Jeanine Kane News

The Sandra Feinstein-Gamm Theatre (The Gamm) continues its 30th anniversary season with American playwright John Guare's dark comedy The House of Blue Leaves. This multi-award-winning piece of comic chaos by the author of Six Degrees of Separation is the story of a family so obsessed with fame and the American Dream that its members are incapable of connecting with each other. Fred Sullivan, Jr. directs a crazy cast of characters including a zoo-keeper who aspires to be a songwriter (Tom Gleadow) and his wife who won't leave the house (Jeanine Kane) in a production that is by turns laughable, thought-provoking and deeply moving.

An audience member sitting by me at the Gamm's performance of Morality Play mentioned that one of the reasons she loves the company is their penchant for putting on plays that are daring, challenging and different. They do not just do the same old thing, she said, and she's absolutely correct. It is one of the characteristics of the Gamm that make it stand out among the theatrical crowd, that they take on plays that are more unique or risky than other companies might dare to produce. Morality Play is, arguably, a bit of a risk. While successful at being something unique, it is not as successful at being an entertaining, compelling or enjoyable piece of theater. Based on a novel of the same name, by Barry Unsworth, Morality Play is adapted for the stage by the Gamm's Tony Estrella. The story revolves around a roving troupe of actors, traveling the harsh English countryside in the winter of 1361. This gang of thespians are among the earliest practitioners of theater, actors who performed morality plays, one of the three major types of drama in the Middle Ages (the other two being miracle plays and mystery plays). In morality plays, a figure representing the common man, often called something like Everyman, is tempted by the personification of qualities such as Vice, Avarice or Lust, but is then saved by the appearance of, for example, Truth, Faith or Conscience. In the case of this play, our actors have just suffered the death of one of their company. Almost immediately, they meet a runaway priest who they allow to join them as a player, to take on the roles of the dead actor. Shortly thereafter, the troupe, very short on funds, arrives at a town where they will perform one of their morality plays. After that play fizzles, they decide to perform a new kind of play, one based on an actual real-life event, a true crime that has just occurred, the murder of a young boy. While doing so, they begin to solve the crime and put their own lives in jeopardy. If that sounds like an interesting idea, actors solving a crime using their powers of performance, it truly is. Unfortunately, this play is more of a collection of interesting ideas and concepts than an engaging piece of theater. Much of the play's early going feels like the Theater History 101 class that every theater major takes in college. It's as if the professor said, “Come up with a morality play and put it on for the class, just how the actors of the time would have.” And I'm willing to give Estrella and director Tyler Dobrowsky the benefit of the doubt that they have accurately recreated the feeling of the times and created an accurate and true recreation of the drama of the Middle Ages. Still, most of it is fascinating but boring and uninspired, not likely to excite many audience members, other than those who took that class in college. After getting through all of the “this is what theater was like in the 1300's” stuff (and it takes a long time), we finally reach the play's central story, the true-crime murder mystery. Unfortunately, this part of the play just demonstrates how many times we've seen all of this before. It quickly becomes an episode of C.S.I.: Broadway, with actors, instead of scientists, running around investigating and solving the crime. And in the third act, there are enough twists and turns to fill a season's worth of Law & Order episodes, with everything from corrupt heads of state to pedophiles and mysterious diseases. Yes, I realize that part of the point is that things that happened way back then are still relevant today, but in this case, they just make for a dull, predictable mystery, rather than an exciting and compelling story. One reason why it's not compelling is that we never really get to know any of these characters, not well enough to really connect with or care about them. The runaway priest, Nicholas Barber, is given a bit of backstory here and there, but not enough (he also may suffer from the fact that he is no longer the central character and narrator of the story, as he is in the novel). The “master player,” Martin Bell, also has some hints thrown his way about a possible checkered past, but not enough is provided to really make us feel for him. The other players are almost nameless and mostly interchangeable. Most of the rest of the characters, the King's Justice, for example, are just stereotypes, given no depth whatsoever, as they are only there to further the plot. Not helping is the actors milling about before the show, interacting with the audience as themselves, not in character, as far as I can tell. It adds to the feeling that we are watching Providence actors giving us a demonstration of early drama, not watching real, developed and believable people who lived at that time. Having said that, the Gamm has assembled an all-star team of some of the area's best acting talent. The dashing and charismatic Jesse Hinson makes his Gamm debut as the priest, Nicholas Barber. Hinson is masterful in the role and provides a number of the play's highlights, from his scene with the accused woman's father to another scene with the acting troupe's “whore,” who is about to get out before it's too late. Hinson makes every moment count and is impossible to not watch when he's in a scene. On the other end of the “who is the protagonist?” tug-of-war is Martin Bell, played by Tony Estrella. Bell is the leader of the troupe of actors, their motivator and moral compass, or at least he tries to be. Estrella, as usual, plays all of the nuances with skill and dexterity. At times, he is the seeker of truth and justice, and at other seems like a bit of a snake-oil salesman. It's a balancing act that he's able to pull off better than most. Our travelling troupe of performers are played by an excellent ensemble, all giving fine performances, even if they aren't ever given the chance or reason to dig very deep emotionally. Steve Kidd is a standout as Stephen, as is Elliot Peters as Springer. Jed Hancock Brainerd is also wonderful, though given a bit less to do. All three shine especially bright during the scenes when the troupe puts on their plays, from the biblical story of Adam to the true-crime tale of murder. All of the movement and physical action in those scenes is especially interesting and partly due, I assume, to Normand Beauregard, who plays one of the actors, Tobias, but is also one of the area's best fight choreographers. In what seems at times like a cast of thousands, a number of other actors appear and vanish. The wonderful Jeanine Kane, as the Innkeeper and wearing a hat she stole from Pharrell Williams, is mostly wasted. Jim O'Brien also gets little to do but does give a brilliant turn in one scene as the weaver, the father of the accused woman. And that woman herself, who is deaf and mute, is played by Clara Weishahn, providing one of the show's best performances. Her scene with Estrella, where they communicate without words, is beautiful and mesmerizing. It's unfortunate that the rest of play could not be as spellbinding or entertaining as that one scene. Instead, it relies of far too much speechifying and talking a lot about big ideas. Much of it is also heavy handed, as if they really want to make sure the audience gets the message, loud and clear. There are certainly some interesting themes and messages for the audience to ponder as they leave the theater, but the rest of the production may leave them cold and wanting more.

2014 was a powerhouse year for theater in the Ocean State. BroadwayWorld Rhode Island is pleased to feature some of the exceptional performers and artists who made this year a most memorable one on local stages.

When Pawtucket's Gamm Theatre includes Shakespeare on its season schedule, audiences know the production will meet and exceed all expectations. The company's current offering - MACBETH - is no exception to the rule. This superior staging cuts to the very core of the narrative, delving into characters' motivations and focusing on the import and resonance of Shakespeare's exquisite language.

Best of 2013 BWW Rhode Island - Critics' Picks: As Selected by Your Local Reviewers

Recently, a friend mentioned his girlfriend's exciting new "big promotion and raise." Providing more details, he added that she would now be making close to thirty-five thousand per year. This could not help but make me wonder about the state of our country's current economic and employment crises. It is clear that a "new normal" has been established in the United States, where the vast majority scrape by, just surviving, mostly by working hourly-wage, low-paying jobs. Where once the dream was a comfortable, secure, middle-class or even upper-middle-class-life, that life no longer exists for many, if not most. It's been replaced by a much less secure or comfortable existence that fewer and fewer have the hope to climb out of. This predicament is perfectly brought to very real life by David Lindsay-Abaire's play Good People, playing at the Sandra Feinstein Gamm Theatre.

The Sandra Feinstein-Gamm Theatre (The Gamm) stages the Rhode Island premiere of Good People, Pulitzer Prize-winning playwright David Lindsay-Abaire's tough, tender and seriously funny play about class divisions and the shrinking American Dream. Directed by Rachel Walshe (Anne Boleyn, Mauritius), Good Peopleruns from tonight, November 7 through December 8 at The Gamm Theatre, 172 Exchange St., Pawtucket, RI. Check out a first look below!

The Sandra Feinstein-Gamm Theatre (The Gamm) stages the Rhode Island premiere of Good People, Pulitzer Prize-winning playwright David Lindsay-Abaire's tough, tender and seriously funny play about class divisions and the shrinking American Dream. Directed by Rachel Walshe (Anne Boleyn, Mauritius), Good Peopleruns from tonight, November 7 through December 8 at The Gamm Theatre, 172 Exchange St., Pawtucket, RI.

The Sandra Feinstein-Gamm Theatre(The Gamm) stages the Rhode Island premiere of Good People, Pulitzer Prize-winning playwright David Lindsay-Abaire's tough, tender and seriously funny play about class divisions and the shrinking American Dream. Directed by Rachel Walshe (Anne Boleyn, Mauritius), Good Peopleruns from November 7 through December 8 at The Gamm Theatre, 172 Exchange St., Pawtucket, RI. Tickets are $38 and $48 (depending on day/time); preview and press performances (Nov. 7-11) are just $28. Discounts for subscribers, groups of 10 or more, seniors and students. Tickets at 401-723-4266 or gammtheatre.org.

Stories about mothers have been around for as long as...well...mothers. And with Mother's Day coming up this Sunday, it's hard not to reflect and think about our own mothers or the other mothers in our lives. Or to remember some of the stories and memories that the word 'mother' conjures up. With its production of The Beauty Queen of Leenane, The Gamm Theatre offers up an undeniably darker and arguably quite disturbing tale of one mother and how she rules her house and her daughter.

The Beauty Queen of Leenane by Martin McDonagh, directed by Judith Swift, is now running at the Gamm Theatre, May 2-June 2, 2013. BroadwayWorld has a first look at the production below.

The Sandra Feinstein-Gamm Theatre (The Gamm) concludes its 29th Season with what promises to be a hilariously comic, aggressively dark and highly entertaining production of The Beauty Queen of Leenane by Martin McDonagh. The Irish-born playwright's multi-award-winning play, called 'Riveting...and cruelly amusing' by The New Yorker, focuses on the suffocating relationship between forty-year-old spinster Maureen (Jeanine Kane) and her aging and increasingly needy mother, Mag (Wendy Overly)--two seriously flawed characters locked in mutual loathing.

Writers spend their entire careers, perhaps their entire lives, trying to find the right words. The perfect words. Those which will elevate their writing from something ordinary and dull to a lofty place among the great works of literary art. Some concepts, though, can't be so easily put into words. Cannot be defined or explained in any way that truly does them justice. Loves is one of those things and the attempt to put it into words is at the center of Tom Stoppard's The Real Thing, currently running at the Sandra Feinstein-Gamm Theatre.

The Sandra Feinstein-Gamm Theatre (The Gamm) will stage The Real Thing, British playwright Tom Stoppard's Tony-award-winning 'best play' about the nature and mystery of love. BroadwayWorld has a first look below.

The Sandra Feinstein-Gamm Theatre (The Gamm) will stage The Real Thing, British playwright Tom Stoppard's Tony-award-winning 'best play' about the nature and mystery of love.

The Sandra Feinstein-Gamm Theatre (The Gamm) will stage The Real Thing, British playwright Tom Stoppard's Tony-award-winning 'best play' about the nature and mystery of love.

Boston Playwrights' Theatre's 30th Anniversary season comes to a close with Joyce Van Dyke's story of the Armenian genocide in Deported / a dream play, presented in association with Suffolk University.

Boston Playwrights' Theatre's 30th Anniversary season comes to a close with Joyce Van Dyke's story of the Armenian genocide in Deported / a dream play, presented in association with Suffolk University.

The Modern Theatre at Suffolk University has announced the programming lineup for its Winter/Spring season, featuring inventive performances by professional local companies, critically acclaimed films and filmmakers, and stimulating conversation with celebrated artists.

Boston Playwrights' Theatre's 30th Anniversary season comes to a close with Joyce Van Dyke's story of the Armenian genocide in Deported / a dream play, presented in association with Suffolk University.