REVIEW:  Go see Academy of the Company Theatre’s heartwarming, moving, and family-friendly ‘Joseph and the Amazing Technicolor Dreamcoat’

The one thing more magnificent then Joseph’s dream coat is the tale behind it.  An interactive, endearing, and humorous production, Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat has been entertaining audiences for over 50 years with its exuberant story and its versatile and brilliant music by the Academy Award-winning team of Andrew Lloyd Webber and Tim Rice.  Joseph’s music offers a wide spectrum of music genres for any taste from calypso to rock and roll which accompanies the unique retelling of a sacred tale of treachery and unceasing hope.

Photo courtesy of Zoe Bradford/Company Theatre

A tale so wonderful that it needs three narrators, Academy of the Company Theatre (ACT) presents Andrew Lloyd Webber’s wondrous and family-friendly musical comedy Joseph and the Amazing Technicolor Dreamcoat continuing at the Company Theatre in Norwell, MA through Sunday, May 1.  The production is almost sold out.  Click here for more information, tickets, and for classes that ACT has to offer.

Cate Healey, Gilbert Dabady, and Elizabeth Nunnery as Narrators with Tim Bevens as Joseph Photo courtesy of Zoe Bradford/Company Theatre

Based on the Book of Genesis and set in the land of Canaan and Egypt, Joseph and the Amazing Technicolor Dreamcoat explores the incredible journey of Joseph and his brothers as Joseph struggles to discover his destiny.  It is very much a collaborative, ensemble piece featuring three engaging narrators portrayed by Gilbert Dabady last seen in ACT’s Les Miserables, Cate Healey, and Elizabeth Nunnery as they share Joseph’s tale not only with the audience, but with the surrounding and energetic young cast gathered onstage.  Dabady, Healey, and Nunnery all have powerful and very different voices that complement each other throughout the performance.

Brothers – Corin O’Neill – Abington, Jay Feeney- Hansen, Henry Jacobs – Norwell, Colin SanGiacomo – Norwood, Roland Schulze – Hingham, Matthew Porro – Hanover, Tim Bevens (Joseph) – Hingham, Ben Cavallo Smith-Hingham and cast Photo courtesy of Zoe Bradford/Company Theatre

With a sweet smile and unassuming demeanor, Tim Bevens portrays humble, yet forthright dreamer Joseph with instant likability from his first opening number, a warm and melodious rendition of Any Dream Will Do.  Bevens delivers a compelling performance as a naïve outsider, his versatile vocal range effortless for the soothing Any Dream Will Do to stirring Close Every Door, his tone heart rendering and sympathetic.

Wearing a white beard, Jacob Yates takes on the mostly silent role of Jacob, Joseph’s devoted father.  Yates makes the most out of this role with an amusing walk and some physical humor.  Led by Charlie Flaherty’s standout portrayal as Joseph’s smirking and sneaky brother Reuben, One More Angel in Heaven depicts the united camaraderie not only by Joseph’s eleven brothers, but from the cast, all in on a little secret.  Another excellent number that depicts the brothers’ united front is delivered by Ben Cavallo-Smith as Judah and his brothers for Roland Schulz as Benjamin, a catchy, amusing song called Benjamin Calypso.

Combining blue, glitter, and gold into dazzling Egyptian attire, Sal Garcia, who was last seen as Jean Val Jean in ACT’s Les Miserables, makes a grand entrance in suave sunglasses and a bouffant hairstyle as Pharaoh, complete with shimmering gold sneakers.  Garcia shows off his comedic talent and charisma in the show stopping number Song of the King, combining the essence and high energy of a certain king not to be revealed here and Jack Black.  It is fun to watch Garcia in a role where he can let loose.

Sal Garcia as Pharaoh Photo courtesy of Zoe Bradford/Company Theatre

The transformative lighting by Dean Palmer Jr. ranges from a lone spotlight to doubling for the hot, desert sun to flashing, multicolored spotlights for Go Go Go Joseph to the warm candlelight and modest staging of Close Every Door.  Though most of the sets are colorful and fun, there is something special about the translucent, simple staging for Close every Door by candlelight, letting Tim Bevens’s poignant rendition speak for itself without distractions. 

Elsa Hancock-Happ – Rockland, Calvin Jacobs – Norwell, Reese Warshaw – Hingham, Izzie Donnelly – Hingham, Nora Joyce – Weymouth, Silvia Thompson – Hingham, Tim Bevens – Joseph – Hingham, Laird Lacoste and cast Photo courtesy of Zoe Bradford/Company Theatre

Among the vibrant and bold costumes by John Crampton and Alison Gordon is the famous coat in yellow and green and ochre… Joseph’s magnificent, flowing, and sparkling coat is a head turner decked out in multi-colored stars on the back.  The cast wearing sunglasses, an unusual camel, and cute Egyptian “beetles” among the crowd on a unconventional journey to Egypt are just a few of the subtle, cheerful touches added to this lighthearted production that certainly has its share of stirring and difficult moments, but with far more uplifting and spirited ones, it’s difficult to feel down for long.

Tim Bevens (Joseph) and cast Photo courtesy of Zoe Bradford/Company Theatre

Directed by Zoe Bradford with lively choreography by Sally Ashton Forrest and musically directed by Melissa Carubia, Academy of the Company Theatre (ACT) presents Andrew Lloyd Webber’s wondrous and family-friendly musical comedy Joseph and the Amazing Technicolor Dreamcoat continuing at the Company Theatre in Norwell, MA through Sunday, May 1.  The production is almost sold out.  Click here for more information and for tickets.

REVIEW:  Lexus Broadway in Boston’s ‘Ain’t too Proud: The Life and Times of the Temptations’ powerhouse vocals as compelling as their back story

Get ready for a whirlwind concert experience fueled by vocal powerhouses.  Having been familiar with the award-winning 1998 The Temptations miniseries produced by Temptations founder Otis Williams and based on the book featuring a special appearance by Smokey Robinson, it is no secret just how much material this musical had to cover and does so with finesse and upbeat pacing.

The Temptations Marcus Paul James as Otis Williams, James T. Lane as Paul Williams, Jalen Harris as Eddie Kendricks, Harrell Holmes Jr as Melvin Franklin and Elijah Ahmed Lewis as David Ruffin Photo credit to Lexus Broadway in Boston

Directed slickly by Des McAnuff and produced by Otis Williams and Shelly Berger, Lexus Broadway in Boston presents Tony award-winning jukebox musical Ain’t Too Proud:  The Life and Times of the Temptations at Citizens Bank Opera House in Boston, MA through Sunday, May 1.  The show is 2 hours and 30 minutes including an intermission.  Click here for more information and for tickets.

Behind every monumental group is a colossal tale.  The story behind the Temptations spans decades encapsulating wild drama (some of which seems too incredible to be true) while members of the Temptations changed like a revolving door.  Some of these legendary performers haunted by the past wrestled with inner turmoil and demons that indelibly impacted their own lives and with timeless and groundbreaking music comes sacrifice.

Marcus Paul James as Otis Williams (center) Photo credit to Lexus Broadway in Boston

Based on the Otis Williams and Patricia Romanowski’s The Temptations autobiography, the journey began in Detroit.  Marcus Paul James is part preacher, part storyteller, and all heart as Temptations founder Otis Williams recalls admiring groups like The Cadillacs in his hometown when he wasn’t getting into trouble.  Finding his calling to sing was like ‘the heavens opening up.’  Immediately engaging, James guides the audience through decades of the Temptations musical journey through the losses, the humor, dedication, arrogance, passion, tragedy, and fleeting success to the Rock & Roll Hall of Fame.

Most importantly though, it is a rich voyage through the classic Motown tunes that have stood the test of time not just by The Temptations, but the Supremes and other famous Motown classics of that time.

Jalen Harris as Eddie Kendricks with the Temptations and The Supremes together. Photo credit to Lexus Broadway in Boston

Decked out in suave matching gray suits and ties and launching into The Way You Do the Things You Do featuring the five original members composed of James T. Lane as Paul Williams, Harrell Holmes Jr as Melvin Franklin, Elijah Ahmad Lewis as David Ruffin, Jalen Harris as Eddie Kendricks, and Marcus Paul James as Otis Williams, Ain’t too Proud is an interactive, energetic, concert-driven locomotive as sliding vintage black and white photos and film depict the fans, the touring, the injustices, and the milestones through the years.  The frequently moving, multilayered set by Robert Brill combined with Howell Binkley’s impressive lighting gives the slick illusion of the quick pace of their lives and the audience riding along for each transforming scene.

The Supremes – Traci Elaine Lee as Mary Wilson Deri’Andra Tucker as Diana Ross and Shayla Brielle G. as Florence Ballard Photo credit to Lexus Broadway in Boston

Not only does Ain’t too Proud feature Tony award-winning choreography, but some dynamite vocals from start to finish.  Traci Elaine Lee delivers a dual role first with brief, but memorable impromptu vocals as fast-talking Johnnie Mae in a spectacular onstage Cadillac as as Mary Wilson of The Supremes.  The Supremes, adorned in dazzling gowns by costume designer Paul Tazewell, make brief but memorable appearances with seamless vocals for classic numbers such as You Can’t Hurry Love and I’m Gonna Make You Love Me led by Deri’Andra Tucker as the luminous Diana Ross. 

Though each member of the Temptations have good chemistry, baritone Marcus Paul James as Otis and Harrell Holmes Jr as dedicated and forthright bass singer Melvin, have an exceptional brotherly connection. Jalen Harris as falsetto Eddie Kendricks performed a memorable Just My Imagination to an enthusiastic crowd. Elijah Ahmad Lewis portrays complex and sensational tenor David Ruffin with charisma, arrogance, and affliction from the sweet first notes of My Girl to I Wish it Would Rain.  The stirring I Wish it Would Rain symbolizes much more than love lost in this particular production.

Harris Matthew as Dennis Edwards (center) Marcus Paul James as Otis Williams, James T. Lane as Paul Williams, Harrell Holmes Jr as Melvin Franklin, and Jalen Harris as Eddie Kendricks Photo credit to Lexus Broadway in Boston

Ain’t too Proud delves into the lives of the Temptations, the classic tunes, what tears them apart, and what ultimately makes them the greatest Rhythm and Blues group in music history.  With a total of 24 Temptations over the years, it is quite the tale to tell. 

Lexus Broadway in Boston presents jukebox musical Ain’t too Proud:  The Life and Times of the Temptations at Citizens Bank Opera House in Boston, MA through Sunday, May 1.  Click here for more information and for tickets.

REVIEW: Fueled by Go-Gos pop-punk nostalgia, The Umbrella Stage Company’s ‘Head Over Heels’ a frothy farce with a unique beat

The expression, ‘Out with the old, in with the new’ takes on new meaning for Umbrella Stage Company’s dynamic musical, Head Over Heels, a gender-bending jukebox musical comedy which includes a case of mistaken identity that integrates the renaissance with contemporary themes and the 80s in Arcadia, a land that thrives on a beat.  If that seems like a lot, it’s because this ambitious show tackles a lot in its approximately 2-hour time frame. 

The cast of ‘Head over Heels’ Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

With resourceful direction by Brian Boruta, The Umbrella Stage Company presents Head Over Heels the Musical live and in person at the beautifully-renovated Umbrella Arts Center, 40 Stow Street in Concord, MA through Sunday, May 8.  This show may not be appropriate for young children.  Click here for more information at for tickets.

Who else to handle a beat but the Go-Gos!  Following a string of jukebox musicals such as Jersey Boys, Mamma Mia! (featuring music from Abba), Movin’ Out (featuring music from Billy Joel), Good Vibrations (featuring music from the Beach Boys), Moulin Rouge and Priscilla, Queen of the Desert (both which deliver covers of contemporary pop songs), 80s pop princesses the Go-Gos handle this production’s unique beat.  This lighthearted show highlights many of the Go-Gos snappy, feel-good numbers such as Vacation, Our Lips are Sealed, Head Over Heels, and We Got the Beat along with some lesser known tracks that don’t land as well.

Kai Clifton as Pythio and cast Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

Head Over Heels is lively and cheerful in presentation from overhead neon lights, versatile surrounding white columns, and a live band veiled behind translucent curtains onstage by set designer Janie Howland to bold and bright period costumes in pink, green, and yellow weaving 80s glam with a rock-n-roll edge by Brian Simon and Johnny Cagno to the rollicking, up-tempo choreography by Lara Finn Banister.

Temma Boudreau as Philoclea and John Breen as Musidorus Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

Based loosely on Sir Phillip Sidney’s The Arcadia, Head Over Heels is a farce that follows a few Arcadian love stories with one taking a cue from Shakespeare as love struck shepherd Musidorus, portrayed by John Breen, must disguise himself in order to gain approval to marry Princess Pilocleas, portrayed by Temma Beaudrea.  Beaudrea and Breen have a brimming, awkward, and excitable chemistry as they fight not only the royal rules, but the predictions from a mysterious oracle that ultimately sees the kingdom’s demise unless things change.  Meanwhile, Philocleas’s sister, Pamela, portrayed with humorous narcissism by Bri Ryder, is proclaimed fairest in the land, but a groom might not be what she has her sights on after all.

Damon Singletary as Basilius Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

Damon Singletary as King Basilius brings gravitas and humor to the king’s bombastic nature while Kate Pickett’s flirty and dry sarcasm makes Gynecia a scene stealer.  Robert Saoud as Dametas portrays the sympathetic and seemingly sole voice of reason.   While the majority of the characters are so fixated on what each of them wants, Dametas and Kai Clifton, a commanding presence as Pythio, may be the only ones capable of seeing the bigger picture.  Singletary and Saoud deliver some amusing scenes together as they share differing outlooks on this kingdom’s shaky ground. 

The humor ranges from irreverent to absurd to charming.  Head over Heels makes some deliberate and clever points in its storytelling, but can get more fixated on what each character stands for rather than giving the characters more depth.  However, If you enjoy a frivolous farce dipped in 80s nostalgia, this “trifle” as Sir Phillip Sidney has called his prose, this one may be for you.

The Umbrella Stage Company presents Head Over Heels the Musical live and in person at the beautifully-renovated Umbrella Arts Center, 40 Stow Street in Concord, MA through Sunday, May 8.  This show may not appropriate for young children.  Click here for more information at for tickets.

REVIEW: Singer-songwriters Natalie Price and Grace Pettis share resilience through struggle and the joy of performing live onstage again

It is no surprise that guitar strumming singer-songwriters Natalie Price and Grace Pettis recently brought a mix of emotional weight to the Club Passim stage in Cambridge, MA.  Not only in the great joy of performing for an audience again, but the heartache, loss, and reflection in their music as a result of these past couple of complicated years.  However, within this sadness lies resilience for thriving again.  

Grace Pettis and Natalie Price Photo credit to Natalie Price

Singer-songwriter Natalie Price debuted at Club Passim and opened for returning Club Passim favorite Grace Pettis on Thursday, April 14 in person and on live stream for one night only.  Click here to see where Pettis will perform next and here for more on Price.  Click here for more on Club Passim, their educational programs, upcoming events, and how to support local music.

A smattering of spotlights lit the Club Passim stage as Dallas-born Natalie Price delivered a mix of reflective, sorrowful, and playful love songs during her brief opening set.   Price’s sound has a tinge of Natalie Imbruglia or Lisa Loeb as she shares her experiences.

These Days is a clever track about the memory of escaping an unhealthy relationship and if the timing of that relationship were any different, Price might not have escaped.  Price sings, ‘I’m so glad I wasn’t younger when we met’ and ‘The heaviness, strangled me/A songbird in a cage.’  Its seemingly lighthearted chords contrast a returning and complex memory that changes over time.

Another highlight was The Island, a song performed entirely with a music box-sounding Kalimba instrument.  It is a melodious track about the euphoria of new love while Done is another clever piece that delves into the erratic and frantic feelings of unsteady love.  Price ends the set with a catchy and cheerful tune about devotion.

Natalie Price’s music can be found on Band Camp or on her website.

Grace Pettis Photo credit to Nicola Gell

Before taking the stage alone, Grace Pettis joined Price for an unconventional and sweet lullaby Pettis wrote and performs for a Ukrainian child living with Pettis and her family in Ireland called Sleepy Lobster.  Pettis had a table set up that evening to support Ukraine.

Florida-born Grace Pettis delves into a collection of powerful, somber, and soulful tunes, a reflection of some of the complex, life-changing experiences Pettis endured over the last two years.  In a burgundy shirt and black pants, Pettis is an unassuming presence with a certain personable charm and expressed her gratefulness to be back at Club Passim sharing her music with a crowd again.

Her passionate and powerful vocals in Pick me Up and Never Get it Back from her new album, Working Woman from MPress Records, has universal appeal with the latter a bittersweet message on the importance of living in the present and the former finding the strength to keep going in spite of life’s hardships.   Though Pick me Up could simply be interpreted as a love song, it could also apply to a larger message about faith and finding loyal support through life.

Pettis mused in Rain’s lyrics, ‘I don’t know how to be happy’ when she recalled being tasked with writing a song about sunshine.  The somber track was inspired by November rain in Ireland.

So many of Grace’s work addresses strength through struggle.  Mean Something also from Working Woman has a soothing quality about finding hope while Birthright, which is a Nobody’s Girl song, reveals the struggles of living with the pain of the past.  Pettis is an apt songwriter reflecting on the end of a life-changing relationship. She sings, ‘Brace myself for unwanted advice…I’m the box forgotten in the attic.’

However, one of my favorite tracks is Corner, a complex love song about unconditional loyalty, the pain thick in Grace’s voice.  Though the show had its share of solemn musings, Pettis ends the set with Working Woman’s fiery and meaningful title track, her powerful belt demonstrating though hardship, Grace Pettis has thicker skin than that.

Click here for more information on Grace Pettis and where she is touring next.  Learn more about Natalie Price here and click here for more on Club Passim, their music classes, upcoming concerts, and how to support local music.

REVIEW:  Comparing music biopic ‘Respect’ and anthology series ‘Genius:  Aretha Franklin’

Maybe it was because I went in with the highest of expectations. 

When casting was announced for the Aretha Franklin film biopic, Respect, the anticipation for this film soared.  A cast that included Academy award-winner Forrest Whittaker, multi-Tony award winner Audra McDonald and starring Academy Award-winning Jennifer Hudson as Aretha, it seemed this film could do no wrong.  In many ways, it didn’t and in other ways, it did.  The movie has my respect, but can’t quite pinpoint exactly why it wasn’t as spectacular as it should have been.

Though Respect is no longer in theatres, it is streaming on HBO Max, VOD, and other platforms.  National Geographic’s Genius:  Aretha Franklin is available on Hulu

This is not to say that Jennifer Hudson did not deliver a phenomenal performance.  Her dynamic vocal range could run circles around almost any singer today.  Just to see her take on the theme song to TV classic, The Jeffersons for Live in front of a Studio Audience:  All in the Family and The Jeffersons, her sass and brilliance shines through even for those select few minutes.  On a larger scale, she performed The Color Purple on Broadway plus watching her sing a live Prince tribute to Purple Rain alongside Cynthia Erivo (who also went on to embody the Queen of Soul in Genius:  Aretha Franklin) the night Prince passed away was probably one of the most endearing versions I have ever heard next to the Purple one himself.

It was the kind of vocals needed to match Aretha Franklin’s superlative falcon soprano voice that mastered an aria for Luciano Pavoratti during a live performance at the 1998 Grammy Awards to the bluesy Chain of Fools to the magnificence of her version of Amazing Grace.

 Jennifer Hudson is unquestionably an incredible talent and yet, watching Respect, it was difficult to envision Aretha Franklin.  Perhaps if Hudson was a less recognizable or not such an established talent in her own right, it might have been easier to picture it.  After watching Respect and Genius:  Aretha Franklin back to back, it was easier to envision Cynthia Erivo in the role of Franklin.  Not only does Erivo look more like Franklin and her distinct vocals a bit closer to Aretha’s, but she also possesses that determination and sass that Aretha was well known for.  However, Erivo also had a lot more room to flourish during an entire season.

Though both adaptations are worth watching, it seems like Genius had too much time to tell Franklin’s story and Respect did not have enough.  Respect sometimes seemed choppy and there are scenes that were featured in Genius that would have been better explored in RespectRespect was once a 3 hour film cut down to 2 hours and 25 minutes, but it would have better with more time.  Genius had plenty of time to tell its story, but some parts lingered on events a bit too long.

Hudson delivers a surprisingly subdued performance compared to the strong presence Franklin displayed in life.  Hudson masters more of Franklin’s natural instinct and wisdom into music as she navigates the music industry from her early misses to her meteoric success from Franklin’s version of the hit song, Respect (which is an Otis Retting song that Franklin undoubtedly made her own). 

Both Respect and Genius:  Aretha Franklin feature epic casts.  A notable portrayal was that of the young version of Franklin, portrayed by Skye Dakota Turner in Respect.  Turner possessed more of the charm, spunk, and valor that Aretha was known for.  It is easy to see Aretha has a song in her heart from the very first scene, especially due to director Liesl Tommy’s vivid cinematography.  Marc Maron delivers an amazing performance as legendary and steadfast music manager Jerry Wexler though the part is not a great departure from other roles he has delivered over the years.  Forrest Whittaker in Respect and Courtney B. Vance in Genius:  Aretha Franklin skillfully portray Franklin’s fiercely protective, stubborn, and seemingly strict preacher father.  Each actor hones in on different aspects of C.L. Franklin’s strong character.  Audra McDonald is dynamite as Barbara Franklin even within her brief screen time.  She delivers a memorable performance at the piano with young Aretha for Irving Kahal’s I’ll Be Seeing You.

Respect is also set up like the standard biopic rather than choosing an unconventional way of sharing excerpts from Franklin’s life.  Much like recent biopics such as Walk the Line, Bohemian Rhapsody, and Judy, Respect uses this narrative structure from fame to childhood and in sequence and in this instance, surrounded by depictions of Martin Luther King Jr, Barry White, Smokey Robinson, Dinah Washington and Sam Cooke along the way.  Though it is an effective formula, it is a bit of a clichéd one.  Genius:  Aretha offers a fresher and unconventional perspective into Franklin’s life delving into an experience Franklin and her father survived together, leaving the viewer to guess what could be next. 

Both biopics have their strengths, but if you are looking for a fresher and more believable take featuring some lesser known experiences on Franklin, dive into Genius:  Aretha Franklin.   Respect features an incredible cast worth watching for its masterful songs featuring a paramount scene featuring Aretha Franklin recording her signature Amazing Grace not to be missed.  Either way, the Queen of Soul’s dynamic life is worth telling twice.

REVIEW:  ‘Aimee Victoria’ love beyond boundaries

Since the pandemic started, loneliness has increased exponentially.  People have been scrambling to find a fulfilling form of communication since quarantine took effect in 2020 and any miscommunication or absence of a loved one quickly became fear and worry of their well being.  Even today, people are still struggling with how best to communicate and see each other in person without the fear of illness.  For Aimee and Victoria at the start of the pandemic, communication had to come more from the heart than from the head as they celebrate their anniversary apart.

Natasha Ofili as Aimee and Stephanie Noguras as Victoria Photo courtesy of Olivia Long/Aimee Victoria

Directed aptly by Chrystee Pharris and written by Hannah Harmison and Mikail Chowdhury, Aimee Victoria is a short film created entirely remotely during the pandemic in 2020.  The film is approximately 10 minutes long.  Click here for more information and how to view this film.

Aimee Victoria explores how Natasha Ofili as Aimee and Stephanie Nogueras as Victoria, a deaf couple, cope with being separated by the pandemic on their first anniversary.  As many have difficulty communicating their feelings under the best of circumstances, Aimee and Victoria tackle this obstacle in a sweet depiction of love beyond boundaries. 

Stephanie Nogueras as Victoria Photo courtesy of Olivia Long/Aimee Victoria

Through the film’s isolating setting and circumstances, Pharris navigates panic, depression, and struggle in these characters as they readjust to this new way of living.  For example, Aimee struggles just to get out of bed at a loss for what is next as so many have felt in the past couple of years.

Natasha Ofili as Aimee Photo courtesy of Olivia Long/Aimee Victoria

Aimee Victoria transcends not only the journey of these two people, but the significance of love beyond any obstacles and expressing to anyone, whether friend, family, or significant other, what is truly important.  Finding a way to carry that love with them no matter where they are.

Aimee Victoria is available now on streaming platforms and in theatres.  Click here for more information on how to view this short film.

REVIEW:  True Repertory Theatre’s ‘Ellen’s Boys’ a heartwarming and heartrending family tale

Family life can get complicated and for the large Irish Catholic Flaherty family, complicated is an understatement.   Though Ellen’s Boys are a big part of this dramedy, the real center of this production lies in Ellen, the stubborn, pushy, and interfering Flaherty matriarch in a powerful performance by Victoria Bond.  Emotions run high with some typical family arguments and some not so typical, but the show shines a light on the hypocrisies (even the innocent ones) set by family that almost anyone can relate to.   

True Repertory Theatre’s ‘Ellen’s Boys’ logo Logo courtesy of Jim Sullivan/True Repertory Theatre

Partnering in part by GLSEN and directed insightfully by Donald Sheehan, True Repertory Theatre presented Jim Sullivan’s original dramedy, Ellen’s Boys, live and in person at the Beal House, 222 Main Street in Kingston, Massachusetts through March 27.  The show is approximately 2 hours with one intermission.  Click here for more information, upcoming auditions, and more. 

The ‘Ellen’s Boys’ set Photo courtesy of Jim Sullivan/True Repertory Theatre

The Ellen Boys’ set takes up a significant space at the Beal House so there’s not a bad seat for the audience.  As a photo of John F. Kennedy hangs on the wall, a tube television and vintage radio stand in the living room, and Andes mints sit in a crystal bowl on a doily, Ellen’s Boys successfully rewinds the clock back to December of 1965.  Based on playwright Jim Sullivan’s own vision of his grandmother’s house, the Beal House is home to a functional space with full kitchen off a retro-furnished living room as sacramental Catholic objects hang on the walls with framed portraits of family memories on a piano.  The show also sets a prominent Irish tone whether through the Celtic music between scenes, the Irish teapot on the dining room table, or through Flaherty sisters Ellen and Bridget’s rich Irish accents. 

Each character longs to break free in one’s own unique way and Ellen’s Boys has its share of heartwarming and heartrending moments within this animated family dynamic.  It seems the only one against evolution is Ellen Flaherty.   Victoria Bond could have easily depicted Ellen as a caricature of the classic pushy Irish mother in a house dress and apron who manipulates her way through grief and guilt, but as Bond breathes life into the character with finesse and humor, it is difficult to stay frustrated with Ellen for long. 

Lisa Caron Driscoll’s remarkable portrayal as Ellen’s fun loving, spontaneous and equally quick-tempered sister Bridget makes for some high drama between sisters displaying some tempestuous sibling rivalry.  They are alike in the ways that matter, though neither will admit it.

Donald Sheehan took both the director’s seat and a role as Ellen’s lonely and devoted son Gil.  Noonan strikes a delicate balance between sweet and exasperated as he holds onto the past in fear of the ramifications of his future.  Seemingly the opposite is Cammerron Baits as spontaneous and hard-partying Nathan.  In a multi-layered performance, Baits emotes fragility and earnestness under that impulsive façade.

Paul Noonan has a palpably eerie way of portraying the seemingly peaceful, helpful, yet enigmatic John Flaherty, Ellen’s son, while Oliver Henry Bellman is sweet and sympathetic as Patrick Walsh.  Noonan’s scenes with Julie Butler, in a bittersweet performance as dutiful and sensible sister Kathleen Doherty, made for some tough realizations as Kathleen pushes to break past John’s stoic nature.

Ellen’s Boys’ more lighthearted moments come in part from Sara McNulty as young and beautiful Tina Toccio whose self consciousness in front of Ellen and their various exchanges make for some dynamic comedy and also tense moments as they butt heads in their mutual stubbornness. With Cody Savoy as Ellen’s son, Michael, McNulty and Savoy also deliver some lighter moments and heartwarming chemistry together.

Though Ellen’s Boys runs a little long, through all of the drama, the complications, the heartache, and family outbursts because you simply can’t hold your tongue another second longer at the dinner table, what a relief to finally be understood.

REVIEW:  Boston Ballet’s elegant and edgy ‘DREAMstate’ a fascinating departure from reality

From classically fanciful to electrifying to distinctive, unconventional artistry, the Boston Ballet’s DREAMstate is an astute exploration of the delicate nature of dreams and a fascinating escape from reality.  Aside from Boston Ballet’s traditional Nutcracker in December, Mikko Nissinen’s DREAMstate is the first live and in person return to Boston Ballet’s regular season since the pandemic.  Excitement was in the air and the Boston Opera House was full.

Boston Ballet in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Balle

Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Opera House in Boston, MA.  The show is approximately two hours with two intermissions and the final piece contains partial nudity.  Click here for more information and tickets.

Rolling Stones tribute DEVIL’s/eye Photo credit to Boston Ballet

Though all three Boston Ballet pieces had its highlights, the stellar world premiere of Boston Ballet’s tribute to the Rolling Stones, DEVIL’S/eye was the most uniquely compelling.  Weaving in live concert elements and classic hits such as Can’t You Hear Me Knocking, Paint it Black and much more, dancers take the stage in shadow bathed in purple, red, yellow, pink, and blue glimmering from an incredible, multi-functional sound system lit by Brandon Stirling Baker.  With exhilarating choreography and edgy and exotic costume design both by Stephen Galloway, lively dancers in silk, sequins, fishnets and windswept hair complete the full glamour of a rock and roll concert showing off thrilling, contemporary freestyle moves.  The entire performance is an electrifying spectacle as dancers let loose to the Stones concert footage with epic alicicone spins, but a brief pause in the guitar-tinged, horn-infused rhythms showing off each dancer’s glowing silhouette cannot be properly conveyed here and those sensational moments are best witnessed in person.

George Balanchine’s Chaconne brings to life a regal and fanciful daydream to the heavenly sounds of the Christoph Willibald von Gluck opera, Orfeo ed Euridice.  Elegantly adorned in a flowing and ethereal skirt and crown by Barbara Karinska in front of tranquil green blue backdrop, the always fresh-faced and charming Viktorina Kapitonova performed a beautiful and romantic pas de deux with Lasha Khozashvili, dressed in white.  Khozashvili lifts and leads Kapitonova delicately as they sporadically intertwine.  The piece is primarily playful as dancers bow and sway in gleaming, royal costumes as they float along this lighthearted daydream, the flutter of slippers sweeping across the stage.

Misa Kuranaga and Patrick Yocum in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Ballet

The final piece is probably one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Altan Dugaraa, Sarah Wroth, Yury Yanowsky in Jiří Kylián’s Bella Figura; photo by Gene Schiavone, courtesy of Boston Ballet

 Jiri Kylian’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow.  In many ways, it bucks tradition as the dancers float and slide between closing curtains as Seo Hye Han, topless, wraps herself in only a black stage curtain.  Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away.  Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements.   It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect.  In gathering rich red skirts, men and women, all topless and all looking the same, glide along the stage.  It is a memorable, distinctive performance as the piece continues even as the music concludes.

 Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Boston Opera House.  Click here for more information and tickets.

REVIEW: Boasting a strong cast, Company Theatre’s ‘Something Rotten’ a fresh and clever musical comedy

Amid set designer Ryan Barrow’s quaint, warmly-lit, Tudor-inspired cottages of 1595 London is a Renaissance rock star…and the ones he left behind.   Company Theatre’s Something Rotten has something new to say about something olde and what it truly takes to be remembered.

Slickly directed by Zoe Bradford with zealous musical direction by Steve Bass, Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is not recommended for young children and runs approximately two hours with a brief intermission.  Click here for more information and tickets.

Director Zoe Bradford and the cast of ‘Something Rotten’ Photo courtesy of Zoe Bradford/Company Theatre

The phrase, Something Rotten, calls to mind a number of references, but primarily this alludes to the one and only William Shakespeare, London’s resident celebrity.  While music was prevalent in 1595, writers were the real stars of their time and Shakespeare, charismatically portrayed with plenty of ego, prowess, and smirking, flamboyant charm by Brad Reinking, was a legend.  Surrounded by Shakespeare’s Bard Boys (watch their expressions as he speaks), Reinking’s stage presence is an eclectic cross between Prince and Elvis.

Christopher Spencer as Nigel Bottom, Brad Reinking as Shakespeare, and Donny Norton as Nick Bottom Photo courtesy of Zoe Bradford/Company Theatre

In the glow of stardom, there must be a few naysayers and no one does it better than Donnie Norton as cynical and struggling writer Nick Bottom who once worked with that famous Bard.  Nick’s level of griping is prevalent in the catchy number, God, I Hate Shakespeare, but what makes the song particularly interesting it is also embodies relevant reasons some people do not care for Shakespeare’s writing.  Norton as Nick Bottom is so good at the role that payoff is big when he finally shows a trace of optimism.  Christopher Spencer also shines as idealistic, impressionable, and head-in-the-clouds Nigel, Nick’s little brother and fellow writer.  Spencer’s best moments as Nigel is when he shows reason and aptitude, though his giddy chemistry with Emily Lambert as wide-eyed yet steadfast Portia is also wonderful to watch.

Emily Lambert as Portia and Christopher Spencer as Nigel Bottom Photo courtesy of Zoe Bradford/Company Theatre

Something Rotten is often self aware and its irreverent brand of humor brought to mind the classic comedy of Mel Brooks in musicals such as in the Tony award-winning The Producers or Young FrankensteinSally Ashton Forrest’s notable choreography boasts some splashy and humorous dance sequences including tap dancing and even a glorious kick line. 

Elizabeth Cole Sheehan’s gleaming, colorful, and historically-faithful costumes cross the pond between regal classical to edgy contemporary adorned in gold-embroidered velvet, puffed sleeves, and leather. 

Welcome to the Renaissance Photo courtesy of Zoe Bradford/Company Theatre

Something Rotten features some powerhouse vocals, especially from these forward-thinking leading ladies in jolly ol’ England.  Emily Lambert as Portia lifted her soaring soprano vocals for the gospel-inspired, We See the Light and the sweet and cheeky duet, I Love the Way with Spencer’s Nigel.  Melissa Carubia as spunky, confident, and loyal to a fault Bea is also ahead of her time, her dynamic vocal range on display for the groundbreaking number, Right Hand Man.  With quirky comedic charms fueled by a mix of Catherine Tate and Jennifer Saunders, Janis Hudson is perfectly smashing as royally-dressed Lady Clapham. 

Janis Hudson as Lady Clapham Photo courtesy of Zoe Bradford/Company Theatre

With bright, inquisitive eyes and a mischievous and knowing grin, Christopher Hagberg is a scene stealer as Thomas Nostradamus who leads with Norton in the funniest and most brilliant number of the show, A Musical tailor-made for literary and musical lovers everywhere. 

Donnie Norton as Nick Bottom and Christopher Hagberg as Thomas Nostradamas Photo courtesy of Zoe Bradford/Company Theatre

Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts.  The show runs approximately two hours with a brief intermission.  Click here for more information and tickets.

REVIEW:  ‘Freestyle Love Supreme’ an astounding good time

A roaring crowd greeted hip-hop comedic dynamos, Freestyle Love Supreme opening night at the Emerson Colonial Theatre in Boston on Friday, March 18.  Packed with plenty of self-proclaimed Freestyle Love Supreme super fans, witnessing this unique, interactive, Tony award-winning production feels more like attending a rock concert.  The anticipation leading up to it was palpable and I immediately got the sense I was in for a truly remarkable experience.    

Before In The Heights or Hamilton, there was Lin Manuel Miranda’s Freestyle Love Supreme which continues live and in person at the Emerson Colonial Theatre, 106 Boylston Street in Boston, MA through April 2.  The show is approximately 90 minutes with no intermission. Click here for more information and tickets.

L to R: Lin-Manuel Miranda, Kaila Mullady AKA Kaiser Roze, Anthony Veneziale AKA Two Touch and Aneesa Folds AKA Young Nees Photo credit to Joan Marcus

No wonder Freestyle Love Supreme is beloved seeing that the show still features some of the founding cast members since the group started in 2004 and went on to be featured in the self-titled Hulu documentary and on Broadway.  Founding member Chris Sullivan AKA Shockwave wows with phenomenal hip hop beats (and seemingly impossible) sound effects, Aneesa Folds AKA Young Nees can perform powerful vocal gymnastics to anything that is thrown Young Nees’s way, and founding member Anthony Veneziale AKA Two Touch is a great and welcoming host.  Not only can every cast member deliver clever quips at the drop of a hat, but the show is friendly, interactive, and inclusive.

From L to R: Chris Sullivan AKA Shockwave, Richard Baskin Jr AKA Rich Medway, Anthony Veneziale AKA Two Touch and Aneesa Folds AKA Young Nees Photo credit to Joan Marcus.

Is Freestyle Love Supreme a big party?  A resounding yes, but every performance is unique so it is best enjoyed just knowing the basics.  Don’t feel pressure to participate, but the more enthusiasm and participation, the better the show.  Trust me.  Even in masks which Freestyle Love Supreme deems ‘consonant killers,’ the audience is invited to demonstrate what they are saying in creative and amusing ways.  It is fun, has heart, and there wasn’t a dull moment.

The show is tailor made for the locals boasting a slew of signature Boston and pop culture references.  Listen closely for the inventive and masterful delivery of these brilliant, high-speed rappers.  The possibilities are endless.  They also aren’t shy about what they say onstage.  This may sound a bit like Whose Line is it Anyway and Wayne Brady was part of the cast at one point, but accompanied by an intimate live band, Freestyle Love Supreme is just on another level.  For example, one audience member suggested the word, ‘Yankees’ and it was amazing to see how just many ways that one word was demonstrated led by the vocal styling of hilarious Jay C. Ellis AKA Jellis J.

The cast of ‘Freestyle Love Supreme’ Photo credit to Joan Marcus

Freestyle Love Supreme is hilarious, relatable and brilliantly fast-paced, but what makes the show most endearing was not so much the spectacle, but how much the cast does not hesitate to share their personal experiences as each show is shaped into a carefully tailored crowd pleaser. To think for the first time ever, the show’s full set was not delivered by opening night!  I can’t imagine having a better time.

Freestyle Love Supreme continues live and in person at the Emerson Colonial Theatre in Boston, MA through April 2.  Click here for more information and tickets.