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and founded Essayons Theatre Company in 1998

Especially noteworthy were Tenor Eric Bronner, Soprano La 'Tarsha Long, Mezzo-Soprano Heather Peterson, multi-faceted actor Bob Jolly, and of course Baritones and Producing-Directors Bradford Conner and Benjamin Sears together with Soprano Mary Ann Lanier and Pianist Margaret Ulmer, who are the Founders and Guiding Force for this highly praiseworthy company with its ongoing tradition of excavating and then staging significant milestones in American Musical Theatre.

The splashy, colorful costumes designed by William Ivey Long, and the many varied Broadway-styled sets, ranging from vibrant Times Square to desert bounded, ram-shackled Dead Rock and its Theatre and local Western Saloon as fashioned by Robin Wagner, were equally imposing with much praise also for the fine full orchestral accompaniment conducted by Jeffrey P.

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Yes, we must certainly add this winner to this prestigious Company's long list of successes!

Since its celebrated debut in 1980, it has been repeatedly staged by large and small, professional and non-professional, theatrical companies nationwide, virtually ever since.

Gammons, utilizing Studio 102's sparsely furnished, expansive, arena-styled, theatre space, composed of an impressive, cross-beamed ceiling, an imposing fireplace, flanked by two massive columns ( which regrettably obstructed the view ), and a large casement window alongside a grand stately staircase.

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Although its portrait of a sleazy, small-time entertainer, who uses his womanizing skills to advance his career, was a breakthrough paving the way for more realistic, hard-edged, and unsentimental storylines in musical theatre, its Broadway debut in 1940 received only a mixed critical and audience response.

This genuinely memorable production is most definitely an impressive debut, as this notable Company's initial offering in this splendid new theatre.

Based on the Walt Disney Company's highly successful 1991 animated feature film, it was later expanded and developed as a live theatrical presentation, and made its debut as such on Broadway in 1994, and is still playing there ten years later.

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Initially staged Off-Broadway in 1971, it was soon moved to a major theatre on Broadway, and after a substantial and successful run, was then followed by seven road companies touring throughout America, as well as a popular Hollywood movie version, released in 1973.

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Among the evening's musical highlights were the star's compelling singing (accompanied by the fine small orchestra conducted by Rob Bowman) of Noel Coward's poignant "If Love Were All," George Gershwin's tender "But Not For Me," and most especially Stephen Sondheim's paean to the shallow middle class, "Ladies Who Lunch;" and his salute to stage-struck wanna-be's "Broadway Baby," and showbiz-weary pros with "I'm Still Here." Although a bit overlong at nearly 3 hours performance time (including an intermission ), nevertheless, this show certainly represents an unsparingly honest, extremely entertaining, and quite memorable account of a great theatrical lady's career!

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Theatre Company's production of "Macbeth." Set in ancient Scotland, Macbeth, a power hungry nobleman, is emboldened to fulfill his destiny as King by the striking prophecies of a trio of otherworldly witches.

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is the Boston area premiere of "Top Dog Underdog" by Suzan-Lori Parks, a co-production staged earlier this year in succession, (with the same cast and director) at Alliance Theatre in Atlanta, Georgia, and most recently by the Trinity Repertory Company in Providence, Rhode Island.

At the Boston Center for the Arts the Sugan Theatre Company ..

Starring Richard McElvain in the title role, one of this area's most acclaimed actors, who is best known for his memorable prize-winning solo performance several years back in the Sugan Theatre Company's production of "Saint Nicholas" by Conor McPherson.

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First staged in-the-round in 1995 at the Company's home base in Beverly, Mass., it's now being presented proscenium-style in Boston due to a recent disastrous fire at their North Shore theatre.

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Miller was also responsible for the efficient, minimalist, office-styled setting, which utilized the theatre's compact arena-styled stage-space very well.

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The best of these are "I'll be the one who'll make love under the sun," and "It's the Banshee saying Listen to Me." Carmel O'Reilly (the Company's Artistic Director) is quite effective as Anna, with a very strong performance by Judith McIntyre as the highly vexed and frustrated Vera.

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