"GEORGE AND GRACIE: THE FINAL BOW" LIGHTS UP THE SEVEN ANGELS THEATRE

If you are into good 10 cent cigars and silly and corny jokes, a soft show routine reminiscent of Vaudeville, a few bars of a sentimental song slightly off key, and a romance of a pair who fit together like a hand suits a glove, look no further than the sweet blending of comedy and craziness that marked the marriage and partnership on radio and television of George Burns and Gracie Allen. Until Sunday, May 14, you are invited to pull up a comfy seat and sit back and relive some of the funniest and most celebrated moments of these comedy icons whose work ended after 291 episodes on television in 1958. Seven Angels Theatre in Waterbury is in a nostalgic mood and you are in for a treat. Artistic Director Semina De Laurentis has scoured the television annals and put together five skits that feature George and Gracie at their best, with gentle and simple humor in unusual situations that are sure to engender laughter. Who but Gracie could decide to purchase three dozen pair of glasses for all her friends and neighbors to convince George that he would look distinguished with his new appearance or become a waitress so a woman could make her boy friend jealous enough to finally propose marriage? Gracie even believed a fortune teller that she must divorce George in order to remarry him and also to change her name to help the family improve. She even interferes to help her son Ronnie gain enough self confidence to play Cyrano de Bergerac in his drama school play. Gracie is created with perfection by Semina De Laurentis and paired with R. Bruce Connelly’s smooth straight man persona. Together they are a delight, especially when they sing and dance “I Love Her.” Helping the pair are Sarah Knapp as next door neighbor Blanche Morton with hubby Harry played by John Swanson, Tom Chute as their business partner Harry Von Zell, James Donohue as everyone from eye doctor to waiter, Scott Kealey as head of the drama school and attorney, Marcia Maslo as the waitress Alice and the Morton’s niece, Tori Sperry as Lola, Linda and the waitress and Jonathan Zalaski as their son Ronnie, the budding dramatic actor. Julia Kiley directs this look back to a kinder and gentler time. For tickets ($44-49 ), call Seven Angels Theatre, Plank Road, Waterbury at 203- 757-4676 or online at sevenangelstheatre.org. Performances are Thursday at 7:30 p.m, Friday at 8 p.m., Saturday at 8 p.m. and Sunday at 2 p.m. Come reminise with Ethel Cecile Rosalie Allen better known as Gracie Allen and Nathan Birnbaum better known as George Burns as they, for the last time, share their tales of humor and life for your entertainment as George requests “Say good night, Gracie."

"LIVE FROM THE EDGE" BRINGS ITS MESSAGE THROUGH THEATER

Until Sunday, May 21, the Space Ballroom, 295 Treadwell Street, in Hamden is entertaining a unique theatrical collage LIVE FROM THE EDGE created and performed by Universes, under the auspices of Long Wharf Theatre. These evenings will be a potpourri of sounds, songs, stories and sights combined with politics, poetry and petite plays. With jazz, hip hop, and gospel merging with dance, movement, clapping and burlesque, this is a “happening,” a high energy community of entertainment that probes your conscience as it plays with your mind. One moment the troupe of five, led by Steven Sapp and Mildred Ruiz-Sapp who founded the group in the Bronx, New York twenty-eight years ago, joined by Asia Mark, Nate John Mark, Nsangou Njikam and soon by Sophia Ramos, capture the stage with emotional riffs, childhood stories, songs from what could be a revival meeting, explorations of the alphabet, tales of a hurricane, a little snappy rap, a bit of historical cacophony, lyrics from a Spanish song, and all that jazz. There is vibrancy and sensitivity and a hint of violence, traveling from Noah’s ark to the subway, with talk about growing up, prisons, neighborhoods, dreams, invisibility, all a non-stop monologue or dialogue, with rhythm and jive as the oral tradition continues. Universes has traveled all over the United States as well as internationally. For the past three years, it has been ensconced as playwrights -in-residence at Long Wharf Theatre under the auspices of Artistic Director Jacob Padron who terms their show “a thrilling theatrical experience…by boundary-breaking artists.” Each performance is unique and different, involving the audience to be part of the show. The evening i attend we sang “Happy Birthday” to Hip-Hop on its 50th birthday and to Steven Sapp’s cousin Kenny. For tickets ($35 member, $55 regular, $75 Pay It Forward), call the Long Wharf Theatre at 203-693-1486 or online at boxoffice@longwharf.org. Performances are Thursday, Friday and Saturday at 7 p.m., Saturday and Sunday 2 p.m. Stay after each show for a talk back. Come help Long Wharf celebrate a new era of theatrical performance as it works to create a diverse community for New Haven.

"THE REMBRANDT" IS ON DISPLAY AT THEATERWORKS HARTFORD

We’ve all been raisied with the admonition “Don’t touch that.” Whether it is the hot stove, an expensive vase or a downed electrical wire, we know the inherent danger of disobeying. If you are a security guard at an art museum, your job is to protect the paintings or sculptures or artifacts from inquisitive children and thieves bent on destruction or financial mischief. Might you, the guarder of the masterpieces, ever be tempted to reach out and touch one yourself? Such is the premise of Jessica Dickey’s intriguing play “The Rembrandt” currently center stage at TheaterWorks Hartford until Sunday, May 14. To complement this production, there is an art exhibit at the theater, entitled “Riff on Rembrandt,” that features a selection of local artists who were challenged to create a piece of art reminiscent of contemplation as well as an exhibit at the Wadsworth Atheneum of associated works. Neil Patel’s inviting museum set takes the audience from present day deeply into the past and back again to today. Michael Chenevert’s Henry is the affable museum guard who hasn’t lost his skills as a teacher as he indoctrinates the newest member of the staff, an ambitious street artist Dodger, an outspoken Ephraim Birney, who is already looking for advancement on his first day at work. They are joined by Amber Reauchean Williams’ Madeline, who is grieving for the recent loss of her grandmother and is embracing the new art of being a copies. All three are showing their fascination with a painting by Rembrandt, Aristotle with a Bust of Homer, until Dodger challenges the pair to reach out and actually touch the master work. Of particular interest is the gold chain worn by the great philosopher that is a symbol of great honor. Their invasive moves threaten to start a domino effect, tumbling them back in history, revealing an emotional journey of sacrifice and love. Art clearly speaks to us, individually, in a variety of ways that move us. Will Dodger’s sudden and unexpected taunt cause a man who has been entrusted with the safety of these works to impulsively comply? Will her sadness impel Madeline to follow suit? What role will the armed security guard Jonny, a no-nonsense Brandon Espinoza play in this dramatic moment? Add in visits with Simon, at this performance played by Michael Bryan French and at other times by Bill Buell, who is Henry’s dying companion as well as Homer, and Henry as the artist himself as well as the others as personages in Rembrandt’s life and you have a plethora of information about art in this 90 minute production directed with a skilled hand by Maria Mileaf. For tickets ($25-65), call TheaterWorks Hartford, 233 Pearl Street, Hartford at 860-527-7838 or online at twhartford.org. Performances are Tuesday-Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 4 p.m. and 8 p.m. and Sunday at 2:30 p.m. Check online for required mask performances. Come meet Rembrandt the Dutch painter, considered one of the greatest storytellers in the history of art, who had the ability to portray people with a purity of light and darkness, relying on only the colors of dark brown and black, earthy yellows and deep red. Your eyes and heart will be opened.

PATRICIA WILCOX: CHOREOGRAPHER EXTRAORDINAIRE

The award winning choreographer Patricia Wilcox has designed dance routines for shows from “Beautiful" to “Bye Bye Birdie,” “Mamma Mia" to “Motown the Musical,” “Seussical” to "The Secret Garden,” not to mention dances for ice skaters and cruise ship entertainers. She considers her entry into the world of dance “late” since it wasn’t until she was in college that it started, as she was working on her masters. As a child she was bedridden for a year with rheumatic fever and the seeds of her career may have been planted when, recovered, she spent her Monday nights taking jazz, ballet and tap classes as therapy. It has been a long time since her first show “Blues in the Night.” There she started with the director’s staging for this new work, and began by examining the story, choreographing it without a mirror, taking the arc of the story and fitting in the dance steps last of all. Frequently her initial vision changes as she needs to stay open to possibilities and see how the show feels, plus making adjustments for the dancers. Her ultimate question is “What do I want to achieve with the story?” That requires focus, a concentration on the musicality of the story and the movement. Right now, Patricia Wilcox is concentrating her attention on Goodspeed Musicals 60th Anniversary production of “Gypsy A Musical Fable” playing in East Haddam from April 28 to June 18. With book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim, it is the story of a true stage parent, Momma Rose, whose ambitions for her daughters drive her to great lengths and difficult decisions. Patricia says the cast is wonderful and the show is in “great shape” as they get ready for the tech rehearsal this week. For Patricia, this is her first time creating the choreography for “Gypsy.” “I love the show and I have a terrific relationship with the brilliant director Jenn Thompson. We’ve done seven or eight shows together over the years and this is our third at Goodspeed including “The Music Man” and “Bye Bye Birdie.” We work well together and move forward, sharing the show’s vision. I have not seen “Gypsy” in the last fifteen years but it is one of the best musicals ever written, the lyrics, the music, ALL.” She loves working in the 1920’s, being able to explore Vaudeville and burlesque in the various numbers. For tickets, call the box office at 860-873-8668 or go online to goodspeed.org. Performances are Wednesday and Thursday at 2 p.m. and 7:30 p.m., Friday at 8 p.m., Saturday at 3 p.m. and 8 p.m. and Sunday at 2 p.m. and 6:30 p.m. Patricia is reluctant to name a favorite show, as if it is like picking a favorite child. But her two sons and their relationship with good storytelling and reading helped her decision to do the choreography for a new project “Diary of a Wimpy Kid” that premiered in Minneapolis recently, that she also worked on with Jenn Thompson. The youthful exuberance of the children, their desire to do the right thing, their willingness to do the work over and over for twenty-five times and their resilience made the experience so special. When she is choreographing, her emotions run the gamut from the thrill of getting the job, an OMG feeling, the ability to immerse herself in the work, to find nuggets of the piece and connect them in a whole new way. It’s easy to see why she is happiest when creating her choreography. A favorite experience of Patricia Wilcox is a memory when she was a member of the audience seeing a show. After Act 1 the gentleman sitting next to her tapped her on the arm and asked her “Was it beautiful?” She explained that it was and then realized he was blind. After the second act she stayed and told him the whole story, a perfect shared experience so he could “see” the show through her eyes. No wonder she visualizes her choreography so perfectly.

"AND AWAY WE GO!" WITH PANTOCHINO PRODUCTIONS UNTIL MAY 7

How sweet it is! Pantochino Productions in Milford is conjuring up images of that rotund comedian who was always sending his wife Alice to the moon, Jackie Gleason, in their newest and always original musical comedy, “And Away We Go!” gaining giggles and guffaws weekends until Sunday, May 7 at the Milford Arts Council, The MAC. With creative book. lyrics and direction by Bert Bernardi, bouncy music by Justin Rugg that will make you tingle, imaginative costumes by Jimmy Johansmeyer and elaborate nightclub set by Von Del Mar, this is a tale of music and murder, or is it? Show biz singing team of Vinny Volare (Jimmy Johansmeyer) and Vickye Cantare (Shelley Marsh Poggio),who think they are wannabe clones of Steve and Edie or Sonny and Cher, have left the sanctuary of Now Jersey to make it big in Miami. Vinny’s great plan for success is to secure a spot on the Jackie Gleason Show, because he knows a cousin of an uncle of a dancer of a waitress who ;knows Jackie and he is sure his innovative formula will work. Arriving at the club Jungle Nook, right across the street from the television studio, Vinnie feels he and Vickye are on their way, maybe to visit Alice on the moon. Soon an undercover IRS agent Roxy (Valerie Solli), an uncooperative manager Little Mary (Rachelle Ianniello), two enterprising gangsters Vito (Justin Rugg) and Jerry (Lu Dejesus), an unemployed shy Marjorie (Mary Mannix), a flamboyant dancer Snooky (Susan Kulp) and the Big Momma of the gang Nonna Antonozzi (Tracey Marble) take turns putting obstacles in Vinnie’s way. Will Jackie Gleason’s show gain some new talent or will some people lose their lives? Clearly the audience will laugh all the way to the uproarious conclusion. Knowing a little Italian wouldn’t hurt. For tickets ($32.00), go online to www.pantochino.com. Performances are Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m. Remember to bring goodies to share at your table as this is cabaret style. Join the Great Give on May 3-4 to help Pantochino. Go to TheGreatGive.org. Come discover for yourself if Jackie Gleason will find new talent for his television show or if Nonna Antonozzi will make good on her threat: “If i love you, I kill you” with her on target evil eye.

"THE LEGEND OF GEORGIA MCBRIDE" SASHAYS INTO THE IVORYTON PLAYHOUSE

Necessity can also be the father of invention. Just ask Casey who finds himself poised for collasel change. Casey was an Elvis impersonator, barely making a living, struggling to pay the rent and buy groceries. Even an impulsive purchase of a pepperoni pizza could throw his budget into chaos. When his loyal wife Jo announces she is pregnant and the rent check bounced again, it coincides with his boss Eddie informing Casey that Elvis has left the building. In other words, the Florida club Cleo’s is trading in lips and hips for sequins and stilettos and will now be a venue for drag queens. Ivoryton Playhouse is inviting you to join Clint Hromsco’s versatile Casey when he has an epiphany in Matthew Lopez’s “The Legend of Georgia McBride” until Sunday, April 30. In the world of entertainment, an actor can transform from one character or persona to another with a change in voice, a wig or a costume. With skill and talent, a complete metamorphosis can occur right before the audience’s eyes. When Casey finds his Elvis days are over, he reluctantly takes off his blue suede shoes and quickly becomes overwhelmed with financial issues. Then he has a moment of revelation. He must change: his name, his dress, his attitude and his act. In the hands and other body parts by Hromsco, we see Casey struggle to support his wife Jo, an understanding Rae Janeil, with an optimistic outlook and a new wardrobe. With the encouragement and mama mentoring of Miss Tracy Mills, a helpful and sensational Sam Given, Casey finds himself on stage as a drag queen. Cleo’s is run by Eddie, an enterprising Mike Boland, who quickly gets into the spirit of the club’s new personality. Enter Georgia McBride and a legend is built. With bows to Bette, Liza, Pink and Lady Gaga, Casey emerges in full flouncy and flamboyant fashion. The drag queens strut triumphantly, with the addition of Rexy, an outspoken and sassy Timiki Salinas, who doubles as Casey and Jo’s understanding landlord Jason. So what’s the problem with this picture? Casey neglects to tell Jo of his new career choice. Could he be ashamed of his new enterprise? While Jo is responsible and realistic, Casey is optimistic and full of potential. With the green light from Eddie, and the encouragement and assistance of Miss Tracy, Casey sees the future through his new rose colored glasses. Being kind, wise and dependable, Casey discovers that tolerance and diversity and being open to change and opportunity can be life altering. When he lip syncs a host of great songs, he is just hitting his stride. Todd L. Underwood directs this peek under the wig and inside the dress of a drag queen, with help from Angela Carstensen’s fascinating costumes, Martin Scott Marchitto’s behind and before the stage set design, and Alan Piotrowicz’s lighting and sound. For tickets ($55, seniors $50, students $25), call Ivoryton Playhouse, 103 Main Street, Ivoryton at 860-767-7318 or online at www.ivorytonplayhouse.org. Performances are Wednesday and Sunday at 2 p.m., Wednesday and Thursday at 7:30 p.m., Friday at 8 p.m., and Saturday at 8 p.m. For lessons in makeup, wig styling and drag queen dress, look no further than Casey, Rexy and Tracy’s dressing room for a behind the curtain peek at a unique area of show business lore where self acceptance reigns supreme and no one sits in judgment.

"AIN'T MISBEHAVIN' " A JAZZY MUSICAL TREAT AT WESTPORT COUNTRY PLAYHOUSE

In 1926, Fats Waller, the jazz master of the stride piano, a jazzman who began to show signs of piano talent at the age of six, was kidnapped by four armed men. Afraid he was going to be killed, he was relieved to discover he was the “surprised guest of honor” at a birthday party for the criminal Al Capone. He played his tunes with a gun at his back for three long days, earning $100 a song. That is the kind of story I wish had been included in the otherwise wonderful revue of three dozen Fats Waller stylings included in “Ain’t Misbehavin’ “ conceived by Richard Maltby, Jr and Murray Horwitz currently strutting its stuff until Saturday, April 29 at Westport Country Playhouse. Opening night was made even more special when Richard Maltby, Jr and Andre DeShields were in the audience. Fats Waller, who described himself as 285 pounds of “jam, jive and everything,” was a master of the stride piano, and is credited with composing over 400 songs. While he lived less than four decades, he crammed a ton of tunes into his career knapsack, leaving a legacy of jazz favorites, enough to be packed into one lively and energized package known as “Ain’t Misbehavin'. ” With a scrollwork Art Deco set reminiscent of the Savoy Ballroom or the Cotton Club, thanks to Raul Abrego, you’ll think you’ve been transported to Harlem, circa 1925, for a fantastic voyage masquerading as a simple musical revue. Your tour guides on this merry trip are splendid: Miya Bass, Paris Bennett, Jay Copeland, Judith Franklin and Will Stone, and they are the Energizer Bunny in splendid form. Each a star in their own right, they bring Fats Waller’s tunes to brilliant light, showcasing songs like “Honeysuckle Rose,” “T Ain’t Nobody’s Biz-ness If I Do,” “Lounging at the Waldorf,” “Squeeze Me” and “Black and Blue.” Humorous numbers like “Your Feet’s Too Big” and “Fat and Greasy” are over the top while “The Jitterbug Waltz” and “I Can’t Give You Anything But Love” are sentimental favorites. The joint was truly jumpin.’ The cast certainly knows how to “spread rhythm around;” as they are hep cats with attitude and flair, who respond to Terry Bogart’s inspired piano playing and Jeffrey L. Page’s delightful musical direction and choreography. This is a show not to be missed. Oana Botez’s glorious costumes are worth the trip all by themselves, adding new dimensions to Philip Rosenberg’s cool lighting and Leon Rothenberg’s smooth sound. For tickets ($55 and up), call Westport Country Playhouse, 25 Powers Court, Westport at 203-227-4177 or online at www.westportplayhouse.org. Performances are Tuesday at 7 p.m., Wednesday at 2 p.m. and 7 p.m, Thursday at 7 p.m., Friday at 8 p.m., Saturday at 3 p.m. and 8 p.m. and Sunday at 3 p.m. This show is a co-production with Barrington Stage and Geva Theatre Center. Come hear the magic and the melody for yourself, the music of Fats Waller, a man who was said to be able to make a piano sing. The songs are sweet and sassy or sentimental and the cast is lively and luscious and eager to please.

L'CHAIM! TO LIFE! "FIDDLER ON THE ROOF" AT THE PALACE IN WATERBURY

Get ready to embrace tradition in the little village of Anatevka in Russia when the milkman Tevye and his wife Golde and their five daughters dance their way into the Palace Theater in Waterbury for a trio of performances on Saturday, April 15 at 2 p.m. and 8 p.m. and Sunday, April 16 at 1 p.m. This award-winning celebration of life, love, laughter, and, of course, tradition features the Broadway classics “Tradition,” “If I Were a Rich Man,” “Sunrise, Sunset,” “Matchmaker, Matchmaker” and “To Life, ” in FIDDLER ON THE ROOF. Tony®-winning director Bartlett Sher brings a fresh and authentic vision to this beloved theatrical masterpiece from Tony-winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick. This new production, with stunning movement and dance from acclaimed Israeli choreographer Hofesh Shechter, is based on the original staging by Jerome Robbins. The cast features Jonathan Hashmonay as Tevye, Maite Uzal as Golde, Andrew Hendrick as Lazar Wolf, Mary Beth Webber as Yente, Randa Meierhenry as Tzeitel, GraceAnn Kontak as Hodel,Yardén Barr as Chava, Daniel Kushner as Motel, Austin J. Gresham as Perchik, Carson Robinette as Fyedka and Jason Thomas Sofge as Constable. The ensemble includes Morgan Cohen, Max Derderian, Gabriella Green, Christopher Hager, Ansley Grace Hamilton,James Jude Johnson, Emelie Latzer, Elliot Lazar, Tayler Mettra, Conor McGiffin, Ali Arian Molaei, Jacob Nahor, Emily Qualmann, Daniel Rabinowitz, Isabel Robin, Jacob Simon, Brayden Singley, Lauren Blair Smith, Lauren Steinert,Alex Stone, Rosie Webber, Scott Willits.The original Broadway production of Fiddler on the Roof, opened in 1964. When Tevye the milkman married Golde, he met her for the first time under the chuppah, the wedding canopy. Their union was arranged by their parents, as was the custom in this tiny corner of the world, a shtetl in Russia called Anatevka. Marriages also could have been conducted by a yenta, a matchmaker, who made her living "matching" young people for the purpose of matrimony. Come meet Tevye and Golde, who have been blessed with a life of poverty. A fiddle player fiddler perches precariously on the roof symbolizing the uncertainly of life. Jonathan Hashmonay commands the role of Tevye with complete heart and spirit, at moments tender and compassionate, at others perplexed and concerned, questioning God and asking for His advice. Tevye is a good man, an honest man, a loving father, a patient husband, a hard worker who faithfully delivers milk and dairy products six days a week, even when his horse is lame. Tevye knows who he is and what his role in life is and he accepts them. While he acknowledges his village is inhabited by Cossack soldiers, he adopts a live and let live attitude of co-existence. When he sings "Tradition," he admits the major role his religion, Judaism, plays in his everyday existence. When Yenta the matchmaker, arrives at their tiny home, she informs Golde, a devoted wife and mother, that she has news, wonderful news, a match for their eldest daughter Tzeite, with Lazar Wolf , the prosperous but much older widower and butcher. Unbeknownst to Tevye and Golde, Tzeitel has plans of her own to wed Motel the poor tailor, an arrangement based on love, one that is unheard of and unacceptable. When Tevye learns of their outlandish ideas, he feels like a willow tree that has to bend. He relents and puts his daughter's happiness first, before traditions. How he convinces Golde to agree, especially after he had sealed his pledge with Lazar Wolf is at the heart of this poignant tale. Soon Tevye is tested again, when his daughter Hodel, wants to marry the radical student rebel Perchik and finally and irrevocably when daughter Chava, does the unthinkable and wants to cross the line of religious observance to marry the Russian soldier Fyedka . Will Tevye finally break under the burden of change? Tickets are available at https://www.palacetheaterct.org/shows-and-events/main-stage/fiddler-roof. Come help Tevye grapple with the immense questions of faith that swallow his small world as he bends and sways in the breezes of change. Raise a cup of wine to love and life. L’chaim!

ON FIRE WITH "THE TINA TURNER MUSICAL" AT THE BUSHNELL

A title like the Queen of Rock and Roll is not to be taken lightly. Tina Turner earned that crown in an adventurous journey that was often lonely and difficult. Born Anna Mae Bullock in Nutbush, Tennessee, she had a poor beginning, being raised by her grandmother after her parents went their separate ways. Her love of singing in the community church served her well and began early on in her turbulent life. You are invited to learn about her career and how meeting a young up and coming singer Ike Turner and his Kings of Rhythm band was one of the best and the worst times of her life, at the Bushnell Center for the Performing Arts in “TINA - THE TINA TURNER MUSICAL” written by Tony Award nominee and Pulitzer Prize winner Katori Hall with Frank Ketelaar and Kees Prins. From Tuesday, April 11 to Sunday, April 16, Ari Groover and Zurin Villanueva will share the role of playing this fiery icon, with Garrett Turner as the violent and abusive Ike Turner, Roz White as her mother Zelma Bullock, Ann Nesby as her grandmother Gran Georgeanna and Lael Van Keuren as Ike Turner’s manager and later Tina’s manager, Rhonda. This show, with the blessing of Tina Turner herself, has won 12 Grammy Awards and received the same amount of Tony Award nominations, including Best Musical. With its world premiere in London in April of 2018, it opened on Broadway in November of 2019 and reopened in October 2021 after being closed for the pandemic. Being inducted in 1991 with Ike Turner to the Rock and Roll Hall of Fame, she is only one of three women in the institution’s history to be inducted twice. The second time was in October of 2021 when she was 81. Come hear her music raise the rafters with her signature songs like “What’s Love Got To Do With It,” “Proud Mary," “Private Dancer,” “River Deep -Mountain High,” ”A Fool in Love,” and “We Don’t Need Another Hero,” two dozen in all. Under the direction of internationally acclaimed Phyllida Lloyd, Tina’s songs and story are sure to ignite your heart and soul in a triumphant comeback tale like no other. With choreography by Tony Award nominee Anthony van Laast and set and costume designs by Tony Award nominee Mark Thompson, this show is stuffed with superlatives and resonates with spirit and joy. For tickets ($42 and up), call the Bushnell, 166 Capitol Avenue, Hartford at 860-987-5900 or online at bushnell.org. Performances are Tuesday to Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 2 p.m. and 8 p.m. and Sunday at 1 p.m. and 6:30 p.m.. Come see and hear for yourself that Tina Turner is and will always be “simply the best."