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’sLibrary 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.
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.
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.
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.
Haunting, immersive, and meaningful, A Christmas Carol: A Musical Ghost Storyis 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Jon feels he is nearing the end of an era…his 30th birthday.
Creatively directed and choreographed by Ilyse Robbins with lively music direction by Jordan Oczkowski, Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM! Live and in person at Umbrella Arts in Concord, Massachusetts through Sunday, November 23. This introspective and humorous musical journey runs 90 minutes with no intermission. Click here for more information and for tickets.
Once a 2004 Off-Broadway musical, Tick, Tick…BOOM! was translated into a 2021 award-winning Netflix film adaptation directed by Lin-Manuel Miranda and scored an Academy award-nomination for Andrew Garfield before taking the stage at numerous theater companies worldwide. While creatively runs wild in the Netflix film, the Umbrella Arts musical is where you find the spark.
Anthony Pires Jr.* Vanessa Calantropo and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus
Set in January 1990, Tick, Tick…BOOM! Is a fascinating semi-autobiographical rock musical about Jonathan Larson, a struggling writer and composer living in New York City years before he created his hit rock musical, RENT. A writer writes about what one knows and so much of this story offers glimpses into Larson’s inspiration for that wildly-successful musical.
However, this is about the struggle and this musical is brimming with it. The painstaking work of creativity and all that could go wrong illuminates Tick, Tick…BOOM! as Larson struggles to keep it all together to achieve what at times seems impossible, especially in New York City. Tick, Tick…BOOM! is not only about Jonathan Larson’s frantic life, but it is also an ode to the artist and the struggle to live that extraordinarily competitive dream while just skirting out and skimming by trying to get a chance.
Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus
Erik Diaz’s barebones set symbolically offers a different approach to this production featuring dual level scaffolding (also featured in Rent) a weathered apartment balcony, staircase and a NYC skyline. It may symbolically stand as a work in progress much like this particular period in Jon’s life. However, Johnny Shea who delivers Jon’s detailed narration stretches the imagination to conjure up each setting such as a stainless steel kitchen, butcher block table, vast views and a luminous city skyline in a purple mist, part of Ben Rush’s warm and atmospheric lighting.
Anthony Pires Jr.* and Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus
At its creative center is likable narrator and lead Johnny Shea who is instantly earnest, introspective and charming as the frenetic Larson on the eve of Larson’s 30th birthday. The unconventional, imaginative, and quick-thinking Larson divides his time between writing, composing and working at the Moondance Diner. However, music and writing naturally pours out of Larson’s soul and he is often consumed by it at the expense of everything else.
For forward-thinking Larson, turning 30 is a looming chasm that soaks up every ounce of his time until that odious deadline demonstrated in the urgent and memorable number, 30/90. Shea as Larson considers turning thirty as the end of youth, but it is certainly not too old to accomplish remarkable things. Perhaps Larson always felt like he was running out of time.
This often lighthearted musical features a dynamic, infectious, and multi-dimensional soundtrack about living in your 20s in New York City and how life evolves. RENT’s influence is unmistakably evident in the catchy and humorous number featuring Anthony Pires Jr. as Michael and Shea in No More which also reflects the strong camaraderie between best friends Michael and Jon. It is also easy to recognize the roots that will develop Larson’s future work in Shea’s tender number Why.
Anthony Pires Jr.* and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus
Inside the Moondance Diner, Sunday features beautiful harmonies and clever quips. Vanessa Calantropo as Susan and Shea as Jon deliver a flirty duet with Green Green Dress. Therapy is a fantastic and humorous number about the miscommunication of love and the chipper and lighthearted Sugar is great fun. Johnny Can’t Decide harmoniously and pensively depicts the agonizing struggle living in the uncertainty of your dream or being practical which is a prevalent theme throughout the production.
With rich vocal arrangement and orchestrations by Stephen Oremus, this intimate onstage band can impressively jam and the musical’s small and mighty cast interacts with the band while delivering rich and powerful harmonies along this uninterrupted musical journey. With the exception of Shea as Jon, Anthony Pires Jr. as Michael and Vanessa Calantropo as Susan smoothly and humorously capture many other roles as Jon allows his story to unfold. Calantropo especially stands out for the soaring number, Come to Your Senses.
Anthony Pires Jr.* Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus
Tick, tick BOOM! explores the little victories, the larger victories, and the gut-wrenching defeats in Larson’s personal and professional world. However, what is genuinely important becomes poignantly clear and what truly inspires his work changes as the musical progresses.
Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM live and in person through Sunday, November 23 at Umbrella Arts Center in Concord, Massachusetts. Click here for more information and for tickets.
A surprise party goes awry and one ambitious investigator is on the scene.
With fast paced direction by Tyler Rosati and versatile music direction by Bethany Aiken, Greater Boston Stage Company continues murder mystery musical farce Murder for Two live and in person through Sunday, November 9 live at Greater Boston Stage Company in Stoneham, Massachusetts. This semi-interactive whodunit two hander is 90 minutes without an intermission. Click here for more information and for tickets.
Jared Troilo in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios
Katy Monthei’s vintage mansion setting creates a homey atmosphere which includes dated wallpaper, cluttered bookshelves, several mismatched lamps, various knickknacks on scattered shelving, Egyptian rugs, framed portraits and a sleek black piano all framed by incandescent theatrical bulbs.
Jared Troilo is “aw shucks” charming as determined and inventive New England police officer Marcus who dreams of one day being promoted to detective. What better way to impress his boss than to solve this small town murder mystery of who murdered famed novelist Arthur Whitney.
One of the brightest spots of this production is Troilo and Will McGarrahan’s sublime turns on the piano. Whether competing or complementing each other while making some amazing music together, this multi-talented duo sure know how to captivate an audience. Their madcap piano workings are creative and thrilling. As they tickle the keys at brisk and elegant paces, the rhythms work with Cost’s dazzling lighting to elevate the show’s playful suspense and navigates the show’s various moods, new thoughts, and each of McGarrahan’s frequent transformations into various murder suspects from toddler to elder.
Will McGarrahan in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios
The brisk musical elements boast vaudeville and vintage Broadway flair while satirizing the nature of musical theatre. For example, a cell phone ringing onstage is hilariously mistaken for an audience member’s rudeness.
It is also greatly entertaining watching this comedic duo share great chemistry occasionally making each other laugh and other times barely holding it together during the production’s sillier moments. It is no small task to put a show on of this caliber and both rise to the occasion. Troilo is a straight man Dean Martin to McGarrahan’s Jerry Lewis as McGarrahan slips into various accents, mannerisms, and rapidly poses as numerous suspects using merely a prop or piece of wardrobe separating each distinct character thanks to Chelsea Kerl’s jocular costume design from a multicolor scarf to a feather boa to a pink tutu and even a cocktail umbrella.
Will McGarrahan and Jared Troilo in Greater Boston Stage Company’s Murder for Two’ Photo by Niles Scott Studios
However, the show’s infectious charm cannot entirely make up for and a muddled murder mystery plot. Using only this dynamic duo, it is still difficult to picture the scene of the crime and not enough distinction separating the various suspects. Picturing multiple people in the room and the blocking at times doesn’t quite make sense and would be better understood with more than two people. When Greater Boston Stage Company presented the one man Sleepy Hollow classic, its narration seemed to drive the story more clearly and perhaps that is what is missing here.
This production is far funnier than suspenseful and not to be taken seriously and perhaps this is all part of the joke, but it became difficult and a little frustrating visualizing this intriguing murder mystery you are also trying to solve alongside Marcus.
Jared Troilo and Will McGarrahan in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios
Jared Troilo and Will McGarrahan are two bright talents and such likable characters and yet, following the plot is a challenge to say the least. If you can put that aside, Murder for Two features a wonderfully likable and impressive duo for an amazing and lighthearted evening.
Greater Boston Stage Company continues murder mystery musical farce Murder for Two live and in person through Sunday, November 9 live at Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information and for tickets.
This musical biopic seems by the numbers until three Chers materialize to infuse a clever and adventuresome twist.
Much like Cher herself, The Cher Show is a spotlight driven, bawdy, and spirited look at Cher’s upbringing and career and how Cherilyn Sarkisian overcame her shy demeanor to become what she proudly proclaims ‘a warrior goddess.’
Bathed in dazzling, spotlight-soaked flair and a marvelous rising and bejeweled spinning stage by Jack Mehler, Star, depicted with Cher’s absorbing dry humor and distinct husky contralto vocals by Sara Gettelfinger, emerges in sequined black donning signature high heels and risqué style, but she is definitely not alone. Turning back time is a thrill when two other Chers share the spotlight and help navigate her life based on all she knows now.
With Kevin P. Hill’s vibrant direction and an array of slinky and dynamic choreography by Sara Andreas, North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts. The theatre-in-the-round production runs 2 hours and 45 minutes with one twenty minute intermission, the action is not limited to the stage and contains some adult themes. Click here for more information and tickets.
Cherilyn was not always one to bathe in the limelight and at nearly 80 years old, she has quite the story to tell. As chatty and anxious Babe, depicted with mellifluous vocals and fretful naiveté by Madeline Hudelson, Cherilyn often felt like an outsider due to her dyslexia, half-Armenian heritage and unconventional looks. Hudelson’s confidence appears only in bursts as self consciousness takes over. However, Angie Schworer, fabulous as Cher’s confident firecracker mother Georgia, is a constant source of strength, sage advice and beauty. Georgia advises, ‘The song will make you strong.’ To anyone who loves music, no truer words were ever spoken.
In feathers and sequins, Schworer also makes a grand cameo as a legendary celebrity that will not be revealed here. Andrew Tufano also delivers a memorable performance as Rob Camilleti.
Cher fulfills most people’s two fondest wishes in this musical. Not only can Gettelfinger’s Star turn back time, but accompanied by Hudelson as Babe and Charissa Hogeland as Lady, Star can turn to her other selves to revisit her past. A trio of Chers who interact, are aware of each other, and support each other do not just provide a wealth of comedic and heartfelt moments, but breaks the pesky rules of a classic biopic in an inspired and spectacular way. Gettelfinger, Hogeland, and Hudelson share an admirable bond where anything can happen which comes in handy as Cher was required to grow up fast in this sink-or-swim industry.
Mehler’s glitzy and sequin-fringed set displays an immersive array of projections which includes 60s petal-inspired illustrations, Vegas pizzazz, an opulent mansion, Broadway theatre, and western flair enhanced by chandeliers and authentic Sonny and Cher logos.
Starting out with her own sewing machine, Cher always set her own bold and risqué fashion standard before later joining forces with the legendary visionary and controversially-daring fashion designer Bob Mackie, who originates the Broadway and tour costumes seen in this musical. Dan Fenaughty, who depicts a trio of roles in this production, is memorable as Mackie complete with clever quips and a mischievous gleam, especially during Ain’t Nobody’s Business. Magnets are used to accommodate the numerous fashion styles and quick changes throughout the production. The Cher Show’s costume coordinator Rebecca Glick and wig and hair designer Rachel Padula-Shuflet presents these ostentatious costumes in all of its nostalgic, feathered, and sparkling runway glory.
Frankie Marasa 5th is in on the joke as good humored Sonny Bono at first with self deprecating charm, a gradual magnetic charisma and a quirky sense of humor. Fast talking with shrewd business sense, Marasa 5th shares endearing yet complicated chemistry and half of an impressive deadpan comedic duo with each Cher. One of the best moments of the musical is with Hudelson’s Babe and their powerful rendition of I’ve Got You Babe which was met with a roar from the audience. He also shines in Little Man and later for All I Ever Need is You.
The Cher Show’s quick pace features a wide array of nostalgic hits over six decades including the catchy harmony of Da Doo Ron Ron, Be My Baby, and The Shoop Shoop Song as well as It’s All or Nothing, a poignant Bang Bang (He Shot Me Down), Believe and Heart of Stone. Gettelfinger, Hogeland, and Hudelson form a powerhouse trio as they recall Song for the Lonely. However, Gettelfinger truly shines with soaring vocals for The Way of Love. The drum-infused and Fosse-inspiredThe Beat Goes On is also a sleek standout as well as the sultry and athletic chorography featuring Milena Comeau in The Dark Lady.
You don’t have to be a fan of Cher to appreciate her journey. The Cher Show lightheartedly celebrates her remarkable career and variety of hits, but is also an honest and frank depiction of her insecurities, challenges, and fears within her failures and triumphs. Through it all, Cher’s strength relentlessly shines through as the beat goes on.
North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts. Click here for more information and tickets.
