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.
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 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.
Just prior to the pandemic, an award-winning, intriguing production not only made its debut but closed in one night on the Company Theatre stage in Norwell, Massachusetts over a year ago. Onstage as the meaty role of Bruce, Company Theatre’s Director of Development Michael Hammond experienced that incredible and bittersweet night and what it meant to the cast of the musical memoir Fun Home. Click here for our full podcast conversation.
The Company Theatre is offering a chance to see Fun Home for the full run they had originally intended in October. Michael talks about his experience as Bruce, his favorite part of theatre, and a secret upcoming project.
Click here for Sleepless Critic’s Fun Home review and here for tickets and further information about the Company Theatre.
Sleepless Critic: So you’ve been in theatre since you were a kid and now that we have had the pandemic, what was your favorite part of the theatre before and was there a change in your favorite or what you miss the most when we had a break?
Michael Hammond: I think we take a lot for granted in life. We forget how much fun it is to sing with an orchestra or to perform on a beautiful set someone built. Ryan Barrow does amazing sets at Company Theatre and it’s thrilling to perform on one of his sets. It’s thrilling to perform with Steve Bass conducting an orchestra and thrilling to perform Sally Forrest’s choreography under Zoe Bradford’s direction.
I think we take that for granted in some ways and as much as I enjoy it and maybe as I got from show to show to show, I think I just liked performing specific roles for the experience of getting to know a new cast. I did a Christmas show at Company Theatre and just recharged my energy to be around such beautiful people and exciting kids and talent. You’re in a flow and you are doing shows and enjoying it.
You get what you get out of it, but when the pandemic was coming, I was doing Fun Home with an extremely talented cast. Riley Crockett was playing the youngest Alison. I was re-experiencing theatre through her eyes and she had never been on a big stage or performed with an orchestra which is shocking because she is so talented. She would ask me, ‘Are you nervous for your solo tonight?’ I would say, ‘I am a little.’ She would say, ‘Good, now you know how I feel.’ Ok, she needs a little more support and encouragement in that moment.
Then we were standing on top of a staircase and we were about to walk down for our first entrance and she said, ‘Michael, I’ve never performed on a set like this. This is a big deal.’ I said, ‘Yes, it is a big deal. You are right. This is a beautiful experience and you’re about to sing live with an orchestra for the first time in a big theatre on a beautiful set.’ It made me look at what we are doing and not take it for granted.
So we were fortunate to open and close Fun Home on the exact same night because the pandemic had really hit. That day everyone was cancelling their performances but we went on because we had a feeling this would be it. I’m so glad we did because it was one of the most exciting and electric experiences of my life. People were rebellious and excited. They knew this might be the last time they ever saw this show and Fun Home is not a super positive and happy experience.
SC: It is melancholy.
MH: Right, but the audience treated it like it was a rock concert!
SC: Yes, I was there to review your first and final performance. I felt so comfortable and wonderful and I had saw this show in Boston before. What I liked about watching this particular show is that you can make it so different every time you perform it. The parts can be portrayed very differently and you can do so much with the show. In a way, if you had to say goodbye to theatre for awhile, I felt like that was such a poignant thing to do in that moment.
MH: It was. It was one of the most beautiful experiences I think I ever had and it was just so bittersweet because it was the last show with Jordie. How thrilled and grateful am I that I got to have Jordie’s final show be Fun Home and I got to be a part of it. It was just such a fantastic experience and she loved the show. It was such a joy to go through that process with her.
SC: It is one of those shows that sneak up on you unexpectedly. You’re experiencing the show and you enjoy it, but once it’s over, it is really thought-provoking.
MH: I saw it on Broadway and loved it. I thought that I don’t necessarily need to see it again. It was beautiful and moving and I think of it like a beautiful film. You watch it and then you watch another film. When this opportunity came around to work on the show, I have such a great appreciation for it. I think it’s just one of the greatest things ever written where you’re dissecting and it personally and really in the trenches on it. It’s so much more brilliant than I realized.
SC: It has such multi-layered performances as well.
MH: I was thinking today that there were so many things about Bruce, I almost feel like I just left my body. I personally couldn’t be any part of this character because it just wasn’t anything like me. Sometimes I think about it and it feels really difficult to do it again because I remember it as ‘What did I even do?’ I feel like something else took over and performed the role for me.
SC: I don’t often see you play parts like that. Not to reveal anything, but your character is very complicated.
MH: Then to hear compliments like you should do roles like that more often is such a compliment because people think of me as a song, dance, and musical theatre man. Not that I shy away from roles like that, but it was very gratifying to play that part especially opposite such a talented cast. It’s unbelievable.
SC: I know you’ve written a few works with Jordie and Zoe over the years. Please tell us how that came about.
MH: I co-wrote Paragon Park the Musical with Zoe, Jordie, Sally, and Michael Joseph for the first production and Steve Bass for the second who worked on the music. I love amusement parks and I loved Paragon Park. I went there so many times in my life.
When I heard that Zoe and Jordie were thinking of writing a musical about Paragon Park, I selfishly just wanted to see it. I had no inkling that I would be involved or that they would want me involved. I just wanted to see that production so it got mentioned many times over the years and one summer I designed a poster Paragon Park the Musical coming summer of whatever year it was. It was a long time ago.
One day Zoe decided years after the poster even to start doing some research. She said, ‘Why don’t you come with me? We’ll get lunch.’ We went to the Hull Library which was incredible. They put us in a private room and provided us with access to microfiche, boxes of memorabilia, and photographs. They were so generous. It just snowballed from there. We just couldn’t stop. We were researching and loved what we found. It did not end up being the musical we thought we were going to write because the ideas we had in mind turned out to be completely not true. It all got shifted.
We thought maybe there was this seedy underbelly to the park and that once the park was closed, things happened at night. It was going to be dark and mysterious and then we find out from the park owners that ‘Oh no, we locked that place, sealed it like a drum at 11 pm, and went out for Chinese food.’ Nothing happened at the Park after hours. So much for that, but the Stone Family provided us with so much information that we were able to write a really interesting and factual musical. It was 80% true except for the love story we incorporated.
SC: Not only did you write it the first time around, but when it came back around, you got to star in it too.
MH: I did and it was a thrill! The nicest feeling about that show and being in it is to be putting on a costume and as I’m by myself getting dressed, I would hear people walk down the hallway singing the songs or they would say that they get to do that scene they love now. There was so much positivity and to realize we wrote a show that was really fun to perform. Some of the kids were in Ragtime and we used to make these funny backstage videos. So I said, ‘Why don’t we make videos during Paragon Park?’ They said, ‘Michael, you and Zoe wrote a show where there is no time to make videos. When would we do that?’ It was nice to know we had a hand in creating this really fun experience. It was quite thrilling to be able to perform something that I helped write.
SC: Please tell me about the projects you are working on now and upcoming projects.
MH: I’m devoting all my time to Company Theatre and Zoe and I thought, ‘Why not write another musical?’ It’s a completely different project from Paragon Park and we can’t quite announce yet what it is, but Zoe is incredibly inspired by this project.
Watching her, it’s almost like she is channeling something like I’ve never seen. She’s a beautiful artist and I’m obsessed with the way she draws and paints. So she just took out a magic marker and a gigantic pad of paper and drew what she saw in her head for the plot of this show and it was quite impressive to watch. Her ideas are flowing through her. It is unbelievable so we’re hoping that will probably be the summer of 2023.
Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts, is presenting Fun Home in October as well as devoting a night to their late co-founder, Jordie Saucerman, in November. Click here for more information and check back to find out about Company Theatre’s mystery original production.
Although the Boston Children’s Chorus (BCC) could not physically be together this year for their annual concert, they certainly spiritually united in harmony through innovative zoom technology that helped make this remarkable concert a visual spectacle. Featuring renowned special guests in music and in the arts, The Boston Children’s Chorus composed a stirring, gripping, and hopeful collection of works including music and poetry honoring Martin Luther King’s historic day.
The 18th Annual Boston Children’s Chorus concert tribute to Martin Luther’s King, Born on the Water was livestreamed on their website and Facebook on Sunday, January 17 at 4 p.m. The virtual concert is still available on their Facebook page and YouTube channel. Click here for more information on how to support the Boston Children’s Chorus, their upcoming events, programs, digital offerings, and how to join.
In under an hour, the free virtual tribute concert offered a selection of hymns, protest songs, and hopeful melodies. Broadway actor-vocalist Roman Banks delivered an incredible opening number with the Boston Children’s Chorus in a gripping rendition of the African American folk song, Been in the Storm as Banks exclaimed, ‘Give me Time to Pray.’
African American Folksong Joy in my Heart, arranged and introduced by Dr. Rollo Dilworth of Temple University, was a beautiful and hopeful song made more enchanting by the visually-engaging technology and the heart shaped graphics that framed the adorable and angelic-sounding Children’s Chorus.
Boston Children’s Museum’s President Carole Charnow introduced the moving classic African American Spiritual Let Me Fly with Edith Mae’s poem written during for the Civil Rights Movement, Fight on Little Children in memory of Emmett Til.
Other highlights included Nina Simone’s protest song, Mississippi Goddam introduced by KingBoston’s Executive Director Paris Jeffries. It was a fast paced, quick witted, impactful song mastered by the Boston Children’s Chorus and enhanced by clever, visually-engaging technology.
Boston Children’s Chorus dedicated Alicia Keys’s catchy, meaningful song Underdog to Frontline Workers and everyone who is risking their lives during the pandemic. The BCC delivered seamless harmonies accentuated by a beautiful montage of Boston.
Adorned in an elegant dress, actress and soloist E. Faye Butler joined the Boston Children’s Chorus in a performance of Stevie Wonder’s poignant, yet uplifting rendition of Love’s in Need of Love Today. It was easy to hear the enthusiasm in Butler’s warm and soaring vocals as she sang, ‘Don’t delay/Send yours right away’ as the group offered a sorely needed message with such relevance today and so in tune with MLK’s continuing mission.
BCC’s Born on the Water is still available to stream on their Facebook page and YouTube channel. Click here to learn more about the Boston Children’s Chorus, their upcoming events, digital offerings, how to join, and how to support their mission.
Building a dream always has its share of surprises and challenges. However, with determination, hard work, and more than a touch of luck, those sought after dreams can become a reality. Sleepless Beyond the Stage explores the reality of making that dream come true, whether by building an organization, finally bringing that dream production to life, or starting a group that makes a difference.
Richard Bento, Executive Director and President of South Shore Theatre Works (SSTW) checked in with Sleepless Critic a few years ago as the theater was just getting on its feet. Boasting a successful run of Seussicalin December, SSTW’s upcoming productions include Blithe Spirit, Ordinary Days, and Chicago. Richard Bento talks about how this Massachusetts theater has grown in a short time. Click here for more information, auditions, and for tickets.
Past performances of ‘Seussical the Musical’ December 2018
Sleepless Critic: Please tell me about your background and what inspired you to start South Shore Theatre Works?
Richard Bento: I’ve participated in community and semi-professional theater throughout Massachusetts, Rhode Island, Georgia, and San Francisco. One of my goals was to have a group of my own who share the same mission and passion I had for the arts.
A few years ago, I decided to participate in theater here and assist another community theater group. I fell in love with the people. We shared the same passion. When we were at a crossroads needing to decide whether we were going to bring this other group to another level or start our own with other people who shared that same drive, I decided to put together South Shore Theatre Works.
South Shore Theatre Works presents ‘Blithe Spirit’ February 15-17 in Randolph, MA Photo courtesy of South Shore Theatre Works
JD: What would you say to those who are considering starting a community theater?
RB: I wish them a lot of luck and determination because starting a community theater is difficult. It is not an endeavor for everyone or for the weak-hearted. Like an actor who wants to perform professionally and make it on Broadway, 99% of that actor’s experience will be rejection. When you’re putting together a theater group, you will also face rejection, people who feel threatened, or don’t understand why you’re creating this new project. What’s important is to make sure the reason behind this endeavor comes from a place of love and passion.
JD: How do the particular shows this season fit into this year’s mission?
RB: The hardest thing is deciding where we want SSTW to be at the end of that year. Going into the third season, we chose shows that celebrated the talent we have at SSTW.
We kicked it off with the musical, Urinetown. Not very successful on Broadway, but the SSTW actors were passionate about the show and Urinetown shows off an actor’s strengths. Seussical was about bringing wholesome family fun back into community theater. We’ll continue the fun with our upcoming spring musical Chicago, which was a dream of mine to direct.
South Shore Theatre Works presents the hit musical ‘Chicago’ in April. Photo courtesy of South Shore Theatre Works
JD: You once said you hope South Shore Theatre Works would become “a home where we can perform all year round, where people can feel comfortable, and share their talents and passion for the craft with audiences from all over.” Is that plan being fulfilled and where do you see SSTW in the future?
RB: The word “home” can be defined in many ways. I think a home theatre company is a comfortable place where I’ll also be challenged and empowered to try new things. South Shore Theatre Works has accomplished that in three short years. We have new actors and actors who return show after show not just for their dream roles, but to be part of our family.
Of course we have a long way to go. We have to evolve with the times and change with what is happening around us. We have performance space in Holbrook and Randolph with rehearsals in Stoughton. By changing our accessibility off the highway, it is easier for people who are coming in from the city to perform with us.
Second Saturday Cabaret presents ‘Love is in the Air’ on Saturday, February 9 at Connection Cafe in Holbrook. Photo courtesy of South Shore Theatre Works
We do many projects as an all-year-round group and keep adding more shows that have purpose. We launched Second Saturday Cabarets the second Saturday of every month which includes five or six performers. They do their own set in front of a live audience like the Don’t Tell Mama venue and nightclub in New York City.
We’ve had success with the SSTW Youth Division. We decided last summer to do not just one youth production, but to divide it into ages 6-13 and a 13-19 division with Aristocats and Heathers. This year we’re even more excited to do the same with The Lion King, Jr. and Carrie the Musical. We’re asking these kids to take an active part in choosing the shows. We also took on a new challenge by doing a summer camp last year and we’re looking forward to continuing it this year.
We had wonderful opportunities to empower some of our actors from different shows to take on new roles. Urinetown actress Stephanie Wallace and I co-directed Seussical because she took an interest in directing. Urinetown actress Jaclyn Cleary choreographed a couple of numbers in Seussical because took an interest in choreography. We give people a well-rounded experience to be onstage in one show and offstage in another and still feel that same passion in those experiences.
Support us financially by being an audience member and an active South Shore Theatre Works member. Visit out website, sign up for our emails, keep in touch, and find that one project where you really want to help. Support the arts in any way possible and spread the word about South Shore Theatre Works.
Click here for a closer look on how to support South Shore Theatre Works. Call 774-386-8258 and follow them on Facebook for a closer look at their current season and more.
Set in the Kit Kat Club in Berlin, Germany as the Nazi Party was rising to power, Cabaret focuses on nightclub girl Sally who becomes embroiled in a love triangle. Winner of multiple Tony awards, Cabaret is known for its glamorous dance numbers while dealing with serious issues of the era. The 1972 film was directed by dance legend Bob Fosse and starred Liza Minnelli in her star making role. This show is not intended for children and contains mature themes.
Sleepless Critic caught up with Kristen H. Tremblay who will make her HCMT debut as Sally Bowles in Cabaret for two weekends only from Friday, April 20 through Sunday, April 29 at Sanborn Auditorium in Hingham, Massachusetts. Click here for more information and tickets.
Kristen H. Tremblay as Sally Bowles
Sleepless Critic: How does it feel to star in the first show of Hingham Civic Music Theatre’s 70th season? It is quite a milestone.
Kristen H. Tremblay: I’m so thrilled to be playing a leading role in such a great show as part of this wonderful theater group’s 70th anniversary season! A very special honor for sure!
SC: What do you like most about being part of Hingham Civic Music Theatre?
KHT: This is my first production with Hingham Civic Music Theatre. They have such a wonderful reputation and it’s been great getting to know everyone in the group.
SC: This season also includes the beloved musical, Annie this fall. You star as Sally Bowles in Cabaret. Have you ever done this show before? What was the audition process like for you?
KHT: I’m a classical soprano and usually play roles very different from Sally. As I get older, I’m trying to challenge myself by going out for roles that might be a stretch for me creatively. Sally Bowles is a complicated, meaty character and love every moment in her shoes.
I auditioned to challenge myself and because I have known the director, Nathan Fogg, for years and think he does great work. I didn’t think I had a shot at getting Sally, but felt really positive about my audition. The day after the audition, I was in line at the grocery store when I got the call. I was shocked and incredibly thrilled.
SC: The multiple Tony award-winning musical, Cabaret celebrated its 50th anniversary a couple of years ago. It is a unique musical with memorable songs such as Maybe This Time, Wilkommen, and its famous title track, Cabaret. What was most challenging about this role?
KHT: Sally is an iconic character in musical theater. There’s some intimidation associated with the pressure of doing her justice! She has many sides to her and many intriguing levels. It’s been fun exploring how best to portray her.
Aaron Stolicker as Emcee with cast in production photo
SC: How has it been putting the show together?
KHT: I adore everyone in this cast. They are such a fantastic group of kind, talented, and hard working people. We are having a blast and we all have deeply bonded. No question I’ve made lasting friendships.
SC: What is the best reason one should see Hingham Civic Music Theatre’s Cabaret?
KHT: Cabaret is a very different theatrical experience unlike anything else out there right now. It will not disappoint! It’s edgy, honest, shocking, funny, and thought provoking.
Directed by Nathan Fogg, Hingham Civic Music Theatre proudly presents their spring musical, Cabaret for two weekends from Friday, April 20 through Sunday, April 29 at the Sanborn Auditorium, 210 Central Street in Hingham, Massachusetts. Click here for more information and tickets.
Click here to take advantage of “Facebook Friday” offer exclusively for the April 20 performance. Use password “pineapple” to get a pair of tickets for 35 dollars. Follow HCMT on Facebook.
For Performing Arts news, interviews, reviews, and much more in Boston and beyond, follow us on Facebook @sleeplesscritic and subscribe.
Over 70 years ago, despair, hardship, hope, and generosity encompassed a holiday tale that quickly became a film classic. Based on Philip Van Doren Stern’s short story, The Greatest Gift, Frank Capra’s It’s a Wonderful Life became an annual family tradition for generations and The Americana Theatre Company is bringing back this popular, unique retelling of this beloved story suited to the film’s time period. With a small cast inhabiting over 40 roles with a Christmas Eve setting, It’s a Wonderful Life: A Live Radio Play is performed as a 1940s radio play with a cast of just five actors. The show runs from Wednesday, December 6 through Saturday, December 16 at Plymouth Center for the Arts in Plymouth, Massachusetts. Click here for more information and tickets.
A few cast member from Americana Theatre Company’s ‘It’s a Wonderful Life: A Live Radio Play’ through December 16 Photo courtesy of Americana Theatre Company
Managing Director of the Americana Theatre Company David Friday and Director Nick Mitchell discuss the inspirational transformation of It’s a Wonderful Life into an interactive, onstage, and in-studio live radio show.
Sleepless Critic: What I like so much about It’s a Wonderful Life: A Live Radio Play is the nostalgic 1940s setting fits right in line with the time period of the film. How did this idea come about?
Nick Mitchell: Radio plays have taken off and a lot of companies are doing live, mock radio plays by bringing in the effects and the different voices from the actors. It was only a matter of time before authors got a hold of pieces like It’s a Wonderful Life. Two different versions of the script are available for It’s a Wonderful Life that is a formatted radio play. The one we’re using is by Joe Landry who condensed it into anywhere from 40 actors, but five are recommended and five is what we are going with.
SC: Those five actors will play 40 roles as I understand.
NM: Yes, indeed. George Bailey is played by Jesse Sullivan, Emily Turner Marsland as Mary. They play just those roles, but Josh Nicholson, David Friday, and Erin Friday, the Director of Education for Americana Theatre, play everybody else.
SC: I understand your voices will be enhanced with microphones, sound effects, and there will also be an authentic ‘Applause’ sign.
NM: The ‘Applause’ sign is funny. David made this fully working sign. I kept thinking during the rehearsal process whether it is bright enough for the audience to see it. However, audiences have responded to it the minute that sign lit up. It was fun to watch.
Cast of It’s a Wonderful Life In Studio Photo courtesy of Americana Theatre Company
SC: It also makes it more interactive for the audience too.
DF: The opening speech of the show explains to the audience that the broadcast will be in a radio studio. Other performances of this show have to be done on a large stage and broadcast on the radio to a different venue. In the opening speech, the announcer says that people at home are going to be able to hear you so laugh, applaud, cry, and it will all be part of the show. It really tries to get everybody involved including our stage manager. He can be seen in the production booth window. We added that nice little twist.
SC: Have there been any surprises during this show’s run such as unexpected reactions to certain scenes?
DF: It’s one of my favorite movies of all time. I see it every year just like most people do and get a little misty when I watch it. At the end of one evening’s performance, quite a few audience members were crying or very close to it. It is good for us. It just tells us we’ve been able to capture the spirit of the original film.
It’s nice and I’ve actually seen a couple of online Facebook comments that people can’t wait to go home and watch it. They enjoyed the show and want to watch it because the show recaptured something in a way that they have never seen it and want to go back and relate it to what they know. People even thinking that way is a large victory for us.
SC: What is the best reason one should come see the production?
NM: In this digital age, we get entertainment where and when we want it with a push of a button. I think at this time of year, a show and format like this reminds us to set aside some time with people that mean something to us and be entertained. In the process, see how many lives we’ve touched in the meantime.
SC: It’s a live show so anything can happen.
NM: It will, believe me.
It’s a Wonderful Life: A Live Radio Play continues through Saturday, December 16 at Plymouth Center for the Arts, 11 North Street in Plymouth, Massachusetts. Reserve tickets by clicking here or call 1-508-591-0282. Tickets will also be available at the door. Follow the Americana Theatre Company of Facebook for more information about this amazing theatre company and future productions.
‘Tis the season once again for The Christmas House, an annual musical gathering to hear a blend of beloved Christmas carols, festive, original music by Marianne Withington, and intriguing holiday tales nestled in the Spire Center for Performing Arts in Plymouth, Massachusetts for one weekend only Friday, December 8 through Sunday, December 10. Click here for tickets and more information.
Written and directed by Marianne Withington, The Christmas House is an original story that explores the magic and meaning of Christmas through the warm memories and celebrations inside an old house since 1788. Along with traditional Christmas carols by the PCT singers, the cast will narrate and sing original music composed by Marianne Withington.
Plymouth Community Theatre is proud to present The Christmas House musical for three performances only on Friday, December 8 and Saturday, December 9 at 8 p.m. One Sunday matinee will be held on December 10 at 4 p.m. All performances are held at Spire Center for Performing Arts, 25 ½ Court Street in Plymouth, Massachusetts.
Click here for tickets, call 617-308-7834, and tickets will also be available at the box office. Follow Plymouth Community Theatre on Facebook and Twitter for auditions, how to donate, and their upcoming performances.
The Spire Center for Performing Arts boasts a wealth of exciting concerts, performances, and much more, especially during the holiday season. Tour the Spire Center for Performing Arts, learn about becoming a member, and click here for a diverse roster of exciting events at the Spire or call 1-508-746-4488. Spire Center for Performing Arts is also available on Facebook.
Hingham Civic Music Theatre is searching for an all-new, fun-loving cast to join Shrek the Musical as it makes its Hingham debut in October. Auditions for Shrek the Musical will be held at the Sanborn Auditorium at Hingham Town Hall, 210 Central Street in Hingham, Massachusetts on Monday, June 26 and Tuesday, June 27 at 7 p.m. Callbacks will take place on Wednesday, June 28 at 7 p.m. Click here for more information on auditions, cast descriptions, rehearsal schedule, and to download the audition form. These will be closed auditions.
Shrek is a lone, but not lonely, green ogre who lives a quiet swamp life until life as he knows it is threatened, forcing him to embark on a daunting quest and tremendous adventure. Featuring a large cast of beloved fairy tale characters with a few new faces added to the tale, Shrek the Musical is a parody, offering its own fairy tale twist with plenty of witty humor, family fun, and life lessons.
Directed by Lisa Pratt, musically directed by Mark Bono, with choreography by Tara McSweeney Morrison, Hingham Civic Music Theatre presents Shrek the Musical for two weekends from Saturday, October 21 through Sunday, October 29. Follow Hingham Civic Music Theatre on Facebook for upcoming events and more.
No avoiding a mean girl. Long before queen bee Regina George and the Plastics ruled the school in the satirical teen comedy film, Mean Girls, the Heathers dominated Westerberg High in the dark cult comedy film, Heathers. The Academy of the Company Theatre Teen Conservatory (T.C.T.) will hold auditions for Heathers the Musical (High School Edition) on Monday, June 6 with callbacks on Tuesday, June 7 at the Company Theatre in Norwell, Massachusetts at 6 p.m. Teen actors from age 13 through college age are invited to audition. Click here and check back for further details on auditions.
Heathers the Musical is based on the 1988 film adaptation that stars Winona Ryder, Shannen Doherty, and Christian Slater. A television adaptation is also in development. Taking a look at the ruthless side of high school, clever Veronica finds her way into the Heathers, Westerberg High’s ultimate, cruel clique, just as she encounters mysterious new guy, J.D. In a wild scheme, Veronica plans to show the world life is so much more than popularity.
Audition candidates should be prepared to sing 16 to 24 bars of a song from the show or similar musical style. A headshot or snapshot and a resume is preferred at the audition, but not required. Audition candidates may bring their own sheet music, but the score will be available with accompaniment. Audition candidates will be charged a non-refundable $10 audition fee. Click here for further details on the A.C.T. Summer Workshop and to the emergency form to be completed prior to the audition.
Performances for the Academy of the Company Theatre’s Teen Conservatory of Heathers the Musical (High School Edition) will be held at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts on July 13 and 14 at 7 p.m. For further information about the auditions, email ACT@companytheatre.com, or call the box office at 1-781-871-2787. Click here for more information about the Company Theatre’s fabulous 2017 season and follow them on Facebook.
A little over thirty years ago, a new musical was born, loosely sharing the story of the world’s first family. Based on the book by John Caird with music and lyrics by Academy Award-winning composer Stephen Schwartz, South Shore Theatre Works (SSTW) proudly presents the beloved spring musical, Children of Eden for one weekend only from Friday, May 12 through Sunday, May 14. All performances take place at Stetson Hall in Randolph, Massachusetts. A VIP reception will take place on opening night. Click here for more information and for tickets.
Directed by Richard Bento and musically directed by Henry Buck, Children of Eden, a musical loosely based on the book of Genesis, explores in a humorous and bittersweet way, the universal and ever complex relationship between parents and children. Children of Eden features well-known songs from the musical such as Generations, Strangers to the Rain, and Let There Be.
Performances for Children of Eden will be held on Friday, May 12 and Saturday, May 13 at 7:30 p.m. One Sunday matinee will be held at 5 p.m. Discount tickets are available for groups, seniors, and students. Click here for tickets and more information.
South Shore Theatre Works is always looking for volunteers for a wide range of tasks including sewing, the box office, hanging up or designing a flyer or poster, or with media. Click here for upcoming fundraisers and here on how to support South Shore Theatre Works. Join their mailing list and learn how to become a member. South Shore Theatre Works is also on Facebook.