opera

REVIEW: Boston Lyric Opera’s ‘Carousel’ illuminates in the darkest of times

Posted on by The Sleepless Critic

Anne Bogart establishes an immensely creative way to establish this carousel, but this one is enclosed behind a steel cage.

Under Anne Bogart’s symbolic direction, Shura Baryshnikov’s blend of sweeping and playful ballet-inspired choreography and beautifully conducted by David Angus, Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts.  The action is not limited to the stage and runs 2 hours and 50 minutes with one intermission.  Click here for more information and for tickets.  It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

Edward Nelson as Billy and Brandie Sutton as Julie in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Based on the 1909 Hungarian play Liliom, Rodgers and Hammerstein’s Carousel has stood the test of time as a classic musical with themes that have resonated with audiences and adapted in a number of ways over its 80 year history.  It debuted right here on Boston’s Colonial Theatre stage for its pre-Broadway run on March 27, 1945 and Gordon MacRae and Shirley Jones starred in its 1956 critically-acclaimed film adaptation.  It has also been revived onstage a number of times over the years, but its most acclaimed stage revival occurred in 1994.  This dark and provocative depiction won multiple Tony Awards including Best Revival of a Musical, Best Choreography, Best Scenic Design, Best Musical Direction and a Best Actress win for Audra McDonald as Carrie Pepperidge.

However, I am most fond of it because I was part of a traditional college production as Mrs. Mullin.   Dressed in a thick fur coat, leather maroon skirt and fishnet stockings, Boston Lyric Opera’s Sarah Heltzel holds her own as widow and carousel owner Mrs. Mullin.  Streetwise, lovelorn and more than a little manipulative, Heltzel puts up a tough front that can barely conceal her true feelings for Edward Nelson as complicated and charismatic carousel barker Billy Bigelow.

Set in coastal Maine, Carousel tackles what has been considered controversial themes when it was released in 1945.  Its portrayal of domestic violence, generational trauma and family pressures are some of the darker issues of this musical, but strength, faith, support and community stand just as tall in this production.

Olivia Moon dances at a celebration in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Earon Chew Nealey and Haydee Zelideth collaborate to showcase wildly modern and vibrant wigs and shimmering costumes which include carousel workers dressed from a glimmering butterfly to elaborate horses.  The script features a few subtle changes, but mostly sticks to the essence of the traditional production 80 years ago. Minor changes can make a big difference such as Jamie Barton’s rendition of When You Walk through a Storm instead of ‘hold your head up high,’ as Nettie’s building vocals advises ‘Keep your head up high.’  However, terms such as ‘scallywag,’ ‘riff raff,’ ‘pollywog’ and ideas such as mill workers having to be back for curfew in a boarding house sounds somewhat awkward within the contemporary glow of the production.

Carrie (Anya Matanovič) and Julie (Brandie Sutton) share a moment in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

 Sara Brown’s mostly barebones set features a multipurpose wooden platform, winding staircase and a rustic wooden set with beach grass, a plant is fittingly and symbolically capable of weathering any storms or conditions.  Brian H Scott’s multicolor lighting embellish these exuberant costumes, the rippling coastline, and its intense moments punctuated by an animated lit halo illuminated above the cast serving various purposes throughout the production. 

Anya Matanovič as Carrie and Omar Najmi as Enoch in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

The orchestra swells and the cast delivers soaring harmonies and rich and flawless vocals.  In denim cut off shorts, sparkling stockings and boots, soprano Brandie Sutton depicts mysterious Julie Jordan and in pink hair and an exuberant fuchsia tutu, soprano Anya Matanovic bursts with joy as Carrie Pepperidge.  Cool and collected Julie with dreamy and transparent Carrie is the envy of all friendships.  These are two strongly bonded women and their compelling and excitable camaraderie unfailingly lift each other up, look out for and support each other in every victory and heartache. 

Edward Nelson as Billy Bigelow charms the crowd in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a black beard and orange suspenders, tenor Omar Najmi portrays staunchly traditional, practical yet big dreamer Enoch Snow.  If you think Carrie has dreams, Enoch’s are bigger.  Enoch is confident of his strengths and Matanovic’s Carrie clearly adores him.  They embark on some sweet moments and humorously curious misunderstandings.

Boston Lyric Opera’s 80th anniversary production of CAROUSEL. Photo by Nile Scott Studios

In a white cowboy hat, black leather vest, tattered black jeans and multicolor hooded sweatshirt, baritone Edward Nelson strikes a chord in a powerful performance as prideful, defensive and contemplative Billy Bigelow.  Nelson not only masters the inflection and intensity of the character especially in a humorous and stirring transformation for Soliloquy, but also captures Billy’s conflicted and anxious demeanor.  Nelson shares some of that conflict with mysterious Sutton in a touching rendition of If I Loved You which isn’t love at first sight, but gently unfolds through song as the ensemble looks on.  They are a consistent presence as stage hands making blossoms fall, workers and community members who are never far away.

Abigail Marie Curran (as Louise) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a flowing black skirt and tied blouse, Abigail Marie Curran as misguided Louise is luminous expressing liveliness, longing, and loneliness in each delicate, athletic and dynamic step.  In fatigues and work boots, baritone Markel Reed delivers some comical moments in slick and tricky Jigger who does little to conceal his shady motivations, especially during Blow High, Blow Low.

Markel Reed (as Jigger Craigin) and Edward Nelson (as Billy Bigelow) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a billowing polka dot skirt and vibrant purple hair, mezzo soprano Jaime Barton is inviting as nurturing, wise and discerning Nettie.  Barton is as playful in June is Busting out All Over and This was a real Nice Clambake as Rodgers and Hammerstein’s appetizing lyrics burst forth in succulent glory.  When You Walk through a Storm is a masterpiece and Barton delivers it tenderly.

Nettie (Jamie Barton) and the townspeople post-clambake in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

It was a remarkable experience to revisit this beloved musical and Bogart’s latest vision does little to affect the show’s inherent story or the timeless message of hope and resilience in the darkest of times.

Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts.   Click here for more information and for tickets.  It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

REVIEW: Sudbury Savoyards presents love against all odds in Gilbert and Sullivan’s spirited ‘Ruddigore’

Posted on by The Sleepless Critic

From now on, if anyone asks, I prefer professional bridesmaids.

In Gilbert and Sullivan’s Ruddigore (or the Witch’s Curse), the Bridesmaids Union long for and are at the ready for a wedding and I’m here for it.  In Reddering, a small town of Cornwall in the 19th century, one is either married or getting married and bridesmaids are ready and waiting for any couples who find love.  However, one long sought after woman who lives her life quite literally by the book of good breeding and etiquette cannot seem to find a man who can live up to her prim standards…except one.

Lindsey Buccella as Rose Clara Haymon as Zora and ensemble Photo by Chris Pollari

In this crazy in love satirical opera, these professional bridesmaids create beautiful harmony and seem to be the most reasonable of all.

With book by W.S. Gilbert, music by Arthur Sullivan with lively music directed by Aldo Fabrizi, The Sudbury Savoyards kicked off its 64th season with Gilbert and Sullivan’s gothic romantic satirical opera Ruddigore at Lincoln-Sudbury Regional High School in Sudbury, Massachusetts live and in person through Saturday, March 1.  The show was not limited to the stage, contained some mature humor and ran approximately two and half hours including one 15 minute intermission and presented in two acts.  Click here for more information and for a closer look at their new season.

Ben Morse as Old Adam David Smyth as Robin Oakapple Photo by Chris Pollari

Featuring a triumphant and frenzied overture that has an occasional and passing resemblance to Andrew Lloyd Webber’s Phantom of the Opera score, Ruddigore sets the stage with a seafaring village boasting a towering lighthouse, pastel colored houses adorned with a stained glass window and an offstage dock to welcome local travelers.  Some clever staging uses the cast to assemble two makeshift ships during a lively number.

Ruddigore blends absurdity into the supernatural, ancestral legacy, and lighthearted romantic love triangles into commentary about marriage, commitment, and coming to terms with an entangling family legacy.  Lindsey Buccella depicts prim, polite and particular Rose Maybud who does everything quite literally by the book of etiquette and looks coldly at her suitors except humble and handsome farmer Robin Oakapple, portrayed with comic complexity by David Smyth, but both are too shy to let each other know the other’s true feelings as exemplified through the cheeky number, I Know a Youth which seems the equivalent of “asking for a friend.”  Their beautiful harmony captures this complicated number with equal amounts intensity and shyness. 

Ben Oehlkers as Richard Dauntless with Ensemble Photo by Chris Pollari

When Ben Oehlkers as Robin’s confident and self assured foster brother and seafaring mariner Richard Dauntless pays a visit, it could threaten all Robin holds dear as Sir Despard and Richard later share a silly and conspiratorial number You Understand?  I think I do. 

Carolyn Schwartz depicts fiercely independent and unmarried maiden Dame Hannah with gumption who refuses to marry anyone but Lonnie Powell as Sir Roderick Murgatroyd if it were not for the Murgatroyd/Ruddigore family curse. 

As a Baronet of Ruddigore, Jeremy White portrays trapped Sir Despard who must commit a crime a day or perish.  In a sneaky yet comical moment, White confides that he knows how to bend the rules of the “crime” as demonstrated in Why am I Moody and Sad?   In a knowing attempt to outsmart the system, Sir Despard will steal a child and then heroically return the child on the same day. 

Ben Morse is also amusing as Old Adam Goodheart and deeming himself a villain confidential advisor.  However, Morse’s physical humor and wild running are where he really shines.

Sudbury Savoyards Elaine Crane as Mad Margaret Photo by Chris Pollari

In a shimmering lace gown, Elaine Crane is delightful as Mad Margaret with an equal talent for wild and comically restrained humor as she enthusiastically exemplifies in Cheerily Carols the Lark.  She also delivers a remarkable self aware moment as she quips “Hush!  They sing choruses in public!” 

David Smyth delivers a bold and earnest solo number Away Remorse in which Robin vows to finally resolve his contraries and conflicts after habitually committing to neither.  Smyth, White and Crane also join together in a moment of self realization for the swiftly moving number My Eyes are Fully Opened. 

Sudbury Savoyards David Smyth and cast Photo by Chris Pollari

All these characters come together into a twisty and zany plot confined by a family curse and as a ghoulish green fire glow, the past and present meet for a wacky, but never too serious reckoning.

A triumphant event does occur for these bridesmaids who were out for the win in a variety of lacy, empire gowns and holding their multicolor bouquets as they join together with the talented Chorus for a lively rendition of Happily coupled are we. Blending gothic satire and romantic comedy, The Sudbury Savoyards delivers an enchanting tale of love against all odds.

The Sudbury Savoyards kicked off its 64th season with Gilbert and Sullivan’s satirical romantic comedy opera Ruddigore at Lincoln-Sudbury Regional High School in Sudbury, Massachusetts live and in person through Saturday, March 1. Click here for more information and for a closer look at their new season.

REVIEW: Boston Lyric Opera celebrated Morris Robinson and a revered love story with Verdi and Ghislanzoni’s stunning ‘Aida’

Posted on by The Sleepless Critic

For one night only, a revered love story caught between impossible choices took shape set in a war-torn country.

With over 200 artists involved including the Back Bay Chorale as well as Boston Lyric Opera Orchestra and Chorus, Boston Lyric Opera (BLO) presented Verdi and Ghislanzoni’s stunning Italian opera, Aida for one gala benefit performance during Veteran’s Day weekend on Sunday, November 10 at 3PM at the Emerson Colonial Theatre in Boston, Massachusetts.  All funds raised benefited Boston Lyric Opera’s education, youth and community programs.  Part of BLO’s You’ll Never Walk Alone themed season, this epic production ran 2 hours and 50 minutes including one 20-minute intermission.  Click here for more information.

David Angus conducts the BLO Orchestra and BLO Chorus (Brett Hodgdon, Chorus Director) including members of Back Bay Chorale) Photo by Nile Scott Studios

Prior to the start of the production, the Boston Lyric Opera celebrated a milestone for renowned bass-baritone opera singer Morris Robinson.  Twenty-five years ago to the day on November 10, 1999, Robinson debuted onstage in the role of the King for Boston Lyric Opera’s Aida.  Not only was he named the 2024 Artistic Honoree, but Mayor Wu named November 10th Morris Robinson Day.  The honor was presented to him by his mentor Sharon Daniels.  Once a Boston University college football player, a clearly moved Robinson delivered an inspiring and relatable speech about career pivoting and the stellar chance he received from Boston Lyric Opera.

Morris Robinson as Ramfis in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

Robinson’s charismatic presence as well as his rich, deep and commanding vocals as Ramfis in the following production depicts why Morris has had a lasting presence with Boston Lyric Opera.

Having never seen Aida performed as an opera but twice before as the Elton John and Tim Rice’s musical, it was amazing to see Verdi’s version which is the foundation in which this story was told. With the Boston Lyric Opera orchestra center stage and the chorus situated behind them, Aida was treated as a gala event enlivened by Aja M. Jackson’s atmospheric lighting in pinks, reds, blues, and gold backdrop weaving in images and symbols from the Egyptian Book of the Dead.  Jackson’s lighting had an encompassing effect creating a semi-panoramic view of images of multicolored Egyptian animals moving along the back of the theatre.

BLO Music Director David Angus leads the BLO Orchestra in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

With trumpet accompaniment from the balconies, BLO conductor David Angus with Annie Rabbat, Brett Hodgdon, and Back Bay Chorale Music Director Stephen Spinelli navigates this complex orchestration of music to enrich this bold and compelling love story. Even with a brief pause during the production, Boston Lyric Opera handled the situation efficiently.

A fictional tale surrounding historical events, Aida explores a number of conflicted characters deliberating on love and loyalty during the Egyptian and Ethiopian war.  Tenor Diego Torre delivers an impassioned performance as Radamès, an Egyptian commander in love with soprano Michelle Johnson as Ethiopian slave Aida while Aida’s father Amonasro, portrayed by baritone Brian Major, is a war prisoner.   Mezzo-soprano Alice Chung delivers a multifaceted performance as resourceful Egyptian princess Amneris who wonders what it will take to win the love of Radamès .

Diego Torre as Radamès in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

Adorned in gala attire rather than costumes, the cast’s powerhouse vocals exude despair, passion and desperation into characters facing impossible choices.  Decked out in coat and tails, Torres evokes sympathy through his torment and soaring vocals as commander Radamès torn between his love for Aida and loyalty to his people.  In a distinctive multicolored gown, Michelle Johnson illustrates the gravity of Aida’s rage, passion and despair over her decisions, torn between her secret love for Radamès and her own people.  Johnson as Aida is bold, charming, and audacious while always carrying a heavy heart.

Michelle Johnson (l.) as Aida and Alice Chung as Amneris in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

However, Alice Chung as shrewd and privileged Amneris has plans of her own and strategizes how to get what she wants.  With dynamic range in a jeweled accented gown, Chung brings her own psychological warfare in a stunning duet with Johnson.  Their intense and melodic vocals deliver gravitas in a suspenseful stand off as romantic rivals.  Chung is confident and manipulative catching Aida at her most vulnerable, but also brings sympathy to her character in the looming fear of losing what she holds most dear. 

(L.-r.) Stefan Egerstrom (King of Egypt), Brian Major (Amonasro) and Morris Robinson (Ramfis) in Boston Lyric Opera’s AID

Johnson’s Aida also shares a powerful scene with Major as Amonasro.  Major is eloquent and stealthily convincing in a pivotal scene in which Aida is faced with the consequences of her decisions.  This weighty exchange is filled with raw emotion and distress as she is backed into a corner.

The riveting harmonies, the fervent declarations, and the deeply romantic lyrical context of this production demonstrate why Boston Lyric Opera has returned to this memorable show over the years since first performing Aida at the Hatch Shell in 1981.  Its rich exploration of passion, torment, war, and loss always has something new to say in a classic tale where love transcends everything.

Cast members and BLO Chorus (with members of Back Bay Chorale) in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

Boston Lyric Opera (BLO) presented Verdi and Ghislanzoni’s stunning Italian opera, Aida for one gala benefit performance during Veteran’s Day weekend on Sunday, November 10 at 3PM at the Emerson Colonial Theatre in Boston, Massachusetts.  All funds raised benefited Boston Lyric Opera’s education, youth and community programs.  Click here for more information.

Get to know Sam Brewer, GBH’s newly appointed General Manager of Music

Posted on by The Sleepless Critic

Music is the foundation for so many amazing aspects of life.

As GBH’s newly appointed Head of Music, Sam Brewer discusses music’s remarkable impact and how he started in the industry.  He also shares where to listen to live concerts around Boston after work for free, insight into GBH’s extraordinary studios, and the revolutionary ways GBH is connecting artists to viewers and listeners.

Sleepless Critic:  Just to clarify, GBH’s Head of Music primarily covers classical and jazz music?

Sam Brewer: Yes, it is the jazz and classical team.  GBH Music is a multi-platform production team housed inside GBH with twelve full time and almost as many part time employees.  Our biggest commitment and what everyone knows us for is CRB Classical 99.5 Boston.  CRB produces over 50 broadcasts a year and we have a live concert every single week from Symphony Hall or Tanglewood.  That includes concerts from the Boston Pops too.

General Manager of GBH Music Sam Brewer Photo by Meredith Nierman/GBH

We also program Jazz on 89.7 FM on the weekends and weekend overnights.  For the past five years, we’ve had a series of about eight GBH Music Presents concerts at the Fraser Performance Studio or Calderwood Studio here at GBH.  In person, streaming, and recorded performances are used on other platforms.  Obviously they stream and may end up as an In Concert production. 

Classical.org is the website for the radio station and a rich source of multimedia content about classical music, social media channels, and two newsletters which is one on jazz and one on classical and so much more.

From the GBH music perspective, we recently launched GBH Jazz Nights which are once a month performances at the GBH Studio at the Boston Public Library in Copley Square.  We’ve teamed up with JazzBoston to present jazz music the second Thursday of every month from 5:30 to 6:30 pm.  It’s a free event and we want to capture people after work to stop by for an hour or two and get a beer and listen to music.  It’s really to raise the profile of everything that we are doing in jazz.  For the past few years we have done these studio jazz shows about four a year and we are looking have four again in the spring.  We’ll have four in the spring to help us build up an audience, the excitement, and the anticipation for that and we feature a great lineup of performers.

Beyond December, we will be looking at a series of jazz performances at Fraser Performance Studio.  Fraser is gorgeous and really the jewel of the production facilities at GBH.  Antonio Oliart is our recording engineer on the GBH Music Team and he had a hand in designing the space and it’s his home along with Téa Mottolese who is our other recording engineer. 

Antonio recorded an album at Fraser with violinist Hilary Hahn which was just named the Gramophone record of the year.  It’s a huge honor and I think he’s won three or four Grammys from records he’s produced in that space.  We host a lot of these GBH jazz and classical music events at Fraser and you’re really sitting with maybe 90 or 100 people in a multi-camera shoot in an acoustically perfect music space. 

Ulysses Quartet perform at an event celebrating the leadership of Tony Rudel, General Manager GBH Music on October 1, 2024 at GBH Headquarters in Brighton, Mass. Photo by Meredith Nierman/GBH

The Boston Symphony Chamber Players came and recorded this beautiful video show in Fraser and then we streamed.  It was in person and it will also become a radio broadcast in a week or two.  Somebody came up to me after the performance and told me they have known this musician their whole life and have never seen this person up close playing like this. 

SC:  Oh, I love those experiences. 

SB: That’s the real benefit of this space.  You get a sort of intimacy with the music that you don’t really get in any other venue in Boston because of the size and how it is structured.  It’s also how we host shows.  Brian McCreath, the host of the BSO broadcasts, hosted this program.  He’s a proxy for the audience and brings the audience into the stories behind the music in such a unique way. 

SC:  We know each other from the Boston Pops.   What piqued your interest from the Boston Pops to make the transition over to GBH?   I know it all starts with classical music. 

SB: That’s a great question.  I was a publicist at the BSO for about 10 years and started at the box office selling tickets.  I was just looking for the next step in my career and there’s such a crossover between the GBH audience and the Boston Symphony audience and in an effort to sort of promote other types of content and other stories, I was drawn to the work in public media and found a happy home for the last six years working quite closely with the newsroom here.  Of course the GBH Music team was my other main client here and pulled it back into the beauty, power and the rich, artistic life of classical music and jazz.  That’s how I found myself working even more closely with the GBH Music Team. 

SC:  You must also find yourself working with some famous musicians.  Which particular person stands out for you that you couldn’t believe you were working with them?

SB: There are countless people, but recently opera bass-baritone Davóne Tines.  We had someone scheduled for the Getting into Opera program and it was a wonderful event open to the public.  We are eventually going to turn it into a series for YouTube.  We’ve done two of these before and we have another one coming up.  We unfortunately lost the soprano who was scheduled to host this master class.  The concept here is people get into opera by seeing how great vocal performances are shaped.  So it’s a master class between a master teacher and a student. 

The star soprano who was supposed to lead the performance had to cancel about 36 hours before.  Davóne Tines came in and I had the opportunity to pick him up in a car and drive him over quickly before the performance was about to begin. 

I was blown away how even at the last minute, he wanted to reshape what we were doing to put the artists in the center and focus on them as humans and people before he got to hear them sing or work with them as a coach.  So, there are countless examples of artists I have met and been star struck or really moved by, but this one recently is just one of the benefits everyone on this team has which are these really close encounters with musicians as people and then get to share their stories with broader audiences.  It’s of interest to any type of consumer of any media, but I think music in particular because it can be abstract and one of things we specialize in is sharing an artist’s story behind the music. 

SC:  How do you think your prior experience has prepared you for what you are doing now?

SB: Two of the trends in my career have been music and communications and I think they will be thoroughly employed in this role.  Being so new to it, I can already tell one of the real joys of this role is working with all the people on this team.  I think anyone in a leadership position is responsible for supporting the team’s work. It is really exciting to come to work every day with people who are ready to pitch new and creative ideas and try to find ways for those little seeds of ideas to grow to support the work of a lot of creative professionals.  So, I suppose having a lot of experience as a communicator, in public relations, and then in public media has put me in a good position to help the team bring all this creativity to the forefront and to find things that resonate with audiences.  I’m excited to see how we can keep growing this incredible foundation here. 

SC:  Music is the connection to everything. 

SB: I agree with you.

SC:  Speaking of which, what is your favorite music and kinds of artists you like to listen to for GBH?

SB: I think from a very early age, I’ve always loved orchestral music.  I will just say broadly classical music encompassing classical, romantic, and baroque.  We play on CRB Classical 99.5 over 500 years of this incredible compendium of artistic styles.  It’s just so easy to get deeply lost in it and imagine your own stories. 

It’s funny because I have certainly listened to all sorts of music.  My wife and I went to the Weezer concert in Boston.  It was great fun, but I also had this experience where we were all the way up in the nosebleed section.  I don’t know what the capacity of TD Garden about 20,000 and it was a wonderful performance and I was thinking if I can just get one percent of these people to turn on CRB and find this intentional listening experience in the genres we promote, I think everyone would grow so tremendously.  A lot of what we program on this station is intentional to capture people who find a familiar sound in what we do and discover that they like classical music.  For example, Renaissance pieces that would be four minutes long and to someone who is just tuning in, it could sound like a folk song.  There could be an energy to Telemann perfect for driving down the road.  I’ve always loved orchestral music. The challenges and the fun of this role is to just to find people in this vast swath of people and find out who might want to come and join us and be part of this tribe. 

SC:  Classical is the foundation of so many other genres of music.  The epic Clair de Lune is a famous classical piece you know that you don’t know that you know.

SB: I agree with you and I think there is also a willingness that there wasn’t ten or fifteen years ago to cross between genres and like what they hear without knowing what the label is.  I just find there is a tremendous opportunity to turn more people into classical music and such growth potential there.   I’m glad we’re focused on that central part of it and our goal is just to spread that out and make people fall in love with it.

One of CRB’s next events will be the GBH Music Holiday Spectacular taking place at Calderwood Studio.  Be the first to learn about GBH’s upcoming music events through classical newsletter The Note and GBH’s Jazz newsletter. 

REVIEW: Sullivan Rep’s ‘A Little Night Music’ soars

Posted on by The Sleepless Critic

Love is in the air among the rich and glamorous…elusive and oftentimes fleeting.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8.  This production was not for children and ran approximately two hours with an intermission.  Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions. 

The cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Having never seen A Little Night Music before, it was with great anticipation to witness another classic Sondheim production.  A Little Night Music was first staged on Broadway in 1973 and was revived on Broadway in 2009 starring Angela Lansbury as Madame and Catherine Zeta-Jones in her Tony award-winning performance as Desiree.  Send in the Clowns is one of my favorite Broadway songs and it was exciting to finally see it performed in the context in which Sondheim intended.

Veronica Anastasio Wiseman and Libby Sweder in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Set in 1900s Sweden, Sondheim’s A Little Night Music has bit of a soap opera vibe focusing on the jaded love lives and lifestyles of the upper class emphasized in the number, The Glamourous Life which is sung by some questionably moral aristocratic characters who lead anything but a mundane daily routine and where absolutely nothing is out of reach.  In a black dress and burgundy sash, accomplished matriarch Madame, cleverly and amusingly portrayed by Veronica Anastasio Wiseman, decides to advise her granddaughter, an adorably precocious Libby Sweder, in the ways of the world.  Surrounded by several love triangles, Sweder soon learns that the world is far more complicated, especially among the privileged.

The Newton Town Hall, though the acoustics had a bit of an echo that muffled some lyrics, was an ideal setting for this sophisticated production with its sterling piano, marble floors, a candelabra and the full orchestra refreshingly set above the stage and cleverly utilized in a brief play-within-a-play scene.  An opulent table setting and a countryside picnic arranged by cast members are part of Rick Grenier’s ornate properties design.  DW emphasized this regal atmosphere with upscale Edwardian attire featuring lace, stately coat tails, and long silk gloves embellished by ritzy and sparkling jewelry and adornments. 

A Little Night Music’s refined cast have a sense they are a cut above the rest and prove it mastering complex harmonies, powerful vocals and droll comic timing.  Led by Veronica Anastasio Wiseman as Armfeldt matriarch Madame, Wiseman huffs and admonishes with the best of them musing about today’s Liasons with rapier wit, ‘Where is the style? Where is skill?  Where is forethought?  Where is the discretion of the heart?’ knowing full well she leads this glamorous life for good reason.  Wiseman and Sweder share an intimate and knowing camaraderie and it is fascinating to see how Sweder responds to her surroundings.

With a shriek and bubbly childishness, Rebekah Rae Robles impressively embodies lively and youthful teenager Anne who happens to be married to much older, wealthy and experienced attorney Fredrik, enigmatically depicted by Brian Higgins.  It is not immediately evident Fredrik’s motives for marrying her and it is strangely comical to see them together in her innocence.  Fredrik’s eyes shine fondly with former love, Desiree for a reflective rendition of You Must Meet My Wife.

Andrea Giangreco, Rebekah Rae Robles and the cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

In glasses and a sweater vest, Jacob Thomas Less depicts smart, ambitious and neurotic Henrik, son of Fredrik.  Awkward and sweet, Less meaningfully conveys Henrik’s sincere and frustrating invisibility in this world of excess and longs to be understood demonstrated in an earnest rendition of Later, part of a vocal trio for Now/Later/Soon.

Jacob Thomas Less in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Andrea Giangreco is a standout as Charlotte with wonderful dark humor and enchanting vocals as Anthony Rinaldi as Carl-Magnus’s long suffering and conflicted wife.  Everyday a Little Death with Rebekah Rae Robles as Anne is a solemn and tender duet and Giangreco’s witty and sympathetic portrayal and solid vocals makes it easy to root for her.  Giangreco shares some very funny moments with scene stealing Rinaldi as plotting and conceited military dragoon Carl-Magnus as he storms and struts around the stage with an entitled air and an over the top sneer emphasized in a soaring rendition of In Praise of Women. 

Anthony Rinaldi in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As a big fan of Into the Woods, there is a gleam of similarity to where Sondheim might have been inspired for his later works in A Little Night Music. For example, the contemplative duet It would have been Wonderful featuring Brian Higgins as Fredrik and Anthony Rinaldi as Carl-Magnus share lighthearted and humorous reflections similar in comic tone to the Into the Woods’s duet in Agony featuring two rivals that may share more in common than they think.  Higgins and Rinaldi’s absurd reasoning keeps their ridiculous rivalry interesting.

Nora Sullivan in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Nora Sullivan masters the quick paced vocals prevalent in Sondheim’s works in a commanding rendition of The Miller’s Son as flirtatious and spontaneous Petra who savors each passing day.  In tight red curls, Carly Evans portrays renowned actress Desiree who falls for an old love which quickly becomes much more complicated than she ever anticipated.

Carly Evans and Brian Higgins in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As for Send in the Clowns, Evans as Desiree delivers a moving rendition that is winsome and rueful, reminding me why I love that song in the first place.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8.  This production was approximately two hours with an intermission.  Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions. 

REVIEW: Boasting a superb and jovial cast, Boston Lyric Opera’s Boston-based ‘La Cenerentola (Cinderella)’ conjures practical magic

Posted on by The Sleepless Critic

This Cinderella keeps it local and conjures a bit more practical magic.

Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola (Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12.  Click here for more information and for a closer look at Boston Lyric Opera’s new season.

Move over glass slipper and fairy godmother and hello fashionistas and Amazon drivers.  Cinderella is getting the city treatment with a few contemporary twists, but keeping its sparkling delivery and timeless moral message from a modern penthouse apartment overlooking the city of Boston.

ANGELINA (CECELIA HALL) MAKES HER ENTRANCE TO THE ROYAL BALL IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

The Emerson Cutler Majestic Theatre’s ornate theatrical setting is so fitting for Jenna McFarland Lord’s sophisticated and elaborate set design featuring two towering lit lamp posts.  From a pristine, lightly furnished penthouse apartment to a starlit, fantasy masquerade garden party embellished with vines chasing the walls, a wrought iron staircase, and twinkling lights, Lord builds up the fanciful spirit of this modern fairy tale.

La Cenerentola, spoken in Italian with English subtitles, is a spin of the traditional fairytale Cinderella and centers around an imaginative woman who lives with the Baron and his two daughters and must cater to their every whim.  When Don Ramiro shows up at the Baron’s doorstep, change just might be in the air.

DON MAGNIFICO, (BRANDON CEDEL, L.) IS THE WICKED STEPFATHER TO TISBE (ALEXIS PEART, C.) AND DANA LYNNE VARGA IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

However, some things haven’t changed in soprano Dana Lynne Varga as Clorinda and mezzo soprano Alexis Peart as Tisbe, Cinderella’s self-absorbed, scornful, and gold digging wicked stepsisters who can barely see beyond their mirrors (or in this case, their phones and selfie rings).  The duo possesses certain regality in their bookend statures, if it was not for their disdain for others.  Feathers, diamond encrusted bowties, crushed velvet, lace, and floral embroidery is just a portion of Trevor Bowen’s glittering, extravagant and fanciful costume design.  Cecelia Hall as Angelina seems to simply float in her idyllic emerald gown.  Don Magnifico, otherwise known as The Baron depicted with scene stealing glee by bass baritone Brandon Cedel, shares his daughters’ conceitedness decked out in rings, an earring, and carefully coiffed hair.  Cedel waltzes around the apartment in self congratulatory bliss unless something or someone ruffles his flawless feathers.  Though Cedel’s Baron does have a threatening side, Cedel spends much more time as a humorous ham as he flirts and shows off fun loving comic charm.

ANGELINA (CECELIA HALL) DREAMS OF A NEW LIFE FAR FROM WHERE SHE LIVES IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

In suspenders and doo rag cap, mezzo soprano Cecelia Hall gracefully portrays modest, tactful, and compassionate Angelina with agile vocals, shining especially in the production’s quieter moments.  A sidelong glance, demure blush, and a barely concealed impish smile and gaiety escape her while she tends to her endless household duties, especially in the charismatic presence of tenor Levy Sekgapane as Don Ramiro.  Sekgapone’s dazzling vocals and captivating rapport with Hall make for some of the production’s most delightful moments and Ferretti’s libretto wisely delves further into Ramiro’s persona than other Cinderella productions. 

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Hall also shares a sweet camaraderie with bass baritone James Demler through a good deed as humble and quick witted Amazon driver and part narrator Alidoro.  Both Demler and Levi Hernandez as Dandini are immediately likable from the start.  Demler’s gravitas and commanding vocals deliver some wondrous surprises while baritone Hernandez’s soaring vocals as Dandini show they are much more than meet the eye.

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Gioanchino Rossini’s urgent rhythms, quick pacing, and playful, melodic dialogues enchant while the lightning speed of some of the libretto demonstrate the collective and extraordinary skill of this engaging cast.  With a few more refreshing twists and turns than in Cinderella’s traditional tale, Boston Lyric Opera’s La Cenerentola (Cinderella) embarks on a humorous and jovial journey while emphasizing the power of love and grace in all circumstances.

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola (Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12.  Click here for more information and for a closer look at Boston Lyric Opera’s new season.

REVIEW: Boston Lyric Opera’s ‘Madama Butterfly’ a mesmerizing and surprising metamorphosis

Posted on by The Sleepless Critic

‘I gave my tears into the earth, now it must give me back flowers.’ 

This is just a hint of Puccini’s masterful lyrics that encapsulates profound love and loss in Puccini’s epic classic 1904 Italian libretto Madama Butterfly presented live and in person at Emerson Colonial Theatre through Sunday, September 24.  This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1.  Click here for more information and more about Boston Lyric Opera’s season.

After their onstage wedding Butterfly’s Karen Chia-Ling Ho and Pinkerton’s Dominick Chenes love spills out onto the San Francisco streets PHOTO BY KEN YOTSUKURA

With heartrending direction by Phil Chan and stirring choreography by Michael Sakamoto, Madama Butterfly was delivered with an altered setting and contemporary flair over a period of time from 1941 to 1983.  Puccini’s Madama Butterfly is a searing and brilliant love story and the source material for the Tony award-winning Broadway musical, Miss Saigon.  This time, Madama Butterfly’s settings ranged from Hawaii to San Francisco to Arizona.  Jeanette Oi-Suk Yew’s multifaceted lighting not only reflected the shadows and watercolor reflection in a lively nightclub but the rich purple and rose of the horizon at daybreak as moving set pieces transported the audience to contrasting settings. Featuring multicolor fans, contemporary yellow crowns, and regal military uniforms, Sara Ryung Clement’s distinctive, silky, and shimmering costumes in bursting color embellished the festivities of the Club Shangri-La in Chinatown in San Francisco, where Navy officer B. F. Pinkerton, depicted with enigmatic sweetness by tenor Dominick Chenes and soprano Karen Chia-Ling Ho as naïve, proud, bubbly and devoted Butterfly or Cio-Cio San meet in 1941.  It will be a night they never forget.

Uncle Bonze Hyungjin Son center makes a shocking revelation about Butterfly Karen Chia-Ling Ho in BLOs new production of MADAMA-BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s production of Madama Butterfly had the audience gripped in a full range of emotions as the eye level live orchestra led by Annie Rabbat articulated Puccini’s moving array of arias punctuated by magnificent drums.  Boasting angelic vocals, Chia- Ling Ho blossomed as Madama Butterfly, her coy yet fragile depiction poignant and buoyant as she navigated through a plethora of challenges during World War II and Pearl Harbor.  Chenes and Chia-Ling had captivating chemistry only enriched by powerful vocals and enthralling dialogue.  Mezzo soprano Alice Chung at first offered an understated performance as steadfast and loyal Suzuki, but Chung’s depiction gradually culminated into one of the most endearing characters of the production alongside Troy Cook as compassionate and protective Sharpless.   Baritone Junhan Choi had a reduced role as Commissioner/Registrar in Madama Butterfly compared to the engineer’s meaty role in Miss Saigon, but Choi left his mark during each of his memorable scenes in a charismatic portrayal of dark humor and dastardly wit.

Suzuki Alice Chung l. laments the news Pinkerton Dominick Chenes brings with him in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Michael Sakamoto’s dynamic choreography ranged from delicate to fitful, most notably as Butterfly took the stage in a traditional dance with the Club Shangri-La performers and later in a stirring dance featuring Cassie Wang.  Wang’s symbolic performance was peculiar, heartfelt, foreboding and so riveting that it may remain ingrained into the psyche long after the performance has ended.

During a visit from Officer Sharpless Troy Cook r. Butterfly Karen Chia-Ling Ho center reveals a secret in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s Madama Butterfly took some liberties from the classic libretto that dealt in immigration, bigotry, and patriotism in a surprising array of twists and turns and proved to be a production that will not soon be forgotten.

Boston Lyric Opera presented Puccini’s Madama Butterfly through Sunday, September 24 live and in person at Emerson Colonial Theatre in Boston, Massachusetts.  This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1.  Click here for more information and more about Boston Lyric Opera’s season.

REVIEW:  Boston Lyric Opera unveils a spellbinding ‘Bluebeard’s Castle/Four Songs’

Posted on by The Sleepless Critic

As waves splash against the Flynn Cruiseport Boston, Boston Lyric Opera unleashed a chilling tale of seduction and secrets.

Ryan McKinny as Bluebeard in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Conducted masterfully by David Angus and craftily stage directed by Anne Bogart, Boston Lyric Opera unearthed Bartok’s Bluebeard’s Castle/Four Songs for a limited engagement live and in person from March 22-26 at Flynn Cruiseport in South Boston’s Seaport District.  The show was 90 minutes with no intermission and had some adult themes.  Click here for more information and for what is next for Boston Lyric Opera.

Aunt Lydia (Caroline Worra) leads the handmaids through their prayers in Boston Lyric Opera’s production of “The Handmaid’s Tale,” ran through May 12, 2019. BLO.org. Photo by Liza Voll/Boston Lyric Opera

Lauded Stage Director Anne Bogart was behind the innovative transformation of Margaret Atwood’s harrowing dystopian novel, The Handmaid’s Tale, into an opera and presented that vision in glorious triumph while the hailed author sat in attendance.  See more about that experience here.  Anne Bogart’s riveting vision of Bluebeard’s Castle/Four Songs is another brilliant and dark reckoning in which with each astounding discovery, the plot thickens.   

Naomi Louisa OConnell opens BLOs Bluebeards Castle Four Songs with an Alma Mahler song featuring pianist Yukiko Oba. PHOTO by Liza Voll.

Suspenseful, passionate, and deeply romantic, Bluebeard’s Castle/Four Songs heightens the emotional impact of the libretto with Alma Mahler’s multifarious Four Songs.  Conducted zealously by David Angus with pianist Yukiko Oba, Four Songs as a companion piece which amplifies the magnitude of what Judith is about to see.

A mysterious and passionate tale, the real seduction behind Bluebeard’s Castle is the symbolism that results as Judith, Bluebeard’s new wife, longs to let light in and see more of his ancient castle.  She desires to learn everything about Bluebeard, a man she has given everything up for including a fiancé.  However, Bluebeard would rather leave well enough alone and enjoy the love they have found.

Bass-baritone Ryan McKinny as Bluebeard and mezzo-soprano Naomi Louisa O’Connell’s otherworldly and ascending vocals bring vitality and urgency to each phrase and as a duet, their blended vocals are an ethereal experience.   O’Connell is stunning as willful and persistent Judith, her oceanic teal gown glimmering against her incandescent red hair as she proclaims her love and deepest wishes for Bluebeard and their future together.  Boasting a thick gray beard, McKinny’s stately, rugged and romantic Bluebeard is equally persistent at first.  It is fascinating to watch the duo in an impassioned verbal tug of war, their thrilling chemistry becoming more and more feverish with each request.  McKinny and O’Connell also have a believable playfulness that round out their relationship and temporarily ease that mounting tension.

Judith Naomi Louisa OConnell and Bluebeard Ryan McKinny celebrate the castle garden in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Trevor Bowen’s impeccable and deceptive costuming added an alluring mystique to the production with Bluebeard in velvety deep blue and purple lined with gold, Judith in aquatic teal and what seemed like dancers adorned in glittering and flowing, yet bridled garments which included Marissa Molinar, Aliza Franz, Olivia Moon, Sasha Peterson and Cassie Wang.  Victoria L. Awkward does a wonderful job in keeping these clandestine individuals within this changing landscape in a perfect blend of subtlety, vulnerability and strength while Judith and Bluebeard remain at center stage.

Judith Naomi Louisa-OConnell comes to terms with her potential fate in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Bogart’s spectacular staging alongside set designer Sara Brown plays a pivotal role in Bluebeard’s dark secrets and it is done with elegance and ingenuity.  The vast and multi-layered kingdom is revealed in Bluebeard’s inky and lavish bedchambers in an inventive display of silk sheets as rippling rivers, a vast and boundless secret garden on a bed of roses, and mountains of peerless gold and jewels.  With Brian H. Scott’s artful lighting creating shadowy and ominous tones with startling streaks of red, Bluebeard’s Castle/Four Songs was a foreboding tale of love, power, desire and the sacrifices one is willing to make for the truth.

Conducted masterfully by David Angus and craftily stage directed by Anne Bogart, Boston Lyric Opera unearthed Bluebeard’s Castle/Four Songs for a limited engagement live and in person from March 22-26 at Flynn Cruiseport in Boston Harbor.  Click here for more information and for what is next for Boston Lyric Opera.

REVIEW:  Vocals soar as Academy of the Company Theatre presents Andrew Lloyd Webber’s ‘Phantom of the Opera’

Posted on by The Sleepless Critic

It may seem like a small detail, but The Phantom of the Opera’s iconic chandelier plays a pivotal role in Andrew Lloyd Webber’s The Phantom of the Opera.  It opens the show in its sheer majesty and the Phantom is actually found hiding in the glittering and monstrous powerhouse of a special effect at one point during the Broadway production.  In fact, it is what fascinates the audience at the beginning of the musical in glorious rhythm with the thunderous and foreboding sound of a pipe organ blaring in the distance and what later crashes to makes the cast run in terror.

Directed insightfully by Sally Ashton Forrest with powerful music directed by Melissa Carubia, Academy of the Company Theatre’s Phantom of the Opera gets so many things right from Vickie Gerard-Culligan’s ornate costumes, the pitch perfect casting, its sinister lighting by Dean Palmer Jr., and its smaller scale replications of Phantom’s famous sets by Ryan Barrow, but the production’s chandelier may not quite meet some lofty expectations.

Academy of the Company Theatre (A.C.T.) presents Andrew Lloyd Webber’s The Phantom of the Opera live and in person at The Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts through February 19.  The musical is sold out.  Click here for more information on the Company Theatre and its upcoming events.

Alexa Cohen as Madame Giry (right) with cast in ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Set in the 1700’s, Andrew Lloyd Webber’s Phantom of the Opera focuses on a mysterious presence that haunts the famous Palais Garnier Opera House in Paris, France.  New opera house co-owners Ben Cavallo-Smith as Monsieur Richard Firmin and Weston Hammond as Monsieur Giles Andre make a distinguished and at times humorous pair in vintage suits with tails as they start to realize things are not what they seem.

‘Masquerade’ ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Phantom of the Opera boasts some enduring yet challenging music numbers and the cast may feature students up to 18 years of age, but their vocals are well beyond their years.  Jillian Pongonis as Christine and Catrina Riker as Carlotta hit some extraordinary notes for being so young and it was a joy to hear Riker’s Think of Me and Prima Donna as she prances around the stage in signature diva fashion, bold and comical as she shouts her demands.  Carlotta’s sophisticated gowns become more extravagant as the musical progresses and the cast hits its outrageous stylish stride for Masquerade.  Salvator Guillermo Garcia, whose past performances with ACT include Jean Val Jean in Les Miserables, has a supporting and memorable role as Ubaldo Piangi.  Garcia not only does a wonderful job vocally in Hannibal and Notes with the cast, but his occasional tenuous smirks and smiles enhance the musical’s humorous moments.  

Gilbert Dabady as The Phantom and Jillian Pongonis as Christine Daae Photo courtesy of Zoe Bradford/Company Theatre

Pongonis may be slight in stature, but her powerful vocals exceed her years as does Gilbert Dabady as The Phantom.  Dabady and Pongonis’s duet of The Point of No Return may seem a bit mature for their ages, but Angel of Music and  Music of the Night are beautifully performed and Pongonis’s stirring rendition of Wishing You Were Somehow Here Again is a must see.  Dabady is mysterious and threatening as the Phantom, his deep and resounding vocals all the more menacing offstage. Dabady and Pongonis are a complex and charismatic pair while Charlie Flaherty is well suited for the daring and charming Raoul.  Amid a pale blue rooftop, Christine and Raoul perform a sweet rendition of All I Ask of You. 

Charlie Flaherty as Raoul and Jillian Pongonis as Christine Daae in ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Clever blocking and reigned in sets aptly accommodate the Company Theatre stage. Tints of haunting purple, vintage marble columns, nostalgic lighting, eerie skulls, an angelic stone statue, onstage gold lined opera box seats, a brass organ, monkey music box, and a candelabra lit lair on a misty lake help recreate iconic scenes and special effects that bring this somewhat opera within an opera to life.  As a big Phantom of the Opera fan, Academy of the Company Theatre’s Phantom of the Opera captures this moving and mystical musical best known for Andrew Lloyd Webber’s classic soundtrack and makes the magic of the longest running show on Broadway last a little longer in Norwell. 

Academy of the Company Theatre (A.C.T) presents Andrew Lloyd Webber’s The Phantom of the Opera live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts through February 19.  The musical is sold out.  Click here for more information on the Company Theatre and its upcoming events.

REVIEW: Boston Lyric Opera’s boxing opera ‘Champion’ a triumph in jazz

Posted on by The Sleepless Critic

The brutal world of boxing punctuated with the complex harmonies of jazz set to simmering opera?  This premise might seem outlandish, but Terence Blanchard’s Champion An Opera in Jazz cleverly weaves these three elements together into an absorbing true story and cautionary tale of a welterweight boxer and a symbolic shoe that gains more significance than anything that takes place in the ring.

Boston Lyric Opera presented ‘Champion An Opera in Jazz’ Photo courtesy of Boston Lyric Opera

Boston Lyric Opera (BLO) presented their final show of the season, Terence Blanchard’s Champion An Opera in Jazz, for one weekend only through Sunday, May 22 at the elegant Emerson Cutler Majestic Theatre in Boston, Massachusetts.  It is a shame this captivating production was limited to two exclusive concert-style performances in Boston, but it could not be helped due to COVID.   Champion An Opera in Jazz has adult themes with one intermission.  Click here for more information about the Boston Lyric Opera, upcoming events, and for details on BLO’s recently announced upcoming season. 

Boston Lyric Opera 2022-23 season Photo credit to Boston Lyric Opera

As the chorus took up the boxes in the balcony to produce a resonant, semi-surround sound quality led by Brett Hodgdon, the orchestra warmed up and played onstage for the duration of the performance.  With creatively engaging stage direction by Timothy Douglas, the intense drama and interaction within the strong cast far exceeded my expectations as concert versions of a work often focus more on music than plot.  In a packed house, Blanchard leaves much to unpack in this show’s more than two hour time frame. 

Brian Major as Emile Griffith Photo by David Angus/BLO

This introspective tale explores the complex relationships, trauma, abuse, neglect, and harrowing circumstances in welterweight boxer Emile Griffith’s life.  However, what really affected me the most was just as Emilie Griffith discovers who he is and who he wants to become, he endures constant pressure and insistence from others to be the version they see in him.  Griffith had the talent and ambition to craft his own vision, but his destiny ultimately takes a detour.

Musically-directed by David Angus, Champion is helmed by an insightful and fierce cast that eloquently evoke Michael Cristofer’s multi-layered libretto.  Champion has plenty of heart and heartache, but also has a redemptive quality and joy in life’s smaller victories.  Three versions of Emile Griffith portrayed by Brian Major as older Griffith, Markel Reed as younger Griffith, and Jonathan Harris as Little Emile Griffith each deliver a fresh perspective at pivotal points in Griffith’s life.  With uplifting and humorous commentary at times to lighten the production’s darker moments, ring announcer Matthew Arnold serves fittingly as a semi-narrator of this work.

MARKEL REED, TERRENCE CHIN-LOY, AND BRIAN MAJOR IN BLO’S 2022 PRODUCTION OF CHAMPION: AN OPERA IN JAZZ Photo by David Angus/BLO

A profound and engaging baritone, Major is heartrending and charismatic as he delves deep into Emile Griffith’s continuing and complex struggles.  Griffith has a lot to handle and it is touching to watch his sweet scenes with tenor Jesus Garcia as patient and grounded Luis.

Markel Reed delivers an exceptional portrayal as Young Emile Griffith.  Reed’s dynamic vocals blended with the sheer mastery of Griffith’s physical and psychological transformation from a wide-eyed, idealistic, and determined young man to an adult with eyes wide open to his future is a marvel to watch.  Jonathan Harris as adorable Little Emile Griffith makes a brief, yet significant mark in this story as well. 

Stylishly adorned in a floral dress and matching hat, Tichina Vaughn strikes a delicate balance of playfulness, detachment, and mournfulness as mysterious and headstrong Emelda Griffith.  This brilliant mezzo-soprano accomplishes a degree of sympathy for Emelda which is difficult to muster as Emelda struggles with her aching discontent, heartache, and constant need for greener pastures.

TICHINA VAUGHN AND CHABRELLE D. WILLIAMS IN BLO’S 2022 PRODUCTION OF CHAMPION: AN OPERA IN JAZZ Photo by David Angus/BLO

In a crisp blue suit, Wayne Tigges also brings some sympathy to tough-talking Howie Albert who has a skewed vision of Griffith, setting Griffith on an uncertain path.  Wayne’s multi-layered, rage-inducing aria of Killer Instinct is prevalent throughout the show and Wayne’s rendition particularly makes it memorable.  Tenor Terrance Chin-Loy as Benny ‘Kid’ Paret and soprano Chabrelle D. Williams as Sadie Donastrog Griffith both demonstrate their remarkable range in contrasting dual roles.

It was once difficult to imagine jazz as a boxing opera, but having heard the smooth, unpredictable, thrilling, and moody undertones as the music builds tension and urgency, I cannot imagine Champion An Opera in Jazz any other way.  Champion’s unconventional and stirring delivery is just what makes the show’s ubiquitous message ring true.

Champion An Opera in Jazz was Boston Lyric Opera’s final production of the season.  Click here for more information about the Boston Lyric Opera, upcoming events, and for details on BLO’s recently announced upcoming season.