'An American in Paris' dazzles at Cape Playhouse; 'American Idiot' stuns in Orleans

FALMOUTH — “The Little Mermaid” ended its week-long run at College Light Opera Company.

It was a fun night out, our reviewer writes, especially if you saw the show with children old enough to appreciate the colorful pageantry and not be afraid of Ursula the Sea Witch. At first I thought actress Rebekah Freeland was going to deliver a villainess of the “Mean Girls” variety — snarky but not scary. I was wrong. She revved up to an underwater tornado that shrieked and shook. Nice job.

Shows still running this weekend include "Green Day's American Idiot" in Orleans, "An American in Paris" at Cape Playhouse and "The Arkansaw Bear" in Harwich. Here are the reviews:

Green Day rock fans will want to see stunning 'American Idiot' in Orleans

The Academy of Performing Arts actors put “hundreds of hours” into rehearsing this ensemble piece and it really shows. Putting up this show is a coup for a community group. The small theater gives the outstanding, Tony award-winning "American Idiot" more emotional punch than ever.

This up-close, in-your-face production is painful, fragile and touched with a graceful beauty. This production was more emotional than the “American Idiot” production I saw at the Boston Opera House shortly after the show started touring.

The show: “Green Day’s American Idiot,” music by Green Day, lyrics by Billie Joe Armstrong, book by Armstrong and Michael Mayer. Performed by The Academy of Performing Arts, produced and directed by John F. Kennedy and Amy Bennett Kaser.

What it’s about: Using little dialogue and relying on the Green Day lyrics, “American Idiot” tells the story of Johnny (John Connelly), Tunny (Brian Corbett) and Will (Oli Kuehne) , who leave home to escape their demons but find the big city does little to help them accept themselves.

Content warning: The high-energy rock musical is powerful but uncensored, containing a stream of profanity, sex, drugs and other adult themes. There is loud music and flashing lights.

Highlights of the production: I hesitate to single out actors who work so very well as a group, but some moments really struck a chord: Connelly, who is also the production’s music director, plays his guitar like an extension of himself. I loved the moment when Johnny excises the part of himself (St. Jimmy played by Wil Moser) that lures him into drugs and lethargy and one of them ends up being wheeled away in a shopping cart. Also loved it when Connelly played guitar with the cello player.

Some words for the technicians: Lights and video (Maeve Moriarty) were perfect, set design (Mark Roderick) was a piled-upon-each-other mass of junk for excellent effect. A special shout-out to choreographer Shannon Rose Murphy, for keeping everyone in what looked like chaos but was actual great choreography, and for the sharp angles in the arms of gun-firing soldiers. The late Jonathan Ryder was listed as the show’s technical director.

One more note: This production is longer than the original, which came in at a neat 80-90 minutes, and this one contained more (24 numbers) music, including all the well-known Green Day favorites. Blessing and a curse, as the Academy production felt a little long and voices started to tire near the end of what was really a Green Day discography.

Go or no-go: Definitely go, so long as you are okay with the content.

If you go: 7 p.m. Thursdays through Saturdays, 2 p.m. Sundays, through Aug. 20, The Academy Playhouse, 120 Main St., Orleans, 508-255-1963, tickets are $35.

Gwenn Friss

Directed by 'So You Think You Can Dance' choreographer Al Blackstone, 'An American in Paris' at Cape Playhouse is superb theater that celebrates dance

In 2022, Cape Playhouse patrons were mega-disappointed when the anticipated run of “An American in Paris” was cut short after only five performances due to COVID-19 among the cast. Fast-forward to this summer, when the Tony-winning musical has returned to the Playhouse stage for a complete re-run, including many of the original leads. Audiences can now luxuriate in this star-struck evening of gorgeous Gershwin tunes and spectacular dance sequences.

Director/choreographer: Al Blackstone is the director and choreographer. The score is by George and Ira Gershwin. The book is by Craig Lucas.

What it’s about: The show owes both its exuberance and the air of “Where do we go from here?” to its setting on the cusp of a new beginning: We’re in Paris, just at the close of World War II.

Both the fabled city and its war-weary inhabitants are discovering a sense of rebirth from the ashes of war, as three young friends, Jerry, Adam and Henri, set out to create their brand-new schemes and hopes in a post-war world where everything seems up for grabs.  Each is separately attracted by the same lovely young Parisian dancer, who will ultimately enable each to set off in pursuit of their fledgling dreams.

Music and choreography propel the show’s central themes of love and loss, in a city recently freed from Nazi occupation. Confusions and love triangles accentuate the song-and-dance sequences as, one at a time, characters must decide whether to follow their hearts and pursue new dreams.

See it or not:  How could you not? Streaming and movies may be fine, but this evening of superb entertainment only proves that nothing can compare to live theatre. “An American in Paris” delivers on every level, from engaging performances by the three friends: Jerry (Josh Drake), Henri (Bruce Landry) and Adam (Barrett Riggins); to an evocative set designed by David Arsenault; astounding costumes (designer DW) that dazzle the eye; and a full 10-piece musical ensemble directed by Matthew Smedal that delivers the incomparable Gershwin legacy.

Highlights: This is as fine an evening of theater as I've ever seen, superbly directed and choreographed by Blackstone ― just a year later than planned. The multi-talented Blackstone, who recently embellished his career with an Emmy for choreographic feats on “So You Think You Can Dance,” appears to top each “Paris” dance number with another brilliantly constructed sequence, such as the early “I Got Rhythm,” tapped out in darkness by lantern light; the wild “Fidgety Feet” ensemble; and a stunning paean to Broadway flash and sparkle, led by Henri in “I’ll Build a Stairway to Paradise.” These and many more are topped off by the musical’s showpiece “An American in Paris” ballet, a 15-minute homage to the art of the dance, carried off to perfection by the show’s ensemble.

Interesting fact: It’s often done the other way, but in this case, Broadway’s “An American in Paris” (2015) grew from the inspiration of a much earlier movie (1951) that starred Gene Kelly and a young Leslie Caron, in her first Hollywood role.

Worth noting:  Special acclaim attends the show-stopping performance by Leigh-Ann Esty as Lise Dassin, the talented (is she ever!) Parisian dancer.

Though he attains his dream of success as a composer, Riggins deftly portrays the show’s sub-theme of wistfulness and loss.

Michael McBride (as Mr. Z, the ballet director) is a sublime performer ― watch for him in the ensemble as well.

Every move, even the set changes, is worth watching, as performers execute flaunty dance moves as they roll away the scenery. Rows of Paris windows hanging above the stage wink with warmth and light. The entire ensemble is superb.

If you go: “An American in Paris” at Cape Playhouse, Route 6A, Dennis Village, through Aug. 12. Performances are 7:30 p.m. Mondays through Saturdays, with 2 p.m. matinees on Aug. 2, 3, 9 and 10. Tickets: $54.50 to $104.50 including fees. Call the box office: 508-385-3911, or visit www.capeplayhouse.com

Barbara Clark

'The Arkansaw Bear,' staged outside in Harwich, is a humble tale about accepting death

"The Arkansaw Bear” is a classic children's play that brings life’s philosophical questions to the forefront, not only sharing a crucial message for kids but also a thought-provoking one for adults. It serves as a gentle reminder that every minute that passes us brings us closer to the inevitable. What do you want to leave behind when it’s all said and done? Does a piece of a parent live on in their child? Is a bear's legacy passed down through his dances and hats? We will all leave a mark in this world somehow.

Director and Choreographer: Rob Zapple directs the Harwich Junior Theater's production. Michael Zapple choreographs.

What it’s about: When Tish finds out her grandfather is dying, she runs away to her special tree, only to find The World’s Greatest Dancing Bear who is running from something else: death. Tish is already struggling with the concept of death and is prepared to help the bear escape. Deals are struck and stars are wished upon, but you can’t escape death. Tish learns valuable lessons about the circle of life and the Bear discovers what he wants to leave behind in this world.

Highlights of the show: The production started at 7 and concluded at the strike of 8 p.m. In that hour Ashlynn Nee as Tish brought the personality and heart to the production. Nee, 12, did a great job shifting her witty personality quickly as emotionally provoking subjects were in abundance. Tess O’Leary who plays the mime was the funniest cast member and did not say a word during the entire production.

The set design by Tristan Divincenzo was simple, yet charming. Various abstract quilt patterns hung throughout the stage. You won’t be expecting what will shine in the sky.

Go or no-go: Only go if your youngster can grasp the concept of death.

Interesting fact: This play took place on the outdoor stage located behind the theater. While the aroma of mosquito repellant filled the air, I am happy to say I had no encounter with any critters.

Tickets and showtime: Tickets are $20. The show starts at 7 p.m. and will run Tuesdays through Saturdays until Aug. 5 at the Cape Cod Theatre Company/ Harwich Junior Theatre, 105 Division St., West Harwich, 508-432-2002.

Ambermae Rivard

This article originally appeared on Cape Cod Times: 'American in Paris' and 'Arkansaw Bear' wow audiences big and small