Not even Easter Sunday can stop a scandal in the Sicilian countryside.
Featuring distinct, eye-popping costumes, a glorious Opera Chorus led Brett Hodgdon, and a full orchestra, Boston Lyric Opera (BLO) opened their season on a grand scale with the renowned one act Italian libretto, Cavalleria Rusticana for just two performances on October 1 and 3. Boston Lyric Opera was greeted by an enthusiastic crowd anticipating BLO’s return to a live venue for 18 months. Delivered on a concert scale, Cavalleria Rusticana was presented under Leader Bank Pavilion’s open air tent in the Seaport District in Boston, Massachusetts. It ran for 1 hour and 10 minutes with no intermission.
Loyalty, love, honor, and faith are tested among this group of passionate players. Led by Music Director David Angus, the seemingly joyous overture delivers an exciting rush woven into a sense of foreboding, hinting at turmoil among still waters on the holiest of days, Easter Sunday. Introducing the libretto is an interactive and unparalleled performance of Pagliacci’s Prologue by Javier Arrey. Taking a reflective, humorous, and philosophical tone addressing the audience over what they are about to see, Cavalleria Rusticana becomes a passionate and cautionary tale, pleading about the affects of love and the human spirit.
Julia Noulin-Merat’s standalone set pieces, including overturned chairs piled high in pale pink as well as bright yellow chairs lining the stage, pop as does Gail Astrid Buckley’s distinct, vivid costumes with blooming flowers set against the orchestral backdrop depicting the emergence of a Sicilian spring.
It is easy to get invested in these headstrong characters and Cavalleria Rusticana hits the ground running steeped in a complex love affair as the sacredness of Easter surrounds them, emphasized by ethereal dancers Victoria Awkward, Michayla Kelly, and Marissa Molinar and the swelling of the Boston Lyric Chorus’s powerful and spiritual lyrics.
Michelle Johnson as conflicted Santuzza leads this magnificent cast, delivering a splendid, heartrending performance. Filled with sorrow and longing, Johnson’s tremendous vocals and her searing confrontation with Turiddo, portrayed with a charismatic yet manipulative mystique by Adam Diegel, show Johnson is a force to be reckoned with. Chelsea Basler depicts alluring and complicated Lola with infuriating and masterful charm and the heart of the show lies with loyal and compassionate Nina Yoshida Nelsen as Mamma Lucia who observes it all much like the audience, with bated breath.
The show is delivered entirely in Italian and with subtitles at significant parts of the production. However, for someone who does not know Italian and with a production so captivating, it is difficult having to forego not knowing every single word spoken from this enthralling cast.
Cavallaria Rusticana takes place in 1900’s Sicily and yet this opera is as timeless as any contemporary story told today and a perfect choice to open Boston Lyric Opera’s new season which includes virtual and live and in-person performances including jazz-themed opera Championand Svadba through operabox.tv. Click here for more information and a closer look at BLO’s new season.
The power of music is in full force in Merrimack Repertory Theatre’s (MRT) production of Alison Gregory’sWild Horses streaming on demand through Sunday, October 17. Merrimack Repertory Theatre previously offered the production in person from September 15 through October 3 at Western Avenue Studios in Lowell, Massachusetts. The show contains mature language and some adult themes. Click here for more information and tickets to this virtual performance.
Directed with heart and humor by Courtney Sale, Wild Horses delves into the life of the mother of a teenage daughter, portrayed with a blend of lively charm and excitable nervousness by Leenya Rideout, as she gets wrapped up recalling her story of a special California summer during her 13th year in the 70s while onstage at an open mic night. Rideout evokes a sense of adventure during this musically-fueled Moth Radio Hour featuring lyrics from 70s greats Rolling Stones, Heart, Van Morrison, America, and more.
Having delivered a likable performance in the 2020 indie film, Love, Repeat, Rideout further showcases her dynamic range in this meatier Wild Horses role with a humorous, heartfelt and sometimes raunchy performance. See what Sleepless Critic had to say about Rideout in Love, Repeathere.
With a love for music almost as much as horses, Rideout sings, strums an acoustic guitar, and proves an energetic and engaging storyteller sharing her experiences from a studious perfectionist to a teenager not afraid to break a few rules with the encouragement from her daring friends. With no shortage of excitement, scandal, humor, and heartache, Rideout’s onstage demeanor switches from responsible mother in need of a night out to wide eyed, youthful innocent with all the angst that goes with it. She blends what she remembers with her current wisdom, dwelling in the sacredness of youth. Ranging from teenage pranks to rites of passage, Rideout recalls these stories with wistfulness and passion, interacting with the audience like old friends.
Costume designer A. Lee Viliesis has Rideout ready to rock in an animal print scarf, Fender T Shirt, and ripped jeans and accompanied by guitarist Rafael Molina, she slips right into this adolescent spirit longing to be wild and free. All that is necessary is a little courage.
Here’s to the ‘freedom takers’ with Merrimack Repertory’s production of Wild Horses continues streaming through Sunday, October 17. Click here for more information and to get a closer look on MRT’s new season.
Comic great Robin Williams once said, “I used to think the worst thing in life was to end up all alone. It’s not. The worst thing in life is to end up with people that make you feel all alone.” Williams suffered from depression, but his ability to feel the lows and to make people laugh perhaps contributed to his gift on a deeper level. Getting the laugh is greater when the pain in which it is earned is also felt, achieving connection. Perhaps this is why there is also an in-house psychiatrist at The Laugh Factory in Los Angeles, California.
Theatre Kapow captured isolation and resilience in a play centered around a group of people clinging for hope in A.J. Ditty’s resonating play, The Boyg based partially on the life of Per Krohg. Art and isolation are key elements and are heavily weighed as each character attempts to connect with each other in their own distinct way.
Celebrating its first indoor production in over a year, Theatre Kapow presented A.J. Ditty’s The Boyg in Derry, New Hampshire in September, toured in Charlestown, Massachusetts as October started, and the show is now available online through October 10. Click here for tickets and more information.
Before continuing, it is important to note that A.J. Ditty’s The Boyg, named after Ibsen’s classic play Peer Gynt’s groundbreaking literary monster, does not make the play a prerequisite to appreciate this production, but a companion piece. The show is part play within a play and for those who know Peer Gynt, having read Ibsen’s work may promote a richer understanding, but does not affect the universal appeal of this show.
There is a phantom presence lingering over The Boyg, a sense of tension and dread that builds throughout the production and is rarely addressed until it is unavoidable. It hides in games, questions, plays, and pleasant conversation and perhaps glimpsed in a pause or a worried glance. Enhanced by Tayva Young’s mood-induced lighting and versatile sound designed by Jake Hudgins, it is an element as real as any of the characters in this production.
Set inside a Norwegian concentration camp during World War II, each character has every reason to try to forget their present circumstances, but struggle within the inevitability of their situation. Duty, work which is often self defeating, and art seem only to hold more than a moment’s distraction.
The cast displays good timing and chemistry even as characters who often struggle to understand each other in their mutual pain. As barracks leader Odd Nansen, portrayed ardently by Carey Cahoon, Odd seems the most willing to give into whatever is necessary to keep up morale while Professor Francis Bull depicted by Molly Kane Parker, prefers to escape into literature and theatre to cope with the present.
Rebecca Tucker delivers an intriguing and heartfelt performance as secretive, complex, and anguished Per Krohg who struggles with what it takes to survive. Tucker’s cat-and-mouse conversations with Nicholas Wilder as harsh and manipulative Captain Denzer and Sabrina Sehlegel-Megia’s earnest portrayal of rebellious and mysterious Mikhail Hjorthson’s haunting recollections of past experiences are particular highlights.
What does it take to peel back life’s meaning where there is no other choice? Reflecting on art and culture while staring into the face of mortality, isn’t life better with connection over dread?
Directed contemplatively by Matt Cahoon, Theatre Kapow timely production of A.J. Ditty’s The Boyg streaming through October 10. Click here for more on The Boyg and Theatre Kapow’s new season, Return.
Two peculiar overachievers meet. One is a precocious, well-read, well versed and outspoken college student and another a well versed, well-read and well-spoken middle-aged Yale professor. It is a meeting of the minds as they surprisingly challenge each other when seemingly the only thing that challenges each of them comes in literary form.
Immediately engaging, shrewdly written, and oftentimes bleak, The Sound Inside is quite capable of rendering the audience speechless. It is jarring, reflective, and moving and from what is learned about these characters, one cannot help but hope for the well being of these two lost souls.
Directed by Bryn Boice, SpeakEasy Stage Company opened their new season with Adam Rapp’s Tony-nominated play The Sound Inside continuing at the Calderwood Pavilion at the Boston Center for the Arts in Boston through Saturday, October 16. Presented for the first time in Boston, The Sound Inside contains mature themes and some difficult topics. It is 90 minutes without an intermission. Click here for more information and for tickets.
Much of The Sound Inside is about hope. It’s about looking for hope when the light is dim and the quest for finding hope is rarely a comfortable journey.
Cristina Todesco’s minimal set does well creating depth and dimension, but does not take away from the primary focus of this character driven study. Devorah Kengmana’s lighting lends to each character’s loneliness as shadows are created at pivotal moments.
Jennifer Rohn as prominent Yale professor Bella Baird unleashes a no holds barred look into her psyche. She is an avid reader which seems to help her escape past trauma and the crisis she is currently facing. Her keen intellect is immediately obvious and she is unfiltered, blatantly unfettered, and undeterred as she shares her life up to this point. Rohn is as captivating a storyteller as she is in exhibiting Baird’s loneliness.
Set in the fall in New Haven, Connecticut, Baird has a surprising encounter with Christopher Dunn, portrayed with a mix of arrogance, intuitiveness, and inquisitiveness by Nathan Malin, and they share a distinct, intangible connection. With similar dry senses of humor, a shared love of the written word, and a mutual social awkwardness, they understand and encourage each other to live life boldly. However, Rapp’s script is full of detours and twists that don’t always land perfectly, but lead to a tense and incalculable ending. Just when the show seems to tow the line, the tables turn.
SpeakEasy Stage Company presents The Sound Inside at the Calderwood Pavilion in Boston through Sunday, October 16. Click here for more information and tickets. Click here for upcoming events and more at the SpeakEasy Stage Company.
Like so many Hitchcock creations, it’s complicated. However, though this Hitchcock production is presented during Halloween season, please don’t let that scare you away. The 39 Steps is based on John Buchan’s 1915 thriller novel by the same name, was adapted by Alfred Hitchcock into a classic British film in 1935, and adapted to the stage by Patrick Barlow. Though The 39 steps will certainly keep the audience on its toes, it has more than its share of comedic moments sure to deliver more laughter than frights.
Greater Boston Stage Company joyfully returned indoors to present Alfred Hitchcock’s thriller comedy mystery, The 39 Steps which continues through Sunday, October 10 at the Greater Boston Stage Company in Stoneham, MA. The show runs approximately 2 hours and 15 min including an intermission. Click here for more information and tickets.
Directed imaginatively by llyse Robbins, this dynamic crime noir boasts plenty of vintage flair as well as adventure, romance, comedy, and suspense. However, what really makes this show such fun is that it doesn’t take itself too seriously.
The 39 Steps pay tribute to Hitchcock’s body of works with a catchy story while spoofing some of his most famous works along the way. Vertigo and Rear Window is just a portion of the Hitchcock Easter eggs run amok in this production. Some of the dark and witty humor from The 39 Steps call to mind humor likened to other murder mystery comedy classics including Clue.
Shelley Barish’s modest and multi-functional set design, Daisy Long’s mercurial lighting, and Andrew Duncan Will’s exceptional, carefully-timed sound effects play a pivotal role in some of the production’s most humorous scenes. Moveable set pieces transform each scene and costume designer Rachel Padula-Shufelt’s colorful gowns, dynamic wigs, and tweed and paisley suits enliven the production’s vintage noir atmosphere.
Taking on this production was no small feat for its four stellar actors who depict a total of 150 characters. However, they were more than up for the task as they sometimes cleverly and quite literally switch roles at the drop of a hat or within seconds. With impeccable timing and snappy chemistry, these dynamic performers bring to life a variety of accents and deliver a great deal of physical comedy while delivering sharp and at times quirky dialogue.
Paul Melendy portrays Richard Hannay with a mix of bumbling and debonair charm. Set in Scotland, he is a man on the run after a chance encounter with a femme fatale in all her forms by Grace Experience, leading to a murder mystery. What Grace Experience does particularly well is though she depicts each character distinctly, they all have the same familiar strength, resourcefulness, and truthfulness as the tale unfolds. With Russell Garrett and KP Powell quite often after Hannay, it’s a madcap adventure with high jinx galore and likable characters that range from a ludicrous man with ridiculous eyebrows to a flirtatious and outspoken innkeeper. Some of the scenes are arbitrary and self aware and a couple of gags get a bit repetitive, yet fit right into the production’s silly charm.
Take a break from these difficult times and escape down Greater Boston Stage Company’s unconventional, madcap, and lighthearted The 39 Steps continuing through Sunday, October 10. Click here for more information, tickets, and for a closer look at Greater Boston’s Stage Company’s 22nd season.
Forgive me for being excited. This was the first music concert the Sleepless Critic has attended since 2020 and by none other than a Grammy-nominated group during the final days of summer. For A Far Cry, it was not only this renowned chamber orchestra’s debut at the South Shore Conservatory, but their first set of live performances to kick off their 15th season after last season was done entirely virtually.
Elegantly dressed in flowing dresses and suits, this Boston-based group of musicians couldn’t have been more thrilled to take the outdoor stage in front of a live audience again as the skies grew dark, the crickets chimed in, and the Amphitheater’s twinkling lights began to burn.
Tackling life’s tumultuously journey from sweeping birth to a peaceful end, A Far Cry opened their new season with Circle of Life at South Shore Conservatory’s Jane Carr Amphitheater on Saturday, September 18 in Hingham, Massachusetts. Click here to find out where A Far Cry will perform next.
A Far Cry’s Grace Kennerly offered a warm introduction as all 18 ‘criers’ took the stage for their opening work arranged by Alex Fortes of Bela Bartok’sTraditional Lullabies and For Children arranged by Leo Weiner. This work of sweeping, wondrous, and charming lullabies also delivers bursts of foreboding and urgency through a solo violin. Its soft, soothing strings create a dreamlike quality as the movement gallops toward exuberance and a sense of adventure.
A particular highlight of the concert lies within Franghiz Ali-Zaheh’sShyschtar: Metamorphoses for String Orchestra which is described as ‘the development of oneself in the teenage years.’ Instantly captivating, Metamorphoses evokes strife and a mysterious urgency, almost sounding like something borrowed from Hitchcock. The carefully-timed violin plucking, occasional vocalizing, and haunting tapping enhances the work’s thrilling and suspenseful rhythms as the work builds to a searing climax before it takes an unexpectedly poignant tone and draws toward its eerie conclusion.
A Far Cry’s Jason Fisher introduced Antonin Dvorak’s stirring Serenade for Strings. This work carries its own quiet excitement as Dvorak wrote it while he and his wife were expecting. It has occasional undertones similar to a wedding march and like Lullabies, a dreamlike quality and a gentle building of anticipation. The lengthiest movement, Serenade for Strings delivers chirping peacefulness and quiet interludes with a touch of melancholy as it builds to an uproarious, gallivanting glee.
Karl Doty’sCastles, though it is Circle of Life’s shortest work, packs a no less powerful punch. It has a vibrancy and incandescence that comes together in a rush. With its occasional vocalizing, it evokes vitality, strength and a degree of reminiscing as this piece was written when Doty returned to his childhood home.
To complete the Circle of Life, A Far Cry performed Beethoven’s String Quartet No. 16 in F Major, Op. 135. It’s a combination of a quiet musing, searing rhythm, and an intangible foreboding of the inevitable. However, this piece also evokes a settling and resignation of what is to come.
Kicking off their 15th season on a powerful note with the exploration of life’s journey, A Far Cry will continue in October. Click here for A Far Cry’s upcoming performances and here for more information on South Shore Conservatory’s upcoming events.
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.
If you decide to visit Hollywood, California, stop by the Bourbon Room, a real bar and nightclub inspired by the legendary fictional bar and nightclub in jukebox musical Rock of Ages. The Bourbon Room opened last year in honor of the show’s 20th anniversary and if it contains half the wild antics of this edgy musical, it will be worth the trip.
The excitement was tangible as the Company Theatre prepared for their return to its signature indoor stage for the debut of Rock of Ages on Saturday, August 7. The crowd was pumped for an uproarious good time as the booming sounds of 80s hits enlivened the stage and nostalgia took over not only for hair bands and jelly bracelets, but for a live show in person and in glorious color.
Directed by Zoe Bradford, musically directed by Steve Bass, and choreographed by Sally Ashton Forrest, The Company Theatre presents Rock of Ages without an intermission through Sunday, August 22 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. This show is not for young kids. Please note this show run has some rotating cast members. Click here for more information and for tickets.
Packed with colorful characters doused with a mix of rock raunchiness and self aware humor, Rock of Ages holds a mirror up to the era of excess and distinct self expression. Steering this club is Brad Reinking as Lonny, the Bourbon’s impulsive no-holds-barred co-owner, resident storyteller, and narrator. According to Company Theatre’s Director of Development Michael Hammond, Reinking improvised a portion of the dialogue with local references and contemporary quips the audience and not even the cast saw coming. Reinking shines as Lonny, his strong voice and penchant for dark humor work well in a script that never takes itself too seriously.
Part love story, part rebellion, and mostly musical, Rock of Ages is set in the 80s on the Sunset Strip where idealistic Sherrie (Emily Lambert) and guitar strumming dreamer Drew (Braden Misiaszek) long for stardom and are not sure where to start. They set their sights inside the fledgling Bourbon Room, an aging nightclub and bar in danger of being shut down unless someone takes action.
Performed by an intimate group of musicians led by Steve Bass, Rock of Ages is fueled by a wide range of 80’s hits that are clearly a trip down memory lane for some including Journey, Bon Jovi, REO Speedwagon, and Foreigner enhanced by Forrest’s intense choreography. Emily Lambert boasts powerful vocals as wide-eyed yet determined Sherrie and does a terrific job teaming up with Caitlin Ford as complex yet confident Justice in a powerful medley of Quarterflash’s Harden My Heart and Pat Benatar’s Shadows of the Night. Lambert also shines in a sweet yet intense rendition with Misiaszek for Extreme’s More than Words, Bad English’s To Be with You, and Warrant’s Heaven medley. Melissa Carubia as spunky and resourceful renegade Regina is all spirit and heart for Twisted Sister’s We’re Not Gonna Take it and light and amusing rendition of Starship’s We Built this City and Styx’s Too Much Time on My Hands.
Shane Hennessey makes a big entrance as mysterious Stacy Jaxx (in a nod to another famous 80s rocker) to Bon Jovi’s Dead or Alive. Ryan Barrow’s vibrant set design is on point especially one scene in a nightclub bathroom. It is easy to feel the grime watching that signature nightclub bathroom from the audience. Janis Hudson portrays compelling Denise Dupree with a tough façade, dry humor, and a Joan Jett vibe while Christopher Spencer offers some refreshing and sometimes goofy comic relief as Franz.
That is just a taste of the wide range of rock numbers in store. A jukebox rock musical, Rock of Ages is best enjoyed as an extended MTV music video at a time when music was mainly performed on MTV. The rock medleys have cheek and sass and in the real world oozing with serious drama (where to start) Rock of Ages is meant as pure entertainment and each fun loving character a representation of a lighter time. You may find yourself bobbing your head, singing along, or both to the catchy tunes you may or may not have lived through, but nonetheless have stood the test of time in their own vibrant way.
Prior to the Rock of Ages musical on opening night, Company Theatre offered a VIP pre-show that featured plenty of 80s nostalgia and delicious treats including Pop Rocks, shrimp cocktail, cheese and crackers, vintage-style cupcakes, and a special Ecto Cooler cocktail.
The Company Theatre presents Rock of Ages without an intermission through Sunday, August 22 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information, upcoming events, and tickets.
Opening with a remarkable reflection connecting theatre to the human heart, a bare stage shows signs of life once again.
Potomac Theatre Project (PTP/NYC) opened their virtual summer play series earlier this month with Lunch, a clever show that unconventionally explored the art of conversation. Directed judiciously by Cheryl Faraone, Standing on the Edge of Time waxes both political and poetic in conversation as it explores the bleak yet hopeful state of the world through a selection of works from different authors.
Standing on the Edge of Time is the second of three summer virtual plays presented by PTP/NYC and continues through July 27. Viewings are free and donations are encouraged. This show was filmed adhering to Covid guidelines, runs approximately 90 minutes, and has mature themes. Click here for more information, how to view the show, and how to support PTP/NYC’s mission.
From the haunted balconies of an old, empty theatre, even the dead wrestle with their wild, melancholy, and world-weary experiences in Mac Wellman’sCrowbar. This segment provides the perfect framework leading into various works that delve into contemporary issues from freedom, frustration, road rage, and relationships to downsizing, grief, sex, and paranoia.
Though each segment is written by different authors, its engaging format provides a flow that rarely veers off course. The show boasts poetic and timely musings such as Mornings at the Lake with Madison Middletonand Spell of Motion by Stacie Cassarino with Stephanie Janssen featuring some beautiful outdoor cinematography as well as haunting James Saunders’Next Time I’ll Sing to You with Tara Giordano. Though the majority of Standing on the Edge of Time is thought-provoking, these quieter segments provide respite from the production’s heavier topics and satirical themes.
Some highlights include Dominique Morisseau’s relatable and occasionally humorous Skeleton Crew, the zany and unique ideas presented in David Auburn’sWhat Do You Believe about the Future, and the surprising facts revealed of history repeating in Constance Congdon’sTales of the Lost Formicans.
The cast portray a myriad of roles, but apart from Crowbar, do not seem like they are playing particular characters for the most part. The lively cast seems like a semblance of individuals exploring contemporary issues, fears, and unique ideas of the future.
PTP/NYC’s Standing on the Edge of Time continues streaming through Tuesday, July 27. Click here for more information. Please note there is a final segment following the production’s credits. PTC/NYC will present their final virtual summer show, A Small Handful from August 13-17.
Two people, immediately intrigued by the sight of each other, hesitate to speak to one another. Yet they have such remarkable things to say.
Steven’s Burkoff’sLunch takes off from the start in fascinating and dense musings as Mary, portrayed with perceptive shrewdness by Jackie Sanders and Thomas, depicted with charm and gall by Bill Army sit listening to the sea’s crashing waves as their lives unfold.
Directed meticulously by PTP’s Co-Artistic Director Richard Romagnoli, Potomac Theatre Project (PTP/NYC) presents Lunch virtually through Tuesday, July 13. The play contains some mature themes and is free to watch. Click here for more information and how to support Potomac Theatre Project.
Lunch makes the most of every moment of its approximately 40 minute runtime through Berkoff’s rich and enthralling script and groundbreaking style of dialogue. Letting the audience into each person’s thoughts and conversation, what makes Mary and Thomas mysterious while thoroughly engaging is the distinct contrast between what they say and mean. Their lively imaginations and their tantalizing and sometimes searing observations of one another seem unhinged amid their marginally polite discussions at first. Sanders is particularly astute at capturing Mary’s detachment while Army’s boyish and meandering charm make for some unique chemistry as their encounter escalates into a surprising conclusion.
Passionate, blunt, vivid, and occasionally shocking, Lunch also delves into earnestness and loneliness in a most unexpected way. Lunch continues through Tuesday, July 13. Click here for more information and PTP/NYC’s upcoming events in their 34 1/2 season.