The Sleepless Critic

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

Posted on 10 Hours Ago 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.

Kate Hughes 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 10 Days Ago 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 25 Days Ago 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.

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.

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 27 Days Ago 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 March 4 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.

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 February 25 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.

REVIEW: Ambition and belonging in Actors’ Shakespeare Project’s ‘Little Women’

Posted on February 24 by The Sleepless Critic

“We want so badly,” reflects Kaila Pelton-Flavin as Beth, “We don’t see what we have.”

From Jenna McFarland Lord’s dual level wooden set reminiscent of a doll house highlighted by a fireplace, family table and uniquely patterned rug, Beth’s realization rings true of the mercurial March family. With the exception of Kaila Pelton-Flavin as shy and fragile Beth and Sarah Newhouse as nurturing and practical Marmee, the March sisters share an exceptional amount of squabbling with little understanding of what is really important. Aislinn Brophy may be story telling Jo, but Pelton-Flavin’s Beth just may be the wisest of all.

Directed by Shana Gozanky, Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. This production runs 2 hours and twenty minutes including one intermission. Click here for more information and for tickets.

The cast of Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

This is not the first time Actors Shakespeare Project has re-imagined and restaged a literary classic as demonstrated in productions such as Kate Hamill’s refreshing take on Jane Austen’s Emma and Shakespeare’s vibrant Romeo and Juliet.

Louisa May Alcott’s Little Women has been restaged, restyled and recalibrated many times over the years for television, theatre and film. I’ve followed many adaptations of Little Women on both stage and screen most notably Greta Gerwig’s adaptation of Little Women which earned Academy Award-nominations for Saoirse Ronan as Jo and Florence Pugh as Amy. Gerwig’s adaptation jumps timelines and presents a real life meets literary work in a revolutionary way. It doesn’t feel like watching yet another Little Women. The iconic moments from the novel are still present, but delivered in a manner never presented before and approaching issues such as social status in a frank and more obvious way.

While Kate Hamill’s Little Women focuses on the March family, at its core is the sibling relationship between Jo and Beth which unfolds in a distinctive way as they interact together even before the production begins. Hamill’s version also has a lot to say and presents its content in a frank and more obvious manner while preserving its roots as a coming of age tale without sharing Alcott’s work in its entirety. This version is also shaped differently as these March girls march metaphorically and quite literally which says so much about how Hamill adapts these characters from Louisa May Alcott’s beloved book.

Aislinn Brophy, Kaila Pelton-Flavin, and Olivia Fenton in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Zoe Sundra’s audacious costuming includes handlebar mustaches, ties, suspenders, dapper long coats, and multi-patterned dresses with each costume designed to reflect the era and highlight each character’s distinct personalities. Brophy’s Jo wears several mismatched and layered ensembles that enhance her individuality and buck tradition while Chloe McFarlane as Amy’s long braids and traditional dress highlights Amy’s aspirations for refinement. Julian Crocamo’s energetic and defining piano-infused score varies mellifluously from playful to rushing to tender as the production unfolds.

Aislinn Brophy in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Most of the characters, especially the March girls, depict pronounced and less profound versions of themselves. The March sisters are iconic for their subtler qualities as much as for the traits that make them classic characters ahead of their time. Jo is inquisitive, confident and awkward with big ambitions and a temper alleviated by her sensitivity. However, Brophy’s Jo is outspoken, tempestuous and controlling fixated on a man’s world. Like the iconic character, this Jo also longs for the comfort of things to always remain the same. In long thick braids, Chloe McFarlane as haughty, clever and traditional Amy often locks horns with Jo’s unorthodox views. Olivia Fenton’s Megan is boy crazy, impressionable, goofy, and exceedingly optimistic providing awkward humor especially in scenes with Chris Stahl as Mr. Brooks who share a wildly giddy bordering on silly chemistry.

Aislinn Brophy and Sarah Newhouse in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Only calm, mature and consoling Beth quietly observes with sympathetic and sensible Marmee as Marmee quells and directs her daughters. Newhouse impressively depicts Aunt March in a dual role who is as uncomfortably outspoken as ever while Patrick Vincent Curren charismatically portrays stern and wealthy Mr. Laurence along with Amy Griffin and Chris Stahl who aptly portray multiple roles.

Aislinn Brophy and Jonah Barricklo in Actors Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

One of the best parts of this production are the fascinating interactions between Brophy’s Jo and Jonah Barricklo’s Laurie who share some wonderful camaraderie and an endearing rapport. Barricklo as Laurie is lonely, earnest, sensitive and sincere, feels out of place in the world and will do just about anything for Jo. They conspire and tease each other while emphasizing the unique commonalities in which they share their true selves and their unorthodox outlook of the world. Their unique recognition of each other and the manner in which they understand each other is rare, lovely and bittersweet.

Though I am not a fan of the way the March sisters are depicted, there are new elements of the show’s storytelling worth seeing, especially in the work of Newhouse’s Marmee and Pelton-Flavin’s Beth who consistently attempts to bring to light what is important in the midst of all of life’s distractions, noise and ambitions.

Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. Click here for more information and for tickets.

REVIEW: Thoughts set adrift and a lady waiting in Lyric Stage’s humorous and ruminating new musical, ‘Penelope’

Posted on February 18 by The Sleepless Critic

So many questions lie in an uncertain future.

Waiting can make you antsy, edgy, and frustrated while fluctuating between hope, anticipation and dread. No one knows waiting quite like Penelope from Homer’s epic work, The Odyssey. From a Cliffside island abode, Penelope waits for years for her husband to come home after the Trojan War with no idea of what’s ahead. However, boasting an eclectic mix of catchy, playful, melancholy and soothing songs, thoughts travel even when the body does not and a lot can happen even while the world is still.

Directed with introspection by Courtney O’Connor with eclectic music direction by Dan Rodriguez, Lyric Stage presents Alex Bechtel’s new musical, Penelope live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, March 1. This stirring and semi-interactive one woman cabaret style production contains adult language and runs 80 minutes with no intermission. Click here for more information and for tickets.

Aimee Doherty in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Homer’s The Odyssey is considered one of the most influential and most read mythological works of all time and has been getting particular attention lately. American Repertory Theater debuted Kate Hamill’s The Odyssey last year and this summer, Matt Damon leads an all star cast in Christopher Nolan’s new adaptation of The Odyssey. The Odyssey explores several significant themes including war, temptation, survival, and redemption, but it is not necessary to refresh yourself on Homer’s work to appreciate this musical. Its focus is less on the plot and its exclusive focus is on Penelope’s perspective, Odysseus’s clever, steadfast, and powerful wife who holds onto hope for Odysseus’s return while touching upon a few themes from Homer’s classic work. Penelope also explores the relatable nature of waiting and looking for answers while facing an unknown future.

Ethan Wood, Dan Rodriguez, Aimee Doherty, Kett Lee in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Illuminated in warm pastels and elegant and detailed oceanic ripples by Karen Perlow, Janie E. Howland’s wooden, wicker and stone set has certainly created a beautiful and inviting sanctuary for Aimee Doherty as Penelope in her Ithaca Cliffside abode in vibrant teal adornments. Mikayla Reid’s breezy costumes further captures the musical’s carefree Grecian façade with the onstage orchestra adorned all in white and Doherty stands out in a flowing burgundy jumpsuit. The manner in which the intimate orchestra take the stage accompanied by Alex Berg’s soothing and sweeping sound design provides comfort and solace and Doherty’s occasional interactions with them feel more like a collaboration than exclusively a one woman musical.

Aimee Doherty, Ethan Wood, Dan Rodriguez in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

However, Penelope’s heavy heart has much to consider in deep reflection in her soaring vocals as she waits for her husband’s homecoming. This musical takes its time, but in a gradual unfolding without dragging. Every moment builds with care. Doherty’s Penelope is clever, frank, graceful, charming and is all too aware of her place in the world in the Bronze Age, even with the show’s contemporary flair. She remarkably evokes her thoughts and a myriad of complex emotions while quietly inviting you on this journey. Doherty’s tense stillness, quiet anticipation, vulnerability and stark loneliness are palpable as her eyes flicker and in a jolting movement, her feelings may sweep over you as well.

Marissa Licata, Aimee Doherty, Dan Rodriguez, Ethan Wood in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

As much as the musical is about the anguish of waiting and suffering as depicted in the frustrating Prayer and poignant number Lose My Mind, Penelope also provides its share of raw and humorous moments in both dialogue and song as demonstrated in the cheeky Drunk Iliad. Funny, soothing, and earnest, Penelope unveils the wonder of the ordinary even if the waiting is the hardest part.

REVIEW: Going to extremes in SpeakEasy Stage’s somber ‘Job’

Posted on February 3 by The Sleepless Critic

Talk about the dark web.

A woman on the edge and a man is barely keeping it together…at gunpoint.

Such is the opening of SpeakEasy Stage’s intense thriller Job, a two hander production that is at times, a nail biter and other times, a deep dive into a woman’s unfiltered thoughts, observations and teetering panic with a startling twist that holds a grievous and agonizing truth.

Directed with raw candor by Marianna Bassham, SpeakEasy Stage continues its 35^th season with Max Wolf Friedlich’s searing psychological thriller, Job through Saturday, February 7 live and in person at the Calderwood Pavilion in Boston, Massachusetts. This fast paced production contains strong language and adult themes running approximately 80 minutes with no intermission. Click here for more information and for tickets.

From left: Josephine Moshiri Elwood and Dennis Trainor Jr. Photo by Benjamin Rose Photography

Set in downtown San Francisco in 2020, set designer Payton Tavares with Amanda E. Fallon’s moody lighting depicts a warmly lit and detailed therapist’s office in muted colors that features a leather couch, desk, several paintings and few family photos. Intense, hollow and at times creepily deafening, Lee Schuna’s carefully orchestrated sound design signals several significant moments during the production.

Job is not unfamiliar territory for director Marianna Bassham who starred in her Elliot Norton award-winning and indelible portrayal as Nina in SpeakEasy Stage’s People, Places and Things in 2022. While People, Places, and Things dives into the deep chasm of an addict, Job takes a different approach to trauma and addiction in Jane in a visceral performance by Josephine Moshiri Elwood. Having recently performed as idyllic Emily in Lyric Stage’s Our Town, Elwood shows her broad range depicting a deeply wounded, distressed, controlling and flawed individual wearing haphazard loungewear with a colossal chip on her shoulder. Jane condescends, snipes, is obstinate and shows narcissistic tendencies, but the why of it all will soon rise to the surface while Dennis Trainor Jr. skillfully portrays an alarmed yet seemingly mild mannered therapist Loyd who does what he can to temper this unpredictable situation.

Josephine Moshiri Elwood Photo by Benjamin Rose Photography

Elwood and Trainor Jr. hint at a battle of wits rapport and both are guarded in their own way which only allows glimpses into their true nature. It is fascinating to see how the conversation shifts as they learn more about one another.

From left: Dennis Trainor Jr. and Josephine Moshiri Elwood Photo by Benjamin Rose Photography

Job kicks off at an eleven and keeps its dialogue crisp. Much of this swiftly moving production tackles the nature of panic and anxiety and spans a number of scenarios real and imagined. It also takes a raw look at the dangers and the dark crevices of the digital age. It is a powerful production, but its potent content while gripping, may not appeal to everyone. It was a lot for me and could possibly conjure up some complex feelings for you as well. The production delivers pop culture references, politics, and contemporary issues while striving at lighter hearted moments in its occasional dark and dry humor, but the escalating situation may not leave much room for laughter.

SpeakEasy Stage continues its 35^th season with Max Wolf Friedlich’s tense psychological thriller, Job through Saturday, February 7 live and in person at the Calderwood Pavilion in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: An amusing battle of wits at Hive Theatre Company’s ‘The 25th Annual Putnam County Spelling Bee’

Posted on January 30 by The Sleepless Critic

It can be a strange form of intellectual entertainment.

The contestants range from excitable to anxious to charismatic while braving through the pressure to succeed. With spell check just a click away, knowing how to spell complex words such as Xanthosis, Autochthonous, or Logorrhea almost seems like an archaic practice. However, Scripps National Spelling Bees are seen all over the world and like any competition, plenty of drama is happening behind the scenes.

Smoothly directed and choreographed by Margaret McFadden with John Eldridge’s witty music direction, The Hive Theatre Company dives into an interesting match of wits with the award-winning musical comedy, The 25^th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. This semi-interactive production runs 1 hour and 45 minutes with one intermission and contains some adult humor. Click here for more information and for tickets.

The cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Based on a book by Rachel Sheinkin and William Finn and featuring playful and insightful songs from its Grammy award-nominated album such as I’m Not That Smart, Pandemonium, and I Speak Six Languages, The 25^th Annual Putnam County Spelling Bee explores the lives of quirky and feverishly ambitious Putnam Valley Middle School students who are not only striving to win the bee, but to find their place in the world.

Alex Kennedy and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Featuring a live four piece band in the background, the BCA Plaza Theatre offers a fitting scholastic vibe for a spelling bee. Kevin Deane Parker’s modestly staged set features a blue school door, colorful metal chairs and auditorium seating. No spelling bee should be without a sponsor and Putnam Optometrists have stepped in with a humorous slogan across the judge’s table. Samantha Wolfrum’s wild and eccentrically charming costumes illustrate each character’s distinctive qualities.

Before addressing each one of the improvisational wizards that compete in Hive Theatre Company’s production of The 25^th Annual Putnam County Spelling Bee, it is important to note that the audience plays their own part in the bee. This small cast makes a big impression, and this zany musical comedy tests the audience’s knowledge as four lucky guest volunteer spellers have the honor of taking the stage to compete with the cast. It is an amazing experience to be a guest speller as the cast keeps them on their toes all in good fun.

Amanda Wade and Cameron Nye in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

If offered this opportunity, do not let fear and the unknown override a wonderful chance to join in the excitement of the bee along with the outside possibility of getting serenaded by some real talent. The interactive antics are just part of what makes this improvisational musical comedy unique and doused in a bit of the “reality show” flavor. Each performance of The 25^th Annual Putnam County Spelling Bee leaves its own individual and lasting impression.

From caricature voices to bizarre antics, this spelling bee cast leans into and emphasizes character quirks much more than endearing qualities than other version I have seen while relishing in their own various idiosyncrasies. To these students, spelling can be ruthless and punishing and are certainly feeling the pressure. Full of anxiety and neurotic awkwardness, each adolescent has their own humorous ways of coping to achieve a win paired with the difficulties of growing up. Learning each speller’s story and why they are participating in the Putnam County Spelling Bee (and needs a win) can be insightful, comical, and moving.

Salvatore Guillermo Garcia, Amanda Wade and Maya Gopalswamy in The Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Running the Bee is Amanda Wade as Rona Lisa Peretti, former winner of Putnam’s Spelling Bee. Peppy, orderly, and with polished vocals, Wade doles out fun facts about the contestants with palpable enthusiasm especially during the excitable number, Rona Moment #1. She and Josh Telepman as Vice Principal Douglas Panch are responsible for quite a few clever one liners during the show, feeding off each other’s varied personalities.

Anna Wright and Salvatore Guillermo Garcia in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Salvatore Guillermo Garcia is impressive as intense, firm, but sensitive Mitch Mahoney who hands out cure-all juice boxes to eliminated contestants as he supervises the competition.

Maya Golalswamy and Kaden Mays in Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Outlandish and peculiar, the remarkable spellers play well off each other and boast particular chemistry and harmony during the numbers, Pandemonium, My Friend, the Dictionary, and Magic Foot which fittingly features a kick line. Maya Gapalswamy as Olive and Kayden Mays as William display some awkwardly cute chemistry. Gapalswamy as hesitant and sweet Olive Ostrovsky is also sympathetic in a stirring rendition of The I Love You Song with Amanda Wade and Salvatore Guillermo Garcia. Anna Wright as Logainne Schwartzandgrubenniere, an anxiously outspoken bright-eyed girl in braids with a lisp forlornly laments Whoa is Me and Alex Kennedy is memorable as Leaf Coneybear, an intense, wildly dressed savant in a cape and bow tie while Cameron Nye has more than spelling on his mind as shy and daydreaming Chip Tolentino. Ashley Ha is ironically charismatic as socially awkward and rigid perfectionist Marcy Park especially for the athletic number, I Speak Six Languages.

Kaden Mays (center) and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

In a tricky environment where so much rides on improvisation, the cast navigates their characters while gliding through any challenging circumstances. The show inserts a few interesting pop references and contemporary issues into this timeless musical comedy. Some elevate the comedy while others seem out of place. Overall, The Hive Theatre Company’s musical comedy, The 25^th Annual Putnam County Spelling Bee is a clever and original musical production that may just leave the audience feeling a little smarter.

The Hive Theatre Company continues musical comedy, The 25^th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. Click here for more information and for tickets.