The Sleepless Critic

REVIEW: Experience the magic and the gripping madness of Apollinaire Theatre’s ‘The Antelope Party’

Posted on March 6 by The Sleepless Critic

In a world gone mad, friendship is tested. How did it all go awry?

Eric John Meyer’s The Antelope Party is a multilayered production that dives behind the production’s kaleidoscopic colors into many shades of gray. Many suspicions rise and this tight knit group are stealthily on the hunt for answers.

Directed methodically by Brooks Reeves, The Apollinaire Theatre Company continues Eric John Meyer’s suspenseful The Antelope Party live and in person at Chelsea Theatre Works through Sunday, March 17. The show is two hours and fifteen minutes with one intermission and is not suitable for children. Click here for more information and for tickets.

Put away any preconceived notions of this show. It is much more than any advertisement can suggest. It is raw, funny, suspenseful, gloriously unconventional, thought provoking, and slippery in its intentions. What remain consistent are its views on friendship and its quest for uncovering truth.

Apollinaire Theatre Company The Antelope Party Evan Turissini Christa Brown and Brit Gardner Photo credit Danielle Fauteux Jacques

Cheerfully steeped in rainbow colored brightness and creative nostalgia elevated by a My Little Pony signature blanket, ebullient drapes, and authentic My Little Pony figurines lined up on a dresser, set designer Joseph Lark-Riley certainly knows how to transform a room or in this case, Demetrius Fuller as level headed Ben’s cozy apartment. This multilevel set has a brew shop and lamp lit park setting that leaves everything out in open unlike this enigmatic storyline that houses many secrets.

Apollinaire Theatre Company The Antelope Party Evan Turissini Christa Brown Brit Gardner and Demetrius Fuller Photo credit Danielle Fauteux Jacques

As impressive as the set design is Elizabeth Rocha’s vibrant and fancifully detailed Brony costumes and most notably, Christa Brown’s wonderfully distracting shimmering blue sneakers. Demetrius Fuller as Ben, Christa Brown as Maggie, Evan Turissini as Shawn, Brit Garner as Rachel, and Alex Leondedis as Doug gather together in Ben’s apartment as My Little Ponies or ‘bronies’ to speak minds freely and be heard, listen more than speak, and bond in harmony and understanding in an idyllic land known as Equestria. The group’s joyful camaraderie punctuated by galloping is endearing and hilarious. However, when Danielle Fauteaux Jacques arrives as newcomer Jean, something is off.

Apollinaire Theatre Company The Antelope Party Brit Gardner Christa Brown Demetrius Fuller and Evan Turissini Photo credit Danielle Fauteux Jacques

‘Pegasisters pump’, ‘going for a trot’, and ‘klopper’ are just some of the terminology used by self proclaimed Bronies or superfans of My Little Pony which is laid out in the production’s program. This type of fan base actually exists according to the 2012 documentary, Bronies: The Extremely Unexpected Adult Fans of My Little Pony that focuses on diehard fans of the 2010 series, My Little Pony: Friendship is Magic. However, this is only the tip of this intense and multidimensional iceberg that Eric John Meyer’s The Antelope Party systematically lays out set in a highly populated and high poverty stricken Western Pennsylvania mill town. Outside Ben’s apartment, we are not in Equestria anymore.

This show would not be as appealing if not for its powerful cast who delivers sharp comic timing with dramatic flair. They consistently translate what can at times be interpreted as silly to unmitigated believability. The Antelope Party weaves in My Little Pony, but also relatable fears, paranoia, obsession, powerful messages, and the fragility of true friendship.

Apollinaire Theatre Company The Antelope Party Evan Turissini as Shawn Photo credit Danielle Fauteux Jacques

Evan Turissini stands out as Pinky Pie or insecure wild card Shawn and Danielle Fouteaux Jacques as Jean. Turissini is all at once sympathetic and difficult while always longing for acceptance and Fouteaux Jacques delivers comical rationale at the most inopportune times. Christa Brown adds convincing bite to Rarity or overconfident and connected Maggie and Demetrius holds his own as Fluttershy or good natured Ben. Brit Gardner as Twilight Sparkle or conflicted Rachel and Alex Leondedis as Rainbox Dash or distant Doug round out this excellent cast.

The Antelope Party is a fascinating and introspective production in a world gone mad and should not be missed.

REVIEW: The Huntington’s intensely funny and revealing ‘John Proctor is the Villain’

Posted on March 6 by The Sleepless Critic

In a small southern town, everyone seems to know everyone else’s business and in high school, rumors run amok. However, which ones are actually true and which ones are just talk?

With meticulous direction by Margot Bordelon, The Huntington presents Kimberly Belflower’s dark comedy John Proctor is the Villain live and in person at the Calderwood Theatre in Massachusetts through Sunday, March 10 as well as a virtual program option through Sunday, March 24. This show is not appropriate for children and is 100 minutes with no intermission. Click here for more information and for tickets.

Left to right: Brianna Martinez, Jules Talbot, Victoria Omoregie, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Set in a rural Georgia high school in 2019, girls are coming into their own and through The Crucible, are discovering their own power. When Jules Talbot as studious, serious, anxious and outspoken Beth Powell wishes to start a feminist club, the faculty is somewhat hesitant. With Brianna Martinez as Ivy, Victoria Omoregie as Nell, Haley Wong as Raelynn Nix, and Japhet Balaban as cool teacher Mr. Smith to back Beth and tie the club into the curriculum, the club is underway. Feminism fosters power and ignites change and this ambitious and likable group thinks that is just what this small town needs.

Left to right: Olivia Hebert, Japhet Balaban in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Kristen Robinson’s detailed and edgy scenic design unveils a colorful classroom complete with academic notes, green chalkboard, raised stadium-style classroom seating, and transfiguring walls enriched by Aja M. Jackson’s flashy, rhythmic and radiant lighting. Jackson’s lighting seamlessly aligns with Sinan Refik Zafar’s lively sound design that weaves in pop tunes from the darker sides of Pink, Lorde, Britney Spears and Taylor Swift.

Left to right: Japhet Balaban, Isabel Van Natta, Victoria Omoregie, Brianna Martinez, Benjamin Izaak, Jules Talbot, Maanav Aryan Goyal, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

John Proctor is the Villain presents a different and intriguing perspective to The Crucible that plays out in various ways within this Georgia High school. The stiff raised hands, the quick paced teen dialogue, frenetic excitement and nervous energy of this group of teens solidly depicts the atmosphere and nature of high school while Zoe Sundra’s distinct costume design enriches each character’s individuality. The production has plenty of giddy and playful moments that cement some close knit friendships and yet it never loses sight of tackling its serious topics.

Left to right: Isabel Van Natta, Jules Talbot, Victoria Omoregie, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Kimberly Belflower’s juicy script holds many stunning revelations and the tables turn many times over as the tale intensifies, but John Proctor is the Villain also notably dives into broken relationships, reputation, and discovering one’s authentic self. Some of the characters have an air of superficiality and mystery perhaps because they are gradually learning who they truly are. Benjamin Izaak as cocky Lee Turner and Maanav Aryan Goyal as earnest Mason Adams seem more emotional than these focused teen girls.

Left to right: Victoria Omoregie, Jules Talbot, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Isabel Van Natta is memorable as complicated and unpredictable Shelby who has returned to school under mysterious circumstances. Van Natta and Haley Wong as unconventional and courageous Raelynn share some dynamic and fascinating scenes together. In black star stockings with a matching purple and black dress, Victoria Omeregie charismatically portrays frank, stylish, and sometimes tough Nell Shaw. Japhet Balaban cleverly portrays engaging, charismatic, and popular teacher Carter Smith who seems the most transparent and shares a charming camaraderie with his students.

With meticulous direction by Margot Bordelon, The Huntington presents Kimberly Belflower’s dark comedy John Proctor is the Villain live and in person at the Calderwood Theatre in Massachusetts as well as a virtual program option through Sunday, March 10. This show is not appropriate for children and is 100 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Chain Theatre’s Winter One Act Festival presents Sarah Hoogenraad’s dark comedy ‘Celebrity Crush’

Posted on March 4 by The Sleepless Critic

Who’s on the celebrity list?

Some couples have a ‘pass’ from their partners when fantasying about celebrities. One person might get a pass from the other if by some possibility one gets a chance to meet or even date a famous celebrity and Lizzie Nguyen as Shannon never dreamed that this might actually happen. Self absorbed, giddy, and giggly, Shannon and her roommate Amy, depicted by Sarah Hoogenraad who is also the playwright, will find out dreams might not live up to reality and that over sharing can be more than dangerous.

With careful direction by Rebecca Wilson and co-produced by Chandler Holloway, Sarah Hoogenraad’s dark comedy Celebrity Crush (#15) was part of Chain Theatre’s Winter ’24 One Act Festival took place from February 8 through March 3 virtually as well as live and in person at The Chain Theatre, 312 West 36^th Street in New York, New York. Click here for more information.

Set in Los Angeles, Celebrity Crush’s dark humor and zippy storytelling keeps things light even when Shannon and Amy realize that the celebrity scene can be less than glamorous. With a fitting music soundtrack which includes perfectly appropriate Crush by Jennifer Paige, Celebrity Crush has a modestly colorful set and humorous props to add lightness to the progressive intensity of the production. Hoogenraad and Nguyen share some wild moments and they have a natural rapport together. Miciah Wallace, in a dual role, is especially engaging as Kyle boasting that snappy catchphrase, ‘Smile because you’re with Kyle.’

The Cast of ‘Celebrity Crush’ Lizzie Nguyan, Sarah Hoogenraad, Miciah Wallace, and Matthew Sheaffer Photo credit to Sarah Hoogenraad

It would have been nice to have known what led to Shannon’s date and to get to know the cast better to be more invested in its outcome, but perhaps Celebrity Crush could expand its storyline or become a series in the future.

Sarah Hoogenraad’s dark comedy Celebrity Crush (#15) was part of Chain Theatre’s Winter ’24 One Act Festival took place from February 8 through March 3 virtually as well as live and in person at The Chain Theatre, 312 West 36^th Street in New York, New York. Click here for more information.

REVIEW: Boston Ballet’s ‘Winter Experience’ anticipates the bloom of spring

Posted on March 2 by The Sleepless Critic

Warm up with the beauty of Boston Ballet’s Winter Experience.

Boasting two world premiere performances, the Boston Ballet masters two bright, thrilling, and contemporary performances with an enchanting classic ballet in four scenes. These performances provide much needed thrilling warmth as the world anticipates the bloom of spring.

As part of its 60^th season, The Boston Ballet presents Winter Experience including the world premiere of To Be One, the return of Petal, and the world premiere of Mikko Nissenen’s Hungarian ballet Raymonda live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 3. The production is two hours and 15 minutes with one intermission. Click here for more information and for tickets.

2B One Photo by Rosalie O’Connor Photography

The world premiere of To Be One and the return of Petal are bold and unfold with finesse. To Be One boasts Helen Pickett’s sharp and vigorous choreography with Brandon Stirling Baker’s pristine lighting to brilliantly capture each dancer’s sheer athleticism to the urgent and anticipatory dance rhythms by Swedish composer Mikael Karlsson.

Sara Marhamo Kirk’s shimmering and translucent garments add a modern lucidity bathed in luminous shifting color backdrops. Lauren Herfindahl, Sage Humphries, Kyra Muttilainen, Chisako Oga, Alainah Grace Reidy, Graham Johns, Ángel García Molinero, Yue Shi, Gearoid Solan, Schuyler Wijsen, and Patrick Yocum perform to piano and violin-infused rhythms with at times short, pithy and lithe movements. The energy became so intense that at one point, the collective dancers seem like they are competing with each other in a lively circle.

Boston Ballet in Helen Pickett’s Petal, photo by Liza Voll, courtesy of Boston Ballet

Steeped in Brandon Stirling Baker’s vibrant colors and a sonic, violin-tinged score which evokes a soothing, building joy, Helen Pickett’s flourishing choreography make Petal an elegant and radiant journey. Amid consistent and warm colors, the agile and jovial cast leaps and spins breezily to form into intriguing pairs. Pickett’s scenic colors transform from brilliant yellow to a warm orange to a bold pink while allowing Nete Joseph’s pastel costumes to remain distinctive on each landscape. Kaitlyn Casey, Lauren Herfindahl, Abigail Merlis, and Chisako Oga seem to thrive with the athletic support of Henry Griffin, Graham Johns, Ángel García Molinero, and Lawrence Rines Munro. Lifting them up and guiding them to the chiming and urgent rhythms of Phillip Glass, John Cocteau, Susan Marshall and Thomas Montgomery Newman’s Elizabeth Chooses a Career, each pair learns how to support each other in order to grow. They float, tumble, sway, and spin as each female learns to soar.

María Álvarez and Boston Ballet in Helen Pickett’s Petal, photo by Liza Voll, courtesy of Boston Ballet

Mikko Nissenen reimagines Marius Petipa’s original choreography for the world premiere of the classic Raymonda: A Ballet in four scenes. Set in medieval times, Raymonda is a magnificent and royal affair featuring a large cast and Robert Perdziola’s exquisite and meticulously detailed costume design ranging from guards in chain link silver armor and black boots to blue, gold, and black feathered costumes to white and gold garments with refined floral sleeves. My’Kal Stromile stands out with large black petal sleeves and a red sash as Master of Ceremonies.

Cast of Raymonda Photo by Rosalie O’Connor Photography

There is a fanciful spark to this intriguing love story filled with beauty and grace to the whimsical and sophisticated harp infused score by Alexander Glazunov. The elegant cast performs a captivating waltz surrounded by Nicholas Kostner’s whimsical marble set pieces.

Raymonda Photo by Rosalie O’Connor Photography

Viktorina Kapitonova, who has depicted the title role in Boston Ballet’s Cinderella, is the perfect fit for delicate, fair, and confident Raymonda. Her rhythmic entrance is a balance of grace and boldness intensified by a spicy Hungarian clap. The Vision scene is a particular highlight. Maria Rubin as La Dame Blanche rises from the misty haze in an intricately detailed white gown. Kapitonova has endearing chemistry with Lasha Khozashvili as fiancé Jean De Brienne and Brandon Stirling Baker’s atmospheric lighting creates a silhouette in orange as they entwine into a tender embrace.

Viktorina Kapitonova as Raymonda Photo by Rosalie O’Connor Photography

The full company is a triumphant celebration in gold crowns, though Raymonda does run a little long in presentation. A quick paced array of mostly variations demonstrates the refined cast’s joy with sweeping sparkle. Some of the highlights include Daniel Durrett, Sun Woo Lee, Ángel García Molinero and Gearoid Solan in a technically impressive performance, Lia Cirio takes the stage in a complex and exuberant performance, Kapitonova as Raymonda performs a display of jubilance and elegance in playful leaps, and Lasha Khozashvili ‘s variation is highlighted by extraordinary leaps.

As part of its 60^th season, The Boston Ballet presents Winter Experience including the world premiere of To Be One, the return of Petal, and the world premiere of Mikko Nissenen’s Hungarian ballet Raymonda live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, March 3. The production is two hours and 15 minutes with one intermission. Click here for more information and for tickets.

REVIEW: Glitzy ‘Pretty Woman the Musical’ is vivacious fun

Posted on February 29 by The Sleepless Critic

Based on the hit film adaptation starring breakout star Julia Roberts and then megastar Richard Gere, Pretty Woman put a fairy tale spin on a story about a clever prostitute who charms a rich guy. The film is produced by Disney no less and solidly directed by the late esteemed Garry Marshall. With natural elegance, pitch perfect comic timing, and tangible chemistry with Gere who she went on to star with in other film projects due to their thriving and bankable chemistry, Julia Roberts instantly became America’s Sweetheart at just 21 years old.

A lot of big box office movies adapt into musicals and Garry Marshall is behind Pretty Woman the Musical.

Directed with upbeat choreography by Jerry Mitchell, music by award-winning singer-songwriters Bryan Adams and Jim Vallance, and based on the book by Garry Marshall and J.F. Lawton, Pretty Woman the Musical continues live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 3. Click here for more information and for tickets.

Pretty Woman The Musical – Chase Wolfe and Ellie Baker credit Matthew Murphy for MurphyMade

Featuring Chase Wolfe as Edward and adorable Ellie Baker as Vivian creating their own winning chemistry, Pretty Woman the Musical is a feel good adaptation with some memorable musical numbers and includes the beloved and iconic moments that charged the 1990 romantic comedy classic.

Tall metallic palm trees with Hollywood store signs warmly lit by Kenneth Posner and Philip S. Rosenberg bring glitzy California to life by scenic designers David Rockwell and Christine Peters. The rolling set cleverly transforms from energetic city streets to picturesque elegance as silk drapes adorn a gold embroidered balcony with extravagant detailed furnishings including the film’s iconic black baby grand piano.

Pretty Woman The Musical – Bethany McDonald , Ellie Baker, and Taylor M. Sheppard credit Matthew Murphy for MurphyMade

From colorful street clothes to flowing runway fashion to majestic gowns that include Vivian’s iconic red dress, costume designer Gregg Barnes exacts the splashy nature and 80s vibe of this fantasy fairy tale. Commanded by Lauren Esser’s soaring vocals boasted by a powerful rock growl stepping in for Rae Davenport as Kit, fashion bursts onto the scene in the flashy number Rodeo Drive infused with a guitar-tinged rock n roll vibe oozing in the sophistication of many shoppers’ fondest dreams.

Pretty Woman The Musical – Adam Du Plessis credit Matthew Murphy for MurphyMade

One spectacular performer who does a lot of the heavy lifting is Adam Du Plessis as Happy Man. He not only delivers candid and fun-loving charisma to the neon glow of Hollywood Boulevard for What’s Your Dream, a catchy opening number with a tropic tinge, but watch for Du Plessis to pop up unexpectedly and delightedly in various sequences throughout the production boasting sharp comic wit and dynamic spontaneity. Whether in a colorful Hawaiian shirt under a flowing trench coat or dressed to the nines, Du Plessis has quite the range as Happy Man. He shares an endearing rapport with Connor Kabat depicting Giulio with scene stealing goofy sweetness reminiscent of night elevator operator Patrick Richwood from the film.

Ellie Baker has a lot to live up to and successfully makes the role her own through those signature red curls. Baker infuses a unique and goofier free spirit and effervescence to Vivian more playful than Roberts’s engaging portrayal. Julia Roberts had more of an established elegance in her role, even when she is trying to look tough. Baker has bubbly comic timing and a snigger as charming as her beautiful face. She performs a stirring rendition of This is My Life, created from one of Vivian’s monologues to Edward. She also delivers a heightened and powerful solo for I Can’t Go Back.

In a black suit, maroon tie, and a stubbly beard, Chase Wolfe portrays a more rugged, contemplative, and serious businessman in Edward apart from Richard Gere’s subtle charm. Wolfe offers a separate lightness to the role and shares playful chemistry with Baker particularly for You’re Beautiful. Edward’s character is developed further than in the film, especially during his insightful solo, Freedom which is a nice addition drawn from Edward’s monologue in the film to Vivian.

With thick pink eye shadow, studded black skirt and biker jacket, Lauren Esser’s distinct accent and tough facade as Kit uplifts Luckiest Girl in the World alongside Baker as Vivian and in the bright and catchy number, Never Give Up on a Dream. Kit’s spitfire persona and shoot-from-the hip attitude is a tougher version of Laura San Giocomo’s benchmark performance, but here Kit is a more established character and given a larger arc than in the film. She and Baker share a strong and protective bond evident from Kit’s first scene.

Pretty Woman The Musical – The Company of Pretty Woman The Musical credit Matthew Murphy for MurphyMade

Jason Alexander has said that his opportunity for George from Seinfeld came from Pretty Woman and it was a hard fought battle for him to play the role of Edward’s lawyer and friend, Phillip Stuckey. However, in this version, Mikey Marmann is more of what director Garry Marshall originally had in mind for Stuckey’s intimidating, slimy, and snarky persona and Ellie Barker as Vivian’s updated and more welcoming interactions with him are a little different this time around.

Whether it is Sara Wang’s astounding vocals or even the beautiful rendition of You and I which has an unmistakable Bryan Adams influence, Pretty Woman the Musical is an uplifting musical journey that will please fans of the film or anyone experiencing it for the first time.

Directed with upbeat choreography by Jerry Mitchell, music by award-winning singer-songwriters Bryan Adams and Jim Vallance, and based on the book by Garry Marshall and J.F. Lawton Pretty Woman the Musical continues live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 3. Click here for more information and for tickets.

REVIEW: Make time for The Huntington’s unique ‘Stand Up if You’re Here Tonight’

Posted on February 28 by The Sleepless Critic

In some ways, Stand Up if You’re Here Tonight seems to be about nothing and everything all at once.

With a magnificent and probably one of the most gracious introductions to a production, Stand Up if You’re Here Tonight delves into the art of theatre, the luxury of Netflix, love, loss, loneliness, comfort, and all the idiosyncrasies of life that may or may not drive a person crazy. Part standup, part existential crisis, and part play-within-a-play, this original comical theatrical experience is hosted by a man who has had just about enough.

Jim Ortlieb of The Huntington’s production of John Kolvenbach’s Stand Up If You’re Here Tonight, directed by John Kolvenbach; photo Nile Hawver. Running January 20 – March 23, 2024 at the Maso Studio, Huntington Theatre. Boston, MA 02115.

Written and directed shrewdly by John Kolvenbach, The Huntington presents Stand Up if You’re Here Tonight live and in person at the intimate and immersive Maso Studio at the Huntington Theatre in Boston, Massachusetts through Saturday, March 23. The production is general admission and runs 60 minutes with no intermission with a special happening at the end of the performance. Do not miss a moment of this show because it is worth it. Click here for more information and for tickets.

Introduced by breezy 60s lounge music and surrounded by various vintage furnishings including lit chandeliers, doorways off their hinges, a ladder, a metal bird cage, and what starts out as a wooden lectern by Kristine Holmes and Sam Galvao, Stand Up if You’re Here Tonight is unveiled with frenetic urgency and earnestness expertly navigated by host Jim Ortlieb.

In a gray suit making a casual entrance, Jim Ortlieb guides the surrounding audience into a performance so engaging and interactive that this critic barely has time to take notes which was a joy. Lighting designers M Berry and Makenna Harnden’s rhythmic and atmospheric lighting acted as its own character perfectly timed with the quick pace and tricky transitions that lead to the most unexpected places.

All of this production’s surprises will not be revealed here. With a welcoming grin and a dose of self awareness, Ortlieb delves into some of his own vivid memories, imagination, and experiences with relatable and sometimes dark humor, but what is most important is that audience is here, present, and in the present. Laugh and be moved. That is what really matters.

REVIEW: The Sudbury Savoyards presents Gilbert and Sullivan’s playfully witty farcical opera, ‘Princess Ida’

Posted on February 27 by The Sleepless Critic

Will it be love or war?

This is the question posed by King Hildebrand, grandly portrayed by Matt Tragert, as his kingdom anxiously awaits the arrival of Maria Bozich as fiercely independent Princess Ida.

Conductor Stephanie Beatrice with orchestra Photo by Sue Flint

With book by W.S. Gilbert, perceptive direction by Rebecca Graber, and compelling music by Arthur Sullivan conducted and musically directed by Stephanie Beatrice, The Sudbury Savoyards presents Gilbert and Sullivan’s timely farcical and romantic opera Princess Ida or Castle Adamant at Lincoln-Sudbury Regional High School in Sudbury, Massachusetts live and in person through Saturday, March 2. The show is two and half hours plus one 15 minute intermission and presented in three acts. Click here for more information and for tickets.

Maria Bozich as Princess Ida and Women of Castle Adamant in ‘Princess Ida’ Photo by Chris Pollari

Though the production takes place during the Middle Ages, costume designers Sue Flint and Donna Roessler infuse contemporary flair to medieval garb in colorful plaids, pinstripes, wool, silks, and converse sneakers. A few modern props by Nancy Powers include Michael González as Hilarion cradling a sacred wedding box and a humorous moment when a jolly popcorn box and streamers lightheartedly fly overhead. It lends to the innate playfulness of the production even as Gama’s sons adorn nearly identical letterman sweaters marked with their first initial to form G A S. Gama’s sons include Matthew Garber as Guron, Blair Eig as Arac, and Santo Mammon as Scynthius who form quite the sibling trio and get into various predicaments along the way.

Blair Eig as Arac, Matt Garber as Guron, Santo Mammone as Scynthius, and Matt Tragert as King Hildebrand in ‘Princess Ida’ Photo by Sue Flint

Princess Ida or Castle Adament delves into the story of two kingdoms bound together by a royal marriage and a vow from twenty years ago. Brad Amidon as proud and amiable curmudgeon King Gama must reunite his daughter Princess Ida to Michael González as Prince Hilarion or there will be consequences. In a blue suit and hat, Amidon’s sneers and mischievous snickers are a highlight as King Gama secretly delights in grumbling about everything demonstrated in If You’ll Give me Your Attention. Tenor Michael González lends warmhearted and soaring vocals to depict earnest Prince Hilarion. González, David Smyth as Florian, and Thai Johnson as Cyril form another comic trio as they embark on a wild journey where women rule punctuated by the catchy Gently Gently and later Johnson creating an amusing scenario for Would You Know the Kind of Maid.

Brad Amidon as King Gama in ‘Princess Ida’ Photo by Chris Pollari

Adorned in a lilac suit and boasting a powerful and shimmering vibrato, Maria Bozich leads several strong female characters with a driven and commanding presence as Princess Ida who expresses ideas of her own making a grand entrance with the mighty O Goddess Wise. In a striking detailed suit, Soprano Sara DeLong charismatically expresses her own plans as calculating and poised Lady Blanche with Come Mighty Must. Her daughter Melissa, portrayed by Sara Mitnik, proves a worthy conspirator and shines with the cast for Death to the Invader. Soprano Danielle Shevchenko is an apt Lady Psyche and Shevchenko is memorable with González, Smythe, Johnson, and Mitnik for The Women of the Wisest Wit.

David Smyth as Florian, Michael Gonzalez as Hilarion, and Thai Johnson as Cyril Photo by Sue Flint

Boasting strong vocals and witty banter, Princess Ida or Castle Adamant takes a spirited look at gender roles and the royal monarchy. There are points within this opera where one may have to suspend one’s disbelief to make room for the absurd and this is a lighthearted production that it is humorous enough to do so. When watching the production, the program is an invaluable resource in understanding scattered era terminology and following the plot.

Women of Castle Adamant in ‘Princess Ida’ Photo by Chris Pollari

With book by W.S. Gilbert and compelling music by Arthur Sullivan conducted and musically directed by Stephanie Beatrice, The Sudbury Savoyards presents Gilbert and Sullivan’s timely farcical and romantic opera Princess Ida or Castle Adamant at Lincoln-Sudbury Regional High School in Sudbury, Massachusetts live and in person through Saturday, March 2. The show is two and half hours plus one 15 minute intermission and presented in three acts. Click here for more information and for tickets.

REVIEW: New York City Indie Theatre Film Festival Short Films: Reilly Anspaugh and Daniel Rashid’s ‘Chauncey,’ Michael Quinn’s ‘Brooding,’ Rachel Handler’s ‘Unlucky in Love’ and more

Posted on February 23 by The Sleepless Critic

The eighth annual New York City Indie Theatre Film Festival returned this year and ran from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53^rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and to see the winners of the festival.

Lindsey Hope Pearlman in ‘Placemat’ Photo by Lindsey Hope Pearlman

Lindsey Hope Pearlman and Sean Welski’s Placemat

Sometimes life can become a mundane daily grind.

Fueled by an upbeat and ultramodern score by Andrew Lynch, Lindsey Hope Pearlman as Lindsey fantasizes about a rich and exciting existence. Wearing glasses and a blue and yellow floral blouse by Elizabeth May, Placemat takes a humorous look at finding excitement in the little things with an effective twist.

Reilly Anspaugh and Daniel Rashid’s Chauncey

Zoe has a new boyfriend, but is also hiding a secret.

A different take on a coming of age tale blended with rom-com energy fueled by Daniel Rashid’s vintage, playful and catchy soundtrack, Chauncey is a charming story featuring Reilly Anspaugh, Daniel Rashid, Miya Kodama and Doug Tompos about what it is to reveal the real you and some things one does not have to outgrow.

Overdue

Two people facing a tough time encounter each other in a bar. Louis Robert King’s bluesy soundtrack and Jeanine Bartel and Howard Hendrix Powell’s playful chemistry make this production shine. Directed insightfully by Melissa Skirboll, Overdue boasts a myriad of meanings for two people searching for hope.

Anna Capunay’s Your Silent Face

Sometimes music can create change. Your Silent Face focuses on a Peruvian mother, depicted by Anna Capunay, who is struggling with the decisions happening within her family. Though the production addresses trauma, mental illness and depicts some family turmoil, Your Silent Face expresses each character’s point of view in a balanced manner. The production is lightened by the upbeat and retro rhythms of the Bootblacks.

Michael Quinn’s Brooding

Brooding is a searing drama and horror story about a talented nature photographer named Tara who is struggling. Her boyfriend Matthew, portrayed with a mix of stoicism and concern by Joseph Basquill, wants to get to the bottom of it. With an eerie sound design by Bailee Herrera, music by Griffin Robillard, and sound mixing by Devin Greenwood, Brooding has squeamish and haunting moments boasted by the cold stare, exhaustive mood swings and explosive temper notably portrayed by Hadley Durkee as Tara with an ending difficult to see coming.

Kwame Berry’s Ursula

Presented at first as a True Hollywood Story, Ursula is a drama about grief and trauma as a family fights over what to do with the family house.

Tiffany Adams depicts tough and driven screen star Ursula with finesse and LaVeda Davis makes a brief but lasting impression as Ms. Tate. Based on Kwame Berry’s Ursula: A Dysfunction in Two Acts, Kwame Berry’s complex portrayal as quiet, sympathetic, and mysterious Dominic make the character easy to root for as the production progresses. With an eerie and foreboding score by Vin Scialla and Darius James, Ursula is presented with originality, intrigue and a thought provoking revelation.

Rachel Handler’s Unlucky in Love

With upbeat direction by Catriona Rubenis-Stevens, Unlucky in Love is a lighthearted musical foray into one small town flash mob planner’s search for love with engaging narration by Imani Barbarin as Lucy Loveless. Rachel Handler as sensible Lisa Edmunds and Lashi as Wendy Lindell share breezy chemistry with a meaningful conclusion.

REVIEW: New York City Indie Theatre Film Festival Short Films: Matthew Modine’s ‘I Am What You Imagine’, Ryan Spahn’s ‘Router,’ Don Castro’s ‘Your Blue Heart’ and more

Posted on February 18 by The Sleepless Critic

The eighth annual New York City Indie Theatre Film Festival is back this year and runs from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53^rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and for tickets.

Intermission

Ryan, portrayed by Michael Barringer, is smoking. In a white fur, a bun on top of her head, and large earrings, chatty Laura, portrayed with finesse by Laura Butler Rivera, has something to say about it.

In fitting black and white cinematography, Intermission is an unpredictable and seeming tongue in cheek foray into smoking. It is also a humorous and fascinating film featuring Rivera and Barringer who have peculiar chemistry. Rivera is mysterious, quirky and shrewd in a conversation with unexpected results.

Ryan Spahn’s Router

Hearing strange noises?

Being alone in the house can be creepy. A creak, shadows on the walls, and was that a scream? With intriguing cinematography by Thomas Brunot, just the glow of a cell phone to light the way and a cryptic message drives this twisty tale for a wifi signal. The wide eyes of Britt Vicars and a spooky and original score by Pablo Signori build the tension and reeling suspicion as Vicars inches her way in this battle through the dark.

Don Castro is LITO by the window in ‘Your Blue Heart’ Photo credit to NYCITFF and Don Castro

Don Castro’s Your Blue Heart

With expressive black glasses and red flip flops, Don Castro as Lito is making breakfast alone in the kitchen. Your Blue Heart is a moving journey into memory. Spoken in Filipino and shot in Woodside, Queens, Castro and Ron Flores as Rey have a sweet rapport featuring stirring and original music by Paul Aranus.

Kate Szekely in Still Photo credit to NYITFF and Kate Szekely

Ash Singer’s Still

The battle to be still with the jarring feeling of anxiety is overwhelming. Heart racing and breathing can be deafening. Still delves into the life of Kate Szekely who is arduously trying to shake that terrible feeling through various methods including the meditative phrase ‘I am surrounded by abundance.’ Composer Shira Bouskila and Somer Bingham’s haunting and unique sound composition ebbs and flows throughout the film in relatable unease, dread, and calm.

Matthew Modine’s ‘I am What You Imagine’ Photo by Adam Rackoff

Matthew Modine’ I Am What You Imagine

I am what you Imagine is a vivid, kaleidoscopic and visceral journey that explores the true meaning of life from the very beginning. With mesmerizing editing and visual effects by Terence Ziegler as well as surreal photography by Matthew Modine and Kevin Joseph Grossman, I am What You Imagine is a powerful film that should be experienced rather than explained and boasts a surprise ending.

Jeff Hathcoat and Ellen McQueen in ‘Late Sleeper’ Photo credit to NYITFF and Peter Hardy

Peter Hardy’s Late Sleeper

What happens to a late sleeper? A shadow sits at the window.

Filmed in black and white, Peter Hardy’s Late Sleeper delves into this concept with creepy creativity and intriguing results featuring Jeff Hathcoat and Ellen McQueen.

REVIEW: Central Square Theater elegantly streamlines heart and innovation with ‘Machine Learning’

Posted on February 17 by The Sleepless Critic

Jorge is in distress. Maybe Arnold can help.

Directed beautifully by Gabriel Vega Weissman, Central Square Theatre in partnership with Teatro Chelsea and a Catalyst Collaborative@MIT production continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, February 25. The show is 100 minutes with no intermission and contains some Spanish dialogue. Click here for more information and for tickets.

Armando Rivera in ‘Machine Learning’ Photo by Nile Scott Studios

Caring for a loved one is challenging in itself, but a loved one with a terrible illness battling addiction is that much more daunting. Frustrated yet determined computer scientist Jorge, empathetically portrayed by Armando Rivera, shares a complex history and relationship with his proud, stubborn, and sympathetic Columbian father Gabriel, depicted with machismo yet stalwart likability by Alberto Rubio. Rubio as Gabriel hones an authentic depiction of the nature of addiction in an ailing man. In order to care for his ailing father who is battling liver cancer, Jorge establishes an AI digital application and nurse named ‘Arnold’, voiced brilliantly by Matthew Zahnzinger, which might not only possibly make both their lives easier, but an entity that stubborn Gabriel just might listen to.

Jorge Alberto Rubio as Gabriel Photo by Nile Scott Studios

Each of these lovable characters is virtuous in their own way and their desire to seek the best in the other is what truly makes them remarkable. Young Jorge, depicted precociously and humorously by Xavier Rosario, is a scene stealer in his sweet and difficult moments with his father particularly demonstrated in an escalating battle over a game. Rosario tries his father’s patience with unflinching honesty and their experiences shape the relationship later demonstrated by Rivera as Jorge and Rubio as Gabriel. Zahnzinger as Arnold is an inquisitive and unintentionally funny logical entity that develops a seemingly caring and convincing rapport with Rivera and Rubio that can affectively blur the lines between AI and humanity, but Mendoza’s insightful script cleverly navigates this line of thinking through Arnold’s programming and deduction.

Xavier Rosario and Jorge Alberto Rubio Photo by Nile Scott Studios

Sugandha Gopal portrays sensible and focused Anita, Jorge’s encouraging and astute professor and mentor. Anita and Jorge share an admirable mutual respect and Gopal shines when she perceptively challenges Jorge on the most difficult things that Jorge needs to face about himself. Gopal as Anita has confidence in Jorge, but knows the best thing for Jorge is compassionate yet constructive criticism for Jorge’s difficult mission to help his father and to become a better computer scientist.

Sugandha Gopal and Armando Rivera Photo by Nile Scott Studios

What makes Machine Learning fascinating is not only the terrific state of the art sound design by David Remedios with sound engineer Kai Bohlman, Amanda Fallon’s animated lighting, and Janie E Howland’s innovative fold out and compartmentalized set boasting rich graphics and impressive coding by Projection Designer SeifAllah Salotto-Cristobal, but the care instilled in Arnold’s every calculation in an attempt to deliver Gabriel better care than Jorge believes he could ever possibly deliver on his own. It is the compassion and resolve put into every detail despite the fraught history Jorge has with Gabriel and their inherent and relatable flaws. Through all of this seeming perfection is the delicate imperfection that truly resonates.

Jorge Alberto Rubio and Xavier Rosario Photo by Nile Scott Studios

Though the production delves into the science of AI and the characters are encompassed by calculations and functionality, not for one moment does this production ever feel robotic. If anything, Machine Learning is a moving production that brings out the ties that bind between a father and son in all of its illuminating calculations.

Central Square Theatre in partnership with Teatro Chelsea and MIT continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theatre in Cambridge, Massachusetts through Sunday, February 25. The show is 100 minutes with no intermission and contains some Spanish dialogue. Click here for more information and for tickets.