain” and “Oh dry the glistening tear” while the men’s voices soar in “A Rollicking Band of Pirates We” and With Catlike Tread, upon on prey we steal”. Kudos to the topnotch cast and crew who helm this well done production of “The Pirates of Penzance”. So be sure to catch this show before time runs out. It is one of the best versions of Gilbert and Sullivan that I have seen.

“The Pirates of Penzance” (9 – 18 December)

December 9,10,11 (SOLD OUT),15,16,17,18-Thursday at 7:30, Friday and Saturday at 8pm and Sunday at 2pm. (Note: the Dec 11 show is sold out)

Ticket Prices-$25 Adults, $22 for children and seniors.

To order call 781-329-1901, or to order tickets online please click on this link:  www.mktix.com/fhtc

All performances take place at 619 High St. Dedham, a vintage playhouse (white church between The District Court and the Post Office)