Comedy, mayhem & musicals: What our critics say about 7 Cape Cod theater shows

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 "Mary Poppins" at Academy Playhouse; "Victor/Victoria" at Cotuit Center for the Arts; "The God of Carnage" at Cape Playhouse and "The Ballad of Bobby Botswain" at Harbor Stage Company, and continuing performances of the "Mamma Mia!" musical at Cape Rep Theatre in Brewster; "Bob Marley's "Three Little Birds" at Cape Cod Theatre Company/Harwich Junior Theatre; Wellfleet Harbor Actors Theater's "Marry Me a Little"; and Provincetown Theater's "The Lady Hamlet."

‘Mary Poppins’

By Sue Mellen

Written by: Julian Fellowes, with original music and lyrics by Richard M. Sherman and Robert B. Sherman, new songs and additional lyrics by Anthony Drew and George Stiles, co-created by Cameron Mackintosh, based on the stories of P.L. Travers and the Walt Disney film; presented by the Academy of Performing Arts.

What it's about: For generations, the very mention of the name Mary Poppins has painted a picture of the “practically perfect” nanny who is loving and kind, while at the same time nobody’s pushover. (Consider the line: “I never explain anything.”) And there is, of course, something magical about her. That’s clear from the very start, when she appears out of thin air to rescue youngsters Jane and Michael Banks (Mia Nadeau and Jack Baumrind) from a succession of inept and ineffective nannies.

It soon becomes clear that Mary (Jennifer Almeida) has descended from the heavens to rescue not only the Banks children but the whole Banks household from the dark cloud that has been hanging over 17 Cherry Tree Lane in not-so-merry Old London. With the help of bankside philosopher and erstwhile chimney sweep Bert (Mark Roderick) — and a healthy dose of music and dance — the umbrella-toting Mary teaches everyone in the Banks household (and of course the audience) the true meaning of life.

See it or not: Adults would enjoy for the trip back in time if you remember the Julie Andrews/Dick Van Dyke movie version, and bring the kids to experience the true meaning of supercalifragilisticexpialidocious for the first time.

Highlight of the show: It’s turning out to be a very musical summer in the Cape Cod theater world, and this offering is a perfect example. Director/choreographer Judy Hamer, choreographers DJ Kostka and LeVane Harrington, and musical director/accompanist Chris Morris have put together a show that is filled with the joyous song-and-dance numbers we all remember from the 1964 flick. There’s “A Spoonful of Sugar,” “Let’s Go Fly a Kite,” “Step in Time” and “Jolly Holiday.” Then there are some numbers new to the stage version, including “Being Mrs. Banks” and “Practically Perfect.”

A large ensemble of youngsters joins Almeida, Roderick, Nadeau and Baumrind for several numbers, giving the impression that all of London is rejoicing in the Mary Poppins revolution. “Jolly Holiday” is a particularly fun number, as Almeida and Roderick treat the audience to some soft-shoe hoofing that is like an extra “spoonful of sugar.”

Fun fact: The 1964 film version garnered 13 Oscar nominations and won the Best Picture award. In fact, it was the only Disney film to earn that award during Disney’s lifetime.

Worth noting: Randy Doyle and Rachel Hischak play off one another convincingly as workaholic George Banks (a banker of course) and his doting wife Winifred. And Nadeau and Baumrind are a joy as the slightly-mischievous-but-always-lovable Banks children. Baumrind is simply adorable as the quip-slinging youngster — complete with British accent. And just for good measure, there is the delightfully evil Miss Andrew, played by Denise Page.

One more thing: All the costumes seem authentic, with Almeida’s particularly pleasing. She IS Mary Poppins in her ¾-length red coat and full skirt, and the picture of Victorian elegance in her sparkling white dress and picture hat for “Jolly Holiday.” Karen Hepinstall, Emma Taylor, Sam Roderick, Alex Savery and Judy Hamer make up the costume team.

If you go: 7 p.m. July 22, 23, 28, 29, 30 and Aug. 4, 5, 6; 2 p.m. July 24, 31 and Aug. 7 at the Academy Playhouse, 120 Main St., Orleans; $30 adults, $20 under age 16; 508-202-1952, www.academyplayhouse.org

‘Victor/Victoria’

By Jay Pateakos

Written by: by Blake Edwards, with music by Henry Mancini, lyrics by Leslie Bricusse, other music and lyrics by Frank Wildhorn; presented by Cotuit Center for the Arts

What it’s about: A down-on-her-luck soprano searches for work and redemption in 1930s Paris and finds both by disguising herself as a man dressing in drag and wowing audiences while being a woman pretending to be a man pretending to be a woman – until the day of reckoning comes.

See it or not? See it for sure. The 1982 original movie, made famous by Julie Andrews, James Garner and Robert Preson was ahead of its time with its themes and adapted into a musical in 1995. The musical works to highlight poverty, lack of gender equality, transgender struggles and the difficulty in just being yourself, or who you really want to be. This musical is timelier than ever.

Highlights of the show: Perhaps the most outrageously humorous performance goes to Marie-Josee Bourelly, who plays the vivaciously loud and sarcastic Norma Cassidy, ruler of the house in “Paris Makes Me Horny” and “Chicago, Illinois.” Lead Talia Hankin, who plays Victoria Grant, shows off her stunning voice in “Le Jazz Hot,”, “If I were a Man” and the haunting “Crazy World.” Also a highlight is Alex Valentine, who plays Carroll “Toddy” Todd, a woman trapped in the body of a man who works magic in “Trust Me” and “You & Me.”

Fun fact: The cast is mostly composed of great local talent with a few New Yorkers sprinkled in, including Talia Hankin as Victoria and Marie-Josee Bourelly as Norma as well as the lighting and stage designers.

Worth noting: Director Celia Krefter, a 21-year-old Mashpee native and recent Colombia University graduate who now lives in New York, is making her Cape Cod directorial debut with “Victor Victoria” – at the same theater where she performed her first-ever theatrical performance in “It’s a Wonderful Life” back in 2010.

One more thing: Director Krefter notes that “Victor/Victoria” is a celebration of queerness that she and the cast and crew pushed the boundaries on to extend that celebration of expression to various aspects of the production, including sets, lighting, costumes and more.

If you go: 7:30 p.m. July 22-24, 28-31 and Aug. 4-6, and 3 p.m. July 24, 30, 31 and Aug 7; at Cotuit Center for the Arts, 4404 Falmouth Road (Route 28); $40 with discounts available; https://artsonthecape.org/

‘God of Carnage’

By Shannon Goheen

Written by: Yasmina Reza and translated by Christopher Hampton; presented by the Cape Playhouse

What it’s about: Two couples get together to discuss a violent playground altercation between their sons. Rather than calmly discussing the issue, one parent in particular pushes too hard and sets off a tiff that quickly becomes a firestorm. There are shifting temporary alliances as well as ganging up on each other, marriage partners notwithstanding. “Marriage…” says Michael Novak (Jason O’Connell), “the most terrible ordeal God can inflict on you.” While a lot of people wouldn’t agree with this statement, watching the characters struggle in “God of Carnage” is enough to at least entertain the thought.

See it or not: “God of Carnage” is distressingly relevant, relatable and disturbing while managing to fit into the genre of comedy. It’s dark comedy, to be sure, but entertaining and never dull. It’s the kind of show where you want to barge onto the stage and demand that the characters sit down, shut up and work out their differences in a civil manner. The phones ring constantly, everyone offends each other, and the action is almost dizzying. Regardless, it’s a fun night out.

Highlights: Jill Abramovitz (Veronica Novak) and O’Connell are king and queen of the emotional mayhem of the ill-fated evening. There’s an uncomfortable class difference made plain by Benim Foster and Vanessa Lock’s characters of Alan and Annette Raleigh that further dooms the get-together. Layers of hidden pain reveal themselves with each escalation, intensified by physical discomfort — all against a backdrop of immoral behavior that hits way too close to current world events.

Fun fact: Reza, a highly successful French playwright and novelist, first published the play as “Le Dieu Du Carnage,” which would go on to win the Olivier and Tony Award for Best Play in 2008-9 after being translated by Christopher Hampton, an English screenwriter, playwright and film director. Hampton’s long list of accomplishments include translations and film adaptations such as “Dangerous Liaisons” and “Atonement.”

Worth noting: The most interesting character may be O’Connell’s Michael, who moves from doddering husband to very bad Dad to an angry and unsupportive spouse, to a comforting host and back to a bad Dad. His character, an everyman of sorts, seems like he might be relatively normal. But is he?

One more thing: “I believe in the God of Carnage” says Foster, who chillingly portrays the concept. Carnage, the result of anger, flows through this play like lava under the surface, venting here and there until it explodes, burning everything in its path.

If you go: Evenings and matinees through July 30 at the Cape Playhouse, 820 Main St. (Route 6A), Dennis; $45 to $80 (group discounts available); capeplayhouse.com or 508-385-3911.

‘The Ballad of Bobby Botswain’

By Carol Panasci

Written by: Jonathan Fielding and Jason Lambert; presented by Harbor Stage Company

What it's about: This world premiere may be about the most interesting evening of theater you’ve seen in a long time! Like a buddy comedy on hallucinogens, the unconventional plot revolves around the search for the notorious Bobby Botswain, a combination of a pharmaceutical Robin Hood and a magical mystic. The show’s two characters navigate morals, ethics and unlikely friendship on their journey.

See it or not: Absolutely see it. This is a remarkable experience, an indescribable delight. The production values are superb, from set design (Seancolin Hankins) to sound (designer J Hagenbuckle) and lighting (designer John Malinowski). The script  is rapid-fire, engrossing, engaging and surprising. The acting and physicality are seamlessly calibrated. The show offers philosophy and pathos with a dollop of outrageous, laugh-out-loud humor.

Fun fact: Fielding is a co-founder of Harbor Stage and Lambert, a friend since graduate school, has been a longtime collaborator and previously performed at Harbor Stage in “Artist Descending a Staircase”  and “Glengarry Glen Ross.”

Worth noting: Fielding has said he and Lambert first talked about writing the play before the Affordable Care Act was passed in 2010. But Fielding has said the issue of unequal access to health care has become just as topical in the wake of the pandemic.

One more thing: The Harbor Stage Company consistently lives up to its slogan “A theater by the sea that’s right on the edge.” It’s refreshing to have a company that takes righteous risks.

If you go: 7:30 p.m. Thursdays through Saturdays (plus Wednesday, Aug. 3) and 5 p.m. Sundays through Aug. 6 at Harbor Stage Company, 15 Kendrick Ave., Wellfleet; $25; http://www.harborstage.org/

“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; https://capecodtheatrecompany.org/ or 508-432-2002. Masks were not required as of opening night.

'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!

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 https://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/  

This article originally appeared on Cape Cod Times: Cape Cod theater: What critics say about 8 musicals, comedy and more