Patsy Cline or ABBA this weekend? 7 Cape Cod theaters shows our critics say you should see

What did our reviewers think of shows new to or still on Cape Cod stages this week? Here's a look at new productions of "Always ... Patsy Cline" at Cape Playhouse in Dennis, the "Mamma Mia!" musical at Cape Rep Theatre in Brewster and the regional premiere of "Bob Marley's "Three Little Birds" at Cape Cod Theatre Company/Harwich Junior Theatre — plus continuing productions of Wellfleet Harbor Actors Theater's "Marry Me a Little"; Provincetown Theater's "The Lady Hamlet"; Harbor Stage Company's "Buried Child" in Wellfleet; and "You're a Good Man, Charlie Brown" on the new outdoor stage at Cotuit Center for the Arts.

Also playing through Saturday, July 9 is College Light Opera Company's production of the musical "No, No Nanette": http://www.collegelightoperacompany.com/

“Bob Marley’s Three Little Birds”

By Shannon Goheen

Written by: Cedella Marley; music and lyrics by Bob Marley; adapted for the stage by Michael J. Bobbitt and presented by Cape Cod Theatre Company/Harwich Junior Theatre

What it’s about: Eleven-year-old Ziggy (Olivia Thompson) has a crippling fear of stormy weather and a particular hair-snatching Duppy (a Jamaican term for an evil ghost). Ziggy is afraid to leave the safety of her room, her television and her bird friends and for good reason: Duppy wants to take her hair away. Ziggy’s friend Nansi (Ben Cavallo-Smith) convinces her to go out, though, and takes her to the ocean on an adventure that leads to self-discovery and bravery she didn’t know she had. Bob Marley’s songs help to tell the story, with the main theme being that “every little thing is gonna be alright.”

See it or not: This colorful, light-hearted Jamaican romp featuring music and dancing along with folklore is an hour of pure fun. This is a good show for children, particularly considering the pandemic, in that Ziggy leaves her room and discovers a whole new world. It’s a fun-for-all-ages, light-hearted song and dance celebration of Jamaican heritage as told through the music of Bob Marley.

Highlights of the show: The set designed by James P. Byrne and Matt Kohler looks like a crazy quilt and is as comforting as it is representative of the tropics. Thompson and Cavallo-Smith are athletic and fun to watch as they bounce and spin around the stage. Samantha Walker as Cedella, Ziggy’s mom, has an uplifting demeanor and lends credence to the “every little thing is gonna be alright” mantra. Brandon Byrd as Tacoomah has a great time portraying a stuffy British woman and earns laughs with his antics. F.J. Myrie as Baby Bird makes her debut in this show and the other birds – Warren Harrington (Dr. Bird) and Ellie O’Toole (Montego) – add to the fun with their singing and especially O’Toole’s skilled dancing. Cast members do a great job with their Jamaican accents.

Fun fact: This is the regional premiere of “Bob Marley’s Three Little Birds,” which has been performed for the past 10 years around the country. Adapter Bobbitt was in the audience on opening night and led a post-show talkback.

Worth noting: On opening night, choreographer Lisa Canto stepped in to play the evil Duppy, without any previous rehearsals because of an actor’s illness and did a great job. The on-stage band – Jim Sanborn on bass, John Dirac on guitar, Cassie Lortie on drums and musical director Marcia Wytrwal on keyboard – matched the cast well, never drowning out the words.

One more thing: Because of mischief on the part of Duppy, “mangoes” frequently fall from the ceiling, prompting one child in the audience on opening night to ask if the theater could arrange to drop one on his head, too.

If you go: 7 p.m. Wednesdays through Saturdays and 2 p.m. Sundays through July 30 at CCTC/HJT, 105 Division St., West Harwich; $35, $18 for under age 21; capecodtheatrecompany.org or 508-432-2002. Masks were not required as of opening night.

"Always … Patsy Cline”

By Sue Mellen

Written by: Ted Swindley; directed by Paige Price, with music direction by Garrett Taylor, band and vocal orchestrations by August Eriksmoen and Tony Migliore; presented by The Cape Playhouse.

What it's about: This portrait of singer Patsy Cline (Jillian Louis), the darling of the Grand Ole Opry stage, takes place on at least a couple of levels. First, it is a look at the rise of the country singer from Branson, Missouri to the glittering stage of the Opry, eventually occupying the throne at Decca records — that musical empire ruled by the greats of rock and roll in the ‘50s and early ‘60s. And the best thing about this part of the story is that it’s told in music.

Then there is the story of the deep and surprising friendship between Cline and her greatest fan, Louise Seger (Sally Wilfert), who calls her local Texas radio station daily to demand the DJ play one of Cline’s hits. She manages to coax Cline to sit with her and friends at a local venue, and eat bacon and eggs at her kitchen table. And the two eventually begin a correspondence that lasts until Cline’s untimely death at just 30.

See it or not: Go for the music, the knee-slapping fun, and a portrait of a true and enduring friendship.

Highlight of the show: Louis, who has performed on Broadway in “It Shoulda Been You” and Off-Broadway in “Soul Doctor” and “Chick Flick,” belts out an impressive list of 26 Cline favorites. Among the hits: “I Fall to Pieces,” “Crazy,” “Just a Closer Walk With Thee” and “She’s Got You.” Louis’ voice has both the power and sweet twang of Cline’s, and her performance serves as an express ticket back in time.

More stage news: Bob Marley musical launches new era at Harwich theater + 13 more shows on Cape Cod stages

Wilfert also comes to the playhouse by way of Broadway, having appeared in the Tony-Award-winning production of “Assassins,” “The Adventures of Tom Sawyer” and “King David.” She is at once energetic, sexy and fun as she describes “tooling” around city streets in her hot pink car, and demonstrates how a new mini-skirt “fits her like a glove.” And she is just as convincing as the grieving friend who has just heard about Cline’s death.

Fun fact: Cline was a trailblazer for women in country music, being the first to sell records and headline concerts. And in 1973, she posthumously became the first female performer to be inducted into the Country Music Hall of Fame.

Worth noting: The orchestra (led by pianist and conductor Garrett Taylor) provides much more than just background music. Musicians sometimes add their voices to vocal numbers, and Taylor chimes in with comical quips every now and then.

One more thing: Don’t forget your mask – it will be required.

If you go: 8 p.m. July 7, 8, 11, 12 and 15; 2 p.m. and 8 p.m. July 13-14; 4 p.m. and 8 p.m. July 9 and 16. The Cape Playhouse, 820 Main St. (Route 6A), Dennis; tickets: $51-$101; 508-385-3838, www.capeplayhouse.com

“Mamma Mia!”

By Shannon Goheen

Written by: Music and lyrics by Benny Andersson & Björn Ulvaeus and some songs with Stig Anderson; book by Catherine Johnson; directed and choreographed by Dani Davis; presented by Cape Rep Theatre.

What it’s about: A wedding is approaching on a Greek island and bride-to-be Sophie Sheridan (Chelsey Jo Ristaino) conspires to discover the identity of her real father. After finding her mother’s diary with various intriguing entries, she sends invites, unbeknownst to her mother, to three men who may have been her father. They all arrive on the island and cause mayhem by each eventually claiming to be her father and shocking Sophie’s mother, Donna (Trish LaRose) as she encounters the three past lovers. At least 24 songs from the 1970s band ABBA help tell the story that concludes with a heartwarming twist.

Highlight of the show: The choreography is outstanding. It’s high-octane dancing frequently laden with sexual innuendo, and the mostly young acters are well-suited for the near-constant action. Kudos to director/choreographer Dani Davis for envisioning and designing this two-hour shivaree that is so buoyant it’s a struggle to keep one’s mouth shut and not belt out the ABBA hits along with the spirited cast.

Fun fact: ABBA, a Swedish pop band formed in 1972, became one of the best-selling bands in the history of popular music. Written in 1999, “Mamma Mia!” is in the top 10 longest-running Broadway productions and is still running in London’s West End. Save some money and see it at Cape Rep. It’s almost certainly every bit as entertaining!

Reading ideas: Sharks, serial killers & more: 6 new books written or set on Cape Cod

Worth noting: Ristaino and LaRose perform the most songs and have terrific voices. Nick Nudler (Sky) occasionally plays his guitar along with the singers, as does Madison Mayer (Lisa), and it adds a lot to the music’s beauty. The ensemble pieces are particularly fun, such as when heads pop out of every door and window on the set during the chorus of “Mamma Mia!” Another great moment is the crazy, campy confusion of wedding preparations set against a duet of “Take a Chance on Me” by Maura Hanlon (Rosie) and Ari Lew (Bill).

One more thing: The shows are on the outdoor stage but the indoor main stage is ready (masks required) with a working set in case of rain. Bug repellant is available, free of charge, but if you are a biting-bug magnet, be sure to cover up. The lift you’ll get from “Mamma Mia!” is worth the effort so don’t hesitate to make your reservations.

If you go: 7 p.m. Tuesdays-Sundays through Aug. 14 at Cape Rep Theatre, 3299 Main St. (north side of Route 6A), Brewster; $40 (group rates and student rush tickets available); or 508-896-1888 or www.caperep.org

“Marry Me a Little”

By Kathi Scrizzi Driscoll

Written by: Music and lyrics by Stephen Sondheim, show conceived and developed by Craig Lucas and Norman René; directed by Christopher Ostrom with musical direction by Kevin Quill; presented by Wellfleet Harbor Actors Theater

What it’s about: Through songs by Sondheim pulled together for one revue, two single people in New York City — alone in their respective apartments on a Saturday night — sing about their thoughts on love and loneliness, their fantasies and their future. The songs are all “trunk songs,” ones cut from final productions of Sondheim musicals, particularly “Follies,” “A Little Night Music” and “Company.”

See it or not: Fans of Sondheim’s work will find this hour-long one-act an intriguing glimpse into lesser-known early songs, and they’re beautifully performed by Brittany Rolfs and Sam Perwin. The plot is thin at best, with the songs reflecting more of a mood and situation rather than a story.

Highlights: With Quill’s superb accompaniment on Sondheim’s always-challenging music, he and Ostrom artfully guide Rolfs and Perwin to create vulnerable, engaging characters through music not initially intended to work together. While the line between reality and fantasy is not always clear, she seems more hopeful, he more cynical as their expressions and delivery reveal their thoughts even when the other is singing solo.

Interesting fact: Ostrom, WHAT’s producing artistic director, chose this show as a tribute to Sondheim following the November death at age 91 of the composer whose decades-long career contributed so much to, and so changed, American musical theater. Sondheim’s shows (music and/or lyrics) include “Sweeney Todd: The Demon Barber of Fleet Street,” “Into the Woods,” “Sunday in the Park with George,” “A Funny Thing Happened on the Way to the Forum,” “West Side Story” and “Gypsy.”

Worth noting: With the absence of dialogue, Ostrom’s scenic design of the two side-by-side New York apartments, backed by a view of neighboring buildings, goes a long way toward establishing location, era and varying personalities of the lonely singles.

One more thing: While some of the song lyrics seem anachronistic to the sight of the singles swiping through possible partners on cell phones, top numbers include the duet “Can That Boy Foxtrot!,” Perwin’s “Uptown, Downtown” and Rolfs' rendition of the beautiful title tune.

If you go: 8 p.m. July 5-9, 12-16, 18-22 at WHAT, 2357 State Highway (Route 6); $25-$40 with discounts for seniors, $15 for students; 508-349-9428, http://www.what.org/  

“The Lady Hamlet”

By Kathi Scrizzi Driscoll

Written by: Sarah Schulman, directed by David Drake, presented by The Provincetown Theater

What it’s about: Miss Margo Staden Burns (Jennifer Van Dyck) is the talented, confident and self-absorbed leader of a struggling 1920 New York City theater company who is breaking ground as a woman playing Shakespeare’s Hamlet on stage. She was inspired by seeing a female Hamlet played by Madame Helene de Montpelier (Kate Levy) in Paris, but now both actresses want to take that famed role to Broadway. When their very different personalities and interpretations collide, sparks fly and they joust both verbally and with swords as their female lovers, a theatrical producer and an actor/waiter try to help sort it all out.

See it or not: This world premiere is a fast-paced, intelligent farce that is reliably funny, thought-provoking and brimming with ideas about how women are perceived (on stage and in the world), what they are allowed to do and who decides, lesbian relationships and societal taboos. Schulman has so many intriguing and provocative things to say in 90 minutes that you almost want to press “pause” to consider many of them more fully — except that would interrupt the sometimes frantic fun that director Drake (the theater’s artistic director) uses to make the delivery of these ideas so entertaining.

Highlights: Buoyed by Carol Sherry’s gorgeous costumes, Ellen Rousseau’s richly detailed multi-use set and Drake’s top-notch direction, each of the six cast members is marvelous on their own and in creating an ensemble that really gels. The center is Van Dyck’s tornado of a performance as Margo, but she meets her match in Levy’s more refined, self-assured and steely Helene and both are swayed by Anne Stott’s insightful Clara, who is discovering herself in her Ophelia portrayal. Laura Scribner adds humor and poignancy as Margo’s co-star/lover Frances; John Shuman is amusingly conniving and greedy as producer Leo Lefkowitz; and Brandon Cordeiro adds hilarity to every scene as an over-admiring co-star of Margo’s who is also a sneaky waiter in the right place at the right time.

Ideas for the weekend and beyond: Concerts, a circus & dogs with frisbees: 20 (!) top things to do on Cape Cod July 8-14

Fun fact: Plays by Schulman, a Guggenheim playwriting fellow, have been produced around the country, but she is also the author of 20 novels and nonfiction books, including her 2021 “Let the Record Show: A Political History of Act Up New York 1987-1993.” The book recently won the 2022 Lambda Literary LGBTQ Nonfiction Award and has been optioned for a television production.

Worth noting: Schulman’s script first came to Provincetown Theater a few years ago as part of a staged-reading series of new work, and Drake has helped to develop the play since. While already supremely topical considering the important recent recognition of a need for more inclusion of women, people of color and LGBTQ+ stories and voices in the theater, many of the lines in “The Lady Hamlet” are even more resonant in light of Friday’s U.S. Supreme Court decision against abortion (with some moments provoking applause on opening night). Lines that have long been true but even more key since last week include: “A theater where women take our full place before the world. What could be more just? We’re radicals far beyond the Suffragists. The right to be seen and heard is more essential than the right to vote for a man who neither sees you nor hears you.”

One more thing: While potentially not necessary, a working knowledge of “Hamlet” would increase enjoyment of “The Lady Hamlet” so you could catch the quick-moving references to characters, scenes, lines and motivations from Shakespeare’s classic and timeless play.

If you go: 7 p.m. Mondays through Thursdays through July 21, with no show July 4 and an extra show Friday, July 8 at Provincetown Theater, 238 Bradford St.; $40; http://www.provincetowntheater.org, https://ci.ovationtix.com/27665

‘Buried Child’

By Shannon Goheen

Written by: Sam Shepard, presented by The Harbor Stage Company

What it’s about: A Midwestern family has a miserable day-to-day existence made worse by all-around abuse and a group decision to hide a big secret. Five family members and a girlfriend provide chaos, confusion and disrespect, demanding particular behaviors of each other while simultaneously denying each other’s ability to achieve those behaviors. The American dream has been won and lost, and what’s left is the broken family structure that preys on itself.

See it or not: This is a definite must-see. While the subject matter is challenging, the performances are riveting. The company members are excellent in their presentation of this stimulating, well-written play. Watching the drama unfold is nothing short of fascinating.

Highlights of the show: The interaction between Halie (D’Arcy Dersham) and husband Dodge (Dennis Cunningham) is laden with shared history, familial concern, and disgust. They know how to drive each other nuts – not that each hasn’t already arrived there separately – and bring their sons, grandson and his girlfriend into the darkness with them. Dersham could wear a T-shirt that says “I’m talking and I can’t shut up” because when she’s on stage, she literally almost never does. Cunningham coughs like he has consumption and is convincingly pathetic and repulsive. While both would be likable away from family life, they are deplorable within it.

Fun fact: Shepard won 10 Obie Awards for writing and directing, the most ever in his field. He also won the Pulitzer Prize for Drama for “Buried Child” in 1979. Shepard uses chaos to explore dysfunction with a result, at least in this play, not unlike being descended upon by a swarm of biting bugs and slapping frantically at all of them.

Worth noting: Each of the seven actors are spot-on in their portrayals of members of a seriously dysfunctional family. Cunningham has the pressure-relief laughs and he delivers unrelenting demands and insults for much of the show’s two hours and 10 minutes running time. Dersham is great at being both present and unhinged. William Zielinski (Tilden) and David Fraioli (Bradley) powerfully portray brothers who are both creepy but with different perspectives and inner demons. Jack Aschenbach as grandson Vince conveys his emotions with powerful body language and Allison Zanolli as his girlfriend Shelly portrays the only character tied firmly to reality with both sweetness and ferocity. Robin Bloodworth as Father Dewis displays utter helplessness in the chaos.

One more thing: The actors do absolute justice to the layered meanings of the play that speaks of a literal buried child while the characters grapple each with their own “buried child.” The performance is a cautionary tale that is as fascinating as it is distressing, offering a safe viewing distance while we contemplate what parts of this drama may be uncomfortably familiar.

If you go: 7:30 p.m. Wednesdays through Saturdays, 5 p.m. Sundays through July 9; the Harbor Stage Company, 15 Kendrick Ave, Wellfleet; $25; Harborstage.org or 508-349-6800. Masks and proof of vaccination required.

“You’re a Good Man, Charlie Brown”

By Kathi Scrizzi Driscoll

Written by: Clark Gesner based on the comic strip “Peanuts” by Charles M. Schultz, with additional dialogue by Michael Mayer and additional music and lyrics by Andrew Lippa; directed by Mary Arnault with music direction by Bob Wilder and choreography by Suzette Hutchinson; presented by Cotuit Center for the Arts

What it’s about: The 70-minute musical brings to life long-beloved “Peanuts” characters from comic strips and classic TV specials in a story about the simple joys and worries of childhood. Uncertain but ever-hopeful Charlie Brown, sassy sister Sally, imaginative dog Snoopy and friends Linus, Lucy and Schroeder navigate schoolwork, relationships, kite-flying, a baseball game, dreams and more as they try to better understand the world.

Coming up: Summer things-to-do list: Island book and comedy festivals, art and theater in Provincetown

See it or not: Go, and chances are you’ll have a smile on your face through most of this show. This is a delightfully presented nostalgia trip for those of us who grew up with these characters or a sweet and funny introduction for younger theatergoers who might not know the depth of Linus’ love for his blanket or how Charlie Brown pines for the Little Red-Haired Girl.

Highlights: The six adult actors are completely believable as children, and charmingly channel the very specific quirks of these classic characters. Under Arnault and Wilder’s direction, they work together seamlessly as an ensemble, then each have their moments in song to shine. Nick Romano’s expressive face makes him instantly sympathetic and likable as Charlie Brown, while Jamie Lynn Price is a spitfire as sister Sally, radiating childlike glee and guile, particularly in “My New Philosophy.” Martha Paquin’s Lucy remains a self-absorbed bully but becomes fun and approachable with her dreams of queendom and skewed explanations of Nature. Danny Price’s practical Schroeder is particularly good at piano-playing and acting out a “Robin Hood”-themed book report, while Max Dexter as wise-beyond-his-years Linus and Hadassah R. Nelson as loyal pup Snoopy both nail wonderful dance numbers.

Fun fact: Broadway/TV actress Kristin Chenoweth’s Tony Award is for playing Sally in the 1999 revival of this show, a revision of the original 1967 production. Also in that cast were Roger Bart as Snoopy (also winning a Tony), Anthony Rapp as Charlie Brown and B.D. Wong as Linus.

Worth noting: Snoopy has long been a fan favorite, with a rich inner life behind his dog days, and Nelson does him adorable justice, making her loose-limbed canine appealing and amusing, particularly in the welcome “The Red Baron” sequence as the World War I flying ace on his doghouse Sopwith Camel (references that may need to be explained to younger viewers).

One more thing: “You’re a Good Man, Charlie Brown” is the first production on the Cotuit Center for the Arts’ new outdoor stage, turned into a children’s world with designer Andrew Arnault and scenic artist Cris Reverdy’s colorful set pieces and oversized props. The stage is temporarily set up in part of the parking lot, but when delayed landscaping can be finished, the plan is to move the stage to a woodsier setting nearby with strings of lights decorating an area that will be used for concerts, theater and other shows.

If you go: 6 p.m. June 22-24, 27, 29-30 and July 1, 5-8 on the outdoor stage at Cotuit Center for the Arts, 4404 Falmouth Road (Route 28); $30 with $5 discount for members, $2 discount for seniors and veterans; https://artsonthecape.org/, 508-428-0669.

This article originally appeared on Cape Cod Times: Cape Cod theater: 7 shows, from Patsy Cline to ABBA, critics recommend