The Sound Track From West Side Story . . .

\Marash Girl's college classmates would love to blare the sound track of West Side Story throughout the corridors of Cabot Hall Dormitory . . . especially the second verse (see below)! A boy like that will bring you sorrow You'll meet another boy tomorrow One of your own kind Stick to your own kind! "Stick to your own kind?" Of course, that was the last thing the girls in the college dorm were interested in doing . . . But their parents? Oh, yeah! In fact, all of Marash Girl's friends in college (not one of them Armenian) would never miss a meeting of the Harvard-Radcliffe Armenian Club! Just saying . . . .

Attending Live Performances with Mummy and Daddy

Whenever Marash Girl's family attended a live performance, whether theatrical or musical, whether amateur or professional, while awaiting the rise of the curtain, Marash Girl's mother, Mummy, would always scan the list of performers, looking for the names that ended in "...ian", and upon finding those names . . . those Armenian names . . . Mummy would beam, grinning from ear to ear, so proud that Armenians were a part of the performance . . . so proud to be Armenian!

ART AND SOUL at the New Rep

A Rock and Roll enthusiasts celebrate at the Reception and Concert at the Mosessian Theatre in Watertown:  Art and Soul

Rock 'n Roll historian, acclaimed author, & prolific storyteller Peter Guralnick (photo below) was honored yesterday evening at the Mosessian Theatre.  "The Art & Soul exhibition features  professional and emerging contemporary art, as well as fan art, that is inspired by, pays tribute to or otherwise celebrates musicians, bands and music culture."

Below, Peter Guralnick signs copies of his new book, SWEET SOUL MUSIC:  RHYTHM AND BLUES AND THE SOUTHERN DREAM OF FREEDOM.

 

Above photos by Marash Girl

Man of La Mancha for Christmas . . . Really?

Looking for an uplifting evening at the theatre?  Avoid going to MAN OF LAMANCHA.  So well done by the New Rep that it leaves you wondering why they would ever perform this piece during the  Christmas season!

REGULAR SINGING: An American Family Story at the Charles Mosessian Theater

On Saturday evening, Marash Girl and her friend Helene attended REGULAR SINGING: An American Family Story at the Charles Mosessian Theater, Watertown, Massachusetts.

Heard (at the end of the performance) from the the man sitting in the row behind Marash Girl:

"I don't know about singing, but there sure was a lot of talking."

The heroes? There were none. . . simply women who battered their men (though not physically), and men who were silently depressed about the battering.

That about sums it up, folks.

P.S.  On a happier note, we finally got rain here last night!

" MOLLY SWEENEY" PERFORMED BY NEWTON NOMADIC THEATER

The Newton Nomadic Theater, a new theater company which is, by definition, "dedicated to producing simply staged, high quality theater in interesting and unconventional theater spaces in and around Newton," Massachusetts, carries the motto, "keep it simple, travel light, and move from place to place."

Yesterday evening, the Newton Nomadic Theater performed Brian Friel's "MOLLY SWEENEY", a two act play directed by Billy Melody, and starring Noni Lewis (Molly Sweeney) , Stephen Cooper (Mr. Rice), and Billy Melody (Frank Sweeney). The play, set in Ireland, was staged in a heavy Irish brogue. Presented in the living room of a private home in Waban, Massachusetts, MOLLY SWEENEY introduced us to a woman without physical sight, and to her husband and doctor, both sightless to the needs of Molly Sweeney.  Throughout the evening, Marash Girl could not help but remember growing up with her very own grandmother who (as did Molly Sweeney) became lind as an adult.  Née Yepros Kurtgusian in Marash, Turkey, she witnessed the murder of her parents in 1895 in Marash, and, (as a woman alone in Marash, with 4 children and a sister to protect,) braving World War I, the Armenian Genocide, and its aftermath, arrived in the United States only to brave another war, the war of braving the world around her without sight.

Grandma Yepros had had a raging fever which, according to the attending doctors, had no cure.  When the fever ceased, her eyesight was gone.  Her son Peter, as he told it, took her from doctor to doctor to find a cure, but the doctors said that the search for a cure was hopeless, as  Yepros's bout with the disease -- Marash Girl can't remember exactly what she had had -- had caused a raging fever, a fever which, according to the doctors, had burned and destroyed the nerves of the eye which allowed sight.

Peter remembered asking his mother how it felt to be blind.  She answered her son:  "I've lost my physical sight, but I've gained my spiritual sight,"  sight which brought her peace . . . peace with herself, her family, her God, and the world around her.

THE SNOW QUEEN at the New Repertory Theatre, Watertown, Massachusetts

The Snow Queen left Marash Girl frigid.  A tour de force meant to entertain both children and adults written by the former director of the New Rep, The Snow Queen did not entertain this adult who, frankly, grew up LOVING fairy tales.  For all the effort of the actors and the production crew -- and great effort was expended indeed (although at the talk back the actors admitted that they had had only two weeks to throw the show together), the Snow Queen did her job.  And the theatre was cold to boot!

The Beauty Queen of Lenane, presented by Newton Nomadic Theater

Last night, the Auburndale Library, the Newton Nomadic Theater presented an all too realistic performance of Martin McDonagh's THE BEAUTY QUEEN OF LEENANE . Intense acting and the intimate setting contributed to the stark and creeping horror of the destruction of two lives, perhaps three.  Presented in heavy Irish brogue (before you get to the play, you'd better practice listening to some Irish to get your ears attuned), the play slowly went from humorous, sometimes snide remarks about the English, to the psychological and physical cruelty (beyond measure) between an aging mother and her 40 year old daughter.   

Well done, indeed, folks, and you can even meet the actors while you have a glass of wine at the end of the show. (You may need one.)

Click here for performance info and tickets

TRACES, or, It doesn't pay to be a mother . . .

• LUCAS BOUTIN

• MATHIEU CLOUTIER

• HOU KAI

• LJ MARLES

• FLETCHER SANCHEZ

• RENALDO WILLIAMS

• NAOMIE ZIMMERMANN-PICHON

Les 7 doigts de la main, founded in Montreal in 2002 . . . 
Acrobats.  Young acrobats.  Young acrobats from as far away as China.  On stage at the Emerson Masjestic Theater in Boston, they introduce themselves via the microphone hanging down from the rafters, rafters from which the acrobats would soon be hanging . . .   they introduce themselves simply, by height, weight, country of origin, native language . . . If you knew nothing about them, you would not know what to expect . . . They continued to introduce themselves, all seven of them (6 men and one woman), and then the show begins.  Acrobatics the likes of which Marash Girl has never witnessed, bar none. 

Watching the performers of  "Traces", Marash Girl's heart was in her mouth, praying that God would save the young men and woman from instant death as they performed their (literally) death-defying acrobatics, knowing that there would have been no way in the world that she would have allowed her children to perform such actions that challenged gravity, that challenged God. . . But Marash Girl's friend was completely entranced -- having never been a mother, she saw only the beauty and skill and talent that these young people exhibited.

TRACES was, in the full sense of the word, awesome.

A Dancing Jester at Boston Ballet's CINDERELLA

There they were at the Boston Ballet, awaiting the curtain to open on the  performance of CINDERELLA . . . two Armenian women, one from Massachusetts, and one from California via Iran.   They unilaterally began looking through the list of dancers in the program, as most Armenians are wont to do before a performance begins, looking for names ending in 'ian . . .  and not disappointed, they found one Armenian name -- the name of the man who was dancing the role of the King's jester!  
"How perfect!" quipped Marash Boy.

Camelot at the New Rep Theatre in Watertown, Massachusetts

Camelot at Newton High School?  Is Marash Girl remembering correctly?  Didn't Susan Stone play opposite Irving Krasner, and thus, the two of them became heroes of their class?  Marash Girl played the piano in the orchestra for every rehearsal and every performance, so she couldn't be misremembering, or could she? Probably . . . what was the name of that show?

Those are the thoughts that whisked through the sieve of Marash Girl's memory when her friend offered her center front row seats to Camelot, performed by the New Rep at the Charles Mosesian Theatre in Watertown, Massachusetts.  And what a performance it was . . . . No, not the Camelot that Marash Girl remembers from high school days, but rather an incredible piece de resistance lasting 3 hours of big acting and big singing . . .

Taking their bows, l. to r.  Marc Koeck (as Lancelot), Benjamin Evett (as King Arthur), Erica Spyres (as Guenevere)

The whole cast graciously accepts applause from an enthusiastic audience at the end of the performance of Camelot.

Benefactor Charles Mosesian's photo at the entrance to the Charles Mosesian Theatre

A Shout Out for the Newport Playhouse and Cabaret Restaurant, Newport, Rhode Island

Welcoming visitors to the Newport Seaman's Church Institute is this 1930's handpainted map of Newport Harbor  

Surprise of surprises!  Dinner, theatre, cabaret, and friendly folks!

The Newport Playhouse and Cabaret Restaurant (http://www.newportplayhouse.com) is a family owned business based on the premise that all of the actors not only act on stage, but cook, serve, sing and dance.  Unbelievable talent for an unbelievable price in the heart of Newport, Rhode Island!  [Check out Friday nights when they offer a special for two!]  A magnificent buffet which is prepared on the premises greets the theater goers -- a variety of "home cooked" entrees, salads, and desserts  that cannot be beat.  Sitting at long, cafeteria style tables, the diners have the opportunity to meet and greet one another in a casual, friendly atmosphere.  Not until everyone has finished eating do the doors to the theatre open; diners leave the dining room (where later the cabaret will take place) to enter the theater -- a theater small enough so that every seat in the house is a good seat!  [Marash Girl & entourage attended, the comedy Spreading It Around by Londos D'Arrigo, which is playing from April 3 - May 25, 2013.) Bordering on slapstick, with a serious message to convey, the actors never failed to entertain, and were not "acting" but rather "living" their parts.  [The surprise was to see the very same actors later singing, dancing and joking around in the cabaret, and then later, at the end of the evening, to have them greet us at the door as we left.]  The theatre provided one of the most entertaining evenings Marash Girl has experienced in many a year. 

The cabaret after the theatre

Standup comedy at its best!

 The Newport Playhouse and Cabaret Restaurant (102 Connell Highway • Newport • Rhode Island • 02840  (401) 848-PLAY (7529) is worth the trip to Newport, Rhode Island.  And by the way, if you hesitate to go because of the price of hotels in the city, try the Seamen's Church Institute (401-847-4260), a "Seamen's Bethel" which has "welcomed Newport mariners and visitors for over 93 years" with rates less than a third of the rates of the hotels in town . . . (www.SeamensNewport.org).

Ralph Ellison, THE INVISIBLE MAN

Ralph Ellison's The Invisible Man, was no longer invisible at the Huntington Theatre's energetic performance last night in Boston, Massachusetts.  Adapted for the stage by Oren Jacoby, the performance spoke loud and clear of the travails of the black American in the first half of the 20th Century.  At one point, the white woman sitting next to Marash Girl just lowered her head into her hands in order to avoid watching, although she never did cover her ears.  And speaking of white, there were very few people of color in the audience last night.  They didn't have to go to the theatre to experience what their ancestors had.  They know of it first hand.

The Four Mrs. Hemingways

Following a dramatic first reading of Robert Pushcar's new play, The Four Mrs. Hemingways, (l.to r.) Judy Braha, (Boston University Professor of Theater, Director of Joyce Van Dyke's play, Deported),  Robert Pushcar (playwright, The Four Mrs Hemingways), Paul T Boghosian, (film and theater producer, According to Tip, Tanya and Nancy - the rock opera, The Four Mrs. Hemingways, Dr. Miss Garland), and Dick Flavin, (playwright, author of According to Tip), pose for Marash Girl's camera at Boston University.

Marash Girl was honored to be among the chosen few to experience the play The Four Mrs. Hemingways , (albeit a dramatic reading) read aloud for the very first time.  Stay tuned!

A Celtic Christmas

When Peter was a young man, the Armenians all called him "Irrrrish" (with a heavily pronounced rolled "R").  Why was that?  Well, for one thing, he was blonde with blue eyes and light skin in a sea of Armenians with dark hair, dark eyes, and dark skin. (He looked Irish!)  For another, he hung out in the "odar" community, the non-Armenian, American community.  For another, as a young boy recently arrived in this country, America meant Brighton, where he grew up in the streets with the Irish boys, where he learned their ways.  Folks were always warning his mother that she should be careful, for one day he would marry (pronounced with an Armenian accent, the word sounded like "merry" but with a heavily rolled "r" and intoned with threat) an Irrrish! (Don't forget to roll that rrr!)  

It never happened.  He married Armenian Jennie with the light brown hair (and light brown eyes and very white skin) and they lived happily ever after.  

All of this as a preface to Marash Girl's telling you about a Celtic Christmas, performed at Bentley University this past Wednesday evening.  In A Celtic Christmas, Tomáseen Foley's gentle Irish brogue brought us back to a two room cottage in the little village of Teampall an Ghleanntáin (meaning "church of the little glen"),   a village in West County Limerick, Ireland.   With warmth and humor,  he remembered the days growing up in that little village, and related those memories, especially the advice and warnings of his grandmother.  (Such expressions  as "the only eye in the spud" referring to an only child, and her recommendation to "say nothing and keep saying it", with her ultimate advice:  "We may as well enjoy ourselves; we'll be dead long enough.")  Foley regaled the audience with memories of Christmas Eve in Teampall an Ghleanntain: cleaning the house in hopes that the Holy Family, if arrived, would feel welcome; awaiting the arrival of the postman with the yearly package from America (the villagers knew that in America, Christmas was 365 days a year), a package that would contain jackets, shirts and shoes for all the family (almost every cottage in the village received a package) and an envelope of American dollar bills.  They sang and danced, 

drank and ate, played the tin whistle, steel string guitar, fiddle, accordion, the  uilleann pipes [píobaí uilleann (literally, "pipes of the elbow", the name , from the method of inflation, the national bagpipe of Ireland.]  Foley explains that because the floors were often dirt floors, and thus uneven, the family would take the wooden door off of its hinges and lay it across the floor, iron hinges still attached, for the dancers to dance on with their hobnailed boots, the iron door hinges contributing to the rhythm of the dance.

"This year, Tomáseen Foley's A Celtic Christmas features Marcus Donnelly from Co. Galway, one of the most exhilarating, truly creative Irish dancers performing today. Internationally acclaimed master of the steel-string guitar William Coulter joins in, along with vocalist and multi-instrumentalist Marianne Knight from Co. Mayo (and world-champion level Irish dancer), and Brian Bigley on uilleann pipes, whistles and flute (also a world-champion level Irish dancer)." http://www.tomaseenfoley.com

The audience joined the performers in a rendition of "Silent Night", after which the night was not silent but ringing with   applause, whistles and shouts of appreciation.

Filled with joy (as most were) at the end of the performance, and rising from the table to leave the room, Marash Girl turned around and was addressed by a youngish man who looked familiar, although Marash Girl did not know him.  He was effusive.  "I'm Irish, I am!  I'm Irish!  The show made me Irish."  "A powerful performance," Marash Girl answered, similarly inspired.  "Well, are you really Irish?" Marash Girl asked.  "No, I'm Armenian," he answered.  "Armenian?"  Marash Girl was amazed.  "Me, too! But Tomaseen has made us Irish for this one evening; as Irish as we are Armenian!"

Alice in Wonderland at the Harwich Junior Theatre, West Harwich, Cape Cod

Before the show, Iffar and Enila chat with the Court Jester on the front porch of the Harwich Junior Theatre
 as the sun goes down in the west.

It was wonderland indeed for the children attending Alice In Wonderland at the Harwich Junior Theatre (West Harwich, Cape Cod, Massachusetts) this past Thursday evening. The children never took their eyes away from the stage, nor was there ever a cry of dismay. They were, indeed, in Wonderland.  And even more wonderful was their meeting with the actors on the porch in front of the theatre after this performance of Alice In Wonderland.

A cast of all ages peopled the stage in a perfectly timed farcical performance of Alice!

Giant Alice and Miniature Alice surrounded by the playing cards and all the other characters peopling Alice's dream.

The Duchess sneezes just before she gives Enila a hug! 

Enila & Iffar with the two Alices!

Enila and Iffar chat with the 3-in-1 caterpillar after the performance.

The Queen of Hearts forgets to command, "Off with your head," as 

she takes a shine to Iffar, 

and Iffar takes a shine to her.

"Those are fake glasses, but real braces", commented Enila, as the Mad Hatter placed his hat on Iffar's crown.

Iffar sporting the hat placed on his head by the now hatless Mad Hatter.

A CHORUS LINE AT WILBRAHAM MONSON ACADEMY

On one of the most beautiful days of winter (yes, it's still winter!), Karoun began her birthday celebration with her dearest Wilbraham friends, former employer Farmer Llewellyn Merrick of Merrick Farm and Theresa Munn.  The three met at Wilbraham Monson Academy's Fisk Hall (built in 1851) where A CHORUS LINE was about to be performed by the Theatre Guild of Hampden (Massachusetts), directed by Mark Giza, choreographed by Kathleen Delaney with music direction by Tom Slowic.

Llewellyn Merrick, Karoun Charkoudian, Theresa Munn standing in front of Fisk Hall before 

A Chorus Line.

 Although it wasn't Broadway, it sure felt like it!

 The moments were indeed magical:  perhaps because the birthday party had front row seats, they felt like A CHORUS LINE was performed only for them (although there were 150 other folks watching the show along with them!)

A cast of perhaps 50 (above) pose for applause at the end of the show.


Arnaldo Rivera (Paul), one of the main characters in A CHORUS LINE (left) relaxes after the show in front of Fisk Hall.

Karoun with friends Mark & Monica Gagnon who played Al & Kristine in the show.

Karoun poses in front of Fisk Hall after enjoying the performance of A Chorus Line.

After the show, a light repast with innkeeper Llewellyn Merrick and Theresa Munn in the kitchen of the
Merrick Farm Brownstone Bed and Breakfast, 651 Main Street, Wilbraham, Massachusetts.  For reservations, call 413-596-3559.

DEPORTED: A DREAM PLAY at Suffolk University's Modern Theatre

Saturday was opening night for the new show Deported, A Dream Play by playwright Joyce Van Dyke at the new Suffolk University Modern Theatre in Boston's Theatre District   Using the vehicle of the Armenian experience, DEPORTED deals with the issues of memory, trauma, and pain that so many in the world suffer after loss of family, loss of land, loss of home, loss of joy.  Marash Girl, having seen the play in its early stages was not prepared for the emotional impact that it would take on her. The play touched on all of the realities of growing up Armenian in a post genocidal Armenian American family.  Yes, like Rose, Marash Boy had had to awaken his grandmother from screaming nightmares, a grandmother who had gone on the death march and somehow survived, but had not forgotten; a grandmother who never wanted to share the horrors of her past.  (See Marash Girl's blog, A Tale for Taraf!)  Unlike Marash Girl, Marash Boy responded to the play with joy, joy that the 'Armenian' story had finally left the annals of dusty history books and academic conferences and could now be viewed under the bright lights of the stage in this professionally written and produced drama that deals with the past, the present and the future.

Marash Girl was devastated.  Marash Girl had seen the play in its earlier forms, (click this link to see earlier blogpost) had heard the stories of the survivors first hand; nonetheless, this dramatic production grabbed her and wouldn't let her go. . . every aspect, from the set to the music to the choreography (Armenian dancing) to the costuming, to the casting, to the acting, and first and foremost, to the writing of the play.

After the performance, Marash Girl asked playwright Joyce Van Dyke:  Was this play as difficult to write as it was to watch?   Her answer:  Yes.

If you haven't seen the show yet, you must. It was truly amazing.

Take note of the following pre-performance special events:

DEPORTED / A DREAM PLAY SPECIAL EVENTS SCHEDULE

March 29, post-show talk : “One by One: Dialogue among Descendants of Genocide Survivors, Perpetrators, Bystanders and Resisters," with Dr. Wilma Busse, Director of the Counseling Center, Suffolk University.  Moderated by Paula Parnagian, President, World View Services.

March 30, 7:00-7:30 PM (play performance follows at 8:00 PM)
“The next generation: Turks and Armenians talk about the future,” with:
Ayşe Deniz Lokmanoğlu, MA candidate in Middle Eastern Studies, Harvard University;
Tsoleen Sarian, who works in politics;
Nareg Seferian, Master’s degree candidate in Politics and International Affairs, Fletcher School of Law and Diplomacy;
Ahmet Selim Tekelioğlu, Ph.D. candidate in Political Science, Boston University.
Moderated by Cynthia Cohen, Ph.D., Director of the program in Peacebuilding and the Arts, Brandeis University.

For tickets, dates and times of performances, go to http://deportedplay.org/

Playwright Joyce Van Dyke (right) and Ruth Thomasian discuss Project Save's photographs on the foyer walls of the new Suffolk University Modern Theatre on opening night of the play, DEPORTED: A DREAM PLAY.

After the show, Marash Boy (left) talks with Bobbie Steinbach, the star of DEPORTED,  in the foyer of the new Suffolk University Modern Theatre,  about the problem of reconciliation when there has been no admission of wrong, or as Marash Girl often quips, "How can we forgive something that 'never happened'?"

Cole Porter Alive and Well at the Emmanuel Church, Boston

Armand Andreassian watching the Cole Porter Review presented at Boston's Emmanuel Church last night by the Andreassian Music Fund.

The New England Light Opera (NELO), Boston area's professional operetta and musical theater company,  last night sponsored by the Andreassian Music Fund, presented the timeless songs of Cole Porter in a revue entitled, "Night and Day: A New Cole Porter Celebration".  The show was presented in architectural magnificence at the historic Emamnuel Church on Newbury Street in Boston.  With the original cast of this revue, the performance featured June Baboian, Kaja Schupper, Brian DeLorenzo, Mark Morgan and joining the cast for the first time at the piano, Margaret Ulmer.  The cabaret atmosphere, small tables with candles, wine and dessert, made for a convivial evening.

As she watched the show, Marash Girl remembered her mother, felt that her mother was with her, singing along, laughing, tapping her foot to the music, getting up and dancing to the more danceable tunes.  Her mother, known as Grandma Jennie to the kids, would be waving to June Baboian, exclaiming how amazing it was that her friend, Rose Baboian of cookbook fame, had such a talented granddaughter on stage, a wonderful actress with a powerful and beautiful voice.  Grandma Jennie would be so excited to go back and tell Rose how much she loved the show.  But then, Grandma Jennie and Rose were probably watching the show from above and loving every minute of it!

Oral history and the Playwright: DEPORTED: A DREAM PLAY BY JOYCE VAN DYKE

I first became aware of the playwright Joyce Van Dyke in 2001 at Boston Playwrights’ Theatre when her play  A Girl's War: An Armenian-Azeri Love Story, was first  produced  and was named one of the “top ten” plays of the year by the Boston Globe, a play about the impact of war on family life, a production I remember to this day.

When Joyce Van Dyke and I were talking several years later, she voiced the possibility of writing a play somehow responding to the effort made in the 1970's by the Armenian Library and Museum of America to record the oral histories of survivors of the Armenian Genocide.  We talked about the unforgettable stories, so difficult to remember, so difficult to forget, so difficult to relate, and the problems of actually recording such stories, of entering the home and heart of the survivor and asking that survivor to relive the experience long enough to record his/her story on tape.

Based on the lives of her own grandmother and the mother of Martin Deranian, playwright Van Dyke has grappled with just this problem in her new play DEPORTED, which was presented at the Stanford Calderwood Pavilion in Boston this past Saturday night. It was a free staged reading that was minimally publicized, only 100 people would fit into the room (although I think in fact there were many more than 100 in the audience), and most of them non-Armenian.  And why do I mention ethnicity here?  Because the play was about memory and survival, the Armenian Genocide and the deportation of millions of Armenians from their homeland in Turkey 1915-1923, resulting in the death of 1.5 million Armenians at the hands of the Ottoman Turkish government.  The playwright's grandmother lived to tell the tale.

With no stage props and 7 uncostumed actors in front of a curtain, this play, in all its starkness, came alive with Victoria's opening lines. . . and with those opening lines, the audience remained transfixed.

DEPORTED, comes very close to  home for any family who has survived a genocide.  And as I sat in the audience, I wondered how a non-Armenian, watching this play, would be affected. I scanned the audience. It was clear that Armenian and non-Armenian alike, the play had grabbed them and held them to the very last line.

I asked my daughter Nisha about her reaction to the play, she who knows the story all too well from her grandfather and her grandmother.  What she chose to share with me was the following statement made by the Turk involved in the futuristic Turkish Armenian reconciliation movement (Act Three set in 2015), who stated something akin to the following: "I thought you Americans would be able to understand how the Turks feel about this, because who would want to believe that your country would ever want to do anything so terrible, even if it wasn't you or your relatives doing the unspeakable."

Successful it was, so successful that I  am having much difficulty writing this post, as the subject of Van Dyke's new play comes too close to my heart.

Judy Braha directed the reading of Joyce Van Dyke's DEPORTED at the Calderwood Pavillion on May 21, 2011, presented by Boston Center for the Arts and The Publick Theater of Boston.  Bobbie Steinbach (4th from right)  performed powerfully as Victoria, as did Paula Langton as Varter, and Ken Baltin as Harry, with supporting actors Marya Lowry, Elise Manning, Danny Bryck, and Mark Cohen. The play is being prepared for performance at Suffollk University's new Modern Theatre in Boston's Theatre District,  March/April of 2012. Don't miss it.