Wheelock Family Theatre: Access and Inclusion

At the final performance of ALICE, WFT regularly offers ASL interpretation for our patrons who are Deaf, and a live Audio-description for our patrons who are Blind. On this date, our pal Ona came to see the show. Ona is deaf and blind - so she got an extensive tactile tour onstage before the show began and we provided two interpreters for her. Always a big project but WFT loves Ona AND Ona LOVED the show!

 

A Review of ALICE at Wheelock Family Theatre

October 24, 2014
By: Ali Hutchinson, editor and publisher of Macaroni Kid Newton-Brookline

Last weekend, my son, friend, and I were guests of the Wheelock Family Theatre for their production of Alice.  We attended the Sunday afternoon performance which was scheduled to begin at 3:00pm.  The literature on the production recommends the show for children ages 6 and up, so I decided to leave my 4 year old son at home.  In hindsight, although he most likely would not have been able to follow along with the plot, the action and colorful costumes most likely would have captured his attention enough to keep him engaged. 

From the moment we sat down, my son began asking questions about the set.  "Why is there a bed momma? Is Alice going to start there?  What is the wood on the side for?  Will they be going up and down?"  It was exciting to see the sparks of imagination fly and the intrigue build as we waited for the show to begin. I could tell he was anticipating and wondering about the show. The set design was creative and multi-purpose.  Many pieces were used for different purposes in different scenes throughout the show.

WFT's closed captioning along the side wall for the entire script was not nearly as distracting as I had initially thought it might be.  As a matter of fact, it turned out to be quite helpful.  My second grader who is learning to read and who sometimes misinterprets words in songs was able to follow along with the characters as they spoke and sang.  I never heard, "what did she say"?  He was able to refer to the closed captioning and figure it out for himself.

The show itself quickly drew us in. Right from Alice's (Maritza Bostic) first song, I began to feel for her; able to identify with a time when I wanted to do anything except that which was expected of me.  I remember the feeling when my parents said, "Don't disappoint me". That feeling was evident on Alice's face.  Between the characters facial expressions, voices, and mannerisms, we all felt as if we suddenly became a part of this world; a friend of Alice's; and we were making this journey with her.

I was especially impressed with the young actress who plays Alice's cat Dinah(Julia Talbot), and then dons a puppet to take on the persona of the Cheshire Cat.  At only 14 years old, both her physical interpretation of a cat's behavior and her vocal deliverance of the lines were strikingly accurate and those realms of reality and fantasy began to collide.

Alice's interactions with the Mouse (William Gardiner) were especially endearing; displaying tender conversations and moments of what you imagine might go on between Alice and her father.  The scenes with the Duchess and Cook as well as the Tea Party with the Mad Hatter, Hare, and Dormouse infused physical comedy into the show. There was also action in the aisles at times.  A range of emotions are felt as Alice finally finds her garden, is disappointed as it no longer looks how she imagined, and then comes to a realization about growing up.  Even my 7 year old looked up at me at one point with tears in his eyes.  Even as a young theatre goer, he was able to be drawn into the lives and emotions of the characters.  It is truly a magical show when a performance can cross ages and generations and have the same effect on vastly different people with different experiences.

I have to mention that by far the best part of the show for my son was after it was over, when the cast lined up in the foyer and were available for pictures and autographs.  He was enamored!  And although we got pictures with almost all of the cast, I'll share just a couple. The cast does this after every Sunday afternoon show.

Here he is with Alice and then with a couple of the Flower Buds. If you hadn't considered going to see the show, consider it.  Alice runs on Friday nights at 7:30, Saturdays and Sundays at 3pm.  

Please note:  I was given press tickets to review this show for my readers.  All of the ideas and statements in this article are my own.  

A new play at the Family Theatre. And a Dad's perspective!

 

The following exchange occurs near the beginning of the movie “Shakespeare in Love”:

Philip Henslowe: Mr. Fennyman, allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.

Hugh Fennyman: So what do we do?

Philip Henslowe: Nothing. Strangely enough, it all turns out well.

Hugh Fennyman: How?

Philip Henslowe: I don't know. It's a mystery.

 

It’s not really a mystery.  It’s more like a miracle. (And, of course, only a producer could get away with saying “we do nothing.”)  I was lucky enough to witness such a miracle over the last few weeks.

 

My twelve year-old daughter Anna, had been given the opportunity to help bring a new work to life for the first time in a professional setting. She had been invited to perform as part of the Youth Ensemble in "Alice" at Wheelock Family Theatre.  Our job as parents was to make our children available for rehearsals in an ever changing environment. None of us could fully anticipate what we were getting ourselves into.

 

We felt comfortable heading into the unknown because Anna had performed in Wheelock’s production of The Hobbit last fall.  We knew that the atmosphere at WFT was professional, but mindful of the limitations of young performers - they did their best to limit the long hours and to allow the kids to get home at a reasonable hour on school nights. We also knew that Alice had been written and was to be directed by Andrew Barbato. Andrew was Bilbo last year and we knew him to be a very talented artist with a unique vision.

 

From the first table read it was evident that there was real brilliance in what Andrew had written and real talent among the performers assembled. At times, though, it really did seem like the obstacles to bringing it to life were insurmountable and disaster was imminent. Schedules, scripts and blocking changed by the day and sometimes by the hour. There never seemed to be enough time to accomplish everything. But somehow by the final dress rehearsal the cast and crew were able to present something close to Andrew’s vision.  There was no mystery to how success was achieved. The miracle was brought about by the hard work and dedication of everyone involved. Andrew kept asking the cast to give more of themselves and they rose to the occasion every single time. It was amazing to watch it all happen.

 

The experience of being able to work with seasoned professionals to put together a new show is something Anna will be able to carry with her always. All of the adults in the cast, especially Maritza Bostic (Alice) and Aubin Wise (The White Queen), treated the ensemble like valuable members of the team.

 

There were some disappointments.  Anna’s role (and that of all of the Youth Ensemble) was diminished from the original script.  She didn’t get to sing at all - which is what she enjoys doing most. We told her, “That’s show biz.  You just have to go out and do the best you can with whatever they ask you to do.” She did that to the best of her ability and she can be proud of the outcome, as can everyone involved.

-Stephen Kraffmiller

Circus Spendida at WFT

Our summer students (7-9 yrs. old) have prepared the mini-musical, CIRCUS SPLENDIDA.

Summer Play! Summer Work at WFT!

Dress rehearsal for "Alice in Wonderland" with our 7-8 year-olds.

2014 - 2015 Season!

Announcing Wheelock Family Theatre’s 2014-2015 Season

of Professional, Affordable Theatre for Every Generation

 

ALICE

October 17 – November 16, 2014

A new musical written and directed by Andrew Barbato

Based on the book “Alice’s Adventures in Wonderland” by Lewis Carroll

Musical Director: Robert L. Rucinski. Composer: Lesley DeSantis. Orchestration: Garrett Taylor. Choreographer: Carla Martinez. Scenic design: Matthew T. Lazure. Costume design: Lisa Simpson. Props Design: Marjorie Lusignan. Sound design: Roger Moore.

 

This new adaptation sends us on a fantastical coming of age adventure. Alice, relying on her wit and empathy, must negotiate the seemingly arbitrary rules of polite society; the tea parties, the poetry recitals, the croquet matches, and the important dates with royalty. In this distorted adult world of Wonderland, will Alice retain her dreams when pressured by the capricious nature of conformity?

 

 

PINOCCHIO

January 30 – February 22, 2015

Written by Steven Bogart and Wendy Lement

Directed by Steven Bogart

Based on the book “The Adventures of Pinocchio” by Carlo Colladi

Musical director/Composer: Mary Bichner. Choreographer: Patricia Manalo Bochnak. Scenic design: Cristina Todesco. Lighting Design: David Wilson. Costume design: Miranda Hoffman. Sound design: Roger Moore. Props & Puppet design: Marjorie Lusignan. Puppet Coach: Roxanna Myhrum.* .  

An original adaption, influenced by Japanese traditions of Kabuki, Noh, and Bunraku puppetry, Pinocchio will surprise and delight audiences of all ages. Mystical creatures, live musicians, and gymnastic choreography make the magical transformation of an animated puppet to a real boy, a dynamic and deeply moving experience. Despite being lured away from his loving home by promises of instant fame, fast money, and a life of fun and leisure, the impetuous Pinocchio must learn what is truly important in life.

 

THE TASTE OF SUNRISE

March 13 – 22, 2015

Directed by Wendy Lement and Kristin Johnson.

Written by Suzan L. Zeder – PART TWO OF THE WARE TRILOGY, produced with Emerson Stage (Mother Hicks) and Central Square Theatre (The Edge of Peace)

Composer: Peter Stewart. Choreographer: Patricia Manalo Bochnak. Scenic design: Janie Howland. Lighting design: Annie Weigand. Costume design: Lisa Simpson. Props design: Marjorie Lusignan. Sound design: Roger Moore.

 

This bilingual play—performed in American Sign Language and spoken English—is the second play in Zeder’s critically acclaimed Ware Trilogy; which will be produced in its entirety in collaboration with Emerson Stage and Central Square Theatre.  The Taste of Sunrise takes place in the mind and memory of Tuc, who journeys through his childhood from the fever dream that took his hearing, to the language of nature that he shares with his father, to the deaf school where his mind explodes with the discovery of sign language. Tuc meets the mysterious Nell Hicks, who heals with herbs and singing spells; Roscoe, who gives Tuc his name-sign and cultural identity; and Maizie, a wild child of deaf parents with a head full of movie palace dreams. After the death of his father, Tuc navigates the perilous path of love, loss, and language to weave a family out of wishes. An ensemble of Deaf and hearing directors, designers, and actors explore the cultural complexities of deafness with humor and compassion.

 

SHREK the MUSICAL

April 17 – May 24, 2015

Directed by Shelley Bolman

Book and Lyrics by David Lindsay Abaire. Music by Jeanine Tesori. Based on the Dreamworks film “Shrek”.

Musical director: Matthew Stern. Choreographer: Patricia Manalo Bochnak. Scenic design: Matthew T. Lazure. Costume design: Charles G. Baldwin & Lisa Simpson. Props & Puppet Design: Marjorie Lusignan. Puppet Coach: Roxanna Myhru in collaboration with Puppet Showplace Theatre. Sound design: Roger Moore.

 

The 2008 Broadway smash about a horrible ogre, a feisty princess and a garrulous donkey,  Shrek the Musical simultaneously subverts and fulfills fairy-tale expectations. With wit and a mischievous humor, we follow our misanthropic, green hero as he learns about the power of friendship and the magical nature of love; all while thwarting a dastardly villain. Based on the irreverent book by William Steig and the award-winning animated film by DreamWorks, this singing, dancing extravaganza explores the relative nature of beauty, the beguiling myth of “happily-ever-after”, and the importance of accepting yourself for who you really are.

 

Wheelock Family Theatre is a professional, non-profit theatre associated with Actor’s Equity, the union of professional actors and stage managers. Located on the campus of Wheelock College, Wheelock Family Theatre seeks to improve the lives of children and families through the shared experience of live theatre.

Audience Comments HAIRSPRAY!

In the 10 years that I have now been in Boston and attending the WFT shows each year, this production of Hairspray is the best ever! I have loved all of your shows over the years, but this production just blew me away. The beautiful harmonies (and talented belting solos) were spot on; the dancing was superb and fit the period so well (as did the costumes); and the frozen tableaux images and dancing in the audience really captivated the crowd and drew us in.

My students LOVED it! They can't wait to write their formal "professional" critiques in tomorrow's classes with me (their academic assignment after going on the trip). And just kept talking about the show right thru lunch and back at school.

AND several want to come BACK to bring their families! (One chaperone even remarked that even though he was there with his daughters today with us, he wants to get tickets to see it again on the weekend!) And when our 8th graders heard we went to see the show (and didn't take them -- they went last year when they were 7th graders to see Oliver, as is the tradition to take our 7th graders to a WFT show each year)... several said, "fine! We're going ourselves this weekend on own, since you didn't take us." Awesome! There was such a buzz from our 7th graders that other grade levels want to go, too!

It was heartwarming to overhear some of our students saying that it was great to see a show that was not "all white." Our school population is roughly 70% African & Caribbean American and they really appreciated a show that told a story that many could connect to and to their families. It has made for great discussions already. Thank you for that.

 -Meegan Turet

Academy of the Pacific Rim

Hyde Park, MA

BOSTON GLOBE "ensemble turns Hairspray into a dance party"

An irresistible score combined with an outstanding cast make the Wheelock Family Theatre’s production of “Hairspray” a highlight of the theater season.

Marc Shaiman and Scott Whitman’s musical adaptation of John Waters’s 1988 movie celebrates individuality in all its glorious forms. Shaiman’s rock score references just the right musical themes from the 1950s and ’60s while making fresh new songs that serve the musical theater storytelling format. Wittman’s lyrics are hilarious, working period-specific pop culture references into rhymes that also move the story along and develop this quirky crowd of characters.

And what a crowd they are. Director Susan Kosoff and musical director Matthew Stern have cast the show with a healthy mix of familiar faces and new talent to populate Baltimore circa 1962, and every performer seems to be inspiring the others to up their game. No fewer than three dozen performers sing, dance, and act up a storm on the Janie E. Howland’s brightly colored ’60s-style variety show set, and thanks to Kosoff’s direction and Laurel Conrad’s sleek choreography, these dancers make it look easy. Stern conducts a tight, six-piece band through the high-energy score with joyful ease.

Jenna Lea Scott (who was so good in last year’s Lyric Stage production of “Avenue Q”) delivers a Tracy Turnblad with the perfect combination of effervescence and sincerity without being cloying. Her Tracy, a big girl with even bigger hair, is as believable when she swoons over heartthrob Link Larkin as she is when she resolves to be judged for her dancing talent, not her plus size, on “The Corny Collins Show.” The earnest, unaffected way Scott turns Tracy’s demotion to special ed into an opportunity to make new friends, and learn some slick new dance moves, wins the audience’s hearts, to say nothing of her performance of “Good Morning, Baltimore” and “I Can Hear the Bells.”

Scott’s Tracy also has a warm relationship with her parents Edna (Robert Saoud) and Wilbur (Peter A. Carey), as well as her best friend Penny Pingleton (an outstanding Jennifer Beth Glick), which gives “Mama I’m a Big Girl Now” and “Welcome to the ’60s” a lot of heart — to say nothing of the soulful sound from the trio of Dynamites (Maritza Bostic, Ciera-Dawn Washington, and Kerri Wilson-Ellenberger).

Boston Conservatory student Michael Notardonato makes Link Larkin the perfect teen idol (with a killer falsetto), whose “It Takes Two” is the first of several show-stoppers. Despite his pop icon aspirations, his Link is grounded enough to fall for the no-nonsense Tracy, despite his role as arm-candy for Amber Von Tussle (Jane Bernhard), daughter of “The Corny Collins Show” producer Velma Von Tussle (Aimee Doherty).

Doherty has never sounded better (and that’s saying something), but she also makes the scheming Velma Von Tussle a charming villainess, and her castanet-like choreography for her “Miss Baltimore Crabs” nearly brings down the house.

There is not one weak link in this ensemble, so it seems almost unfair to single out performers, but Gamalia Pharms, a Wheelock regular, is inspired as Motormouth Maybelle, Jon Allen is a seductively loose-limbed Seaweed, Tyla Collier grabs our attention with her Little Inez, Cheryl McMahon is pitch perfect in multiple roles, and Mark Linehan is an appropriately slick Corny Collins.

“Hairspray” takes on some big issues, but does it with so much humor and optimism it will send you out of the theater singing and dancing for joy.

Review by Terry Byrne.
Photo by Gary Ng.
Jenna Lea Scott, Jon Allen.