Comedy, piracy & revolution: Why critics say you should see these 7 shows at Cape Cod theaters

What did our reviewers think of shows new to or still on Cape Cod stages this week?

Here's a look at productions of "The Revolutionists" at Wellfleet Harbor Actors Theater; "Something Rotten" at the Academy Playhouse; "Piano Men II" at Cotuit Center for the Arts; "Murder on the Orient Express" at Cape Playhouse; "From the Heart of the Wreck" at Cape Rep Theatre in Brewster; "Frozen" at Harbor Stage Company in Wellfleet; and the "School of Rock" musical at Cape Cod Theatre Company/Harwich Junior Theatre.

‘The Revolutionists’

By Kathi Scrizzi Driscoll

Written by: Lauren Gunderson; directed by Megan Nussle; presented by Wellfleet Harbor Actors Theater

What it’s about: This very pointed comedy puts a new perspective on history as it focuses on the female point of view in 1793 Paris during the French Revolution’s Reign of Terror. In a fictional meeting and paean to sisterhood and women taking a stand — sororité to fight fraternité —  four women try to use words and actions to change the world for the better while facing the threat of the guillotine. Three are historical characters: playwright Olympe de Gouges (Christina Leidel); assassin Charlotte Corday (Hannah Hakim), killer of radical and deadly leader Jean-Paul Marat; and deposed queen Marie Antoinette (Paige O’Connor). Plus there’s Haitian rebel Marianne Angelle (Andreá Bellamore), a composite character representing free Black revolutionaries fighting France’s slavery in what was then the resource-rich Saint Domingue.

See it or not: Gunderson’s fast-moving and fast-talking play is a torrent of ideas potently mixed with laughs. The WHAT production is as absorbing as it is supremely entertaining, with a quartet of standout performances under Nussle’s stellar direction. This centuries-old “history” play first produced in 2015 is unfortunately up to the minute as it references fighting for women’s agency over their own bodies, and offers an important reminder to notice who has been telling the history you hear – and how often it has not been women. “Don’t settle for the stories they’re giving you” is one of dozens of key lines that could help some people reconsider what they think they know.

Highlights of the show: The cast and Nussle have succeeded in making every single performance a tour de force, and the actresses make you care very much about this convincing, often passionate and powerful quartet. And as much as you’ll laugh, there is also raw emotion here. While the script becomes somewhat overlong and repetitive in Act 2 – focusing too much on how theater and artistic activism can change thinking when the point has been made – the characters and the believable connection created between them and with the audience keep you riveted.

Leidel’s appealing Olympe struggles between her desire for audience approval of her rare artistic success as a woman, her desire to use her words to save her beloved France, and her paralyzing fear for her own safety. Hakim’s Charlotte is full of fiery good intentions, courageous yet reckless in her need to sacrifice herself because Marat must be stopped. Bellamore creates Marianne as the quartet’s steady and determined heart, focusing the women on doing what’s right even as she suffers personally and pushes that people remember the freedom and equality being fought for in France should also extend to their Black slaves. O’Connor’s Marie Antoinette is hilarious in her early self-absorption, but also endearing when she adds important warmth and compassion to the humor as she realizes the potential of these women.

Fun facts: Gunderson, who lists herself on her website as playwright/screenwriter/feminist, was named the most produced playwright in America by American Theatre Magazine in both 2017 and 2019/2020. Nussle, making her WHAT debut, is founding artistic director of Campfire Quorum, a new nonprofit theater company currently “camped out” (and usually creating outdoor productions) on the Outer Cape.

One more thing: David Orlando’s lighting design, and the sound design by Grace Oberhofer (who says in her program bio that she “likes to tell stories about women — either real or imagined — who are not perfect but rather, amazing”) add crucial and often clever atmosphere and drama that take the overall production to a higher level.

If you go: 8 p.m. Tuesdays through Saturdays and 4 p.m. Sundays through Sept. 17 on the Julie Harris Stage at Wellfleet Harbor Actors Theater, 2357 Route 6; $25-$40 with discounts for seniors and $15 for students; 508-349-9428, http://www.what.org/.

'Something Rotten'

By Shannon Goheen

Written by: Book by Karey Kirkpatrick and John O’Farrell; music and lyrics written by and show conceived by Karey Kirkpatrick and Wayne Kirkpatrick; presented by The Academy of Performing Arts

What it’s about: It’s the Renaissance and two brothers, one a poet and one a playwright/director, get dropped by their patron, who is unimpressed with their latest play.  They suffer in the shadow of their nemesis, Renaissance rock star William Shakespeare.  In desperation, older brother Nick Bottom (Rob O’Grady) hires soothsayer Nostradamus (Fred Carpenter) to predict the next big thing in theater.  Nostradamus predicts “Hamlet” plus the unheard-of concept of “the musical” (but gets some facts wrong).  The brothers struggle with “Omelet, the Musical” instead, much to the chagrin of younger brother and poet Nigel Bottom (Oliver Kuehn).  Shakespeare meddles in the brothers’ business, as does busybody Brother Jeremiah (Andrew Haber) and they find themselves in an unfortunate predicament. The elder Bottom’s clever wife, Bea (Denise Page), enlists Shakespeare’s help and all is resolved.

See it or not: This farce is totally silly but thoroughly entertaining.

Highlight of the show: Of all the ensemble songs, “We See the Light” stands out. It’s a well-done spectacle of singing, costuming and stage design. Another great musical moment is “Right Hand Man, Reprise” sung by Page to Kuehn. Her voice is strong and true and the sentiment she creates is the turning point that creates order out of chaos. The biggest crowd pleaser is “Make an Omelet” that features the whole company, while also featuring a play within the play.

Fun fact: The brains behind the musical have interesting backgrounds. Karey Kirkpatrick has worked for Disney, Paramount and Warner Bros, and brother Wayne is a Grammy Award-winning songwriter. They conceived and co-wrote the play and music with O’Farrell, who’s a British comic author and novelist. First produced on Broadway in 2015, the play was nominated for nine Tony Awards.

Worth noting:  References to modern works get laughs and guffaws as old English prose is intermingled with one-liners from “Fiddler on the Roof,” “Cinderellam,” “Cats,” “The Sound of Music,” “Phantom of the Opera” and others. Sexual references and bawdy language are not ideal for children but older teens will appreciate the jokes.

One more thing: Lots of high-energy dancing, tap-dancing and choreography from the age-diverse cast keep the spectacle roaring ahead. Those with solo roles have good voices and although the musical numbers aren’t exactly Rodgers and Hammerstein or Sondheim, they still entertain. There’s no brainwork or introspection here – only fun!

If you go: 7 p.m. Thursdays through Saturdays and 2 p.m. Sundays through Sept. 11 at the Academy Playhouse, 120 Main St., Orleans; $35; $11 for under age 16; 508-255-1963 or info@academyplayhouse.org; https://www.academyplayhouse.org/.

“Piano Men II: A Musical Tribute to Billy Joel and Elton John”

By Jay Pateakos

Conceived and directed by: Michael Dunford; presented by Cotuit Center for the Arts

What it’s about: This concert-style tribute spans the music and careers of Billy Joel and Elton John, adding to what was performed for last year’s initial “Piano Men” show. The singers and band are all home-grown and ultra-talented.

See it or not? See it without hesitation. I am the biggest fan of both Billy Joel and Elton Johnand this performance, combining great singing with a top-shelf band, rocks the house. Having this group be all local talent makes it that much more special. You won’t forget this one for quite some time, if ever. Get to this show, stand up and dance.

Highlight of the show: Singers Anthony Teixeira, who handled the lead vocals for the bulk of the Billy Joel songs, and John Connelly, who belted out the Elton John songs, are phenomenal. Each singer had a particular song that was hauntingly similar to the original artist’s rendition: “Lullabye  (Goodnight My Angel)” for Teixeira and “Someone Saved My Life Tonight” for Connelly. Singer Emma Fitzpatrick, seen last year in the Cotuit center’s “Elf: The Musical” show complements both Connelly and Teixeira well, putting her own wonderful stamp on “Daniel” and clearly enjoying the ride. The band is exemplary, especially pianist Misao Koyama and lead guitarist Gregg Sullivan.

Fun fact: Standout drummer Michael Dunford not only conceived the show, but also produced and directed it as well. Trumpet player Joe Mongelli did the arrangements. Also, look for Cotuit’s executive director David Kuehn to put in a special performance on vocals and piano that is worth the price of admission!

Worth noting: This is not just a performance of hit songs. The group digs deep into rarely played gems like Joel’s “I Loved These Days” and my favorite of the night, “Empty Garden (Hey Hey Johnny)” by Elton John, his tribute to friend John Lennon.

One more thing: Only a few of the songs from last year were repeated, including “Piano Man” and “Bennie and the Jets.” Most of the set list is new songs, ones we fans love so much and know the words to (or think we do).

If you go: Shows are sold out for 7:30 p.m. Thursdays through Saturdays and 4 p.m. Sundays through Sept. 4 at Cotuit Center for the Arts, 4404 Falmouth Road (Route 28), but the center will also offer a live-streaming performance at 7:30 p.m. Thursday, Sept. 1 to see the performance in the comfort of your own home. Tickets and information: https://artsonthecape.org/

“Agatha Christie’s Murder on the Orient Express”

By Barbara Clark

Adapted for the stage by: Ken Ludwig; directed by Marcia Milgrom Dodge; presented by Cape Playhouse

What it’s about: The legendary Orient Express becomes an exotic backdrop for Agatha Christie’s famous 1930s puzzler, as a gathering of unique and eccentric characters runs amok in the corridors and first-class compartments of the famous luxury train. The suspects run the gamut from army colonels to nervous secretaries to countesses, American gangsters and Swedish missionaries, all bound for a snowstorm, cold revenge ... and murder. A snowdrift brings the train to a halt — and the killer is aboard.

Alibis galore at first seem to stump Hercule Poirot, but Dame Agatha’s iconic detective keeps his cool and his famous intellect, so will not be stymied for long.

See it or not: This delightful and engrossing entertainment begs to be seen for its memorable 1930s setting and décor, and for the professionalism of the multi-talented cast and director Dodge, who pulled off this streamlined team effort after only a few days’ rehearsal.

The cast of 11, including eight multifarious suspects, comes adorned with a host of Broadway and regional theater credits. Each character is integral to the puzzle, and each actor adds a unique spot of humor or drama to the murderous events as the train hurtles into the night.

Highlights: Reg Rogers as Poirot is a treasure to watch. Rogers never over-dandifies his interpretation of the famed fictional character, and he avoids caricature. His Poirot makes clear his own self-regard, but is just nutty enough to often seem to be channeling Inspector Clouseau from the old “Pink Panther” movies, right down to the one-of-a-kind accent.

Watch for gorgeous finery, such as a white, fur-trimmed outfit and golden high heels modeled by Countess Andrenyi (Emma Stratton), as well as a glittering, multi-colored head wrap worn by fellow suspect Helen Hubbard (Cady Huffman). These delectables add to many other furs and flourishes from the hand of costume designer Gail Baldoni.

Scenic designer Chen-Wei Liao and lighting designer Matthew Richards bring the audience straight to the scene, as the train’s giant headlight cuts through the darkness and fog. Once we’re aboard, the stage set revolves periodically to highlight different cars on the train in all their glowing wood and velvet-upholstered finery. Crucial sound effects by Jacob Levitin evoke eerie moments on the journey and connect the action sequences.

Intriguing fact: Christie’s 1934 novel is based on a real historical event, that of the 1932 kidnapping of the Charles Lindbergh baby, which made worldwide headlines. Ludwig opens the play in total darkness, with eerie voiceover narration that evokes a similar, fictional crime.

Worth noting: Ludwig’s adaptation was undertaken expressly at the request of the Agatha Christie Estate, which invited him to choose a Christie novel he wanted to adapt. Ludwig’s version of the famed Orient Express thriller premiered at New Jersey’s McCarter Theatre Center in early 2017.

One more thing: In his adaptation, Ludwig reduced the number of suspects included in the original Christie novel from 12 to a manageable eight, to suit the stage production, opening up the stage for more interplay among the characters and allowing the audience to linger on each suspect’s character and motives.

If you go: 8 p.m. Monday through Saturday through Aug. 27, with matinees 4 p.m. Aug. 20 and 2 p.m. Aug. 24-25, at Cape Playhouse, 820 Main St. (Route 6A), Dennis Village; $45-$80; 508-385-3911 or http://www.capeplayhouse.com/

‘From the Heart of the Wreck'

By Jay Pateakos

Written by: Kirsten Peacock and Nick Nudler; presented by Cape Rep Theatre

What it’s about: This world-premiere play follows three storytellers enacting — through humor and swashbuckling escapades — the journey of the famous pirate Samuel Bellamy and his mysterious love, known as the Witch of Wellfleet, and the events leading to the wreck of his ship Whydah off the coast of Cape Cod.

See it or not? See it. This is a 65-minute show filled with a ton of humor, some great history and superior acting.

Highlight of the show: Nudler as Bellamy and Peacock as Goody Hallett, considered in local folklore as the “Witch of Wellfleet,” are phenomenal in their truly haunting roles.

Fun fact: Peacock and Nudler, who had previously acted and written short pieces for Cape Rep, created and wrote the show with the rest of the cast’s help after Cape Rep leaders suggested the Bellamy-Hallett romance as a possibility for storytelling. It’s rare to see a show’s creators and writers in such pivotal roles, but we are all the better for it.

The story behind the play: New play explores love between a Whydah pirate and Wellfleet 'witch' + 6 more shows at Cape Cod theaters

Worth noting: The supporting performances by Cape Rep favorite Ari Lew and Cape Rep newcomers BT Hayes and Coleman Churchill were beyond a treat. I was not expecting to laugh this hard at a pirate story.

One more thing: Pay attention to the acting, especially that of Peacock, whose stellar performance made you believe she was the “Witch of Wellfleet,” whose actions didn't fit in with the Puritan rules of the time.

If you go: 7 p.m. Wednesday through Saturday and 2 p.m. Sundays through Sept. 10 at Cape Rep Theatre, 3299 Route 6A, Brewster; https://caperep.org/

“Frozen”

By Paul Babin

Written by: Bryony Lavery; directed by Jonathan Fielding; presented by Harbor Stage Company

What it’s about: Rhona Shirley, age 10, was walking to her grandma’s house when the killer approached her. She was unconscious when he sexually assaulted her and then suffocated her with polythene sheeting. Her mother, Nancy, holds out hope that Rhona is alive; that is, until her remains are discovered in a nearby shed alongside those of other murdered children.

Lavery’s play is less about Rhona’s murder, though, than the struggles of the people left to survive in the wake of tragedy. Can Nancy learn to forgive her daughter’s killer, a psychopath named Ralph Wantage, who has since been convicted and sentenced to life in prison? Will Ralph ever feel remorse for committing such evil acts, and can he summon the courage to apologize to Nancy? Will Dr. Agnetha Gottmundsdottir, a psychiatrist from the New York School of Medicine, arrive at new insights about Ralph’s crimes by studying his brain?

See it or not: You cannot afford to miss these performances.

Highlights of the show: Robert Kropf is eerily convincing as Ralph, particularly in the mesmerizing scene where he attempts to draft an apology letter to Nancy. Rather than overplay the killer’s emotions, Kropf portrays Ralph as an insecure, psychologically damaged man-child. Plagued by memories of his abusive father, Ralph’s monstrous behavior is oddly understandable given his horrific upbringing. And Stacy Fischer is equally impressive as Agnetha, the play’s most complex character. Fischer plays Agnetha as a fundamentally decent young professional who’s willing to accept the notion that Ralph’s psychopathy may be the result of brain damage he suffered as a child.

D’Arcy Dersham delivers a beautifully restrained performance as Nancy, the play’s most profound sufferer. Dersham’s vacant stares speak volumes about Nancy’s precarious emotional state.

Fun fact: Lavery’s writing credits extend beyond the stage. In addition to writing for television and radio, she has penned several non-fiction books including a biography of actress Tallulah Bankhead.

Worth noting: In 2004, New Yorker writer Malcolm Gladwell accused Lavery of plagiarizing portions of the play from a 1997 profile he wrote about psychiatrist Dorothy Lewis. After interviewing Lavery and reading the script, Gladwell changed his tune. As he would later write: “Instead of feeling that my words had been taken from me, I felt that they had become part of some grander cause.”

One more thing: The show begins as a series of monologues. Each character bares their soul to  the audience, but it’s not immediately clear that they will ever speak to one another. As the traumatic events unfold, their lives slowly begin to intersect until, finally, they address each other on stage.

If you go: 7:30 p.m. Thursdays through Saturdays and 5 p.m. Sundays through Sept. 4 at Harbor Stage Company, 15 Kendrick Ave., Wellfleet; $25; 508-514-1763, http://www.harborstage.org/

‘School of Rock’

By Jay Pateakos

Written by: Julian Fellowes with music by Andrew Lloyd Webber and lyrics by Glenn Slater; directed by Tristan DiVincenzo, with musical direction by Bob Wilder and choreography by Suzette Hutchinson; presented by Cape Cod Theatre Company/Harwich Junior Theatre

What it’s about: Down-on-his-luck musician Dewey Finn (Michael Patrick Ryan) finds himself axed from his local band and in a desperate attempt to find work, poses as his friend to be a substitute teacher at a prestigious prep school. He ends up helping stiff, spoiled kids to find their inner rock and roll.

See it or not? DiVincenzo and his team have created one of the best productions I have seen on the Cape in years, a must-see for families and theater-goers of all ages. It’s a tremendously funny musical with a great message for kids and adults of all ages and offers an entertainment level you’d find hard to beat. Look for songs including “Stick it to the Man” and “Time to Play” to get you out of your seat.

More ideas: Broadway, comedy & murderous mystery: 9 new shows on Cape Cod stages this week

Highlight of the show: New York’s Michael Patrick Ryan is magnificent as Dewey Finn. New producing artistic director Kate Pazakis noted on opening night how much Ryan reminds her of Jack Black, who was critically acclaimed in the 2003 movie that was the source for the musical. Ryan starred in last year’s “Rock the Bard” at Cape Rep Theatre, and was perfect casting for “School of Rock.”

Fun fact: Pazakis, who took over for her mentor Nina Schuessler at CCTC/HJT, performed her first show for the theater at age 6, and eventually worked on Broadway and Off-Broadway, regional theaters including in Los Angeles and was even a guest star on “South Park.”

Worth noting: The young actors in “School of Rock” made this musical, a number of them playing instruments on stage and many making their theater debuts. While the 21 young cast members are too many to mention by name, a few  of the top performances include Maureen O’Neil as lead guitarist Zack, Beckham Peterson as drummer Freddy and Grace Olah as band manager Summer.

One more thing: Paige Neal, who has an incredible singing voice as Principal Rosalie Mullins, also offers a rare treat.

If you go: Through Aug. 28, at 7 p.m. Wednesdays to Saturdays and 3 p.m. Sundays at CCTC/HJT, 105 Division St., West Harwich; https://capecodtheatrecompany.org/.

This article originally appeared on Cape Cod Times: Cape Cod theater: Shakespeare rivalry, Billy Joel, Elton John & murder