Berkshire on Stage

I begin with GALILEO’S DAUGHTER, produced by WAM Theatre at Shakespeare & Company in October 2025. That means it was part of WAM’s 2024 season but was too late for consideration by last year’s Berkshire Theatre Awards. That was a shame because this was one of the finest productions of the year. Every element – directing, design, performance – was right on point. A co-production with Central Square Theater, Reena Dutt was the inspired director of a most imaginative script by Jessica Dickey. The story of a contemporary writer (Caroline Kinsolving) researching Maria Celeste (played by Sandra Seoane-Serí), who is the daughter of the “father of science,” Galileo. Galileo and a slew of other characters was played with extraordinary alacrity by Diego Arciniegas. The characters are charming, funny, intelligent. The design was so well crafted that jumping back and forth in time and moving to various locations was achieved with elegance and delight. It was one of those evenings in the theatre where you lose track of time and as the story ends, you are ready to start all over and see it all again.

There was a lot of charm in this season overall. As we all know, the world took a dark turn in January, and our Artistic Directors must have been really challenged to find work that would reflect on the new world order without incurring the wrath of the powers that be. Barrington Stage Company was most successful in balancing the political with the humane. Alan Paul’s very pretty production of CAMELOT was tweaked to clearly give voice to the villainous nature of man. But the glorious musical score and the final ray of hope was balm for the soul. The production was buoyed by magnificent performances by Emmett O’Hanlon (Lancelot), Ken Wulf Clark and Ali Ewolt (as Arthur and Guenevere), and Dakin Matthews as Merlyn/Pellinore. With CAMELOT, BSC presented a trilogy that recounted the world under Eisenhower (EISENHOWER: THIS PIECE OF GROUND) and N/A (a play about the changing of the guard in the U.S. House of Representatives as Alexandria Ocasio-Cortez is matched with Nancy Pelosi). These three plays offered a view of how we got to where we are in American politics, as well as a fantasy that engenders hope for the future. Although EISENHOWER was a bit of a slog, N/A was another highlight of the season. Such an intelligent script, effectively staged and superb performances by Diane Guerrero and Kelly Lester. 

To balance out the meticulous political messaging, Artistic Director Alan Paul produced two delectable offerings. The world premiere of the new musical, FUZZY, dealt with compassion and resilience—two qualities we greatly need today. John Cariani and Cass Morgan played the voices of two puppets in a story with great resonance – about caring for an elderly parent in their final days. With one puppeteer and two onstage musicians, this intimate musical seemed simple but resonated for weeks after. And to literally bring it all home, THE WEEKEND, A STOCKBRIDGE STORY by Ben Diskant was such a lovely and good-hearted story of a writer trying to write about his first love in our local town of Stockbridge. 

Another sweet and warmhearted story was presented by the Chester Theatre Company. The new co-artistic directors Michelle Ong-Hendrick and Christopher Baker offered a marvelous and successful season. I was sorry to miss MR. JOY, but so glad I made it to A HUNDRED WORDS FOR SNOW. This one-person play by Tatty Hennessy was directed by Ong-Hendrick and starred her daughter, Hero Marguerite, as Rory. Rory is a 15-year-old girl who sets off for the North Pole to deal with the grief of losing her beloved father. Filled with adventures that lead to love and reconciliation, it was a marvelous choice for these exasperating times. Marguerite is a name to remember – a rising star for sure.

Shakespeare and Company’s season was a bit of a mélange. But kudos are due for an extraordinary production of August Wilson’s THE PIANO LESSON. Directed by Christopher V. Edwards in collaboration with the Actors’ Shakespeare Project, this production did not qualify for a Berkie (Berkshire Theatre Critics Award) because it was not originally produced here. Otherwise, I believe it would have garnered a slew of nominations and one or more awards. Such fabulous ensemble casting, a great script (it hardly gets better than Wilson’s family sagas), and brilliant directing.  Truly a highlight of the season!

Although Berkshire Theatre Group seemed to steer clear of overtly political choices, BTG certainly offered works with great depth of humanity. Outstanding offerings were THE ELEPHANT MAN and METAMORPHOSES. THE ELEPHANT MAN featured sensitive and moving performances by Michael Wartella (John Merrick), Laura Shatkus (Mrs. Kendel), Harry Smith (Frederick Treves) and Dan Woods (Bishop Walsham How). Director Eric Hill was very clever to set the whole play in a Victorian night circus. As the play moved through space and time, the ominous danger of the world at large was always present, even as the compassion and generosity of the main characters provided solace and consolation. A beautiful production all round.

METAMORPHOSES was certainly one of the finest shows of this season. Under the creative direction of Isadora Wolfe, the Mary Zimmerman script based on the mythos of Ovid, was visually stunning and emotionally provocative. The set, designed by Jason Simms, was a true miracle – a ten-by-fifteen-foot pool filled the stage and lighting by Matthew E. Adelson created a unique and beautiful world for the stories of old. The acting ensemble was equally strong and impressive, but Gregg Edelman, David Adkins, Stephanie Jean Lane, and June Carryl particularly captured my imagination with their performances.

Finally, I would like to mention one little play that you may have missed. Again, it was strong on charm and encouragement that we might be able to find our way back to caring for one another. THIS PLACE. THESE HILLS. by Joan Ackermann was an evening of short plays set in the Berkshires. A cast of ten very capable actors presented this delightful program. It inspired hope as well to see this little Great Barrington theatre, Mixed Company, come back after COVID closed it down for several years.

As I have noted, this was a fantastic season. And of course I didn’t see it all. It would be well-nigh impossible to cover it all. Nevertheless, I count my blessings to have enjoyed this funny, engaging, and provocative theatre season and I hope this recap from one point of view reminds you of your most memorable theatre experiences this year.