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Review by Joe Siegel

“Small Mouth Sounds,” Wilbury Theatre Group’s latest production, features people who spend a lot of time not speaking.

Playwright Bess Wohl came up with a unique premise: a retreat in the woods where six strangers gather to heal themselves from various traumas. An unseen mental health counselor (Jennifer Mischley) leads the group through a series of exercises.

“It’s the best kind of vacation,” the counselor tells them.

Ground rules are explained: no alcohol, no cell phones, no smoking, and no bringing food to your rooms. And most important of all, no talking.

Not surprisingly, every single one of these rules is eventually broken.

The cast, which includes Beth Alianiello, Harry Aspinwall, Olivia Hodson, Amie Lytle, and Dave Rabinow, were given a huge challenge. They play these roles competently, using physical gestures and sounds to convey pleasure, pain, anger, you name it.

The participants are assigned two to a cabin. Set designer Keri King constructed three multi-level see-through square boxes, side by side on the stage. There are fir trees all around. The sound effects (babbling streams, falling rain, the growls of an otherworldly beast) enhance the sense of isolation.

One character sits on their bed and chants. Another pops pills. Another uses her mobile phone. Some of the characters strip down to their underwear and jump in a pond – a meaningless episode with no impact on the story.

There’s also a passionate lovemaking session, punctuated by a series of moans and groans loud enough to wake the dead.

The counselor bombards the group with New Age psychobabble about enlightenment and meeting your “true self.”

Ned (Stuart Wilson) has a comic monologue where he details a series of misfortunes: he fell while rock climbing and suffered brain damage. Then he lost his job, he found out his wife cheated on him with his brother, he got robbed, his house burned down, and he started drinking.

Job had an easy life compared to Ned.

The problem is I never felt engaged with the characters, which is a fatal flaw in a drama. Their various dilemmas are all revealed by the end, yet it’s hard to believe they learned anything or grew from their experience. Wohl makes the mistake of believing a gimmick can substitute for genuine storytelling.

“Small Mouth Sounds” is technically well made. Tanya Martin’s direction is polished. I already mentioned the wonderful set design and convincing sound effects.

If this had been intended as a satire of holistic medicine and feel-good therapy, “Small Mouth Sounds” could’ve been a lot of fun. Instead, it’s just a theatrical experiment with no point of view.

I’m sure there are plenty of people who spend a lot of money attending one of these weird health retreats. Some may find a sense of healing from the experience. If they do, good for them.

As for me, I’d prefer to avoid the mosquitos and the bears by staying home and listening to a meditation CD. Plus, indoor plumbing.

Small Mouth Sounds runs through February 15. Wilbury Theatre Group. Performances at Waterfire Arts Center, 475 Valley St., Providence, RI. Runtime is 95 minutes with no intermission. For tickets, call 401- 400-7100 or visit thewilburygroup.org.

Photos by Erin X. Smithers. Beth Alianiello, Dave Rabinow, Stuart Wilson.

The cast of Small Mouth Sounds.

By Joe Siegel

Neil Simon’s “Broadway Bound,” now being presented at the Mass Arts Center, is a semi-autobiographical depiction of his family in Brooklyn in 1949.

The show is the third in a trilogy, following “Brighton Beach Memoirs” and “Biloxi Blues.”

Simon, who is responsible for writing some of the most beloved stage comedies of all time, including “The Odd Couple” and “Barefoot in the Park,” is in top form here.

Simon’s dialogue crackles with wit and the story captures the emotional heartbreak of relationships breaking apart.

Aspiring comedy writers Eugene Jerome (Michael Scurti) and brother Stanley (Graysen Mortimer) spend hours trying to write a sketch for a radio show.

Eugene and Stanley are polar opposites in personality. Eugene is the more laid-back of the brothers. He is more focused on pursuing a romance than making it big in the entertainment world.

Stanley is highly demanding and ambitious. He quits his job selling men’s clothes and is driven to succeed.

“We’re a team,” Stanley tells a hesitant Eugene.

Meanwhile, the marriage of Eugene and Stanley’s parents, Jack and Kate, is on very shaky ground.

The cast, under the direction of Marianne Phinney, provide engaging and textured characterizations.

Scurti is likable and charming as the sharp-witted Eugene, always quick with a one-liner.

Mortimer, who appeared in another Simon play, “Laughter on the 23rd Floor,” brings an amusing comic edge as the high strung Stanley.

The interaction between Scurti and Mortimer is always convincing and compelling to watch. The brothers argue frequently as they deal with the pressures of writing.

Mark Adams gives an outstanding performance as the grandfather Ben, a cranky socialist who refuses to move to Florida to be with his wife.

Ben has had a falling out with daughter Blanche (Rachel Morandi, filling in for Margaret Girouard). Blanche is a wealthy widow living on Park Avenue.

“I miss how good we were to each other,” Blanche tells Ben, after he refuses to embrace her luxurious lifestyle.

Mike Reynolds plays Jack as a man with wounded pride, lashing out at his sons after they write a comedy sketch based on their family. Eugene and Stanley are wounded by their father’s rejection.

Laura Stevens is sympathetic and relatable as Kate deals with the impending departure of her sons (Eugene and Stanley are moving into the city after landing a contract with CBS) and the disintegration of her marriage.

In an exceptionally well-acted and well-written scene, Jack confesses to an extramarital affair.

Stevens and Reynolds refrain from over the top histrionics by simply sharing Kate and Jack’s sense of disenchantment and loss of respect for each other. It’s a sad realization a couple makes when they discover the spark of love has faded away.

Designer Ken Butler’s multi-leveled set for the Jerome house in the 1940s, features wonderful attention to detail. It feels cozy and provides a terrific backdrop for the drama.

“Broadway Bound” leaves you with a warm feeling in the heart after spending a couple hours with this quirky and very human group of characters. The Jeromes will make you laugh and cry.

Broadway Bound runs through February 8. Performances at Mass Arts Center, 888 South Main St, Mansfield, MA. Runtime is 2 hours, 25 minutes with intermission. For tickets, call 508-339-2822 or visit massartscenter.org.

Graysen Mortimer and Michael Scurti. Photos courtesy of Mass Arts Center.

Mark Adams and Michael Scurti.

by Joe Siegel

Mary Paolino is playing Maude in the offbeat comedy “Harold and Maude,” presented by The Community Players. The show will be performed from February 13 – 22 at Jenks Junior High School in Pawtucket.

Writer Colin Higgins adapted his screenplay into this hit stage play about a lonely 19-year-old boy who finally learns how to truly live when he meets a delightfully wacky octogenarian.

Paolino, who has appeared in several stage productions over the years, has embraced the character.

“I love Maude, she’s so open and adventurous and doesn’t care one bit about what people think, which is how I feel most of us would prefer to live,” Paolino explained. “She is also so accepting of other cultures, which, in these divisive times, is so great to see.”

“It has been a pleasure to work on this production,” she continued. “I had previously worked with (Director) Brad Kirton in West Bay Community Theatre’s concert version of “Cabaret,” where he played a Nazi and I was the world’s oldest Kit Kat Girl. And Noah (Martinez), who plays Harold, is so talented and fun to work with. And he is taking it in stride playing the romantic interest of a woman old enough to be his grandma. And the entire cast (including Ron Martin, Dan Curtin, Karen Gail Kessler, W. Grant Willis, Leslie Racine Martin, and Izzy Labbe) are so well-suited to their roles.”

“This spring marks 50 years for me in local theatre. In addition, I’ve done many commercials, films, TV shows and industrials,” Paolino said.

Paolino’s favorite roles include the unyielding Sister Aloysius in “Doubt” at The Community Players, and good-natured Agnes in “When We Were Young and Unafraid” at The Players – Barker Playhouse.

“I very much enjoy the camaraderie of the RI theater community. Once you work on a show with someone, you remain connected. Probably my biggest theatre activity outside of performing is attending my friends’ shows. When performing, you get to thoroughly explore a character and create a unique interpretation.”

Paolino says “Harold and Maude” has endured over the years partly because of the special relationship between the characters.

“I think due to the appeal of the (1971) film “Harold and Maude”, which became a cult classic, people of the Baby Boomer generation will definitely be intrigued by this production. And as Harold and Maude both present as “fish out of water,” I think a new generation will definitely relate to Harold’s blossoming under the encouragement of Maude.”

Harold and Maude presented by The Community Players at Jenks Auditorium, 350 Division Street, Pawtucket, RI.

Performances are scheduled for February 13, 14, 15, 20, 21 and 22 with Friday and Saturday curtain times at 7:30 pm and Sunday matinees at 2:00 pm. Tickets are $25.00 for adults and $15.00 for students (with a valid ID). Discount rates are also available for all performances for groups of 20 or more.

Courtesy of Mary Paolino.

Review by Joe Siegel

Lauren Gunderson’s “Anthropology” has a fascinating and timely premise – the use of artificial intelligence to re-create a human being.

The production, which is being presented by The Players, features outstanding performances and solid direction by Joan Dillenback.

Katie Preston plays Merril, a woman suffering from intense grief over the death of her sister Angie (Tali Russell). Using a specialized computer program, Merril creates a virtual clone of Angie.

Angie lived her life on social media, so all her deepest secrets, likes and dislikes, were available to the world.

With Angie’s assistance, Merril eventually reconciles with her girlfriend Raquel (EJ Hines), who warns her about Angie’s power.

Merril also attempts to find out what happened to Angie – by using the simulation to unlock Angie’s thoughts before she disappeared more than a year earlier.

Gunderson explores some compelling themes here, such as how people handle grief, the ways AI is impacting our lives, and the influence of social media.

Preston, Russell, and Hines are fantastic in their roles. The interplay between Merril and Angie is especially intriguing. I don’t recall seeing a computer-generated character in a play before. We only hear Angie’s voice before she appears behind a curtain in the background. The effect is mesmerizing.

Lee Rush (“Picnic”) is powerfully effective as Merril and Angie’s mother, who reacts with a mixture of horror and joy at hearing Angie’s voice.

“You’re making a horrible thing worse,” she tells Merril.

After a compelling two-thirds, “Anthropology” features a plot development (no spoilers here) which effectively undermines the entire story. It’s not that it’s implausible, but that it’s unnecessary.

It’s a shame because there is so much which is right about the play. The dialogue is witty and often profane. I think the use of the ‘F’ word sets a new record.

Ian Hudgins’ set and projections design are exquisite.

If only the last 30 minutes of “Anthropology” had maintained the quality of the first hour, this could’ve been a great play instead of a good one. The mystery of Angie is resolved, but we end up with more questions than answers.

Anthropology runs through February 1. The Players at Barker Playhouse. 400 Benefit St., Providence, RI. Runtime is 97 minutes with no intermission. For tickets, call 401-273-0590 or visit playersri.org.

Katie Preston. Photos courtesy of Samantha Hudgins.

Katie Preston, EJ Hines.

Lee Rush, Katie Preston

Review by Joe Siegel

Perhaps the most difficult thing you will ever have to deal with in your lifetime is the death of a parent. The psychological toll can be overwhelming when you attempt to comprehend the enormity of the loss.

“The Memory of Water,” now being performed by Burbage Theatre Company, is a drama about three sisters preparing for the funeral of their mother.

Allison Crews is Mary, a deeply troubled woman who encounters the ghost of her mother, Vi (Director Lynne Collinson, filling in for Carol Schlink). Mary guzzles whiskey out of a bottle and wears sunglasses in bed.

Teresa (Rae Mancini) is hopelessly neurotic and recites recipes as a way to handle the stress of planning a funeral. She also takes tranquilizers.

Catherine (Valerie Westgate), the youngest sister with a hideous sense of fashion, offers marijuana to Teresa in order to calm her down. She’s a free-spirited force of nature and boasts about the men she’s slept with.

A subplot involves Mike (Aaron Morris), Mary’s boyfriend with an ailing wife. When Mary reveals she is pregnant, Mike makes a stunning confession.

Playwright Shelagh Stephenson provides witty dialogue for the characters as they reminisce in their mother’s bedroom. Resentments from the past are brought to the surface. Secrets are shared.

“The Memory of Water” ponders the ways our memories can become distorted over time.

“Your memories aren’t the same as mine,” Vi tells Mary.

One of the best scenes has Mary, Teresa, and Catherine joyfully rummaging through Vi’s closet and trying on her clothes. The sisters lounge on the bed and share some laughs in a brief interlude from their grief.

The performances are all first-rate.

Crews (“The Curious Incident of the Dog in the Nighttime”) is compelling as Mary has to deal with a flood of dilemmas. Mary learns to find some stability and fulfillment in her life after suffering a devastating loss.

Westgate steals every scene as Catherine rages at her sisters for what she feels is unfair treatment. Catherine initially acts flippant about Vi’s death but slowly reveals the pain she has been holding onto for years. Catherine is sometimes hilarious and always exciting to watch.

Mancini is also powerfully effective as Teresa gets drunk and reveals a tragedy from Mary’s past. She also berates her long-suffering husband Frank (Brien Lang), a health food supplements salesman who travels around the world.

There’s a very funny moment when Frank reveals he hated Woody Allen’s classic film “Hannah and Her Sisters.” Teresa is horrified by his deception and they argue about a joke in the film.

Lang and Mancini play very well off each other as their marriage threatens to crack under the strain of Teresa’s selfishness.

Collinson and these performers skillfully navigate a maze of comedy and tragedy for two hours. That’s quite an accomplishment.

The Memory of Water runs through February 8. Burbage Theatre Company. 59 Blackstone Avenue. Pawtucket, RI. Runtime is 2 hours with intermission. For tickets, call 401-484-0355 or info@burbagetheatre.org.

All photos courtesy of Burbage Theatre Company.

Allison Crews, Rae Mancini, Valerie Westgate.

Allison Crews and Valerie Westgate.

Aaron Morris and Allison Crews.