Studio Theater Worcester provides an arts experience right here in the heart of the Commonwealth. I have had the amazing privilege of working with this group for many years in different capacities. To say I like them, and in particular my good friend John Somers, is an understatement.
Studio Theatre Worcester’s mission is to provide a differentiated, professional theatre experience that reflects the diversity and vibrancy of Worcester communities.
That said, my career in the arts is based on being able to give critical feedback. If I don’t, I think more folks are starting to understand that I have somewhat of an eye for good production, and in particular good writing. My production buddy, Tommy Jay Dwyer, is one such talented writer who I have hitched my wagon to.
“The Minutes” by Tracey Letts is an amazing play. It is so good that if the production does not rise to its level, it will become tedious, boring, and pedantic.
None of these elements were present in Mitch Kiliulis’ direction. The play was frankly impeccable for a local theater company.
John approached me with this play back in July 2024 with the idea to stage at least one performance at City Hall. We had recently worked together in filming the Studio Theatre Worcester (STW) performance of Proof. I directed and produced the filmed version. That production came together wonderfully after we filmed the feature-length movie in one day. It took a year to edit it. That John still likes me is a pretty good indicator of his response to the film.
When we began working with the city, we went through the normal process. We spoke with Edgar Luna, who works as the city’s liaison to most film projects and events at city hall. Luna arranged a meeting with Mayor Joe Petty in September 2024. John presented the concept to him, and Mayor Petty was on board.
This is where everything went wrong.
I accept that the city administration will do whatever it can to make my life harder. My critical view of the administration has led to hurt feelings. I would remind them that critical review is necessary for a true democracy. I can’t help but wonder whether they believe in democracy.
The City Manager’s Office overruled the initial approval of the Mayor and decided against holding the play at City Hall despite not engaging us in conversation to discuss and better understand the goals of the production.
We followed the process. We met with everyone, but it became increasingly clear they did not want the play.
“The Minutes” takes place at a city council meeting of the fictional city of Big Cherry. It touches on city government, proposals, items, clerks, all while dealing with bigger topics of death, mourning, history, and at its core, racism. Not just regular racism, but the kind that changes history to hide itself.
The story is rooted in the real soil of Worcester. This play, in my view, gives people the chance to think about each other in a different light.
In January, April, June and July, after multiple attempts to reengage the City Manager’s Office, Edgar himself tried to get the City Manager’s office to reconsider their verdict. John never received a response.
We asked for no favors, and we sought no special dispensation. We would have staged the play in the Levi Lincoln Room, on a Friday. Attendance would have been free, covered by a local donation. City Hall would have been the perfect setting to engage residents in the political process.
The city thought otherwise.
Despite the intentional blocking of a local theater group’s access to a public building owned by the people of the city, the play thrived. Attendance was strong. The performance I attended sold out. There was an upbeat energy from its opening moments.
Mr. Peel, played with depth and sadness by John Brownlie, is the heartbeat of the story. When we first meet him, we learn his mother has just passed, and that recent tragedy both informs the character and plays as a device to tell us which characters not to like. John was tremendous in this role.
Ms. Matz, played by Lena Vani (in full disclosure, a good friend of mine), is the manic comic of the play. Ms. Matz, in a perpetual medication fog throughout the play, draws the loudest laughs throughout.
Mr. Blake, played by Elijah Lidonde, an aspiring actor from Worcester, carries a physical presence into the play, both in humor with his suggestion of “Lincoln Smackdown,” an event where people would get to wrestle an Abraham Lincoln impersonator. He also gets into a fight with one of the other actors, which he clearly dominates to the delight of the audience.
Ms. Johnson, played by Christina “Tina” Pierro-Biggins, a veteran stage actor who is the ethical heart of the play. Her believability as a put-upon city clerk echoes loudly in the Esther Howland Chamber on Tuesday nights.
Mayor Superba, played by Patrick French, another New England based actor, who is wholesome, wise and menacing throughout the play. As a true villain whose full face is revealed in the play’s stunning conclusion, Mr French steals the show. A tremendous turn.
Mr. Breeding, played by Matthew Johnson, is also a Worcester-based actor. Mr. Breeding is the local council blowhard. He is hilarious, but not in a good way. He reminds the audience that governance sometimes comes from someone who just wants it their way. Abusive, dishonest and annoying. Matthew delivers.
Ms. Innes, played by Cindy Bell, is a veteran stage and screen actor who travels to act. Although Ms. Innes has a smaller role, Cindy knocks it out of the park. I have heard presentations like hers on a regular basis. I suggest you read the play, or find a performance. Ms. Innes is the go-along to get-along, nothing can hurt me character, who has it over the city for something that was done to her years earlier. A wonderful turn by Ms. Bell.
Mr. Oldfield is played by Michael Walker, an actor with 40 years of experience based in Sutton. Mr. Oldfield is the council veteran character, oblivious to the changes, and focused with precision on a new parking space. He also delivers laughs in key moments that propel the action forward. Yet another special performance.
Mr. Hanratty, played by Thomas Mshooshian, a Dean College graduate acting professionally for the first time. He is the PC police councilor, who is trying to get a handicaped-access fountain built in Big Cherry. Thomas has the workman’s job of drawing the narrative forward in-between characters and has to play righteous indignation with open hypocrisy. This is a wild turn to take on your first professional gig, but Mr. Mshooshian rises above his colleagues’ performances.
Mr. Carp is played by Kaven Matyczynski. This role is the great reveal, and boy does it hit the audience in the face. After an hour of mourning and buffoonery, Mr. Carp comes to the fore with hard hitting investigations. He literally kills this role. The actor is forced by the play to recant something that shocks the audience, and Matyczynski doesn’t just shovel coal onto the assumptions of the room, but he burns it down. Essential turn.
The ensemble was flat-out spectacular. The stage design was impeccable, as I have come to expect from STW. I have little doubt that this play will be a big winner at Broadway Boston this year.
Let me end with a note on the director Mitch Kiliulis. Directing 11 actors is no small task, and getting level performances is incredible in local theater. Mitch deserves the bravos from the mezzanines, and the roses from the floor. This play was well attended , but this company deserves to be seen by as many people as possible.
In the end, the review is 5 stars across the board. I have no notes.
For the city, I hope those who read this article understand that this is a growing arts city, and art cannot be contained. Art cannot be controlled, and it cannot be avoided. This city’s art is an ocean, and the waves are covering the shore.
I hope that you see your local painters, photographers, designers, directors, actors, musicians, poets, authors, rappers, and influencers and embrace them while you still can.
