“The casting of Jack Hunter and Adriano Gatto is brilliant.” – Anthony Chase, theatretalkbuffalo.com

By Anthony Chase

The theater is driven by empathy. How deliciously complicated that becomes when the central figure of the play is Richard III or Richard Nixon! The current Irish Classical Theatre production of Peter Morgan’s 2006 play, Frost/Nixon, taunts us with the suggestion that one of the most despised American presidents of all time might have rescued his place in history with a convincing television appearance.

The play follows the planning, production, and airing of a series of interviews conducted by British journalist David Frost with disgraced Richard Nixon in 1977. Nixon had resigned from the presidency in 1974, rather than face impeachment and removal from office in the wake of the Watergate scandal.

The appeal of the play is the tension created during the planning and preparation for the interviews, and in the battle between Frost and Nixon for each to make or break his reputation while millions watched on television. The metaphor of a boxing match is evoked in the play and made visually literal by Brian Cavanagh’s handsome set, which frames the action in a kind of boxing ring, a square platform painted with a stars and stripe motif. Using this flexible stage area, the production makes dynamic use of the circular Andrews Theatre stage.

The Irish Classical production of Frost/Nixon opens at a time when we have a president who clearly understands the power of television, but has not been having a very good week. It is valuable to recall that historically, Nixon also understood the power of television. In fact, he knew television as well as David Frost did. He had famously salvaged his career with a televised 1952 speech in which he endeared himself to the American people by evoking his modest means; his loving wife, Pat (who appeared on camera); and by insisting, amidst charges of improper campaign financing, that he would keep the gift of a black and white dog that his daughters had named “Checkers.” At the same time, he knew that his tendency to sweat on camera, and a five o-clock shadow that made him look haggard, damaged him terribly when he appeared in the televised 1960 presidential debates beside cool and handsome John F. Kennedy.

This is the historic background.

This production of Frost /Nixon, which Brian Cavanagh has directed as well as designed, builds on the mythological status that the actual 1977 interviews have achieved over time. The casting of Jack Hunter as Richard Nixon, and Adriano Gatto as David Frost is brilliant.

The dramatic tension of the play depends upon the ability of the audience to believe that Nixon might actually win in the court of popular opinion. The casting of Hunter, an actor who is charismatic to the point of being adorable, fuels this. The interplay between Hunter and good-looking and sincere Gatto, heightens the stakes. While the popular imagination has turned Nixon into the Richard III of American Presidents, in reality, he was a master politician. His fall from popularity, after having been reelected in a landslide, carrying 49 of the 50 states and more than 60 percent of the popular vote, was breathtaking.

Appropriately, the play begins with a reference to Aeschylus, the father of Greek tragedy. The great tragedies are stories of the arrogant and the mighty brought low by their flaws. Aeschylus was, in addition, the playwright who introduced a second actor to Greek drama, allowing for the sort of face-off that is Frost/Nixon. This is to be a clash of Titans from the age of network television.
The script is divided into two opposing camps. On one side we have David Frost; his producer, John Birt, played by David Lundy; two researchers, Jim Reston, played by Adam Yellen, and Bob Zelnick, played by Matt Witten; and Frost’s girlfriend, played by Renee Landrigan. These are the protagonists.

On the opposing side, our antagonists are Richard Nixon; his agent Swifty Lazar, played by Ray Boucher; and Nixon’s post-presidential chief of staff, Jack Brennan, played by Peter Palmisano.
Assorted other characters are nimbly played by Jamie O’Neill (with occasional appearances by Boucher and Landrigan). Yellen and Palmisano’s characters also serve as narrators.
The machinery of the play is simple yet clever. Even knowing that history will not be kind to Nixon, we watch the thrust and parry with rapt attention. The laughter and the wincing in the audience are equally palpable. The acting ensemble is perfection.

The 2007 Broadway production of the play, a London transfer with original stars Michael Sheen as Frost and Frank Langella as Nixon, made generous use of technology, video screens and such. It was thrilling and the actors were marvelous. Langella picked up the third of his four Tony Awards. By contrast, other than a fine sound design by Tom Makar that amps up volume during the interviews and punctuates dramatic moments, and light by Cavanagh, this production is low tech. The emphasis is placed squarely and unforgivingly on Gatto and Hunter as they duke it out for our empathy. Particularly in the intimate space of the Andrews theater, this strategy is also thrilling.

Costume designer Kari Drozd and hair and make-up designer Susan Drozd have had a field day defining the characters visually while recreating the fashions of the period.

Hunter is excellent as Nixon. Deploying the charm of the expert politician, he toys with us, flirting around our knowledge that, yes, this man is a crook. (It can’t be a spoiler to report the historic fact that these interviews culminated with Nixon’s declaration that the President is above the law, and his admission that he participated in a cover-up of the Watergate burglary).

Gatto is his equal, imbuing Frost with the intellect and drive of an ace journalist, but also the flaws of a playboy and bon vivant. We deeply want him to win.

The interplay between the faces of these two actors is splendid. Cavanagh has the actors switch seats in the alternating scenes, so depending upon where you sit, you may be looking squarely at the face of Frost, or at the face of Nixon. This approach effectively creates the impression of looking at television close-ups.

I adored seeing Gatto, as Frost, become numb and sleepy during Nixon’s endless answers in their early exchanges. I was especially pleased that I was looking into his face when he reacted to Nixon’s famous assertion that “When the President does it, that means it’s not illegal!”

Similarly, as Nixon, Hunter’s frustratingly impenetrable smile evokes delighted giggles. His failed efforts not to react when Frost delivers an unwelcome question are also amusing. Hunter effects the man’s gradual disintegration artfully.

A character that I do not particularly remember from seeing the play in 2007, but who pops vividly here, is Reston. As played by Yellen, this is an impassioned but principled man who, in some ways, emerges as the main character of the piece. He is the narrator through whom we come to understand the story, and Yellen plays him simply and believably in a way that boosts the power of the performance. In this tale of the fall of Goliath, Yellen provides a second David.

Of course, no villain is purely evil; no hero is without flaws. Two other characters serve to deepen our understanding of Frost and of Nixon, by providing the audience with eyes that see the good in each man.
Renee Landrigan plays socialite Caroline Cushman, the love interest of Frost, who shows us the man in his private moments. As Brennan, Peter Palmisano gives us an admiring view of Nixon. Both Cushman and Brennan are actual historic figures.

Through Caroline, we understand Frost to be more than a superficial man who cannot control his libido. He is more than a playboy and talk show host pretending to be a serious journalist. Yes, he likes women. But after the initial sexual attraction, Frost, who was involved with a succession of high powered and highly accomplished women during his life, quickly drinks in Caroline’s intellect, and eventually accepts her reasoned insight. Through these interactions, we first realize that Frost might have the depth to disarm Nixon. Landrigan is delightful in the role. (She is also hilarious as contrasting make up artists who interact with Frost and Nixon).

Brennan, as played by Palmisano, is the character through whom we see whatever goodness Nixon possesses. His character views Frost as a lightweight and dilettante; he sees Nixon as a great man, a much-abused leader and patriot. Brennan expresses the optimistic notion that Nixon might restore his reputation and win back the love of the American people through these interviews with a silly British talk show host. As Nixon’s friend and ally we also feel the palpable hits of the man’s downfall through him. As scripted, he is an earnest man, blinded to the truth of Nixon’s flaws by his political biases. Palmisano walks this delicate path, giving the man dignity, without making him a total jerk — just a partial jerk.

Lundy, Boucher, and Witten make a skillful and engaging trio of characters. Boucher convincingly transforms himself into Swifty Lazar, an icon of the period. Lundy and Witten provide the contrasting voices that encourage and admonish Frost as he enters battle. These three talented actors create three distinct and effective character portraits.

Even knowing the historic moment in advance, Nixon’s final confession is astonishing. The genius of the play is to allow us to celebrate the tragedy of Richard Nixon’s with both exhilaration and a kind of solemnity. We empathize with his humanity, which the performance of Jack Hunter exposes, but we also feel the urgent necessity for his destruction.

Original review @ https://www.theatertalkbuffalo.com/post/into-the-ring-with-frost-and-nixon?fbclid=IwAR2WQp6BQNWaBUWj8BVQESawh-JHyqBilLbssW0-a59ROS7Mk_0qsIi7plI.

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“a political tour de force … highly entertaining … stellar cast” – Ann Marie Cusella, Buffalo Vibe

By: Ann Mare Cusella, buffalovibe.com
Posted March 2, 2019

In 1977, David Frost and Richard Nixon contracted to do a series of televised interviews covering domestic and foreign policy, Nixon’s personal life, and of course, Watergate. Frost was a hedonistic talk show host thirsting for re-entry into the lucrative American TV market, while the straight-laced Nixon was seeking a way back into relevance on the American political scene after his 1974 resignation from the presidency. Brokered by talent agent Swifty Lazar, Frost paid Nixon $600,000 plus profit participation for the interviews, an un-heard of concession and an ethical landmine. The playboy and the former president faced off during four 90-minute interviews.

Frost/Nixon, written by Peter Morgan (creator of The Crown on Netflix), explores the negotiations leading up to the interviews and the interviews themselves. Directed by Brian Cavanagh, who also designed the set and lighting, ICTC’s Frost/Nixon is a political tour de force, two hours of often witty, fascinating dialogue by an excellent cast that breaks the fourth wall to draw the audience into the tense negotiations and unfolding drama. The playwright uses this forum to explore the ethics of “checkbook journalism” and the power of television to control political and cultural narrative, as well as providing a highly entertaining evening of theater.

Set on a slightly raised platform painted with stars and stripes, the square “ring” is the centerpiece in and around which journalists, political operatives, and the two opponents plan, argue, confront, and face-off against one another.

Jack Hunter plays Richard Nixon and he is superb. His voice, intonation, and gestures all mirror Nixon, but most importantly, his performance captures the essence of the disgraced president, his cunning, his sense of inferiority and envy of those to-the-manor-born, his greed, his belief in his accomplishments, and his almost naïve curiosity about style, light-hearted fun, and sex just for pleasure. He is a brooding presence, a dour man who lacks a sense of jocularity, but shows flashes of humor. Mr. Hunter reveals all of this, showing us Nixon as a flesh and blood man, complex yet simple, self-hating and self-aggrandizing, guileful and ultimately, defeated.

Adriano Gatto also excels as Frost. He plays him with breezy charm, as a glad-hander who loves the limelight, the parties, and the women that fame afford him. At his entrance, he immediately walks to the audience shaking hands and welcoming everyone, making it clear from the beginning that he is a likeable, happy guy. Underneath that lightness, Mr. Gatto gives a picture of a man who knows what he wants and has the determination and ability under all that charm to go after it. His outward lassaiz-faire attitude belies the strength of purpose within and his killer instinct in the final interview.

Adam Yellen is excellent as the political journalist and Nixon-hater, Jim Reston. He does most of the narration and expresses great glee at the thought of nailing Nixon, and passionate frustration and anger about the profit participation and early interviews. An expert on Watergate, he is joined by Matt Witten as Bob Zelnick, the ABC News producer, both hired to research everything Watergate. Peter Palmisano is Marine-rigid as retired Col. Jack Brennan, Nixon’s post-presidency chief of staff and a stalwart defender of the president. David Lundy is Frost’s producer, John Birt, who does his best to rein in the more excessive proclivities of his star. Ray Boucher has a comic turn as the “hygiene obsessive” Swifty Lazar. Jamie O’Neill and Renee Landrigan as Frost’s girlfriend Caroline Cushing, as well as two very different make-up girls, round out the stellar cast.

At the beginning of the play Reston tells us that the Greek tragedian Aeschylus believed that the gods begrudge humans’ success and delight in causing their downfall. American politics is fraught with just such tragedies, people like Alexander Hamilton who ultimately cannot outrun their personal demons, and crash to the ground like Icarus. Richard Nixon is a prime example of this phenomenon, and Frost/Nixon at ICTC delivers a shadenfreude peek into his undoing.

3-1/2 Stars – “‘Frost Nixon'” dazzling, humorous & timely” – Ben Siegel, The Buffalo News

by Ben Siegel, Published March 2, 2019

Theater is at its best when it uses history to illuminate current times. A great historical play reminds us … that corruption is a timeless craft, that it’s always the cover-up that will get you, and that politics is all optics.

Peter Morgan’s “Frost/Nixon” checks all of these boxes, and in a dazzling new production at Irish Classical Theatre, provides great entertainment, too.

The play recounts the planning and execution of one of the greatest interviews in television history – a four-part series with British journalist David Frost and Richard Nixon … The first of those specials, focused on the Watergate scandal, drew a record-breaking 45 million viewers – still the largest television audience for a political interview – and contained Nixon’s infamous admission …that “when the president does it, that means that it is not illegal.” …

As Nixon, Jack Hunter is disarmingly personable, sometimes even cute … a portrait of a fallen man desperate to win back anyone’s trust and maybe affection. In Hunter’s successful pursuit of something new and revelatory, he is this well-prepared production’s biggest triumph.

Adriano Gatto’s Frost … wants to make great television more than anything … Gatto plays both public and private sides with great compensation, both the slick and the small. And he can interrupt Hunter’s Nixon like no other. They are a formidable match.

The rest of this cast is pitch-perfect … Peter Palmisano and Matt Witten are resolute and stern, while David Lundy and Ray Boucher are unreservedly funny. Adam Yellen, in his signature way, pokes and prods the action along with a heavy wink …

Flawless design from Tom Makar on sound, Kari Drozd on costumes, and Susan Drozd on hair …

Director Brian Cavanagh’s staging is fun and inventive …

A raised center platform serves as a pedestal for our appointment viewing; discussions on the perimeter seem to reserve major action for the center ring. Cavanagh’s sexy lighting rekindles the alluring glow of 1970s television …

It’s interesting to note that in 2019, the play feels more immediate than it must have in its 2006 debut, or even its 2008 film adaptation, before it would catch up to our very current reality – the one that makes Watergate look like a quaint flub. There’s no precedent for what’s currently unfolding, but at least there are reminders.

Read full review here.

10,000 Maniacs Benefit Concert at ICTC, Wednesday, March 20!

Limited Seating – One Night Only!
Wednesday March 20th, 7:30PM

Western New York’s very own internationally celebrated alternative band, 10,000 Maniacs, still touring nationwide and recording albums after a stellar run of 35 years, is coming to the Andrews Theatre, home of the Irish Classical Theatre Company in Buffalo NY for a very special benefit concert to raise funds to cover the costs of recording and distributing a new CD – “W.B. Yeats Poems: Words and Music.” The band will play many of their legendary numbers, including Celtic material from their “Twice Told Tales” album.

The CD is the fruit of a longtime artistic collaboration between Vincent O’Neill, Artistic Director of the Irish Classical Theatre Company, and Mary Ramsey, the storied lead singer of 10,000 Maniacs, along with their friend and internationally renowned Yeats scholar, Joseph Hassett.

The album traces the arc of Yeats’s canon of poetry, from his lyrical poems, such as “The Song of Wandering Aengus” and “The Lake Isle of Innisfree” to the powerful and haunting later poems, such as his iconic “Easter 1916.”

The reading of the poems by Vincent O’Neill, accompanied by Mary Ramsey on the violin and viola, with her exquisite a capella renderings of some of the poems, and all introduced by Joseph Hassett, combine to create a moving and unique tribute to the greatest of all Irish poets, W.B.Yeats.

Tickets to the 10,000 Maniacs Benefit Concert at ICTC on Wednesday, March 20 are $50 (General Admission) and $75 (with a pre-show Meet and Greet, VIP Seating, and a CD, W.B. Yeats Poems: Words and Music”). Click here to purchase now.

“just plain delicious fun … An Austen experience like no other.” – Ann Marie Cusella, Buffalo Vibe

By Ann Marie Cusella, buffalovibe.com, posted January 27, 2019

Sense & Sensibility at Irish Classical Theatre is still very much a Jane Austen experience, but it seems as though that lady might have ingested a steroid with her tea, or perhaps even a psychedelic or two. Playright Kate Hamill has blown it up into a mélange of stylized dialogue, extravagant gestures and accents, creative stagecraft, and just plain delicious fun. Add a stellar cast and fine direction by Chris Kelly, and you have an Austen experience like no other.

Sense & Sensibility maintains the mores of the landed gentry of Regency England regarding the roles of ladies and gentlemen and Austen’s, well, sensibility, in the story of the Dashwood sisters, while pumping up the energy level to high octane. The gossips are gossipier, even gossiping to the audience; the penurious Fanny and John are even more penurious; the obnoxious Robert Ferrars is even more obnoxious. The ten actors fly around the stage on chairs and tables with castors, wheeling from one scene to the next. They become animals and carriages and forests and…and… For instance, one scene includes three hilarious hounds.

In the center of all of this commotion are Elinor and Marianne Dashwood, beautifully played by Kristin Tripp Kelley and Renee Landrigan, each embodying the characters of their roles–Ms. Tripp Kelley the reserved, rational Elinor, and Ms. Landrigan the passionate, free-speaking Marianne.

The two sisters are of marrying age and, with their mother and younger sister, are forced to leave their home after their father’s death due to the law that does not allow women to inherit. Instead, the estate goes to their half brother, John and his wife, Fanny. Before they leave, Elinor meets the modest and bashful Edward, brother to Fanny. They connect, but there are complications. After the family moves to Devonshire, Marianne falls instantly for the dashing John Willoughby. They connect, but there are complications. And an older friend of their distant relation, Colonel Brandon, falls instantly for Marianne, but she has eyes only for Willoughby. The second act resolves all complications, of course, and everyone goes away happy, including the audience after shedding a tear or two in addition to enjoying a great deal of laughter.

Kate LoConti Alcocer is a hoot as the parsimonious Fanny and the ridiculous young woman Lucy Steele. Jenn Stafford is just as ridiculous as Lucy’s sister Anne. As Mrs. Dashwood, Ms. Stafford expresses the warmth and reserve one would imagine in a woman of her time. Ben Michael Moran is excellent as both Ferrars brothers, the humble and diffident Edward and the foppish lout Robert. He is very funny as Robert, whirling himself around the stage on a bench, expounding on the virtues of “a cottage.” Anthony Alcocer is suitably inhibited and aloof as Colonel Brandon, expressing his longing for Marianne in his eyes and in small gestures. Brittany Bassett is charming as the inquisitive young sister Margaret. Brendan Didio’s chin thrust as John Dashwood is quite entertaining, and as Willoughby, he clearly expresses that character’s charm, selfishness and self-pity. Josephine Hogan looks like she is having great fun as the main gossip and storyteller, Mrs. Jennings, as does David Lundy as Sir John Middleton and his mother.

Set Designer Dyan Burlingame set several crystal chandeliers above the stage to denote the wealth of the gentry, with the wooden chairs and tables on castors acting as the set for all the scenes. Brian Cavanagh designed the lights. Tom Makar designed the sound, which includes the music Marianne plays on an imaginary pianoforte. A. Lise Harty designed the Regency costumes.

Sense & Sensibility is a very clever, creative and modern take on the Austen oeuvre. It feels fresh and traditional at the same time and is entertaining as hell. Oops, Ms. Austen would never allow such a word to appear in her writing, nor I believe, do lovers ever kiss in an Austen novel. But this is the 21st century. And ICTC’s production of Sense & Sensibility is, after all, for 21st century audiences.

You can see it at the Andrews Theatre through February 10th.


“do see this inventive romp … and with haste.” – Cherie Messore, Buffalo Theatre Guide

By Cherie Messore, buffalotheatreguide.com on January 21, 2019

Gossipy, back-biting, smugly superior…yup, sounds like life in the British countryside, late 18th century style. This was the proverbial fodder for Jane Austen’s mill.  Kind hearted sisters stripped of their place in society, weak-willed men who don’t deserve them, and lots of smart, witty repartee make Austen’s novels a divine read and a delight on screen. Playwright Kate Hamill took the best of what we love about Austen’s “Sense and Sensibility” and Irish Classical Theatre Company put it on stage in its WNY premiere.

Not a Jane-ite you say, gentle reader?  Pray, do see this inventive, feisty, fun romp of a novel-on-stage anyway, and with haste. Director Chris Kelly and this rambunctious ensemble create stage magic with elegantly simple set pieces, handmade sound effects, and deliciously delivered dialogue.

The opening scene is reminiscent of the ‘Tower of Babel’ opening of “Godspell” and ‘The Telephone Hour’ from “Bye Bye Birdie,” but instead of dishing about Hugo and Kim, we’re introduced to the Dashwood sisters and the fate they’ll suffer because of their father’s death and their half-sister-in-law’s machinations. Hang on to your reticule, things are about to start spinning. Literally. The white-painted set pieces are on wheels and besides delivering Miss Austen’s good words, the actors are constantly moving, circling, scooting about on either tables, chairs, benches or mobilizing them. Then there are gilt frames that magically appear at propitious times, sometimes as cottage windows or carriage windows or other portals of adventure. And don’t be confused when actors flip into multiple roles which include prancing horses and rambunctious dogs. Anthony Alcocer’s one sleeve on/one sleeve off over the shoulder dual role is particularly charming.

The cast is clearly enjoying this romp and roll, too. Kristen Tripp Kelly and Renee Landrigan embrace their roles as Elinor and Marianne Dashwood, the sense and sensibility of the title respectively.  They are everything a Dashwood daughter should be: Elinor is the pragmatic one who delivers the best Jane line of the novel: “I am calm. I am my own mistress.” Landrigan is the perfect Marianne, collapsing for wont of honor and true love in one scene, and playing a mean air pianoforte in several other scenes. Listen to the music and watch her fingers: she’s really playing along with the music. Impressive.

While the rest of the cast don multiple roles, they are the constants. At time their mom is Jennifer Stafford and younger sister Margaret is winsomely played by Brittany Bassett in her ICTC debut. Kate LoConti Alcocer is despicable as Fanny Ferrars Dashwood. Josephine Hogan embraces her role as the supportive Mrs. Jennings. The menfolk of the ensemble have some of the best moments. David Lundy’s main role is John Middleton, and yes, that’s him again donning a lace shawl in other moments. Ben Michael Moran plays it all from Edward Ferrars to one proud stallion and frisky pup. Brendan Didio is John Willoughby, another ICTC debut.

When they aren’t rolling chairs and tables across stage, the troupe is the soundtrack, too. From perfectly choreographed finger snaps, thigh slaps, and palm rubbing form thunderstorms. A burst of pop tune sets a new scene, repetitive words – like chants – create the metaphoric inner turmoil. Director Kelly wrung every bit of energy from this cast for sure.

The pace on stage was constant motion, fresh and bright. If the first act dragged a bit, blame dear Miss Austen’s original script for wanting to pack in every detail where a modern author would have settled for more nuance.

“Sense and Sensibility” takes the chill off a nasty winter night. Classic literature, dynamic cast, terrific staging, perfect costumes make this show shine.


4 Stars (out of 4) – Anthony Chase, The Buffalo News – “Jane Austen through a kaleidoscope”

By Anthony Chase, Published January 19, 2019, Updated January 19, 2019

Jane Austen’s 1811 novel, “Sense and Sensibility,” spins across the stage with playful effervescence in Kate Hamill’s adaptation, now being performed at the Irish Classical Theatre Company … a whirlwind of contemporary theatricality … this may be Jane Austen, but you are free to laugh with hearty abandon.

“Sense and Sensibility” is the sprawling story of sensible Elinor and sensitive Marianne Dashwood … their father unexpectedly dies, leaving the family with precarious finances …

In typical Jane Austen fashion, the prosperity of these charming young women is now dependent upon making advantageous marriages … the hallmark of Jane Austen.  We are treated to Jane Austen as seen through a kaleidoscope of twirling images …

The production creates the illusion that everything we see is being invented spontaneously. Rainy weather is created with snapping fingers and patting of the actors’ hands against their bodies. Actors become dogs and horses; gardens and forests. … This lightness of tone permeates the production …

Kristen Tripp Kelley and Renee Landrigan are exquisite (as Elinor and Marianne Dashwood) … the central love story is really between these two sisters. The Misses Kelley and Landrigan are palpably charismatic …

Typically a leading lady, here Kate LoConti Alcocer sheds her accustomed glamor, dignity, and smoldering sexuality to play detestable Fanny Ferrars Dashwood and fortune-hunting Lucy Steele. These cartoon creations are delightful fun.

The suitors … are marvelous. … Each suffers beautifully for love … (Ben Michael) Moran, Anthony Alcocer and Brendan Didio are perfection …

Completing the ensemble of 10 are two of Buffalo’s most skillful character actors, Josephine Hogan and David Lundy … adding marvelous humor and affection to this very lovable show.

Fast-paced and irresistibly appealing, “Sense and Sensibility” provides a luxurious evening of humor and romance.


Jane Austen’s “Sense and Sensibility” by Irish Classical Theatre

4 stars (out of four)

Read full review @ https://buffalonews.com/2019/01/19/anthony-chase-irish-classicals-sense-sensibility-is-jane-austen-through-a-kaleidoscope/




Powerful … A strong production of one of Ireland’s most popular plays

3-1/2 Stars (out of 4)

by Melinda Miller, The Buffalo News

There is nothing epic about “Sive,” John B. Keane’s tragic family drama set in a small, rude farmhouse. This is a story of gritty survival, where poverty pushes people to make desperate choices with unconscionable results …

… there also are frequent moments of dark humor, the kind that is particularly Irish and especially enjoyable. And the excellent cast in Irish Classical Theatre Company’s production of the show relishes those moments, savoring Keane’s detail-rich language as they spit it across the stage at one another …

It is the story of an illegitimate orphan named Sive (Amherst High senior Kiana Duggan-Haas), who is raised by her uncle, Mike Glavin, and his wife, Mena, in the house they share with her grandmother. It is not a comfortable existence – their water comes out of a bucket, and the only warmth in the house, physical or emotional, comes from a peat-fueled fire.

… Mena (is) a desperately unhappy woman who is determined to blame others for her rough lot in life. Played with ferocious bite by Aleks Malejs, Mena barks and snaps at her mother-in-law, Nanna (played by Josephine Hogan at her crone-like best), over her affection for smoking and for Sive …

… the matchmaker Thomasheen (Ray Boucher) arrives to propose a deal: He will give the family 200 pounds in exchange for handing Sive over to marry an elderly but rich local farmer – a man old enough to be Sive’s granddad … in the rough landscape of rural Ireland, it smacks of human trafficking.

Boucher is fearless as the greedy advocate for the match, eloquently pointing out the advantages of the “arrangement,” even for Sive, who would be lady of a house … “She’ll live like a queen,” he proclaims.

But Sive loves a local boy, Liam Scuab (earnestly portrayed by Niagara U grad Peter S. Raymond), and they hope to someday marry. Their cause gets unexpected support from a pair of traveling tinkers …

(Gerry) Maher, a Buffalo stage veteran, and (Johnny) Barden, in his first professional show, play delightfully well together. While the elder tinker prophesizes of the dark fates awaiting those who would sell a child, the younger thumps on a bodhran …

David Lundy, fresh from appearing as the trainer in Irish Classical’s “Golden Boy,” is back as Sean Dota, the lecherous farmer who has his eye on Sive. Doddering and eager, this Dota is seemingly unaware that the object of his lust would have any feelings herself about the transaction.

Caught in the middle is Mike Glavin (Patrick Moltane), who laments on how impossible it is to be a good son and good husband in the same house, not to mention trying to do the right thing for his niece. Tragically, despite his moral struggles, he can’t escape the idea that “Money is the best friend a man ever had,” and the die is cast.

The action all takes place in the kitchen of the Glavin home, on an intricate set designed for full freedom of action by Brian Cavanagh. Wardrobe mistress Vivian del Bello and costume designer Bethany Kasperek get credit for the cast’s well-worn and neatly patched outfits, which added to the authenticity that director Vincent O’Neill drew out of his performers.

Click here for full review.


Theater review


3.5 stars

Strong production of one of Ireland’s most popular plays, a rural tragedy by John B. Keane powered by inescapable poverty, lust and class suffering. Presented by Irish Classical Theare Company in the Andrews Theatre, 625 Main St., through Nov. 25. For tickets, go to irishclassical.com. There are post-show talk-backs with the cast on Thursdays and free Guinness for ticket-holders in the lounge after Friday shows.


“splendid … a gripping evening of theatre” – buffalovibe.com

By: Ann Marie Cusella, buffalovibe.com | Posted September 15th, 2018

“For what shall it profit a man if he shall gain the whole world yet suffer the loss of his soul?” These biblical words from Mark 8:36, while not spoken in the play, are at the heart of Clifford Odets’ 1937 classic, Golden Boy, a tragic treatise on the moral dilemma between the overweening desire for fortune versus following one’s heart and true nature. Such is the quandary faced by Joe Bonaparte, a struggling, talented young violinist who longs to be rich, to experience more of life, and “be somebody.” He is torn between the money and glamour of being a fighter and continuing his pursuit of the music that he loves.

Set in the world of depression-era boxing, Golden Boy is given a splendid treatment by Director Fortunato Pezzimenti at Irish Classical Theatre Company. This three-act play is riveting from start to finish. Every element of the production contributes to a seamless and gripping evening of theater. Scenes change in dim blue lighting (designed by Brian Cavanaugh) while cast members take their places and quietly begin the next scene, creating a feeling of continuity as one scene flows into the next, while mood music (designed by Tom Makar) sets the tone. Nothing detracts or distracts from the main event, the struggles of Joe, Lorna and Tom, as they strive to claim their places in an unforgiving world.

The callous, lowbrow sphere of 1930s boxing is as much a character in the play as are the people who inhabit it. Boxing is a blood sport, where “pieces” of fighters are up for sale, greed is the order of the day, and the men in the ring take incredible punishment to line the pockets of promotors and maybe, maybe find glory. Odets’ hard-nosed lyrical language provides a window into this tough society, as his characters confront and parry with each other in pursuit of their dreams.

Anthony Alcocer is Joe, the brash young man who fights himself more vigorously than he fights his opponents. Mr. Alcocer gives a layered performance, transforming from youthful charm and the innocent arrogance of the untested and untried into a very angry, egotistical man, full of loathing for himself and his sport. His trainer tells him, “Your heart ain’t in fighting. Your hate is…find something to love.” When faced with the reality of what he has done to himself, his misery and naïve belief that he can somehow fix it all is heartbreaking to watch.

Cassie Cameron is a wonder as Lorna Moon, the mistress of fight promotor Tom Moody. Ms. Cameron exudes the tough-broad image—hard-boiled, seen-it-all—who is willing to settle for being wanted by the mediocre promotor because that’s the best a girl like her can hope for. She is totally believable with her Jersey accent and sharp tongue, the wise-cracking blonde who knows what’s what. When that façade cracks, Ms. Cameron exposes the vulnerability beneath. She is superb.

Christian Brandjes is Tom Moody. He plays this part very well, the sort of likeable-at-first, greedy little man in over his head, desperate to believe in his own goodness while he sells what little honor he still possesses to the thug, Fuseli.

Eric Rawski plays Fuseli with a quiet menace that he backs up with violence when thwarted. Also, in the supporting cast, David Lundy is the kind trainer, Tokio. Adam Yellen is an amusing diversion as Joe’s twitchy brother-in-law Siggie, who has some very funny go-rounds with his wife, Anna (Arin Lee Dandes), who effortlessly keeps up with him in their sparring. Rolando Martin Gomez is Joe’s father, and does not seem to really inhabit the role, at times not quite reaching the depth of feeling required. Jeffrey Coyle overplays a bit as Roxy, one of the sleazy partner’s in the Bonaparte syndicate. Steve Jakiel, Gabriel Robere, David C. Mitchell, and Gerry Maher round out this fine cast.

I saw this three-hour, three-act play on the night of Curtain Up!. The sold-out audience was glued to their seats throughout, the party outside notwithstanding. No one left Golden Boy, a testament to the brilliance and timelessness of the script and the high quality of the production. Kudos to all!

“The Three Musketeers” comes to Shea’s 710 Theatre Nov. 1-18!

Strength.  Unity.  Courage.

Through these tenets, one can always defend his beliefs.  Set in 1625, this classic tale of swashbuckling adventure explores the themes of heroism, secrets and the greatest of all – love.  Come on an epic journey with our Musketeers in this collaborative production by five local theatres – giving new meaning to “all for one and one for all.”

Presented by All For One Theatre Productions:  Irish Classical Theatre, MusicalFare Theatre, Road Less Traveled Productions, Shea’s 710 Theatre and Theatre of Youth.

This production is being performed at Shea’s 710 Theatre and is not part of ICTC’s Subscription Season.  Tickets may be purchased through Shea’s Box Office/Ticketmaster.

Ticket prices vary.  Click here for tickets.