musicals

REVIEW:  Thoughts set adrift and a lady waiting in Lyric Stage’s humorous and ruminating new musical, ‘Penelope’

Posted on by The Sleepless Critic

So many questions lie in an uncertain future.

Waiting can make you antsy, edgy, and frustrated while fluctuating between hope, anticipation and dread.  No one knows waiting quite like Penelope from Homer’s epic work, The Odyssey.  From a Cliffside island abode, Penelope waits for years for her husband to come home after the Trojan War with no idea of what’s ahead.  However, boasting an eclectic mix of catchy, playful, melancholy and soothing songs, thoughts travel even when the body does not and a lot can happen even while the world is still.

Directed with introspection by Courtney O’Connor with eclectic music direction by Dan Rodriguez, Lyric Stage presents Alex Bechtel’s new musical, Penelope live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, March 1.  This stirring and semi-interactive one woman cabaret style production contains adult language and runs 80 minutes with no intermission.  Click here for more information and for tickets.

Aimee Doherty in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Homer’s The Odyssey is considered one of the most influential and most read mythological works of all time and has been getting particular attention lately.  American Repertory Theater debuted Kate Hamill’s The Odyssey last year and this summer, Matt Damon leads an all star cast in Christopher Nolan’s new adaptation of The Odyssey.  The Odyssey explores several significant themes including war, temptation, survival, and redemption, but it is not necessary to refresh yourself on Homer’s work to appreciate this musical.  Its focus is less on the plot and its exclusive focus is on Penelope’s perspective, Odysseus’s clever, steadfast, and powerful wife who holds onto hope for Odysseus’s return while touching upon a few themes from Homer’s classic work.  Penelope also explores the relatable nature of waiting and looking for answers while facing an unknown future.

Ethan Wood, Dan Rodriguez, Aimee Doherty, Kett Lee in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Illuminated in warm pastels and elegant and detailed oceanic ripples by Karen Perlow, Janie E. Howland’s wooden, wicker and stone set has certainly created a beautiful and inviting sanctuary for Aimee Doherty as Penelope in her Ithaca Cliffside abode in vibrant teal adornments.  Mikayla Reid’s breezy costumes further captures the musical’s carefree Grecian façade with the onstage orchestra adorned all in white and Doherty stands out in a flowing burgundy jumpsuit.  The manner in which the intimate orchestra take the stage accompanied by Alex Berg’s soothing and sweeping sound design provides comfort and solace and Doherty’s occasional interactions with them feel more like a collaboration than exclusively a one woman musical. 

Aimee Doherty, Ethan Wood, Dan Rodriguez in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

However, Penelope’s heavy heart has much to consider in deep reflection in her soaring vocals as she waits for her husband’s homecoming. This musical takes its time, but in a gradual unfolding without dragging.  Every moment builds with care.  Doherty’s Penelope is clever, frank, graceful, charming and is all too aware of her place in the world in the Bronze Age, even with the show’s contemporary flair.  She remarkably evokes her thoughts and a myriad of complex emotions while quietly inviting you on this journey.  Doherty’s tense stillness, quiet anticipation, vulnerability and stark loneliness are palpable as her eyes flicker and in a jolting movement, her feelings may sweep over you as well.

Marissa Licata, Aimee Doherty, Dan Rodriguez, Ethan Wood in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

As much as the musical is about the anguish of waiting and suffering as depicted in the frustrating Prayer and poignant number Lose My Mind, Penelope also provides its share of raw and humorous moments in both dialogue and song as demonstrated in the cheeky Drunk Iliad.  Funny, soothing, and earnest, Penelope unveils the wonder of the ordinary even if the waiting is the hardest part.

Directed with introspection by Courtney O’Connor with eclectic music direction by Dan Rodriguez, Lyric Stage presents Alex Bechtel’s new musical, Penelope live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, March 1. Click here for more information and for tickets.

REVIEW: An amusing battle of wits at Hive Theatre Company’s ‘The 25th Annual Putnam County Spelling Bee’

Posted on by The Sleepless Critic

It can be a strange form of intellectual entertainment. 

The contestants range from excitable to anxious to charismatic while braving through the pressure to succeed.  With spell check just a click away, knowing how to spell complex words such as Xanthosis, Autochthonous, or Logorrhea almost seems like an archaic practice.  However, Scripps National Spelling Bees are seen all over the world and like any competition, plenty of drama is happening behind the scenes. 

Smoothly directed and choreographed by Margaret McFadden with John Eldridge’s witty music direction, The Hive Theatre Company dives into an interesting match of wits with the award-winning musical comedy, The 25th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts.  This semi-interactive production runs 1 hour and 45 minutes with one intermission and contains some adult humor.  Click here for more information and for tickets.

The cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Based on a book by Rachel Sheinkin and William Finn and featuring playful and insightful songs from its Grammy award-nominated album such as I’m Not That Smart, Pandemonium, and I Speak Six Languages, The 25th Annual Putnam County Spelling Bee explores the lives of quirky and feverishly ambitious Putnam Valley Middle School students who are not only striving to win the bee, but to find their place in the world.

Alex Kennedy and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Featuring a live four piece band in the background, the BCA Plaza Theatre offers a fitting scholastic vibe for a spelling bee.  Kevin Deane Parker’s modestly staged set features a blue school door, colorful metal chairs and auditorium seating.  No spelling bee should be without a sponsor and Putnam Optometrists have stepped in with a humorous slogan across the judge’s table.  Samantha Wolfrum’s wild and eccentrically charming costumes illustrate each character’s distinctive qualities.

Before addressing each one of the improvisational wizards that compete in Hive Theatre Company’s production of The 25th Annual Putnam County Spelling Bee, it is important to note that the audience plays their own part in the bee.  This small cast makes a big impression, and this zany musical comedy tests the audience’s knowledge as four lucky guest volunteer spellers have the honor of taking the stage to compete with the cast.  It is an amazing experience to be a guest speller as the cast keeps them on their toes all in good fun. 

Amanda Wade and Cameron Nye in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

If offered this opportunity, do not let fear and the unknown override a wonderful chance to join in the excitement of the bee along with the outside possibility of getting serenaded by some real talent.  The interactive antics are just part of what makes this improvisational musical comedy unique and doused in a bit of the “reality show” flavor.  Each performance of The 25th Annual Putnam County Spelling Bee leaves its own individual and lasting impression.

From caricature voices to bizarre antics, this spelling bee cast leans into and emphasizes character quirks much more than endearing qualities than other version I have seen while relishing in their own various idiosyncrasies.  To these students, spelling can be ruthless and punishing and are certainly feeling the pressure.  Full of anxiety and neurotic awkwardness, each adolescent has their own humorous ways of coping to achieve a win paired with the difficulties of growing up.  Learning each speller’s story and why they are participating in the Putnam County Spelling Bee (and needs a win) can be insightful, comical, and moving.

Salvatore Guillermo Garcia, Amanda Wade and Maya Gopalswamy in The Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Running the Bee is Amanda Wade as Rona Lisa Peretti, former winner of Putnam’s Spelling Bee.  Peppy, orderly, and with polished vocals, Wade doles out fun facts about the contestants with palpable enthusiasm especially during the excitable number, Rona Moment #1.  She and Josh Telepman as Vice Principal Douglas Panch are responsible for quite a few clever one liners during the show, feeding off each other’s varied personalities. 

Anna Wright and Salvatore Guillermo Garcia in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Salvatore Guillermo Garcia is impressive as intense, firm, but sensitive Mitch Mahoney who hands out cure-all juice boxes to eliminated contestants as he supervises the competition.

Maya Golalswamy and Kaden Mays in Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Outlandish and peculiar, the remarkable spellers play well off each other and boast particular chemistry and harmony during the numbers, Pandemonium, My Friend, the Dictionary, and Magic Foot which fittingly features a kick line.  Maya Gapalswamy as Olive and Kayden Mays as William display some awkwardly cute chemistry.  Gapalswamy as hesitant and sweet Olive Ostrovsky is also sympathetic in a stirring rendition of The I Love You Song with Amanda Wade and Salvatore Guillermo Garcia.  Anna Wright as Logainne Schwartzandgrubenniere, an anxiously outspoken bright-eyed girl in braids with a lisp forlornly laments Whoa is Me and Alex Kennedy is memorable as Leaf Coneybear, an intense, wildly dressed savant in a cape and bow tie while Cameron Nye has more than spelling on his mind as shy and daydreaming Chip Tolentino.  Ashley Ha is ironically charismatic as socially awkward and rigid perfectionist Marcy Park especially for the athletic number, I Speak Six Languages.

Kaden Mays (center) and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

In a tricky environment where so much rides on improvisation, the cast navigates their characters while gliding through any challenging circumstances.  The show inserts a few interesting pop references and contemporary issues into this timeless musical comedy.  Some elevate the comedy while others seem out of place.  Overall, The Hive Theatre Company’s musical comedy, The 25th Annual Putnam County Spelling Bee is a clever and original musical production that may just leave the audience feeling a little smarter.

The cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

The Hive Theatre Company continues musical comedy, The 25th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts.  Click here for more information and for tickets.

REVIEW: Vivo Performing Arts presents ‘What Makes it Great?’ with Rob Kapilow highlights the brilliance of Broadway’s Lerner and Loewe

Posted on by The Sleepless Critic

What elements contribute to a great song?

On a grand piano alongside a trio of talented singers at center stage, NPR’s popular composer, conductor, and master music analyst Rob Kapilow continues his 27th year captivating audiences with his vast musical knowledge, sense of humor, and careful analysis of what makes the best songs tick.  Every note, lyric, and rhythm is meticulously constructed to bring out the excitement and enrich the scope of the piece and Rob Kapilow shows you just how they do it.  Though music styles and genres inevitably change, Rob Kapilow may make you see your favorite songs in a whole new light.

Rob Kapilow as Vivo Performing Arts presents ‘What Makes It Great’ Credit Robert Torres

Vivo Performing Arts, formally Celebrity Series of Boston, presented What Makes it Great? with Rob Kapilow live and in person at New England Conservatory’s Jordan Hall in Boston, Massachusetts for one night only Saturday, January 17 at 8PM.  This semi-interactive performance ran 90 minutes and included a short question and answer session.  Click here for more information on the performance and here for a closer look at Vivo Performing Arts’ upcoming events. Click here to learn about all of Rob Kapilow’s works including his next stop in his What Makes it Great series.


Whether you are music virtuosos or a casual music listener, Kapilow consistently offers something new that in some way will change the way you hear music for the better.  Though often speaking to a large audience, Rob Kapilow is so personal, relaxed and friendly during his talks, it often feels like a one-on-one session on a baby grand piano.  He is so popular with the Vivo Performing Arts crowd, he offers at least two appearances a season tackling everything from swing to dance to classical to Broadway music revealing each song’s inherent brilliance.

Rob Kapilow, Emily Albrink and Ben Jones in Vivo Performing Arts Presents ‘What Makes it Great’ Credit Robert Torres

Featuring a few of American lyricist and librettist Alan Jay Lerner and Austrian composer Frederick Loewe’s classic Broadway songs from Camelot, My Fair Lady and Brigadoon, Kapilow uses a mix of sophistication, humor and an easy to follow delivery to explore each song’s appeal and emotional undertones through its carefully selected musical notes. 

Delving into the Golden Age of Broadway as well as Lerner and Loewe’s dynamic history, Kapilow chose a selection of lighthearted and dreamy songs as well as pivotal numbers from musicals that leads to a character’s imminent transformation.  With humor and grace, Kapilow also reveals what each song might have sounded like without its individuality and as he peels back each layer, What Makes It Great? becomes an eye-opening experience. 

Calling on a couple of Broadway love songs, Kapilow was accompanied by soprano Emily Albrink and stirring singer, actor, and musician Ben Jones.  Jones and Albrink share gorgeous harmony and lighthearted chemistry for duets Brigadoon’s Almost Like Being in Love and playful Heather on the Hill.

Rob Kapilow, Ben Jones, and Emily Albrink as Vivo Performing Arts

Touching upon Rex Harrison’s complex casting in My Fair Lady, Kapilow ties in music and lyrics which waltz together teetering on so many emotions for I’ve Grown Accustomed to Her Face in which Jones articulates in an animated and humorous rendition.

Rob Kapilow, Emily Albrink and Hayden Lockhart as Vivio Performing Arts presents ‘What Makes it Great’ Credit Robert Torres

In an elegant flowing dress, Albrink brimmed with excitement evident is her full and rich vibrato as she delivered an exuberant rendition of My Fair Lady’s I Could Have Danced All Night.  In a jacket, tie, and bathed in rose lighting, Jones croons, mastering the complex and emotional weight of Camelot’s stirring ballad If Ever I Should Leave You, before concluding with a bold finish. 

Rob Kapilow, Emily Albrink, and Ben Jones as Vivo Performing Arts presents ‘What Makes it Great’ Credit Robert Torres

From classic songs and American Standards such as It’s Almost like Being in Love from Brigadoon to the high-spirited I Could Have Danced All Night from  My Fair Lady to a humorous and not to be missed I Remember it Well from Gigi, Rob shows how compulsive American lyricist Lerner of the famed retail stores and poverty-raised and frugal Austrian composer Loewe poured themselves and their imaginations into their music to create some real Broadway magic.

Vivo Performing Arts, formally Celebrity Series of Boston, presented What Makes it Great? with Rob Kapilow live and in person at New England Conservatory’s Jordan Hall in Boston, Massachusetts for one night only Saturday, January 17 at 8PM.  Click here for more information on the performance and here for a closer look at Vivo Performing Arts’ upcoming events. Click here to learn about all of Rob Kapilow’s works including his next stop in his What Makes it Great series.

REVIEW:  Adam Theater’s whimsical ‘Library Lion’ sings and wonderfully inspires

Posted on by The Sleepless Critic

“A book’s cover is like a big door.”

As an avid bibliophile, this significant quote from Library Lion could not ring more true.  Extraordinary things do happen when you read.

One of the big doors that unleash a limitless imagination is the library.  Unlike streaming, movies or television, a book is a movie for your mind and Library Lion, one of Time Magazine’s top 100 Children’s books, highlights the joys of reading and what to expect at the library until someone unexpected arrives.

Wisely directed by Ran Bechor with impactful music by Yoni Rechtor and dynamic music direction by Tomer Sne, Adam Theater continues Michelle Knudsen’s Library Lion live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, January 25.  This enchanting, semi-interactive, and family-friendly musical play is not limited to the stage and runs approximately one hour and 10 minutes with no intermission.  Click here for more information and for tickets.

The full cast of Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studios

The commotion is electric among this youthful crowd anticipating what is about to take place onstage. Whether young or old, this charming musical production does not disappoint. Books and other set pieces come to life in subtle, yet charming special effects refreshingly crafted with limited use of CGI or sophisticated digital screens.

Cast members from Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio

Unveiling Cameron Anderson’s stunning multicolor and vibrant, multilayered rolling set, Library Lion features an exuberant cast which includes a realistic lion puppet created by Jim Hensen’s Creature Shop waltzing to Irene Wang’s mischievous and playful sound design.  In striped garments, a puppetry trio which includes Sophie Kauffman, Sydney Grant and Sarah Nolen directed by Kate Brehm, operate and deliver a beautifully stylized lion portrayal from its powerful roars to its intricately blinking big blue eyes adorned with a multi-toned mane.

Puppeteers Sophie Kauffman, Sydney Grant and Sarah Nolen from Adam Theater’s production of LIBRARY LION. Photo by Nile Scott Studio

Eli Bijaoui’s clever and occasionally rhyming dialogue and simple, yet catchy songs by an intimate, three piece orchestra are well paced and mostly jovial as Jayden Declet as precocious Michelle and Aaron Mancaniello as reserved Kevin discover the wonders and virtues of the library with the help of Janis Hudson as charismatic and practical Ms. Merriweather, Robert Saoud as moody yet endearing Mr. McBee, and Clara Hevia as a lively yet frenzied storyteller.

l.-r. Janis Hudson, Jayden Declet and Ken Crossman in Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio

Declet and Mancaniello share an easy rapport and start some minor chaos as they venture through the library’s doors as a clock is perpetually set to when the library opens at 9AM.  In a distinctive velvet coat and bowtie, Saoud is wonderful as Mr. McBee in a sympathetic depiction of a librarian who sticks by the rules but longs for something more. In a flowing floral dress, a pleasant voiced Janis Hudson depicts Ms. Merriweather with a breezy practicality and in this performance, more than a passing resemblance to Laura Linney.  It is amazing how Hudson slips into characters with such finesse.  Hevia rounds out the cast with quirky style and unique energy as the library’s storyteller.

Janis Hudson as Mrs. Merriweather confronts the Lion in Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studios

You don’t need to be familiar with the pop culture references or books to enjoy this production, but you may wish to revisit or read them for the first time when they are introduced into the story.

The library is a treasured sanctuary for many reasons and the Library Lion sings its well deserved praises where you can occasionally sing-along.  Library Lion offers much more than life lessons, but delivers a compassionate and imaginative storyline that does not come off as preachy or condescending.  It offers humor, silliness and heart that will keep children engaged and at one point, brings the audience right into the story.  I say that is time well spent.

Cast members from Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio

Adam Theater continues Library Lion live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, January 25.  Click here for more information and for tickets.

REVIEW:  American Repertory Theater’s world premiere an imaginative and optimistic ‘Wonder the Musical’

Posted on by The Sleepless Critic

A violet pixelated galactic sky is marvelously portrayed from a spaceship bed and that is only the beginning.

Garrett McNally delivers a moving portrayal as inquisitive Auggie whose vibrant imagination spans the vast cosmos. Born with Treacher Collins Syndrome, Auggie’s world has always been limited to home schooling.  However, when Auggie is about to attend fifth grade, Alison Luff as Auggie’s practical mother Isabel insists he attend public school.  With guarded optimism, Auggie ventures apprehensively on this new journey.

Nathan Salstone, Garrett McNally, and members of the cast of Wonder.
Photo: Hawver and Hall

Insightfully directed by Taibi Magar with Katie Spelman’s enchanting choreography and Ryan Cantwell’s uplifting music direction, American Repertory Theater (A.R.T.) continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts.  This family-friendly and engaging production is approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

In 2012, R.J Palachio’s first novel Wonder became a New York Times best seller before it was adapted into a heartwarming 2017 film of the same name starring Julia Roberts, Owen Wilson and Jacob Tremblay.  It seems only natural that this remarkable story has now been warmly transformed into a compelling musical.

Wonder Production Photo Nathan Salstone, Javier Muñoz, Alison Luff, Garrett McNally, and Kaylin Hedges in Wonder.
Photo: Hawver and Hall

Though Wonder is not based on a true story, Auggie’s story draws from real life experiences of individuals who struggle with this craniofacial condition.  It tackles bullying, prejudice, empathy and kindness, but what sets this intriguing musical apart is how it delves into perspectives.  Auggie may be the central figure in this musical, but a large part of the story focuses on each character’s perspective and the unexpected struggles of those who seem to have it better than Auggie at first glance.  Learning to walk in another’s shoes has never been so important.

Set designer Matt Saunders with lighting designer Bradley King richly articulates this glowing musical’s significant themes symbolically through a multicolored and animated pixilated landscape rhythmically peppering a revolving stage. These pixels can enhance, enliven and moderate the musical’s weightier scenes, but particularly illuminating Auggie’s amazing cosmic universe. Imaginative backpacks, colorful streamers, expressive T-shirts and detailed, fanciful costumes are just a sample of Linda Cho’s exuberant costume design.

Wonder Production Photo Alison Luff and Garrett McNally in Wonder.
Photo: Hawver and Hall

Wonder boasts its share of feel good moments featuring a strong cast. The chiming pop-infused score with lyrics and music by A Great Big World with Cody Spencer’s robust sound design keeps the show hopeful and optimistic even in the face of its heavier and poignant moments. Alison Luff as Isabel, Javier Muñoz as Nate, Kaylin Hedges as Via and Garrett McNally share a natural tight-knit chemistry facing the world as Hedges as Via affectionately calls her family ‘our little galaxy.’ There is a quiet earnestness built into this family when they step aside for one another. Hedges brings an affinity to this complex role with quiet yearning as Via through soaring vocals who consistently puts Auggie first in her solo, Around the Sun.  Luff and McNally share a stirring bond in a fiddle-laden and powerful rendition of You are Beautiful. 

Led by Melvin Abston as energetic Mr. Tushman, Beecher Prep School teachers share an idyllic infectious glee, enthusiasm, and occasionally lovable awkwardness as they navigate the curriculum with verve and charm.

Wonder Production Photo
Garrett McNally and Donovan Louis Bazemore in Wonder.
Photo: Hawver and Hall

Skylar Matthews charismatically shines as excitable and precocious theatre student Charlotte, especially during her engaging solo, You Didn’t Hear it From Me as she waltzes across the stage.   Donovan Louis Bazemore seamlessly navigates conflicted Jack who brings warmth and sincerity to the number, Shoes.  Paravi shows off sharp comedic timing while lightening a heartfelt moment with Hedges.

Garrett McNally (Auggie) and the cast of A.R.T.’s world-premiere production of Wonder bow in front of the Opening Night audience.

Nathan Salstone is no ordinary Moon Boy.  From the exciting 3-2-1 Blast Off and throughout the production, Salstone’s mellifluous vocals and reflective demeanor with Auggie brilliantly elevates each scene.

Wonder is an intuitive, imaginative and heartfelt creation that celebrates the value of loyalty and friendship while sharing significant life lessons prevalent for all ages. You may step away from Wonder the Musical seeing a brighter world too.

American Repertory Theater continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts.  Click here for more information and for tickets.

Sleepless Critic’s Top Ten Performances 2025

Posted on by The Sleepless Critic

Of the performances the Sleepless Critic has reviewed, here are the Top Ten favorite Performances:

The National Touring Company of PARADE, photo by Joan Marcus
Members of the Passengers company in performance. Credit: Grace Gershenfeld
David Castillo as Kenneth in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography
Jade A Guerra and Patrice Jean-Baptiste in Central Square and Front Porch Arts ‘s Collective ‘Her Portmanteau’ Photo by Maggie Hall Photography

REVIEW:  A feast for the eyes on a grand scale with North Shore Music Theatre’s merry musical treat, ‘A Christmas Carol: A Musical Ghost Story’

Posted on by The Sleepless Critic

Set in London 1843, A Christmas Carol is the classic tale of Ebenezer Scrooge, a wealthy, penny-pinching old miser who has no use for Christmas until his past comes back to haunt him on Christmas Eve.  Only second to this tale are the amazing things I have heard about North Shore Music Theatre’s legendary production over the years.

Since 1989, North Shore Music Theatre has carved out a wonderful annual tradition retelling this thrilling Charles Dickens classic, A Christmas Carol: A Musical Ghost Story.   What I was unprepared for was how exhilarating the experience would be.

Absorbingly directed and whimsically choreographed by Kevin P. Hill with inventive Music Direction by Milton Granger, Bill Hanney’s North Shore Music Theatre continues A Christmas Carol: A Musical Ghost Story through Sunday, December 21 live and in person at North Shore Music Theatre in Beverly, Massachusetts.  This family-friendly theatre-in-the round musical experience is 2 hours and 20 minutes including one intermission.  Click here for more information and for tickets.

The cast of ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Haunting, immersive, and meaningful, A Christmas Carol: A Musical Ghost Story is a frequent holiday tradition with good reason.  So much more than the Charles Dickens classic, North Shore Music Theatre mixes Christmas Carols, storyline twists, and calls on two athletic, infinitely energetic, and mischievous spirits invisible to the real world portrayed by Amy Bransky and Risa Michina to accompany Tommy Labanaris as an enigmatic magical narrator to unveil this thought-provoking tale of charity, compassion, and redemption. Labanaris’s charismatic vocals as narrator soothes while navigating the stage like a riveting magician.

Tommy Labanaris (Narrator) and Ainsley Moulton (Tiny Tim) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Clocks glow, bookcases float, streets fog and mist, a weather woodstove smokes, windows and lampposts frost and a transparent wrought iron door and ornate chandeliers are all part of the innovative rising and descending set pieces by Howard C. Jones.  Wondrous winter landscapes including snow covered rooftops, driving downpours, and festive, timely projections enhanced by twinkling, cheerful and ominous lighting by Jack Mehler as well as heightened special effects not limited the action just onstage engulf you in the unpredictable world of Charles Dickens.

Detailed bustles, pea coats, shimmering Victorian-era dresses in an array of patterns, flowing robes, cloaks, feathered hats and top hats are just a glimpse into Rebecca Glick’s stylish period costumes which certainly helps make A Christmas Carol a feast for the eyes.  The uplifting overture, orchestrated by Milton Granger and arranged by Alby Potts and James Woodland, is tinged in popular Christmas carols, a preview of the wealth of carols and additional songs added to this festive production.  The floating, live orchestra which includes a harp and recorder, are carefully spread out in sections around the theatre above and below the stage.  

God Rest Ye Merry Gentlemen, Here we Come A-Wassailing, Ding Dong Merrily on High, We Wish You a Merry Christmas, and We Saw Three Ships are some of the famous Christmas Carols featured in with original songs that brighten this haunting tale.

Kevin Patrick Martin (Bob Cratchit) and David Coffee (Ebenezer Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

North Shore Music Theatre’s production of A Christmas Carol also sets itself apart by weaving in the beauty of the season within the excitement of its joyous ensemble cast led by David Coffee as miserly Ebenezer Scrooge.   Coffee adds traces of sadness in Scrooge’s frank and daring boldness as a damaged soul.  Scrooge toils, scowls, and his dire sense of humor is not lost on his cheerful and generous nephew Fred, portrayed with jubilant warmth and perpetual optimism by Henry Thrasher who delights in pushing his uncle’s buttons in a wide smile.  In spectacles and a sour huff, Coffee is best showing hints of melancholy beneath his insistent resistance to kindness.  However, his overall interpretation becomes jollier as the show progresses as his arms stubbornly sway to music, offering as increasingly lighthearted Scrooge while observing glimpses of his complicated life.

The cast of ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Kevin Patrick Martin portrays humble, guarded, and sympathetic Bob Cratchit while Daniella Dalli depicts loyal, patient and occasionally exasperated Mrs. Cratchit in a moving performance.  Martin and Dalli deliver heartwarming and stirring moments with their large and lovely family including sweet Fiona Kelly as Tiny Tim as their voices lift for We Wish You a Merry Christmas.  Kelly charms Martin and Coffee instantly with We Saw Three Ships. The joyfulness in the Cratchit household, despite their circumstances, perhaps mirror the life Scrooge might have had with Caroline Siegrist as steadfast Belle and what might have been.

Caroline Siegrist (Belle) and Nathan Haltiwanger (Young Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Grandly adorned in a gorgeous lit crown, veil and glittering pristine gown and glowing porcelain features, Daniella Dalli delivers warmth and angelic soprano vocals as the Ghost of Christmas Past, especially for the soaring number, Dream within a Dream.  Serene and gentle, she brings out thawing in Scrooge’s curmudgeonly soul.

Daniella Dalli (The Ghost of Christmas Past) an David Coffee (Ebenezer Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Majestic in a crown of holly, carrying a staff with and an air of warm yet firm benevolence, Davron S. Monroe skillfully glides across the stage boasting his signature melodious timbre as charismatic, jolly and larger-than-life Ghost of Christmas Present and as half of a pair of mirthful philanthropists alongside returning Russell Garrett. Alongside Davron, Violet Black and Joseph Hobbib captivate as foreshadowing spirits. 

Davron S. Monroe as The Ghost of Christmas Present in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

As green lanterns glow, Mark Worth is remarkably ghoulish as Jacob Marley with some very impressive special effects.  A ghastly presence with gravelly vocals and chains that seem to go on for miles, Worth as Marley does a marvelous job as a tortured and distressed soul boasted by extraordinary special effects that never overwhelm Worth’s powerful performance.  The silence is deafening as Nathan Haltiwanger delivers a veiled and mesmerizing Christmas Yet to Come.  I most assuredly cannot leave out Cheryl McMahon’s marvelous return as expressive and hilarious Mrs. Dilber. 

David Coffee (Ebenezer Scrooge) and Mark Worth (Jacob Marley) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Even those most familiar with this classic tale will encounter some welcome twists and surprises. If the holiday season is not spreading the merriment that is should be this year, North Shore Music Theatre’s A Christmas Carol will certainly restore that heartwarming feeling, indeed.

Cheryl McMahon (Mrs. Dilber) and David Coffee (Ebenezer Scrooge), both will be celebrating their 31st production of ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

A Christmas Carol:  A Musical Ghost Story continues at North Shore Music Theatre live and in person in Beverly, Massachusetts through Sunday, December 21.  Click here for more information and for tickets.

REVIEW:  Unlocking memories inside The Huntington’s stirring and remarkable ‘Fun Home’

Posted on by The Sleepless Critic

It’s funny what you recall in life. 

Memories can be tricky.  As time goes by, perspective changes as a person grows, transforming a memory and gradually revealing details once never considered or understood before.  Alison’s home seals in cartoonist Alison Bechdel’s intimate memories as she writes her memoirs through her work, ruminating on her childhood and upbringing to discover what makes her feel like she is stuck in life.  Alison uses cartoons because drawing as a child, she recalls, ‘I need real things to draw from because I don’t trust memory.’

Five-time Tony award-winning musical Fun Home explores different perceptions of reality within the Bechdel household.  They wrestle with it, deny it, but ultimately, must come to terms with it.  Based on Alison Bechdel’s graphic novel memoir with complex direction by Logan Ellis, Taavon Gamble’s dynamic choreography and Jessie Rosso’s compelling music direction, The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. This poignant musical deals in some mature themes and runs 1 hour and 40 minutes with no intermission.  Click here for more information and for tickets.

Lyla Randall and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin

The Huntington is known for its extraordinary sets and Fun Home is no exception.  Beneath a delicately adorned chandelier, Fun Home takes an intimate look inside a family seemingly full of zeal and an antique house so tidy and flawless in all its finery flanked with towering bookshelves, a fireplace, grand piano, detailed wallpaper and richly placed stained glass, it neatly hides any cracks and crevices underneath. Tanya Orellana’s rolling sets meticulously combines Gothic Victorian-style details with Pennsylvania’s natural beauty in a portrait landscape of trees.  While Fun Home unveils the Bechdel family’s complicated world piece by piece, it may also quite symbolically depict Alison’s increasing ability to see the forest for the trees. 

Sarah Bockel in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Led by and musically directed by Jessie Rosso, this intimate, seven piece orchestra sits through an open piece of “sky” carved into the backdrop in a soothing, fiddle-laden soundtrack which blends light, airy, and melancholy.  From its opening song, It All Comes Back to the Flying Away finale, Jeanine Tesori’s captivating musical numbers hold a spectrum of rich and multi-faceted meaning.  The catchy, Partridge Family-inspired with a hint of Jackson 5 grand number, Rainbow of Love is a particular highlight, enhanced by matching reflective and fringed retro costumes, just a portion of Celeste Jennings’s colorful and era exacting costume design.

Sarah Bockel and Lyla Randall in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin

With its share of comedic and uplifting moments, Alison looks back on her relationship with her enigmatic and intellectual father Bruce and her traveling and ill at ease mother, Helen.  Alison is the only individual that outwardly transforms in this piece, thanks to the exceptional work of Maren Phifer in for Lyla Randall as adorably precocious and impressionable Small Alison in braids and overalls who springs to life in an ingenious manner. Phifer performs an impeccable and chiming version of Ring of Keys and shines with Odin Vega as Christian and Caleb Levin as John in the darkly humorous title track, Fun Home in impressive harmony.  Maya Jacobson aptly depicts naïve, anxious, excitable, yet awkward Medium Alison while Sushma Saha is walking confidence as cool and collected Joan.

Caleb Levin, Odin Vega, Lyla Randall in Fun Home; Directed by Logan Ellis; Photo by Marc J Franklin

With black rimmed glasses and short dark hair, Bockel slips into Alison’s wounded façade, a mature, jaded and intellectually-driven individual.  With a dark sense of humor, Bockel is an omnipresent narrator on this emotional journey evoking confusion, warmth, sorrow, and frustration realizing every fine detail of Alison’s younger years while struggling to build strength into each new discovery.

Sushma Saha and Maya Jacobson in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Director Logan Ellis strives to examine the physical and intellectual similarities between Alison and Nick Dukart as Alison’s father and it is fascinating to witness their side by side similarities. Duckart allows Bruce’s flaws override what is often viewed as an overtly sympathetic performance.  He skillfully lays bares the many sides of Bruce as a critical businessman and showman with a refined intellect, and perpetually occupied to become an expert on most everything.  Seemingly a friendly, strict, and hardworking family man, Bruce is also secretive, unsettling, dazed and closed off.  Duckart’s melodious and affecting baritenor vocals captures Bruce’s complex and unspoken feelings in each number, including the poignant song Pony Girl, but most notably in his harrowing rendition of Edges of the World.

Sarah Bockel and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Each Alison is earnest in portraying their wrought frustration in every moment they attempt to identify and make a genuine connection to him, but especially in the bittersweet song, Telephone Wire.  Duckart depicts Bruce with a defensive irritability yet tempered with overpowering warmth for Alison which encapsulates some of the brighter moments in the musical.

Duckart and Jennifer Ellis as Alison’s conflicted musician mother Helen share tense and affective moments together and it is easy to see Helen’s teetering vulnerability within each argument and in all the weighted and lonely moments where Ellis imagines her life should be. 

Unassuming, overwhelmed, and misunderstood surrounded by outward perfection, Ellis’s Helen lives her life distancing herself from reality putting others first reflected in the heartrending and beautiful number Days and Days, a number in which Ellis brought me to abrupt tears. 

Jennifer Ellis in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Some things cannot be fixed.  Painful and difficult times as well as those joyful moments might not have been as once imagined.  The key is to learn from it and take the next step.

The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. Click here for more information and for tickets.

REVIEW: Superstition, Marilyn Monroe, dancing and an inevitable bond in Theater Uncorked’s unconventional musical ‘Blood Brothers’

Posted on by The Sleepless Critic

For Mrs. Johnstone, life went awry  as soon as the dancing stopped.

With ominous direction by Audrey Seraphin, sharply choreographed by Audrey Johnson with Gina Naggar’s musical direction, Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts.  This poignant production is two hours and 50 minutes including one intermission.  Click here for more information and for tickets.

Sehnaz Dirik Lauren Casey and Kate Funderburk and cast in ‘Blood Brothers’ Photo by Gary NG

Two households sit side by side.  One adorned in floral stained glass and expensive trim while the other door stands weathered and chipped with a dated floral arrangement hung from the door by Leonard Chasse.  However, these two households will connect through an inescapable bond that neither household can possibly shake.

Sehnaz Dirik in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Twins separated at birth is a story that has been told before, but this particular tale is introduced as the stuff of legend.  Taking place in Liverpool, England from the 50s through the 80s,  Blood Brothers is a musical about two households separated by social class.  Sehnaz Dirik portrays fanciful and pregnant Mrs. Johnstone whose husband leaves her and their children.  Now, a single mother trying to make ends meet, Mrs. Johnstone works for the wealthy Lyons family as their house keeper while Mrs. Lyons struggles to have children.  When Janet Pohli as petty and unhappy Mrs. Lyons finds out Mrs. Johnstone is expecting twins, a manipulative plan slowly starts to take shape.

Blood Brothers doesn’t seem to fit squarely as a musical and would work just as well as a play.  The show’s unconventional elements deliver a folk pop flair and the story is shared like a cautionary tale as characters sing at odd moments.  Blood Brothers is a well cast production that depicts individuals of all ages with Janet Pohli as a particular standout in a commanding performance behind a meek smile as Mrs. Lyons, a woman who is not to be underestimated.

Janet Pohli and Zach Fuller in Theatre Uncorked ‘Blood Brothers’ Photo by Gary NG

James Honaker interestingly portrays her preoccupied workaholic husband Mr. Lyons who always seems half here and halfway back to work.  It’s fascinating to watch them circle one another, interested in everything around them but each other.

Chris Edwards seamlessly steps into a number of roles which include some nefarious characters that haunt the production, but his main role is that of the mysterious narrator.  Edwards pops up and lurks out of the shadows, especially when the production is about to take a dark turn.  Edwards steps into each of these roles with ease infusing foreboding vocals and haunting reprises.

Dirik also aptly depicts tormented Mrs. Johnstone who is forced to make an impossible choice for the sake of her family and performs the lion’s share of the vocals aside from Edwards.  Dirik expresses vulnerability and melancholy in her resonating vibrato without the malice she has exhibited in previous roles.   

As for these legendary twins, Michael Mazzone as mischievous Mickey and Zack Fuller as shy and straight laced Eddie connect as carefree kids in a tale that spans decades.  Seeming opposites, but share an instant connection like a missing link in impressionable Eddie’s life.  The wide eyed gall in Mickey and his charming family seem to fill a void for this lonely and studious child.  

Bold and fun loving, Lauren Casey shines as lovestruck Linda for Mickey.  Casey’s gleaming smile and gentle  demeanor with a bit of a tough streak is charismatic and charming.  She also shows a great rapport with the rest of the cast and they run around the neighborhood on adventures.

Zach Fuller Michael Mazzone and Lauren Casey in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Blood Brothers covers a great deal of topics including social class inequality, recession, family, and heartbreak while tackling the sins that could come back to haunt you.  The show spans decades and it at times seems long, but has its share of bright and moving moments of two families tied together by fate.

Michael Mazzone and cast in Theater Uncorked ‘Blood Brothers’ Photo credit Gary NG

Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts.  Click here for more information and for tickets.

REVIEW:  Superpowers, grunge and dragons in SpeakEasy Stage’s zany indie-rock musical ‘Lizard Boy’

Posted on by The Sleepless Critic

In a musical world of grunge and dragons, Lizard Boy stands alone.

Unforeseen circumstances bring together a quirky trio of characters and onstage multi-instrumentalists when Keiji Ishiguri as introverted, anxious and well meaning Trevor leaves his apartment hideaway once a year.  Longing for real connection and a possible love interest in Peter Dimaggio as goofy, friendly and squeamish Cary, Trevor reluctantly practices a little faith over faith.  However, so much can happen just stepping out your front door.

From left: Chelsie Nectow, Keiji Ishiguri, Peter DiMaggio Photo by Benjamin Rose Photography

Blending dark humor, fantasy, mythology, sci-fi, action and horror with harmonious musical flair, Lizard Boy takes an earnest look at isolation, trauma, and loneliness. It is going to take a lot more than a simple song or even an apocalyptic event to unleash Trevor’s true reasons for staying home or the inexplicable sting in Trevor’s back.

With Book and Lyrics by Justin Huertas, rhythmically directed by Lyndsay Allyn Cox and creatively Musically Directed by Violet Wang, SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22.  With Playwright Justin Huertas in the audience during the performance I attended, this edgy production contains adult content and humor and runs 100 minutes with no intermission.  Click here for more information and for tickets.

Illustrated with comic book-inspired chalk drawings, colorful graffiti and band posters scattering the walls, Set Designer Qingan Zhang’s intriguing set provides a hint of the 90s though it takes place in the present day.  Sean Doyle’s mighty sound design can be overpowering at times, but there is a zing to the show’s perpetual harmonious rhythms (including the banging of a guitar case, carefully timed lightning and instruments that double as weapons) in a world where dragons really do exist.  After all, this Lizard Boy musical has scales…get it?  Clever. 

From left: Keiji Ishiguri, Peter DiMaggio, Chelsie Nectow Photo by Benjamin Rose Photography

Costume designer Zoë Sundra delivers a daring rock vibe which includes spandex, eye liner, furs, racer pants, flannels, graphic tees, and chained red booties.  With a blend of satirical and upbeat indie-rock tunes in unconventional rhythms using various instruments including a kazoo and the ukulele, Lizard Boy’s soundtrack is delivered with zeal and humor as this skilled trio must contend with each other for the sake of their world.  

From left: Chelsie Nectow, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

A portion of the tunes are delivered in a stream of consciousness fashion infused with pop culture references such as Ishiguri’s Trevor’s title track.  Tambourine-tinged The Whoa Song boasts catchy and powerful harmonies you may be humming after the show is over.  Clelsie Nectow depicts manipulative, relentless and occasionally unhinged Siren with raw prowess while delivering seething vocal rhythms faintly resembling Evanescence’s Amy Lee for A Terrible Ride.  Peter DiMaggio and Keiji Ishiguri showcase their improvisation skills and vulnerability with Cary’s Song and Things I Worry About.

From left: Peter DiMaggio, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

Though the plot can veer a bit too outlandishly at times, Lizard Boy is a wild musical journey with action, comic book violence, a resounding message and a few revelations in a world where true superpowers can come from the unexpected of places.

SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22.  Click here for more information and for tickets.