REVIEW:  Boasting two stellar leads, Central’s Square’s ‘The Half Life of Marie Curie’ full of inspiration and crackling chemistry

For revolutionary physicist and chemist Marie Curie, not everything can be solved through a calculation.

On the verge of her second Noble Prize for Chemistry, anxious and introspective Marie Curie finds herself embroiled in a scandal and at one of the lowest points of her life.  Quite literally bursting onto the scene is brilliant and charismatic electromechanical engineer and suffragette Hertha Ayrton ready to bring humor and optimism to what seems like a bleak situation.

Lee Mikeska Gardner as Marie Curie Debra Wise as Hertha Ayrton Photo courtesy of Nile Scott Studios

Brimming with crackling chemistry between Lee Mikeska Gardner as Marie Curie and Debra Wise as Herthe Ayrton, Central Square Theater opened their fall season with Lauren Gunderson’s The Half Life of Marie Curie continuing through December 12 at the Central Square Theater in Cambridge, Massachusetts.  The show is 85 minutes with no intermission.  Click here for more information and tickets.

The stage is deceptively serene for Lauren Gunderson’s The Half Life of Marie Curie. Lindsay Genevieve Fuori’s colorful, innovative, and functional scenic design comes to life as stirring sound effects and a mysterious and foreboding piano score by sound designer Elizabeth Cahill make an intriguing combination fused with Whitney Brady-Guzman’s dynamic and surreal lighting.

A production that picks up from the very start, these two driven pillars of science with contrasting personalities are a fascinating pair to watch and listen to their musings.  Gunderson’s sharp script strikes a delicate balance between intellectual prowess and absorbing dramedy.  They share their views on life, family, and work with wit, humor and candor, yet instinctually encourage each other forward with respect and admiration.  Both are widows and mothers who struggle with how women were perceived in the early 20th century, but their sheer determination and passion for science ultimately make an indelible mark on the world.

Lee Mikeska Gardner as Marie Curie and Debra Wise as Hertha Ayrton in 1910s swimwear Photo courtesy of Nile Scott Studios

Adorned in a lovely feathered black hat and flowing emerald green dress, Debra Wise brings gravitas, confidence, ego, and clever charm as Hertha Ayrton.  From the moment Ayrton bursts onto the stage with a confident cock of her head, gleam in her eye, and cheerful intonation, a lightheartedness sets in to her passionate and outspoken persona as opposed to Curie’s darker sensibilities.  Dressed demurely in a rich purple dress, Gardner skillfully embodies tense Curie in her careful and calculated movements.  You can practically see the wheels turning in Curie’s constantly analyzing mind and consider the lengths she would go for the sake of her work.

Lee Mikeska Gardner as Marie Curie Debra Wise as Hertha Ayrton Photo courtesy of Nile Scott Studios

Marie Curie and Hertha Ayron’s exchanges are no ordinary gabfests.  From sexual politics to love to family and everything in between, Wise and Gardner, as different in their approaches are and as opposite their personalities, they understand each other as equals, colleagues, and kindred spirits. Celebrating each other’s triumphs and supportive in hardship, theirs is a true testament to unyielding and enduring friendship and it stands at the center of this auspicious and biographical story.

Directed astutely by Bryn Boice, Central Square Theater presents Lauren Gunderson’s The Half Life of Marie Curie through December 12 at the Central Square Theater in Cambridge, Massachusetts.  The show is 85 minutes with no intermission.  Click here for more information and tickets.

REVIEW: SpeakEasy Stage Company’s comedy-drama ‘BLKS’

A glow in the dark graffiti soaked Brooklyn apartment and street set the stage for SpeakEasy Stage Company’s production of BLKS continuing through Saturday, November 20 live and in person at Calderwood Pavilion at Boston Center for the Arts in Boston, Massachusetts.  Raw, raunchy, and at times more shocking than funny, BLKS delves into one long and hazy 24-hour period for a group of 20-something city singles.  Infidelity, danger, and sex are just a few of the issues addressed in this one hour and 45 minute comedy-drama by Aziza Barnes.  This show has no intermission and contains mature themes, adult content and language.  Click here for more information and tickets.

Shanelle Chloe Villegas, Kelsey Fonise, and Thomika Marie Bridwell in SpeakEasy Stage’s production of ‘BLKS’ Photo by Nile Scott Studios

On the surface, BLKS tackles the life of a group of strong Brooklyn 20-something singles living together.  After they all endure a tough day, they decide to party and forget their troubles.  However, as the night wears on with plenty of pitfalls in the way from a broken heel to a broken heart, getting what they hope for will be far more difficult than they ever expected.  Each individual faces their own insecurities and long for belonging, whether it comes to love, commitment, career, or identity.  They all want to fit in where they are and yet, each person can’t shake what is missing.

Struggling comedian Imani, portrayed by Kelsey Fonise, longs to be like comedy legend Eddie Murphy and like Murphy’s standup comedy, much of the humor in BLKS is fierce, aggressive, and pulls no punches.  It runs the gamut of relatable to squeamish to unabashedly funny.  Thomika Marie Bridwell as level headed June seems to be climbing the corporate ladder, but is perpetually stuck in love while filmmakers Sandra Seoane-Seri as forthright Ry and Shanelle Chloe Villegas as flighty Octavia clash as they attempt to label their relationship.  Bridwell has a gift for the one liner while Villegas as Octavia displays a knack for physical humor. 

Sharmarke Yusuf portrays a number of dynamic characters including seemingly sweet Justin.  A climatic scene between Yusef and Villegas in an apartment display the daring lengths these two will go for a laugh.  Bridwell as June and Yusef as Justin also share some charming moments.

Roommates Octavia, June, and Imani have a moment on the street and one in the apartment when they reflect on the struggles they deal with on a daily basis and this is where the production shows such potential and solid relevance.  With the exception of Justin who reveals an immediate emotional center, it is a chance to get to know these characters on a deeper level, but these moments pass by too soon.  It gets weighed down at times by the need for shock and comedy over substance rather than delving into these characters more closely.

BLKS is primarily a comedy and these roommates also share their fill of junk food, gossip, and partying in their quest to find love, success, and contentment in which they all share good chemistry.  Like many 20-something singles, they find comfort facing the struggle together.

Directed by Tonasia Jones, SpeakEasy Stage Company’s continues Aziza Barnes’s production of BLKS through Saturday, November 20 at Calderwood Pavilion at Boston Center for the Arts in Boston, Massachusetts.  Click here for more information and tickets.

REVIEW: TCAN Players’ classic comedy ‘Harvey’ full of imaginative charm

We’ve all had that peculiar relative.  It might be an odd extended family member that raises a few eyebrows at family gatherings.   A sweet and wonderful person that is often misunderstood.   In the Dowd family, that person is Elwood P. Dowd, a mix of old fashioned charm, amiability, and humbleness who just so happened to have inherited his mother’s estate.  He is a wealthy bachelor that likes to socialize around town and graciously supports his socialite sister and niece.  However, Elwood has something that probably no other relative you might know has in common…Elwood claims a large bunny called Harvey is always by his side.  Is he crazy?

Now, Harvey is no ordinary bunny.  He’s a rather extraordinary figure to anyone around him and he makes an incredible impact in TCAN Players classic comedy, Mary Chase’s Pulitzer Prize-winning Harvey continuing through Sunday, November 14 at TCAN Center for Arts in Natick, Massachusetts.  Click here for more information and tickets.

Photo courtesy of TCAN Players

This popular 1944 production was adopted into an Oscar-winning film of the same name starring Jimmy Stewart, steeped in affable charm as Elwood and accomplished Josephine Hull, who nabbed an Oscar for Best Supporting Actress as Veta.  TCAN Players’ Harvey boasts a wonderful cast especially from Jo d’Angelo as Veta.  D’Angelo perfects Elwood’s dramatic, intense, at times hysterical, but caring socialite sister who certainly goes through quite a lot in the production’s full three acts.  She portrays fed up to a tee and her sharp comedic skills have her swinging from collected to sheer panic in an instant.  D’Angelo takes on this meaty role so naturally that it is easy to get swallowed up in her unending drama. 

Ashley Harmon gleefully portrays conspiratorial and impressionable Myrtle Mae, Veta’s cooped up daughter longing for adventure.  Scott Salley has a gift for comedy as seen in previous TCAN productions such as First Things First and he holds his own as he portrays the straight man in this production.  As resident psychiatrist Lyman Sanderson, Salley’s smooth, seemingly knowledgeable delivery with a touch of arrogance makes for a number of amusing moments.  He has great chemistry with Sylvia Czubarow as beautifully beaming and complex nurse Ruth Kelly who offers a few zingers of her own.  David Dooks depicts seemingly level headed and imposing psychiatrist William Chumley with gravitas and some good-natured absurdity, especially in scenes with delightful John Alzapiedi as Elwood.  Though the role of Elwood is so clearly made for Jimmy Stewart which brought Stewart an Oscar nomination, Alzapiedi clearly does not lean on the portrayal and makes compassionate and forthright Elwood his own.

Directed with vintage flair by Lisa Astbury, Harvey is set in the present, but from the classic songs bookending the show, the polished set design by Tom Powers, and Donna Cabibbo’s detailed, retro costumes nods to the show’s 1944 setting.  Warmly decorated in floral trim and vintage portraits hanging from the Dowd’s library as well as rotary telephones hearken to that era.  The costumes are also faithful to the period ranging from women adorned in floral dresses, rabbit furs, and sophisticated hats to men decked out in trench coats, ties, and sharp suits. The set is divided into two sides, the latter a typical doctor’s office.

Harvey delves into some darker places, but never let you forget it is a comedy.  Elwood’s lightheartedness seems to diffuse any stressful situation simply by Alzapiedi’s soothing, influential voice and good nature so the show never embarks into disturbing territory.  It is an exploration into relatable family dynamics, a touch of greed, and the power of a little faith.

TCAN Players presents Mary Chase’s inventive comedy Harvey live and in person through Sunday, November 14 at TCAN Center for Arts in Natick, Massachusetts.  Click here for more information and tickets.

REVIEW:  Company Theatre’s ‘Jordie:  A Celebration of Life and Concert’

In her good works, her loving and encouraging persona, and perhaps in a misbehaving microphone, Company Theatre’s beloved co-founder Jordie Saucerman’s presence was unmistakably felt in Jordie A Celebration of Life and Concert continuing through Saturday, November 6 at 7:30 PM.  This dynamic tribute is held live onstage with no intermission at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information.

Courtesy of Zoe Bradford/Company Theatre

Though there are moments of tearful recollections, this thoughtful, Mardi Gras-inspired tribute brought more joy than sadness not unlike Jordie herself.  She made an indelible mark not only in theatre and film, but her humor, drive, and generous nature made her an unforgettable presence in the lives she encountered, especially in children that often felt alone and misunderstood.  Her discernment, treatment of others, and her endless bowls of chicken soup and treats allowed them to shine.

Young Jordie Saucerman Photo courtesy of Zoe Bradford/Company Theatre

A large cast that included Academy of the Company Theatre (ACT) students paid warmhearted tribute to Jordie with hit Broadway tunes, pop and uplifting gospel songs, captivating dance numbers, and personal stories.  Composed of present and former students that she fondly referred to as family and those whose lives she touched over her 49 years in the arts, needless to say the stage was full.

Some highlights included a poignant montage of film clips capturing Jordie’s wonderful life, including her telling first and final reflections.  A stirring homily from Cathy Torrey and insightful, ballet-inspired choreography created by Jordie’s wife and Company Theatre choreographer Sally Forrest led in song by Paula Markowitz depict how beautiful she was inside and out.

Ballet-inspired tribute Photo courtesy of Michael Hammond/Company Theatre

The Company Theatre presents Jordie A Celebration of Life and Concert for one more show on Saturday, November 6 at 7:30 p.m.  Click here for more information.

In Jordie’s memory, The Company Theatre has created The Jordie Saucerman Forever Fund.  Click here to contribute to her legacy.

REVIEW:  Boston Ballet off to a brilliant ‘reSTART’

Boston, it’s time to reSTART.

Embarking on a journey from beloved local landmarks to overseas to inside the Boston Ballet studios, Boston Ballet’s reSTART amps up the excitement of their highly-anticipated return live onstage in time for the holidays.

With a versatile lineup that includes recently filmed jazz-infused contemporary dance, classic tales, traditional dance, and a season preview as well as a full range of costumes including street wear by Yin Yue and Jens Jacob Worsaae and Judanna Lynn’s spectacular royal fashion, Boston Ballet’s virtual reSTART, available through November 7, delivers an elegant and dynamic show for dance lovers everywhere.  Click here for more information and for Boston Ballet’s full season.

Boston Ballet in Yin Yue’s A Common Movement, photo by Brooke Trisolini; courtesy of Boston Ballet

Over the past year and a half, the renowned Boston Ballet has become much more than a force onstage.  It has been inspiring to see this sophisticated and athletic company in various settings, using creative and unconventional methods to evoke their passion for their extraordinary work.  Lighthearted, romantic, and refreshing, Boston Ballet’s season premiere reSTART demonstrates a brilliant new season to come.

It all starts right in the city of Boston.  Renowned contemporary choreographer Yin Yue delivers jazz-infused spirit into the Boston Common as fifty dancers brighten this beloved October landscape in A Common Movement.  In comfortable and modest attire, the dancers come together in a joyful and sweeping dance as horns blare creating a vintage vibe under a peerless sun.  With catchy tunes performed by Quincy Jones and Alice Coltrane, these charismatic dancers take over the Common with a swift beat in a smooth, mischievous, and calibrated performance enhanced by a slick dance by Maria Alvarez, Louise Hautefeuille, Lauren Herfindahl, Sangmin Lee, Ao Wang, and Patrick Yocum on the Boston Public Garden Foot Bridge.

Haley Schwan and My’Kal Stromile in Yin Yue’s A Common Movement, photo by Brooke Trisolini; courtesy of Boston Ballet

Clever choreography and digital technology bring together pairs Ji Young Chae and Tyson Clark and Haley Schwan and My’kal Stromile in an unexpected way for a fascinating performance in the Public Garden.

Boston Ballet delves into a classic tale with fantasy flair featuring Soo-bin Lee and SeokJoo Kim, a stunning duo as they perform a deeply romantic Pas de Deux in an excerpt from Romeo and Juliet.   Angelically adorned in a halo of ribbons and flowing gown by Song Bohwa and Hanna Kim, Lee is a vision in an idealistic dark forest.  Despite a hint of foreboding, Prokofiev’s score is uplifting and glorious as Lee and Kim enchant each other building into bursts of joy, seeming to move as one into an embrace.

Addie Tapp and Lasha Khozashvili in Jorma Elo’s Ruth’s Dance, photo by Brooke Trisolini; courtesy of Boston Ballet

From classic tale to classic dance, another highlight of reSTART features Bach’s soothing, piano-driven rhythms as Addie Tapp and Lasha Khozahvili perform a tender and delicate dance as Khozahvili quite literally sweeps Tapp off her feet.  

Muses take on full form as Paul Arrais beguiles inspiration as bold and fresh faced Apollo in a pivotal classic work which first brought choreographer Balanchine and composer Stravinsky together.  What is particularly captivating about Balanchine’s choreography is the mechanical synchronization between muses Lia Cirio as majestic Terpsichore, Viktorina Kapitonova as mysterious and foreboding Calliope, and Chryrstyn Fentroy as jubilant and charismatic Polyhymnia.  Their dance is meticulously precise as they rhythmically pivot in unison, at one point forming a beautiful silhouette until each have a chance to portray their own distinct chemistry with Arrais’s mesmerizing Apollo.  They join together, hinging onto each other and one might wonder who is in control.

The Boston Ballet kicks off their new season with virtual reSTART continuing through Sunday, November 7.  Click here for more information and a closer look at Boston Ballet’s new season.

REVIEW:  Academy of the Company Theatre’s parody ‘Puffs’ full of lively, enchanted fun

Those first few chords seem familiar, but no, this is not quite the John Williams classic score about THAT wizard, but another earnest group of wizard hopefuls.  Not quite ‘saint-like,’ but fun loving and enthusiastic underachievers nonetheless.  Some legendary faces appear and make quite an impression, but the Puffs are the real stars.

Full of inside and self aware jokes, 90s pop culture references, chocolate frogs, almost every flavored bean, and not nearly as long as Harry Potter and the Cursed Child Parts 1 and 2 comes Puffs, a spot on parody that tells the epic tale of the seven years Harry Potter attended Hogwarts from the viewpoint of some of the lesser known wizard students that aimed for first, but would also settle for third.  It is a hilarious exploration that is best appreciated by Harry Potter fans due to its share of spoilers, but anyone would enjoy a wealth of improvisational fun and physical humor as well as Dean Palmer Junior’s impressive lighting and special effects.  The introduction of hilarious dragons and haunting dementors are just some of the show’s highlights.

Bath scene. Photo courtesy of Zoe Bradford/Company Theatre

Directed cleverly by Corey Cadigan, Academy of the Company Theatre (ACT) presents Matt Cox’s Puffs for one exclusive weekend from October 22 through October 24 at Company Theatre in Norwell, Massachusetts.  Click here for all of Company Theatre’s upcoming events including a tribute to Jordie Saucerman, Company Theatre’s late co-founder.

The timing is perfect for Puffs as next year marks 25 years since JK’s Rowling’s Harry Potter and the Sorcerer’s Stone hit bookshelves in 1997, making the author one of the richest people in the world.  With Harry Potter and the Cursed Child back on Broadway and around the world and Fantastic Beasts 3: The Secrets of Dumbledore slated for next year, Harry Potter remains a phenomenon.

Annie Dunn as Sally Perks and others and Marissa Tolini as Susie Bones and others Photo courtesy of Zoe Bradford/Company Theatre

This is absolutely not a retread of Harry Potter though, but tells a slightly different and more humorous tale along Harry Potter’s timeline.  It is difficult to choose which characters makes the biggest impression because each cast member collaborate so well together and as a big Harry Potter fan, I found myself laughing right through my mask which is required within Company Theatre’s comfortable theatre space.

Brianna Casey as Narrator Courtesy of Zoe Bradford/Company Theatre

Many cast members transfigure into multiple roles as Brianna Casey serves as Puffs scholarly narrator.  Casey’s benevolent and dignified delivery adds gravitas to an often whimsical role, keeping the tale focused as some of the more spontaneous characters could have led the story astray.  Will Moon epitomizes Cedric’s rock star persona and charismatic scene stealer in a dual role and Alex Norton’s Wayne Hopkins is talkative and charming as the tale’s ‘would be’ hero.  Morgan Hurley offers a memorable portrayal of conflicted Megan Jones, a rebel with a chip on her shoulder.  She shares endearing chemistry with Sean Lally as Wayne’s nerdy best friend, Oliver Rogers.

Anastasia Ferrera is bubbly and delightful as Leanne among others and James Keyes as goofy J. Finch as well as other roles is often the life of the party.  One of the many collaborative scenes and highlights of the show involve a party with too much butter beer and a familiar sounding 90s dance song.   Some scenes seem a random addition, but are always smartly done.

With intricate, multi-functional sets and props (those wands and that sorting hat!) by Ryan Barrow and colorful, distinctive, and humorously outlandish costumes by John Crampton, Puffs is a lighthearted and wonderful journey while still delivering important life lessons so prevalent in the books such as valuing the power of friendship, dreaming big, and being true to oneself.  It’s a shame the show is only presented for one weekend with a cast that is having so much fun.

Brianna Casey as Narrator and Max Ripley as Ernie Mac and others

Academy of the Company Theatre (ACT) performs parody Puffs through October 24.  Click here for more information and for all of the Company Theatre’s upcoming events.

REVIEW: Boston Lyric Opera’s season opener ‘Cavalleria Rusticana’ a passionate and magnificent affair

Not even Easter Sunday can stop a scandal in the Sicilian countryside.

Featuring distinct, eye-popping costumes, a glorious Opera Chorus led Brett Hodgdon, and a full orchestra, Boston Lyric Opera (BLO) opened their season on a grand scale with the renowned one act Italian libretto, Cavalleria Rusticana for just two performances on October 1 and 3.  Boston Lyric Opera was greeted by an enthusiastic crowd anticipating BLO’s return to a live venue for 18 months.  Delivered on a concert scale, Cavalleria Rusticana was presented under Leader Bank Pavilion’s open air tent in the Seaport District in Boston, Massachusetts.  It ran for 1 hour and 10 minutes with no intermission.

JAVIER ARREY AS ALFIO WITH DANCERS VICTORIA L. AWKWARD, MICHAYLA KELLY, AND MARISSA MOLINAR Photo by Liza Voll/Boston Lyric Opera

Loyalty, love, honor, and faith are tested among this group of passionate players.  Led by Music Director David Angus, the seemingly joyous overture delivers an exciting rush woven into a sense of foreboding, hinting at turmoil among still waters on the holiest of days, Easter Sunday.  Introducing the libretto is an interactive and unparalleled performance of Pagliacci’s Prologue by Javier Arrey.  Taking a reflective, humorous, and philosophical tone addressing the audience over what they are about to see, Cavalleria Rusticana becomes a passionate and cautionary tale, pleading about the affects of love and the human spirit.

Julia Noulin-Merat’s standalone set pieces, including overturned chairs piled high in pale pink as well as bright yellow chairs lining the stage, pop as does Gail Astrid Buckley’s distinct, vivid costumes with blooming flowers set against the orchestral backdrop depicting the emergence of a Sicilian spring. 

CHELSEA BASLER AS LOLA WITH DANCER MICHAYLA KELLY Photo by Liza Voll/Boston Lyric Opera

It is easy to get invested in these headstrong characters and Cavalleria Rusticana hits the ground running steeped in a complex love affair as the sacredness of Easter surrounds them, emphasized by ethereal dancers Victoria Awkward, Michayla Kelly, and Marissa Molinar and the swelling of the Boston Lyric Chorus’s powerful and spiritual lyrics.

Michelle Johnson as conflicted Santuzza leads this magnificent cast, delivering a splendid, heartrending performance.  Filled with sorrow and longing, Johnson’s tremendous vocals and her searing confrontation with Turiddo, portrayed with a charismatic yet manipulative mystique by Adam Diegel, show Johnson is a force to be reckoned with.  Chelsea Basler depicts alluring and complicated Lola with infuriating and masterful charm and the heart of the show lies with loyal and compassionate Nina Yoshida Nelsen as Mamma Lucia who observes it all much like the audience, with bated breath.

The show is delivered entirely in Italian and with subtitles at significant parts of the production.  However, for someone who does not know Italian and with a production so captivating, it is difficult having to forego not knowing every single word spoken from this enthralling cast.

Cavallaria Rusticana takes place in 1900’s Sicily and yet this opera is as timeless as any contemporary story told today and a perfect choice to open Boston Lyric Opera’s new season which includes virtual and live and in-person performances including jazz-themed opera Champion and Svadba through operabox.tv.  Click here for more information and a closer look at BLO’s new season.

REVIEW: Fueled by a nostalgic rock soundtrack and a charismatic storyteller, Merrimack Repertory Theatre’s ‘Wild Horses’ a lively and momentous tale

Nothing brings back memories quite like a song.

The power of music is in full force in Merrimack Repertory Theatre’s (MRT) production of Alison Gregory’s Wild Horses streaming on demand through Sunday, October 17.  Merrimack Repertory Theatre previously offered the production in person from September 15 through October 3 at Western Avenue Studios in Lowell, Massachusetts.  The show contains mature language and some adult themes. Click here for more information and tickets to this virtual performance.

Directed with heart and humor by Courtney Sale, Wild Horses delves into the life of the mother of a teenage daughter, portrayed with a blend of lively charm and excitable nervousness by Leenya Rideout, as she gets wrapped up recalling her story of a special California summer during her 13th year in the 70s while onstage at an open mic night.  Rideout evokes a sense of adventure during this musically-fueled Moth Radio Hour featuring lyrics from 70s greats Rolling Stones, Heart, Van Morrison, America, and more.

Having delivered a likable performance in the 2020 indie film, Love, Repeat, Rideout further showcases her dynamic range in this meatier Wild Horses role with a humorous, heartfelt and sometimes raunchy performance.  See what Sleepless Critic had to say about Rideout in Love, Repeat here

With a love for music almost as much as horses, Rideout sings, strums an acoustic guitar, and proves an energetic and engaging storyteller sharing her experiences from a studious perfectionist to a teenager not afraid to break a few rules with the encouragement from her daring friends.   With no shortage of excitement, scandal, humor, and heartache, Rideout’s onstage demeanor switches from responsible mother in need of a night out to wide eyed, youthful innocent with all the angst that goes with it.  She blends what she remembers with her current wisdom, dwelling in the sacredness of youth. Ranging from teenage pranks to rites of passage, Rideout recalls these stories with wistfulness and passion, interacting with the audience like old friends.

Costume designer A. Lee Viliesis has Rideout ready to rock in an animal print scarf, Fender T Shirt, and ripped jeans and accompanied by guitarist Rafael Molina, she slips right into this adolescent spirit longing to be wild and free.  All that is necessary is a little courage.

Here’s to the ‘freedom takers’ with Merrimack Repertory’s production of Wild Horses continues streaming through Sunday, October 17.  Click here for more information and to get a closer look on MRT’s new season.

REVIEW:  Theatre Kapow’s timely and resonating ‘The Boyg’ makes a connection

Comic great Robin Williams once said, “I used to think the worst thing in life was to end up all alone.  It’s not.  The worst thing in life is to end up with people that make you feel all alone.”  Williams suffered from depression, but his ability to feel the lows and to make people laugh perhaps contributed to his gift on a deeper level.  Getting the laugh is greater when the pain in which it is earned is also felt, achieving connection.  Perhaps this is why there is also an in-house psychiatrist at The Laugh Factory in Los Angeles, California.

Theatre Kapow captured isolation and resilience in a play centered around a group of people clinging for hope in A.J. Ditty’s resonating play, The Boyg based partially on the life of Per Krohg.  Art and isolation are key elements and are heavily weighed as each character attempts to connect with each other in their own distinct way.

Celebrating its first indoor production in over a year, Theatre Kapow presented A.J. Ditty’s The Boyg in Derry, New Hampshire in September, toured in Charlestown, Massachusetts as October started, and the show is now available online through October 10.  Click here for tickets and more information.

Before continuing, it is important to note that A.J. Ditty’s The Boyg, named after Ibsen’s classic play Peer Gynt’s groundbreaking literary monster, does not make the play a prerequisite to appreciate this production, but a companion piece.  The show is part play within a play and for those who know Peer Gynt, having read Ibsen’s work may promote a richer understanding, but does not affect the universal appeal of this show.

There is a phantom presence lingering over The Boyg, a sense of tension and dread that builds throughout the production and is rarely addressed until it is unavoidable.  It hides in games, questions, plays, and pleasant conversation and perhaps glimpsed in a pause or a worried glance.  Enhanced by Tayva Young’s mood-induced lighting and versatile sound designed by Jake Hudgins, it is an element as real as any of the characters in this production.

Sabrina Schlegel-Mejia as Mikhail and Rebecca Tucker as Per in ‘The Boyg’ Photo credit Matt Lomanno Photography

Set inside a Norwegian concentration camp during World War II, each character has every reason to try to forget their present circumstances, but struggle within the inevitability of their situation.  Duty, work which is often self defeating, and art seem only to hold more than a moment’s distraction.

R to L: Lisa Boyett as Old Man and Sabrina Schlegel-Mejia as Mikhail Photo credit Matt Lomanno Photography

The cast displays good timing and chemistry even as characters who often struggle to understand each other in their mutual pain.  As barracks leader Odd Nansen, portrayed ardently by Carey Cahoon, Odd seems the most willing to give into whatever is necessary to keep up morale while Professor Francis Bull depicted by Molly Kane Parker, prefers to escape into literature and theatre to cope with the present.   

Rebecca Tucker delivers an intriguing and heartfelt performance as secretive, complex, and anguished Per Krohg who struggles with what it takes to survive.  Tucker’s cat-and-mouse conversations with Nicholas Wilder as harsh and manipulative Captain Denzer and Sabrina Sehlegel-Megia’s earnest portrayal of rebellious and mysterious Mikhail Hjorthson’s haunting recollections of past experiences are particular highlights.

R to Left: Rachael Chapin Longo as Robert and Rebecca Tucker as Per Photo courtesy of Matt Lomanno Photography

What does it take to peel back life’s meaning where there is no other choice?  Reflecting on art and culture while staring into the face of mortality, isn’t life better with connection over dread? 

Directed contemplatively by Matt Cahoon, Theatre Kapow timely production of A.J. Ditty’s The Boyg streaming through October 10.  Click here for more on The Boyg and Theatre Kapow’s new season, Return.

REVIEW: SpeakEasy Stage Company reveals Adam Rapp’s raw, gripping, and gritty ‘The Sound Inside’

Two peculiar overachievers meet.  One is a precocious, well-read, well versed and outspoken college student and another a well versed, well-read and well-spoken middle-aged Yale professor.  It is a meeting of the minds as they surprisingly challenge each other when seemingly the only thing that challenges each of them comes in literary form.

Jennifer Rohn in SpeakEasy Stage’s production of ‘The Sound Inside.’ Photo by Nile Scott Studios.

Immediately engaging, shrewdly written, and oftentimes bleak, The Sound Inside is quite capable of rendering the audience speechless.  It is jarring, reflective, and moving and from what is learned about these characters, one cannot help but hope for the well being of these two lost souls.

Directed by Bryn Boice, SpeakEasy Stage Company opened their new season with Adam Rapp’s Tony-nominated play The Sound Inside continuing at the Calderwood Pavilion at the Boston Center for the Arts in Boston through Saturday, October 16.  Presented for the first time in Boston, The Sound Inside contains mature themes and some difficult topics.  It is 90 minutes without an intermission.  Click here for more information and for tickets.

Jennifer Rohn and Nathan Malin in SpeakEasy Stage’s production of ‘The Sound Inside.’ Photo by Nile Scott Studios.

Much of The Sound Inside is about hope.  It’s about looking for hope when the light is dim and the quest for finding hope is rarely a comfortable journey. 

Cristina Todesco’s minimal set does well creating depth and dimension, but does not take away from the primary focus of this character driven study.  Devorah Kengmana’s lighting lends to each character’s loneliness as shadows are created at pivotal moments.

Jennifer Rohn as prominent Yale professor Bella Baird unleashes a no holds barred look into her psyche.  She is an avid reader which seems to help her escape past trauma and the crisis she is currently facing.  Her keen intellect is immediately obvious and she is unfiltered, blatantly unfettered, and undeterred as she shares her life up to this point.  Rohn is as captivating a storyteller as she is in exhibiting Baird’s loneliness.

Jennifer Rohn and Nathan Malin in SpeakEasy Stage’s production of ‘The Sound Inside.’ Photo by Nile Scott Studios.

Set in the fall in New Haven, Connecticut, Baird has a surprising encounter with Christopher Dunn, portrayed with a mix of arrogance, intuitiveness, and inquisitiveness by Nathan Malin, and they share a distinct, intangible connection.  With similar dry senses of humor, a shared love of the written word, and a mutual social awkwardness, they understand and encourage each other to live life boldly. However, Rapp’s script is full of detours and twists that don’t always land perfectly, but lead to a tense and incalculable ending. Just when the show seems to tow the line, the tables turn.

Jennifer Rohn in SpeakEasy Stage’s production of ‘The Sound Inside.’ Photo by Nile Scott Studios.

SpeakEasy Stage Company presents The Sound Inside at the Calderwood Pavilion in Boston through Sunday, October 16.  Click here for more information and tickets.  Click here for upcoming events and more at the SpeakEasy Stage Company.