REVIEW:  Behind the love of music in ‘Stereophonic’

Posted on by The Sleepless Critic

As it is with making anything significant, creating begs a steep price.  No pain.  No gain.

Inside this expansive 70s music recording studio, upcoming rock band Here takes a crash course in this hard earned lesson.

Sleekly directed by Daniel Aukin with Justin Craig’s intricate music direction and Will Butler’s dynamic original songs, David Adjmi’s Stereophonic took the stage live and in person for a limited run from Tuesday, March 10 through Sunday, March 15 at Emerson Colonial Theatre in Boston, Massachusetts and is currently on a national tour.  The music-inspired production contains mature dialogue, performed in four acts and runs 3 hours and 10 minutes including an intermission.  Click here for more information on their Boston run here for details on their national tour.

Jack Barrett as ‘Grover’ in the First National Tour of Stereophonic. Photo: Julieta Cervantes

Prior to attending Stereophonic, I was visiting Thinking Cup on Tremont Street in Boston and one of the employees happened to be streaming Fleetwood Mac’s acclaimed 1977 Rumours album. I asked about it and he revealed he was a big fan of their music and felt like playing it, not knowing that just across the street Stereophonic would be loosely paying tribute to not only Fleetwood Mac, but the many artists who indulged in the power and art of painstaking music creation during that era without an auto tune in sight.

It’s no secret that Fleetwood Mac has stood the test of time as one of the world’s greatest bands, but hearing Dreams in that popular café was the perfect opening act for this show.

However, you have to be Fleetwood Mac fan to enjoy this production.  I was also a fan of Amazon’s Prime’s Daisy and the Six which is also loosely based on the story of Fleetwood Mac. Built for any music lover, Stereophonic concentrates much more on the tricky and collective process of creating an album and could represent the story of any band.

Company of STEREOPHONIC. Credit Julieta Cervantes.

Stereophonic follows rock band Here entirely from an elaborate recording studio in Sausalito, California from 1976 to 1977.  David Zinn’s finely-tuned and functional glass-dual level recording studio set allows you to simultaneously see what is happening on both floors as plenty of drama takes place inside the recording booth as well as behind the scenes.  Adjmi’s energetic dialogue kicks off the opening scene already in progress taking place the day after a big rehearsal night in overlapping and at times frenzied-under-high-pressure tones.  With Jiyoun Chang’s urgent lighting measuring the progression of time, the audience is a fly on the wall and an omniscient presence privy to the secrets these musicians are keeping from one another as they contemplate their next song.   

Having worked inside radio stations for many years, Zinn’s set resonated with me.  The life of a radio talent and a musician share some similarities exemplified in a scene involving Jack Barrett as Grover and Steven Lee Johnson as Charlie who talk their way into a gig as a pair of rookie sound engineers.  It’s all about the music and living that rock and roll dream.

Radio stations and studios can be open 24 hours a day and a musician or a radio personality can be working exhausting hours anywhere within that 24 hour period into the wee hours of the morning. With fluffy pillows and blankets, a radio station or a recording studio couch is not just convenient for studio visitors, but a place to crash if you are recording overnight.

(From L) Jack Barrett as ‘Grover’ and Steven Lee Johnson as ‘Charlie’ in the First National Tour of Stereophonic. Photo: Julieta Cervantes

Stereophonic hones in on the music process and what a meticulous undertaking it is, especially surrounded by musicians who can barely agree on what to do next, never mind tempo and rhythms.  They riff, debate, share outlandish ideas, philosophize, joke and reflect like family at their best and at their worst.

The production features quite a bit of nostalgia through a wealth of 70s pop culture references, especially from Fleetwood Mac and other famous 70s rock bands such as The Eagles or the Doobie Brothers. Enver Chakartash’s colorful costumes speak to the hippie/disco era in bell bottoms, suspenders, and button down shirts as well as vividly patterned and flowing dresses.

Claire DeJean, Emilie Kouatchou, and Denver Milord in STEREOPHONIC. Credit Julieta Cervantes.

 The cast exhibits strong vocals even as harmony and discord unleash onstage.  From song snippets to a full song run through, you can’t help but long to hear more music and how the entire album turns out.

Swinging a tambourine, Claire Dejean brings to life naïve and insecure yet creatively gifted Diana who shares both harmony and discord with Denver MiLord as frustrated perfectionist Peter.  They are a couple who perpetually challenge each other to a boiling point.  Dejean’s Diana bonds with Emilie Kouatchou as best friend and band mate Holly who also has her own relationship troubles.

Claire DeJean and Denver Milord in STEREOPHONIC. Credit Julieta Cervantes.

Though the production would be just as impactful in a briefer timeframe, Stereophonic delivers a mix of somber, tense and humorous moments with Christopher Mowod standing out through a mix of humor and seriousness as unfiltered British musician Reg.  Stephen Lee Johnson as Charlie and Jack Barrett as Grover share great chemistry and lend some lightheartedness to the show while Cornelius McMoyler brings an intensity to firm, level headed yet overwhelmed manager Simon.  McMoyler’s Simon wise and stoic exchange with MiLord’s Peter is one of the show’s most intense highlights.

The First National Tour Cast of Stereophonic. Photo: Julieta Cervantes

Pursuing your passion often requires more than you bargained for and Stereophonic takes a deep dive into inevitable impact of long hours, partying, what smells like real smoking, and drug use.  It also depicts the resourcefulness, perfectionism, and the drama behind the scenes as a band spends every hour together pouring their lives into creating what they hope is an album masterpiece while their personal lives hang in the balance.

Such is the art of rock and roll.

Stereophonic is currently on a national tour.  Click here for further details and tickets.

REVIEW:  Calculations, connection, possibilities and their impact in Central Square Theater’s notable ‘Breaking the Code’

Posted on by The Sleepless Critic

A burglary is far more complicated than it seems.

Methodically directed by Scott Edmiston and based on Andrew Hodges’s critically-acclaimed best-selling biography Alan Turing: the Enigma, Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3.  This engaging A Catalyst Collaborative@MIT Production contains some adult content and runs 2 hours and 30 minutes with an intermission.  Click here for more information and for tickets.

I first learned about Alan Turing’s incredible life and accomplishments through the riveting 2014 biopic, The Imitation Game starring Benedict Cumberbatch and Keira Knightley.  It is a shame that before seeing this eye opening film, I hadn’t been taught about this remarkable and renowned British mathematician, coder and computer scientist as part of my academic history. 

Dom Carter, Matthew Beagan and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Edmiston does not necessarily present Turing’s story in chronological order, but through segments or scenes enhanced by enigmatic typewritten statements that become clearer as the production progresses.  Scenic designer Janie E. Howland and SeifAllah Salotto-Christobal cleverly weave together innovation with vintage elements as projections of definitions to garden settings to calculations vibrantly illuminated by Karen Perlow as tilted shelves stuffed with books, manuals, vintage electronic parts, old telephones and much more hang overhead.  Classic three piece suits, scholarly cardigans and colorful dresses are just a portion of Chloe Moore’s fittingly traditional 50’s era costumes.

Set in England 1952, Eddie Shields as Alan Turing meets Dom Carter as unwavering and discerning detective Mick Ross to report a mysterious burglary at Turing’s home.  When something seems amiss, Carter and Turing skillfully execute their increasingly tense cat and mouse game to a stunning conclusion.

Eddie Shields and David Bryan Jackson in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Eddie Shields embodies inquisitive, driven, blunt, painfully lonely and socially awkward Alan Turing who once considered numbers his imaginary childhood friends.  The deep connection Turing possesses with numbers and technology are elements he longed for in other people. From Turing’s distinctive stutter and tics to his innate inquisitiveness to his distracted social awkwardness, Shields is exemplary as Turing.  David Bryan Jackson adds easygoing humor as instantly likable and mildly muddled Dilwyn Knox who provides a good dose of lightheartedness during this often heavy production.  Jackson also demonstrates his ample range as intimidating John Smith and Jackson’s dual role challenges Turing in distinct ways.

Eddie Shields and Matthew Beagan in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Turing is a relentlessly focused individual who walks a fine line between confidence and arrogance while facing obstacles thinking outside of the box.  Turing’s driven nature and eccentricity rarely meets his match until two significant people enter his life. One is Matthew Beagan who portrays a number of roles including warm and charming Christopher, a man that Turing describes as someone who makes everyone else seem ordinary.  The other is Josephine Moshiri Elwood as fellow coder Pat Green who shares a remarkable rapport and intellect that challenges Turing.  Elwood beautifully depicts sweet, sympathetic and intuitive Pat with an earnest and unassuming sincerity.  Their strongest moments are not in what is said but in the silences of what is left unsaid.

Breaking the Code Eddie Shields and Josephine Moshiri Elwood in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Paula Plum weaves an endearing mix of propriety, amiability and good humor as Turing’s mother Sara Turing who expresses interest and admiration of Turing’s various pursuits.  However, a later pivotal and memorable scene between Plum and Shields is when both actors are at their best.

Paula Plum and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Not only is Turing the father of the computer and played a crucial role in World War II, but his forward thinking ideas back then about technology address the possibilities we are ever closer to making a reality today.  It is fascinating to see just how this production presents technology’s rapid advancement while also making a profound statement about how we experience it in the world today.

Though I might have liked the show to have taken a closer look at how Turing accomplished his monumental feats, the production focuses more significantly on what drives him as well as his personal experiences and hardships that impacted his life.  Turing’s calculations changed the world as we know it and yet, he suffered many unimaginably cruel injustices. 

 Imagine what more he could have done.

Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3.  Click here for more information and for tickets.

REVIEW:  A playwright’s journey goes awry in shrewd satirical comedy ‘When Playwrights Kill’

Posted on by The Sleepless Critic

Theatre can really drive you crazy and no one is more versed on that subject than Matt Doyle as playwright Jack Hawkins. Matt Doyle also acts as narrator reflecting on his wild journey as a struggling playwright.

With Noah Himmelstein’s zippy direction fueled by John Gromada and Joel Abbot’s catchy and mischievous sound design, Matthew Lombardo’s zany satirical comedy, When Playwrights Kill continues its world premiere live and in person at The Huntington in Boston, Massachusetts for a limited engagement through Saturday, April 18.  This semi-interactive play-within-the making-of-a-play contains adult language and runs 2 hours with an intermission. Click here for more information and for tickets.

(L-R) Adam Heller (The Producer), Matt Doyle (The Playwright), Kevin Chamberlin (The
Director) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Loosely based on a real life theatrical incident, When Playwrights Kill features far more wry humor and hilarity than dark moments when a struggling playwright desperately attempts to get his new play, The Return to the Broadway stage.  Working with an unpredictable theatre company which includes a greedy producer and a semi-retired acting legend, success may come with a price.

(L-R) Kevin Chamberlin (The Director), Matt Doyle (The Playwright), Beth Leavel (The
Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Alexander Dodge’s modestly stylish scenic design includes a glimmering red curtain and an extravagant makeup table with diva lights enhanced by Elizabeth Harper’s versatile lighting that not only cues scene changes and adds depth to the set, but illustrates Jack’s self aware inner monologue and narration.

Matt Doyle (The Playwright) and Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Comparing a restaurant to a shame shack and lines like “I’m not even following your tricycle of thought” is just a sample of Matthew Lombardo’s witty and uproarious script.  It often draws on theatre history and boasts an assortment of theatrical and Boston references, but you don’t need to be a theatre buff to enjoy the absurdity of this shrewd production.

When Playwrights Kill features a strong cast that feed well off each other as this initially lighthearted production’s plot wildly thickens.  Doyle delivers an earnest and engaging performance as Jack while articulating the building fury and frustration of being a playwright.  Doyle’s asides are especially entertaining and he shares a fascinating chemistry with Beth Leavel as Brooke Remington, a semi-retired acting legend hired to perform his one woman show.

Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Electric in fabulous heels, Beth Leavel is excellent as frazzled, charismatic, egotistical and blunt Brooke mastering a complex array of physical comedic scenarios that bear a passing resemblance to Carol Burnett‘s comedic prowess. For example, a scene where Leavel as Brooke is navigating a phone is pure perfection.  Always making a memorable entrance, Brooke can also order a meal that gives Sally Albright a run for her money decked out in glamorous and vibrant attire by costumer Alejo Vietti only second to Tomás Matos as frank and wisecracking Val Liam’s chic and studded wardrobe in shredded denim and florals.

(L-R) Beth Leavel (The Actress) and Marissa Jaret Winokur (The Stage Manager) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Adam Heller is also memorable as a business minded, fittingly raspy voiced and relentlessly greedy producer who shares some grand scenes with Doyle, but it is especially entertaining as Heller and Kevin Chamberlin, wonderful as the Director, conspire together calculating what next is in store.  Boasting some priceless facial expressions, you may also feel the frustration of Marissa Jaret Winokur as a sympathetic and level headed Stage Manager who is doing everything necessary to keep this production afloat.

(L-R) Beth Leavel (The Actress), Tomás Matos (The Prompter), Adam Heller (The Producer),
Matt Doyle (The Playwright) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Twists and turns navigate this quickly paced and often unpredictable tale that delves into themes such as avarice versus creativity and other thought provoking ideas that resonate while the production never takes itself too seriously. 

When Playwrights Kill is a delightfully absurd and insightful treat to anyone on and off the stage.

Matthew Lombardo’s zany satirical comedy, When Playwrights Kill continues its world premiere live and in person at The Huntington in Boston, Massachusetts for a limited engagement through Saturday, April 18.  Click here for more information and for tickets.

REVIEW:  ‘The Outsiders’ musical sure does shine

Posted on by The Sleepless Critic

Tulsa, Oklahoma is divided by the-haves and have-nots in 1967 and that divide is capable of causing a confrontation at the drop of a hat.

The drive-in and literature provide a means of escape for Pony Boy, a 14 year-old Greaser often surrounded by teenage gang violence.  As young as he is, he may be the only one who is asking why.

The cast of ‘The Outsiders’ musical national tour Photo by Matthew Murphy of MurphyMade

Directed meaningfully by Dayna Taymor with Justin Levine’s powerful music direction and Rick and Jeff Kuperman’s slick and athletic choreography, Lexus Broadway in Boston continues the national tour of The Outsiders musical at Citizens Opera House through Sunday, April 12.  This coming of age musical’s action is not limited to the stage and runs 2 hours and 30 minutes with one intermission.  Click here for more information and for tickets and here for the next stop on The Outsiders Musical national tour.

The Outsiders was originally a 1967 novel by S.E. Hinton.  The author oversaw every aspect of the popular 1983 Francis Ford Coppola film adaptation of the same name featuring what was then a promising group of actors that went on to make their own iconic mark in the world.  The film became a popular cult classic with a dynamite cast starring Thomas C. Howell as Pony Boy, Patrick Swayze as Darrell, Ralph Macchio as Johnny, Matt Dillon as Dallas, Rob Lowe as Soda Pop, Emilio Estevez as Two-Bit, Leif Garrett as Bob and Diane Lane as Sherri “Cheri” Valance.  It also first premiered as a stage play in 1990.

The Greasers Photo by Matthew Murphy of MurphyMade

From its building opening folk-rock number Tulsa ’67, The Outsiders musical hits the ground running and it is as thrilling as it is introspective.  Nolan White is an immediately compelling narrator as poetic, sensitive, naïve and bookish Pony Boy.  Pony Boy spends his days escaping the chaos and Tulsa’s gang violence through 60s film icons such as James Dean and Paul Newman, but it is only a matter of time before the violence around him catches up to him.

The national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of Matthew Murphy of MurphyMade

Smoke rises over Projection designer Hana S. Kim’s and Sceneographer Tatiana Kehvehgian’s weathered and strategically placed multi-level industrial set.  Peppered with vintage props that effectively rewind the clock such as a teal antenna television, functional Cadillacs that growl to life and a vintage metal-framed wooden table, the surrounding set pieces are brilliantly navigated by the cast into alternating positions, especially grease, wooden planks and cinderblocks which take part in the Kupermans’ slick and athletic choreography.  Grainy film montages creatively and impressively illustrate the stage in unexpected places combined with Brian MacDevitt’s lighting heightening the show’s innate intensity through windswept shadows, flashlights, headlights and a dazzling sunrise.

The Socs of the national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of MurphyMade

Outstanding harmonies within Great Expectations, I Could Talk to You All Night, Grease Got a Hold, Run Run Brother and Throwing in the Towel, and Stay Gold is just a few of the mellifluous numbers in this guitar-tinged folk and roots rock score.  The Outsiders tackle privilege, bullying, gang and domestic violence, grief and loss.  It also delves into brotherhood, family, friendship and more prevalently, yearning to be understood and the dream of a better life. 

The captivating cast share natural camaraderie amongst the two gangs punctuated by the performances of Tyler Jordan Wesley as wildly unpredictable Dallas and Travis Roy Rogers as reliable Darrell.  Wesley hits all the right notes with Little Brother while Darrell’s resentment, self righteousness, worries and distress are encapsulated in the numbers Runs in the Family and Soda’s Letter.

The national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of MurphyMade

Life can change on a dime and the mesmerizing manner in which they are presented are one of the greatest aspects of this amazing musical as well as how beautifully this musical brings out Hinson’s work about innocence and struggle in a remarkably new, unique and fitting manner.

This musical sure does shine.

Lexus Broadway in Boston continues the national tour of The Outsiders musical at Citizens Opera House in Boston, Massachusetts through Sunday, April 12.  Click here for more information and for tickets and here for the next stop on The Outsiders Musical national tour.

REVIEW:  Fame, rebellion and something to prove in Lyric Stage’s cleverly titled ‘Angry, Raucous and Shamelessly Gorgeous’

Posted on by The Sleepless Critic

Not even a raging thunderstorm can dampen the spirits of these strong and determined women.

Powerfully directed by Jacqui Parker, the stage is the thing as Lyric Stage continues Pearl Cleage’s Angry, Raucous and Shamelessly Gorgeous live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, April 12.  This lively production contains adult language, is not limited to the stage, lives up to every aspect of its great title, and runs 100 minutes with no intermission.  Click here for more information and for tickets.

Patrice Jean-Baptiste in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

A bejeweled and beaded chandelier hangs aloft bursts of bold colors weaved into portions of Janie E. Howland’s posh hotel room setting complete with a bar, upscale furniture, a vividly displayed portrait and functional glass doors.  Highlights in Rachel Padula-Shufelt’s statement costumes include attractive silks and suits which combining vibrant and neutral colors. 

Whether threatening or emphasizing a statement, Aubrey Dube’s intense sound design features fierce and rumbling thunder alongside Karen Perlow’s affecting lighting possesses a mind of its own in the driving rain.  This group of women is expressive, bold and striking which is just a portion of what gives these women their shameless beauty.  They step up and show up, determined to make their stifled voices be heard in their own way.

“Who said anything about real life?  This is theatre.”

Inés de la Cruz and Patrice Jean-Baptiste in Lyric Stage’s ‘Angry Raucous and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

This grandiose statement is declared by Patrice Jean-Baptiste as outspoken yet refined Anna Campbell, a currently out of work actress making her triumphant return to the United States for an outdoor Atlanta theatre festival to honor her and reenact her defining act, the Naked Wilson, an ode to renowned playwright August Wilson’s plays.  However, this driving rain and Deannah “Dripp” Blemur as business minded producer Kate Hughes have other plans.

Deannah “Dripp” Blemur in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

Patrice Jean Baptiste sweeps into and out of room with finesse as determined Anna who delights in her theatre work, has grown used to the finer things, and commands a room. Inés de la Cruz  patiently portrays humble, serene and level headed Betty Samson who strives to make Anna happy.  A true and eternally loyal partner, Betty is strong enough to support Anna, especially when it is for Anna’s own good.

Yasmeen Duncan in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

Yasmeen Duncan shines as bold, impulsive and street smart Pete Watson who has a certain “it” factor, even if she doesn’t quite know how to articulate it.  Pete is daring, excitable and full of ideas, but seems to lack the sophisticated edge that Jean-Baptiste’s Anna has cultivated through her years in the theatre.  Young, determined, and impulsive, Yasmeen’s Pete hasn’t learned yet that in this business, it is important to learn quickly and that there is always something to prove, especially in an act of rebellion.

Patrice Jean-Baptiste and Yasmeen Duncan in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

What I particularly enjoyed about the show is the manner in which Cleage’s script ties together August Wilson’s iconic female characters with this fascinating foursome.  The entire cast share dynamic chemistry that is fiery, amusing and entertaining. 

Angry, Raucous and Shamelessly Gorgeous references nudity, but it is really about expression and what truly makes you resilient and golden under all the glitz.  It boasts a wealth of welcome theatre references about process and the nature of being a part of the theatre world. It also delivers many humorous moments while discussing fame, mortality, misogyny, youth, and the power of being wildly underestimated.

Inés de la Cruz in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

Lyric Stage continues Pearl Cleage’s Angry, Raucous and Shamelessly Gorgeous live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, April 12.  Click here for more information and for tickets.

 

REVIEW:  What it is to be human in SpeakEasy Stage’s curious ‘The Antiquities’

Posted on by The Sleepless Critic

The Antiquities paints a vivid portrait for a potential future.

On the day I was scheduled to see SpeakEasy Stage’s The Antiquities, I went to the State House in Boston with a group of SAG-AFTRA members to speak to legislators about passing bill H. 4832 An Act Relative to the Contracting of Digital Replicas.  The bill is largely about protecting an individual’s image and voice from exploitation which is imperative during these looming times of AI increasingly dominating job markets, society and life in general.  One cannot even use a search engine without AI automatically popping up “thinking” instead of searching for your answer.

From left to right: TOBIAS WILSON, HARRY BAKER, and KELSEY FONISE Photo by Benjamin Rose Photography

Little did I realize I was about to see the aftermath of the inadvertent demise of humanity due to our abuse of technology.  However frightening that is, The Antiquities is a stimulating production that contains a mix of light, dark, tongue in cheek and witty humor that almost eases the unsettling nature of this potential destiny.

Cleverly directed by Alex Lonati, SpeakEasy Stage continues Jordan Harrison’s satire The Antiquities live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 28.  This engaging production is approximately 1 hour and 45 minutes with no intermission and contains adult language and themes.  Click here for more information and for tickets.

A portion of The Antiquities hints at the groundbreaking robotic guides featured in Tomorrowland within Disney’s Magic Kingdom.  It also could be a page right out of Rod Serling’s timeless The Twilight Zone, James Cameron’s The Terminator or in Charlie Brooker’s Black Mirror where digital replicas co-exist alongside its human counterparts doing the less savory work of human existence so the original may live an easier life.

ALISON RUSSO as cast Photo by Benjamin Rose Photography

However, The Antiquities are far beyond that stage.  Members of the audience are human visitors of “The Museum of Late Human Antiquities” in which two humanoid AI guides quip, “Now, you are the dinosaurs.”

From left to right: KELSEY FONISE and TOBIAS WILSON Photo by Benjamin Rose Photography

In this world, humans no longer exist and are artifacts of a post human existence.  Christopher and Justin Swader’s gleaming and chrome plated space adds a sophisticated touch to all the artifacts “on display” bathed in Amanda E. Fallon’s soft glow.  However, the most impressive aspect of the production is the synthetic tics, pops, buzzes and churns within Anna Drummond’s robust sound design that yanks you into this astonishing world of rigidly moving humanoid AI guides pretending to be human.

From left to right: JESSE HINSON and HARRY BAKER Photo by Benjamin Rose Photography

Spanning from 1810 through 2076, The Antiquities explores a number of exhibits that reenact a wide range of scenarios in human history punctuated by the evolving fashion trends by costume designer Lila B. West.  Some exhibits revisit iconic moments of technological development, creation, grief, pain, inexplicable loss, and adoption and other exhibits depict the unintentionally humorous and ridiculous as humanoids define moments in human history they can only speculate about.

From left to right: HELEN HY-YUEN SWANSON and HARRY BAKER Photo by Benjamin Rose Photography

This capable cast portraying humanoids deliver intriguing performances full of actions that purposefully never cross or capture the essence of human emotion, curiosity, commitment, faith or falling in love.  Each aspect is automatic and calculated within the exhibit.  They enthuse, “What it must be like to be human!” 

From left to right: ALISON RUSSO and KELSEY FONISE Photos by Benjamin Rose Photography

Black Mirror’s unsettling and groundbreaking messages focus on the dangers of the thirst for technological advancement, perfection and comfort at the expense of what makes humans genuine and unique.  Never mind about computers taking over, but the fine line between progress and the complacency for life to be streamlined and easier while saving the almighty buck is disturbing enough.  As Ian Malcolm from Jurassic Park warned, “Just because you can, doesn’t mean you should.”

However, humanoids and humans do share flaws which make up some of the best moments of the production.  It’s in the subtle instances of humor in having read the human manual but never authentically living, witnessing or feeling it.  It’s something that can never be taught or duplicated.  It’s in the capability to just be. 

From left to right: JOHN KUNTZ and KELSEY FONISE Photo by Benjamin Rose Photography

SpeakEasy Stage continues Jordan Harrison’s The Antiquities live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 28.  Click here for more information and for tickets.

REVIEW:  Boston Ballet’s exhilarating ‘Winter Experience’ glows in anticipation

Posted on by The Sleepless Critic

Especially amid winter’s bitter isolation and bleakness, one cannot help but anticipate the crackle and rising glow of  spring. Through these two bold works, Boston Ballet shows how to appreciate the wonder of winter and glow in spring’s glorious awakening.

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15.  The production is one hour and 50 minutes with one intermission.  Click here for more information and for tickets.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Ji Young Chae, Viktorina Kapitonova, Lia Cirio, Seo Hye Han, WanTing Zhao, Haley Schwan, Chisako Oga, Chyrstyn Mariah Fentroy

With a wealth of expectation and powerful expression, Boston Ballet’s wondrous Winter Experience features a visceral pair of complementary works infusing innovative ballet which envisions the intensity of the season as well as the increasing promise of spring in Jorma Elo’s bold classic Le Sacre Du Printemps (The Rite of Spring) and Crystal Pite’s contemporary favorite, The Seasons’ Canon. 

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

 Boasting Jorma’s Elo’s sharp and versatile choreography, Le Sacre Du Printemps depicts rich beauty as dancers shift and sway to Stravinsky’s commanding score that ebbs and flows from tender to thunderous.  With incredible choreography by Crystal Pite and exhilarating music by Max Richter, The Seasons’ Canon finale remains one of the most amazing pieces that I have ever witnessed from the Boston Ballet.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Stravinsky’s Le Sacre Du Printemps is a striking exploration of a ritual dance believed to usher in the spring season.  Adorned in Charles Heightchew’s vibrant sequined burgundy costumes as a band of brimming color rises amid a black layered latticed backdrop, dancers slice the air, trot, tick and lunge in pas de deux and in groups delivering unruly yet synchronized grace in their athletic, sharp and intimate steps. 

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Stravinsky’s powerful drum and horn-infused rhythms ebb and flow from soft and mischievous to urgent and rebellious which reflect in the dancers as they intricately link and divide and in Brandon Stirling Baker’s symbolic and transformative lighting.  Pairs form daring and unique patterns as well as mirror each other as Stravinsky’s wielding drive animates dancers from rigid and mechanical to surprising to occasionally humorous within its more spontaneous moments to haunting as the dance intensifies.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Under a gleaming, crackling and morphing gold light by Jay Gower Taylor and Tom Visser, the Boston Ballet unveils a vision like none other with The Seasons’ Canon.  Crystal Pite’s intricate and meticulously detailed chorography to Max Richter’s version of Vivaldi’s mesmerizing The Four Seasons makes The Seasons’ Canon a superlative experience.  An incredible vision in every sense of the word, The Seasons’ Canon is innovative and unique as dancers pulse, sway, and tumble with intricate fluidity and precision while methodically spilling onto the stage. Moving like one sinewy organism as if waking from hibernation and molding into magnificent shapes, the sheer exactitude and congruent nature of these movements cannot be overstated.  An exciting, uplifting and commanding piece with bursts of energy as the landscape transforms into shades of silver, orange, and gold, is exquisite in every season.   It is a haunting and brilliant performance sure to stay with you long after the piece has ended.

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Rosalie O’Connor and Brooke Trisolini
Dancers: Sangmin Lee, Chisako Oga, Ji Young Chae, Jeffrey Cirio, Daniel Rubin, Sage Humphries

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15.  Click here for more information and for tickets.

REVIEW: Kevin T. Durfee’s ‘Scenes of (Dis)Connections’ at NYC’s The Chain Theatre One Act Winter Festival

Posted on by The Sleepless Critic

Oh, what might have been….

Don’t let the upbeat opening music fool you.  This is one intense table.

Three individuals arrive at a poker game.  One individual is earnestly present in spite of her current circumstances and two cannot escape their immediate pressures and distractions even though they all share a common goal – to be present together. 

Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Written and directed thoughtfully by Kevin T. Durfee, Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City.  Due to a blizzard, this program had to be delayed a week.  Click here for more information about the production and here for more information about Chain Theatre, which presents over 90 one act productions during its annual winter festival.

Mary McCarthy in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

A small, floral covered table should bring friends together, but they cannot help but misunderstand each other.  In their own way, they all secretly plead for help, but cannot be heard.  Durfee uses communication breakdown in a clever way to depict each individual’s perspective through Mary McCarthy as struggling mother One, Griffin Garnett portrays struggling worker Another, and Hannah Wu depicts unemployed Alternative.  Athleisure, a business suit, and casually dressed respectively fittingly reflect their distinctive life perspectives.   They all aptly underline their distress as they long for the comfort of each other’s company, but cannot escape their various individual pressures.  

Griffin Garnett in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Confiding and connecting are so important.  Durfee was inspired to write this work through his own experiences meeting up with friends and everyone is so engulfed in their current circumstances, they catch up, but may lack genuine connection.  Durfee uses potentially life altering circumstances, but lack of connection is so easy to do in friendship or in any relationship, especially when even the lure of a cell phone is enough of a distraction from making a genuine human connection.  Listening, connection and confiding can lighten anyone’s struggles even when things happen.   

Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Scenes of (Dis) Connections provide just a snapshot of a friendship without a background story, but could be the foundation of a larger narrative.  In its brief time, it begs a few questions about these three interesting characters.  How they became friends, how they found themselves in these circumstances and how their friendship progresses would make for an excellent larger production. 

Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Ryan Blaise and Shannon Adams Creative

Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City.  Click here for more information about the production and here for more information about Chain Theatre.

REVIEW:  Endearing yet complex, The Huntington’s ‘We Had a World’ an exceptional love letter to family

Posted on by The Sleepless Critic

Award-winning playwright Joshua Harmon brings insight into his multifaceted life with textured humor in We Had a World, Harmon’s deeply personal family memory play inspired by his grandmother.

Will Conard brings warmth and amiability to narrator Joshua Harmon who highlights his indelible bond with his grandmother Renee and the mark and influence she made on his life, even as he has only seen her through rose colored glasses.

Amy Resnick and Will Conard in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Soulfully directed by Keira Fromm, The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15.  This wonderful semi-interactive production runs one hour and 40 with no intermission and contains some adult humor.  Click here for more information and for tickets.

Will Conard in the Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Joshua Harmon is a brilliant playwright and is no stranger to depicting family dynamics as demonstrated in his fascinating and intricate French and Jewish multi-generational play, Prayer for the French Republic spanning from 1944 to 2016 recently presented at the Huntington in 2022.  It’s a family portrait with depth and complication taking place over decades and though it differs in tone, We Had a World also depicts its own intimate family portrait.

A play within a play of sorts, We Had a World focuses on Conard as playwright Joshua Harmon growing up with Eva Kaminsky as his orderly and sensible mother Ellen and Amy Resnick as his adventurous grandmother Renee spanning from the 80s through today.  It delves into family drama with wit and humor while exploring missteps, misunderstandings, trauma, abuse, and family secrets.

Will Conard and Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Courtney O’Neill’s stylish and detailed brick trimmed setting acts as several significant places in this family’s life including Renee’s elegant Upper East Side NYC apartment and a posh Parisian hotel room.  Parisian love seats, warm lighting and upscale décor are just part of this inviting and multi functional backdrop. 

Amy Resnick in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Tyler Micholeau’s meticulous lighting cleverly clicks and darts on each character as if under the limelight to share their unique perspectives.  Each cast member is remarkable, but Amy Resnick is marvelous as Renee and a bit of a scene stealer.  Regardless of the flaws she has within her family, you still can’t help but revel in her unfiltered personality.  Bawdy, unapologetic, adventurous and a bit naughty, Resnick encapsulates Renee who can alleviate almost anything through her charismatic and unfiltered sense of humor.  Conard’s agreeable, peacemaking and well meaning Joshua blends well with Renee’s laissez faire rapport which hones a rare curiosity for the world as they learn from one another.  Resnick speaks to her grandson like an aspiring adult rather than a child which does not always sit well with Kaminsky’s Ellen. Kaminsky’s Ellen is practical, a tinge jealous and guarded while Renee seems carefree and wild.  With stubbornness and lively personalities, Kaminsky and Resnick share a fascinating rapport and together make quite the impression even as they insist they are not alike.

Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

A familiar and believable tight knit family, they undermine and judge one another and are so close, they cannot help but challenge each other as they thrust one another under the microscope. At times casual and humorous and other times unflinching, We Had a World has its share of raw and bitter resentments and family squabbling which has the potential to cut to the quick, but never lets the production become too heavy and serious even during intense times.

The production’s witty dialogue boasts a natural flow and the distinctive way these characters confide in each other and the audience with humor, candidness and ruefulness at times within the same thought makes it one of the best shows I’ve seen this year.  Humorous and poignant, it is a show you won’t soon forget.

Amy Resnick and Will Conard in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15.  Click here for more information and for tickets.

REVIEW:  Searing and stunning, Central Square Theater’s ‘The Moderate’ makes a lasting impact

Posted on by The Sleepless Critic

To say it is riveting is an understatement.

 The Moderate is sure to alter your perspective on the digital world as much as it impacts each member of this small and likable cast.  Be sure to see The Moderate as much for its engulfing state of the art technology as for its stunning emotional core.

Innovatively designed and directed by Jared Mezzocchi, Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1.  This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission.  Click here for more information and for tickets.

Nael Nacer in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

The Moderate is not shared chronologically which helps to make this production a mesmerizing digital journey from its very first frame.  Rewinding the clock to March 2020, a humble yet determined Frank Bonner, powerfully and evocatively portrayed by Nael Nacer, interviews for a job as an internet moderate while the world is in COVID isolation.

The Moderate packs a lot into its brief and swiftly moving timeframe.  It delves into a wide spectrum of themes including loneliness, isolation, family strife, trauma, the gravity of internet addiction, abuse, the dark web, racism, social media, the raw and exhibitionist side of human nature and the lengths one would endure to provide for family.

Nael Nacer and Jules Talbot in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

We live in an encompassing digital world and it is not likely to change any time soon and this technology is depicted in brilliant and meticulous ways.  The show is wisely served up with no intermission which elevates this production’s immersive and gripping style of storytelling. Captivatingly set up and directed, Christian Frederickson’s robust sound design, Mezzocchi’s Multimedia design, and Sibyl Wickersheimer’s distinctive set design invites the audience into not only into what Nael Nacer as Frank sees, but how each character is experiencing one another digitally and in real time.  You are not just an observer, but experiencing each frame navigating right along with the cast between the digital world and reality.

Nael Nacer and Celeste Oliva in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

This amazing show boasts an impressive cast.  Celeste Oliva is intense and relatable as Frank’s estranged and levelheaded wife, Edyth.  Nacer and Oliva fall into difficult and various misunderstandings and both still manage to remain sympathetic under their strained circumstances.  Nacer’s Frank is darkly humorous, naïve and charming in his frustrations over technology.  Jules Talbot brings a mix of lighthearted and dark humor as Rayne, a young maverick union fellow moderate who offers Nacer’s Frank valuable insight into the digital world.  Greg Maraio portrays Frank’s level headed manager Martin who is all too aware of the difficulty and dangers of their positions and the impact it is sure to have on their lives and Sean Wendelken makes a stunning impression as Gus.

Sean Wendelken in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

However amazing the show’s technology is delivered, what truly sets this show apart is its humanity.  It does have genuine lighthearted and humorous moments while remaining unflinching of its emotional toll and remarkably and honestly lays bare the cast’s individual vulnerability and urge to make a difference. Through this shared experience, you may empathize with what they are going through as well and have a better understanding of our real and unpredictable digital landscape.

Jules Talbot and Nael Nacer in Central Square Theatre’s ‘The Moderate’ Photo by Nile Scott Studios

Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1.  This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission.  Click here for more information and for tickets.