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Perched atop a ladder, his hardhat glinting under the spotlight, steel worker Mike Dillard (Michael A. Barron ’11) confesses, “Non-recognition by other people, it bothers you sometimes.” The steelworker’s powerful monologue is the first of many in “Working: The Musical,” written by Stephen Schwartz—the composer of “Wicked” and “Godspell”—and various other artists...
...that elaborate stagecraft might have inhibited. Ortiz’s resourceful use of the space and careful showcasing of his actors’ talents help to maintain a swift pace throughout the production, as he unwaveringly focuses on the laborers’ struggles. Especially considering this is his first directorial effort, Ortiz exhibits confidence and ease in his work...
...secluded homes and mental hospitals as everyone around her insists that she forget the past and the father of her child. Mezzogiorno delivers a stunning performance, masterfully portraying the desperation of a scorned lover. Her obsession with her imagined marriage to Mussolini (Filippo Timi)—a problem first and foremost because he was already married with children before his affair with Ida—is second only to her resolve that she hasn’t imagined anything and is justified in her demands for legitimacy...
...score accompanying the various climatic scenes—Ida and Benito’s first love scene, for instance—works marvelously to accent the frightening and sinister aura that surrounds their relationship. The combination of shrill flute lines and harsh stringed instruments in serious scenes like the opening town forum provide an eerie accompaniment to Mussolini’s austerity, a creepiness that accurately complements Mussolini’s bloody thirst for power...
Councillor Marjorie C. Decker, who pushed for the passage of both these resolutions, said during the meeting that while the City Council is pro-business, in order to be pro-business, they have to be pro-worker first...