musicals

REVIEW:  Creativity underway in ‘Tick, Tick…BOOM!’ at Umbrella Arts Center

Posted on by The Sleepless Critic

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.

REVIEW: Greater Boston Stage Company’s infectiously charming but muddled ‘Murder for Two’

Posted on by The Sleepless Critic

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.

REVIEW: North Shore Music Theatre’s ‘The Cher Show’ turns back time radiating with empowering style

Posted on by The Sleepless Critic

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.

The cast of THE CHER SHOW in the Tony Award-Winning costumes designed by Bob Mackie playing at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

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.

Angie Schworer as (Georgia Holt) and Madeline Hudelson (Babe) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

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.

Charissa Hogeland (Lady) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden

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.

Brenton Cosier (Gregg Allman) with Sheila Jones in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

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.   

Dan Fenaughty (Bob Mackie), Charissa Hogeland (Lady) and Ben Broughton (Sid the Censor) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

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. 

Frankie Marasa 5th (Sonny Bono) and Charissa Hogeland (Lady) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

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-inspired The Beat Goes On is also a sleek standout as well as the sultry and athletic chorography featuring Milena Comeau in The Dark Lady.

Madeline Hudelson (Babe) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

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.

Charissa Hogeland (Lady) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

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.

REVIEW:  Lavishly dancing through France in Sullivan Rep’s ‘Can-Can’

Posted on by The Sleepless Critic

Freedom through dance is only part of the story in Cole Porter’s Can-Can.

Considered one of Cole Porter’s later musicals, Can-Can debuted in 1953 before being adapted into a 1960 film starring Frank Sinatra and Shirley MacLaine and some of its ideas make it identifiable to its 60s timeframe.  It’s Alright by Me, I Love Paris, and C’est Magnifique are a few of the Cole Porter American Standard songs that are part of the Great American Songbook.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11.  The action is not limited to the stage and set up like a dance hall.  It runs approximately three hours with an intermission.  Click here for more information and for tickets.

Carly Evans and Can-Can dancers in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Taking place in Montmartre, France, Carly Evans aptly portrays shrewd and stealthy businesswoman Pistache who knows just how to live under the radar until her girls are caught by the French authorities for lascivious dancing.  The lively dancers coyly perform the satirical number, Maidens Typical of France.

Can-Can features two powerful leads in Carly Evans and Anthony Rinaldi and Dan Sullivan’s flowing, unbridled and meticulous chorography certainly make a great impression.  Anthony Rinaldi is conflicted as Judge Aristide, torn between justice and his growing affection for saucy Pistache.  Rinaldi and Evans make some beautiful music together and are certainly capable of mastering these individuals on the opposite sides of the law.  Evans as Pistache shows off her hardnosed business sense impressively for Never Give Anything Away and Rinaldi soars in the catchy number, It’s Alright with Me.

Anthony Rinaldi and Carly Evans in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Dan Sullivan’s often lavish and splashy 1890s French forward fashion costumes by Judi Olson include bowler hats, lace, velvet, ruffles, saloon-style gowns, bustles, three piece suits, detailed parasols and top hats with Pistache’s elegant emerald green peacock gown as a particular highlight shown later in the production. 

The cast of Sullivan Rep’s ‘Can-Can’ Photo credit to Sullivan Rep

This musical features grand dance numbers that are often flirty and playful even occasionally including a French accordionist.  Can-Can explores love, the nature of dance, societal expectations, censorship, skewed media, the law and the art of being an artist.  A.J. Lyman as Bulgarian sculptor Boris, Andy Ross as Theophile, Ryan Pereira as Hericule, Dom Pappagallo as Etienne, Hannah Shihdanian as Model and Rinaldi as Aristide have a good natured camaraderie and perform a standout number that takes humorous and lighthearted jabs at the nature of being an artist is Never Never Be An Artist.   

Sullivan Rep Can Can Anthony Rinaldi and cast Photo credit Sulivan Rep

Dream Ballet has been popular in grand musicals such as Broadway Melody in Singin’ in the Rain, Louise’s Ballet in Carousel, and The Prologue in West Side Story which usually enhances or advances the plot of the musical.  Though performed with ballet-inspired athletic zeal, Garden of Eden Ballet didn’t seem to advance the plot in a meaningful way other than being controversial during that time.

Sullivan Rep boasts powerful leads, vivacious dance numbers and features elegant attire, yet the musical itself has its setbacks. Clocking in at approximately three hours, some of the musical’s plot points seem filler and unnecessary to the progression of the story and some of the love connections and satirical outcomes didn’t quite make sense such as in If You Loved Me Truly.

Garden of Eden Ballet in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

With that in mind, Sullivan Rep vibrantly brings Cole Porter’s Can-Can to life with an enthusiastic cast and memorable music.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can-Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11.  Click here for more information and for tickets.

REVIEW: Seizing the day in harmony in North Shore Music Theatre’s ‘Rent’

Posted on by The Sleepless Critic

Why do things happen the way they do?

Chance meetings and a string of random events bring a group of Bohemian artists together in profound ways as they struggle to survive in NYC.  Spanning one year from 1989-1990, North Shore Music Theatre’s Rent reveals a striking and darker interpretation than previous versions I have witnessed.  Perhaps it’s a reflection of our troubled times, but its powerful and optimistic message still remains that the best way to cope with suffering is by holding onto each other.

Directed poignantly yet hopefully with sharp choreography by Marcos Santana and vigorous music direction by Robert L. Rucinski, North Shore Music Theatre continued Jonathan Larson’s Pulitzer prize-winning musical Rent live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 28.  This rock musical has adult themes and ran two hours and 35 minutes with one 15 minute intermission.  Click here for more information and here what is next in North Shore Music Theatre’s season.

The cast of “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Having had phenomenal success as an acclaimed hit musical in the 90s and as one of the longest running shows on Broadway, Rent took the stage around the world and was adapted into a film of the same name in 2005.  It recently celebrated its 30th anniversary since its stage debut and it has been nearly 30 years since its Broadway debut.  In 2021, Lin-Manuel Miranda also directed the acclaimed film adaptation of autobiographical musical, Tick Tick Boom, based on Rent creator Jonathan Larson’s life starring Andrew Garfield.

Based on Puccini’s world famous opera, La bohème , Rent is a daring, joyous, raw, and poignant musical about a group of 20-somethings living in New York City during the AIDS epidemic.  It explores love, loss, hardships, dreams and realizations all while this group struggles to make the rent.

he cast of “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

A chalkboard graffiti-riddled floor, tattered rafters, scaffolding, glowing Christmas bulbs, street lights and a sporadically-lit and weathered neon sign illuminated by José Santiago’s vibrant lighting is just a portion of Jeffrey D. Kmiec’s industrial-inspired sliding set design depicting Mark and Roger’s East Village loft in Manhattan.  Rent truly comes to life through video designer Beth Truax’s cinematic touch and Alex Berg’s bustling sound design.

Like nostalgia of the era displayed in North Shore Music Theatre’s previous production of Grease, Rent showcases its own remnants of 80s and 90s nostalgic flair in combat boots, flannels, pay phones, corded phones, amusing answering machine messages and newspapers.

After a quieter opening scene, Rent hits the ground running with fervor, urgency, and pulsing chorography in its title track. This theatre-in-the-round’s immersive experience featured various incidents of kindness and conflict occurring in several parts of the theatre and this trend continued several more times ranging from humor to frustration in building intensity. 

Aaron Alcaraz (Mark Cohen) with the cast “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Driven by powerful and edgy vocals, Rent’s characters are a combination of dreamers and those firmly planted in the present doing whatever it takes to get through everyday life.  Aaron Alcarez depicts ambitious and determined Mark, an aspiring documentary filmmaker living with his contemplative and temperamental roommate Roger, portrayed movingly by Austin Turner.  Roger is HIV-positive, a recovering drug addict and with guitar in hand, vows to write one amazing song before he passes demonstrated in rising triumph in One Song Glory.  However, when Didi Romero as vivacious Mimi shows up at their apartment, life takes an unexpected turn demonstrated in a playful duet and instant chemistry with Turner in Will You Light My Candle and the sincere and tender, I Should Tell You.

Didi Romero as Mimi Marquez in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

In fishnet tights and layered clothing, Romero is daring, charming and bold as free spirit Mimi fueled by Romero’s provocative and soaring vocals Out Tonight, possessing more than a passing resemblance to Idina Menzel who portrayed Mimi in the 2005 film.  Robert Garcia approaches complex Angel with a self-assured kindness and less splashy demeanor in Are You Okay while Aaron Arnel Harrington warmly portrays Collins with a distinctive deep baritone.

Isaiah Rose Garcia (Angel Dumott Schunard) and Aaron Arnell Harrington (Tom Collins) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

A jumble of ostentatious ego, stubbornness and high maintenance, Cate Hayman puts gusto in Maureen, especially in a gutsy and unhinged rendition of Over the Moon.  Level headed and hardnosed lawyer Joanne, portrayed with powerful vocals and a guttural growl by Kat Rodriguez, rocks in Take me or Leave Me, but one of the best moments of the musical occurs between Alcaraz and Rodriguez in a catchy, chiming and playful harmony in Tango: Maureen.

Kat Rodriguez (Joanne Jefferson) and Aaron Alcaraz (Mark Cohen) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Grave issues such as homelessness, capitalism, promiscuity and drug addiction are often laid bare in Rent and is partially demonstrated in the bold La Vie Boehme.  Romance in this musical makes an impact, but what far exceeds the romance is the incredible harmony and camaraderie this group creates together.  Christmas Bells, Happy New Year, and Another Day soar, but nothing quite compares to the musical’s iconic number, Seasons of Love in which the audience shared a moment of stunned silence in awe of the stirring power of that moment.

Aaron Alcaraz (Mark Cohen), Aaron Arnell Harrington (Tom Collins), Austin Turner (Roger Davis), Didi Romero (Mimi Marquez), Cate Hayman (Maureen Johnson), and Kat Rodriguez (Joanne Jefferson) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

North Shore Music Theatre continued Jonathan Larson’s Pulitzer prize-winning musical Rent live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 28.  Click here for more information and here for here for what is next in North Shore Music Theatre’s season.

REVIEW:  Emerald City Theatrical highlights blond ambition in frothy, feel good and inspiring ‘Legally Blonde: The Musical’

Posted on by The Sleepless Critic

Harvard doesn’t know what it’s in for in Legally Blonde the Musical.

Blending Allana Turcotte’s upbeat direction and energetic and athletic choreography with Richard Marchetti’s lively music direction, Emerald City Theatrical presented Legally Blonde the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts.  This exuberant musical was greeted by an enthusiastic audience and ran two hours and twenty minutes with one intermission.  Parking was a little tricky, so allow some extra time when attending this theatre.  Click here for more information and here to see what Emerald City Theatrical is working on this season.

Michelle Moran and her sorority sister in Emerald City Theatrical’s ‘Legally Blonde the Musical’ Photo by Jesse Barnett

Elle Woods, a high school sorority student, thinks her future is set until she realizes things are not quite what they seem.  In order to win back her ex-boyfriend, Elle is determined to attend Harvard Law School. 

This is the fundamental premise of the 2001 movie, Legally Blonde, which is on the verge of celebrating its 25th anniversary of the film’s release.  Starring Reese Witherspoon, this box office success inspired a sequel, award-winning Legally Blonde: the Musical and a prequel series currently in the works.  Although Reese Witherspoon portrays inspirational Elle Woods with humor and heart, this romantic comedy has its share of superficial, silly and over the top moments which can be a lighthearted distraction from the film’s themes.

However, with book by Heather Hach, music and lyrics by Laurence O’Keefe and Nell Benjamin, Legally Blonde: the Musical’s cast recording hatches out some of cast’s psyche and motivations while still maintaining its frothy and comic charm.  While everything seems to be made into a musical these days, Emerald City Theatrical presents Legally Blonde: the Musical as a well paced production which expands and elaborates on the film’s themes while further resonating its inherent message.

Nathan Corbett and Michelle Moran in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Musical numbers such as Serious and Chip on My Shoulder offer greater insight and further dimension into Michelle Moran as Elle Woods that is only touched upon in the film.  For example, in a beautiful and humorous duet called Serious between Elle and Nathan Corbett as Warner, both share they want different things.  Corbett manages to make Warner at first sympathetic and well intentioned under his parents’ unrelenting pressure which offers this character a bit more perspective and both have compelling comic timing.  Moran also shares some endearing scenes with Max Connor as handsome, earnest and hardworking Emmett and their duet Chip on My Shoulder is one of the musical’s greatest highlights. 

Michelle Moran and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Michelle Moran portrays Elle as more introspective than excitable while delivering her share of sparkling wit.  With strong vocals and distinctive laugh, Moran navigates her change of scenery from California to Harvard with a flourish even under the pressure to fit in. 

Michelle Moran, Olivia Lancellotta and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

From cheerful ensembles to colorful school uniforms to classic three piece suits, Emerald City Theatrical, known for its extraordinary costumes, navigates from dazzling to stately in bright and bold colors before later presenting a classic and darker color scheme in browns and grays.  The rolling set features multicolored floral arrangements, a layered pink backdrop with gold accents, white pillars and crown molding that even highlight sparkles in the tablecloth to contrast Harvard’s confined monochrome dark wood paneling and red brick accents.

Grace Graham as Paulette in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Delores Salamurovic as Serena, Abby Turchon as Margot and Carina Lopes as Pilar make a squealing yet contemplative Greek chorus as Elle ventures into Harvard’s new and challenging territory with the bright and optimistic number, Positive.  Acting as a cheering squad for Elle while offering a mix of wise and misguided advice, this wild and humorous trio lightens some of the show’s more serious moments.

While Norwell-born Jennifer Coolidge personified the character of Paulette, Grace Graham wisely does not imitate Coolidge while making outspoken and candid hairdresser Paulette her own in unique Emerald City ensembles that stand out in ripped jeans, denim boots and mismatched flair.  With some sharp physical comic timing, a light city accent and a vocal growl, Graham makes quite an impression whether in Ireland’s Celtic swagger or in the flirtatious Bend and Snap alongside Moran.   

Grace Graham, Michelle Moran, Olivia Lancellotta, Abbie Burchard and cast in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett

Jim Braunstein boasts gravitas and commanding vocals as Professor Callahan and clearly relishes the role.  In a beige and brown suit, his wry and egoistical demeanor is immediately evident in a commanding Blood in the Water.  Olivia Lancellotta also depicts cold disdain well as Vivienne and it is fascinating to watch her interact with Moran’s dreamy and optimistic Elle. 

Emerald City Theatrical Jim Braunstein Michelle Moran and cast in class in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett

From the giddy Omigod You Guys to uplifting So Much Better to Find My Way, Legally Blonde: the Musical is a show not to be taken too seriously until it gradually starts to take itself seriously.   Some of the giddiness can be a lot and a few of the characters never go beyond the surface, but there is an inspirational sincerity underneath that could encourage anyone to reach for the stars.

Emerald City Theatrical presented Legally Blonde: the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts.  Click here for more information and here to see what Emerald City Theatrical is working on this season.

REVIEW:  North Shore Music Theatre’s ‘Grease’ hits a solid groove and then some

Posted on by The Sleepless Critic

As North Shore Music Theatre’s The Wizard of Oz took audiences inside a powerful tornado, this Grease takes place inside a multicolored lit jukebox. 

Ambitiously directed with smooth choreography by Kevin P. Hill and lively music direction by Milton Granger, North Shore Music Theatre continues its 70th season with the hit musical, Grease live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 24.  This upbeat musical has some adult language and runs approximately two hours with one intermission.  Click here for more information and for tickets.

Hank Santos (Kenickie) with Jeremiah Garcia (Roger), Nick Cortazzo (Danny Zuko), and Jayson Brown (Doody) in “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

Director Kevin P. Hill creates a few cleverly presented magic changes in perspective that brings major themes of this musical heightened meaning.  Don’t expect to see a retread of the hit 1978 film or the stage musical, but a balance of both while staying true to the show’s themes with a few surprises along the way.  Themes like bullying, adolescence, peer pressure and fitting in take center stage and are as relevant as any of the musical’s love stories.

Caroline Siegrist (Sandy Dumbrowski) and Nick Cortazzo (Danny Zuko) in “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

From oversized vinyl records to famous 50s dance moves including the hand jive to classic cartoons to a cherry red convertible to an epic floor featuring a gleaming tapestry of images including Marlboro cigarettes, lipstick, and vintage roadsters, Grease offers plenty of warm 50s nostalgia using Alex Berg’s polished sound design with scenic and lighting designer Jack Mehler.  A peek into Mehler’s illumination includes a starlit floor and sparkling vinyl records. Costume coordinator Rebecca Glick also helms a trip down memory lane in the T-Birds and Pink Ladies jackets right out of the film, pastel gingham skirts and frilly crinoline gowns, silks, and colorful vintage Rydell High school uniforms.

The cast of “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

Taking place in the late 50s and featuring an array of hit songs including Summer Nights, Greased Lightnin, Look at Me, I’m Sandra Dee, and We Go Together, Grease focuses on Caroline Siegrist as new Rydell High School student Sandy.  Little does Sandy know that Nick Cortazzo as ladies man Danny in which they shared a fleeting summer romance, also attends the same school.

This well cast musical resembles their classic 1978 film counterparts and features songs that do not appear in the film in its entirety.  Taking a cue from Stockard Channing in a short pixie cut and deep clipped vocals, Bailey Reese Greemon shares that frank, intimidating and guarded indifference as Betty Rizzo. The bullying seems more extreme and the T-Birds are depicted as macho juvenile delinquents albeit with plenty of comic relief touched upon in Hank Santos as Kenickie’s slick number, Greased Lightnin.  Caroline Siegrist is a sweet Sandy with silvery soprano vocals that give off Olivia Newton-John vibes while Nick Cortazzo portrays Danny as a ladies’ man with comic zing. Hopelessly Devoted to You, a song written by the late great Olivia Newton-John for the Grease film, is perfection within Siegrist’s longing vocals.

Caroline Siegrist as Sandy Dumbrowski in “Grease” at North Shore Music Theatre thru August 24, 2025, 2025. Photo©Paul Lyden

Brittany Zeinstra steps more into the spotlight as Marty, a glamorous and flirty romantic and resourceful pen pal.  Her path to romance is examined in her coy number, Freddy My Love and Jeremiah Garcia as Roger and Sunayna Smith as Jan share a goofy yet humorous duet in Mooning boasting compelling harmony.

In a vision of silver and white, Beauty School Drop Out, featuring dynamite vocals by Avionce Hoyles as Teen Angel, is lighthearted, comical and one of the best numbers of the production.  However, Kathy St. George is a scene stealer as English teacher Miss Lynch.  A skilled and avid dancer, expect the unexpected from spitfire Kathy St. George who is delightful, especially during the number, Born to Hand Jive. 

Avionce Hoyles (Teen Angel) with Lily Kaufmann (Frenchy) and the cast of “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

North Shore Music Theatre’s Grease remains slick and cool while still offering something new to this classic hit musical.  North Shore Music Theatre continues its 70th season with the hit musical, Grease live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 24.  Click here for more information and for tickets.

REVIEW:  Humility and humanity shine in Company Theatre’s moving ‘The Hunchback of Notre Dame’

Posted on by The Sleepless Critic

Two brothers on different paths are connected in a transformative tale exploring the nature of faith, virtue, honesty and what truly matters.  From Victor Hugo, author of the classic novel, Les Miserables, The Hunchback of Notre Dame certainly knows how to tug at the heartstrings while delivering an epic and compelling tale.

Insightfully co-directed by Zoe Bradford and Sally Ashton Forrest with resonating musical direction by Robert McDonough, The Company Theatre Center for the Arts presents gothic musical classic, The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday August 17.  The action is not limited to the stage and runs a lengthy but well paced two hours and 50 minutes with one intermission.  Click here for more information and for tickets.

Salvatore Guillermo Garcia, Peter S. Adams and the cast of Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Jacob French as Young Claude Frollo is determined to join the priesthood while his brother Jehan, depicted by Charlie Solari, would rather lead a hard partying lifestyle with the local gypsies.  It’s a tale that bears some resemblance to The Prodigal Son parable.  Young Frollo, who considers himself holy and righteous, is appalled by his brother’s actions and the results are destined to change both their lives.

Jacob French, Dru Daniels, and Charlie Solari in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Disney’s The Hunchback of Notre Dame was released shortly after The Lion King and Pocahontas in 1996 and is considered part of the Disney Film Renaissance spanning from 1989 to 1999.  Having recently re-watched Disney’s The Hunchback of Notre Dame, do not go into the Company Theatre thinking it is strictly a staging of the Disney musical.  Faithful to elements of the 1996 Disney adaptation with Alan Menken and Stephen Schwartz’s amazing and unforgettable music soundtrack and Victor Hugo’s 1831 classic gothic novel sporadically revealed through multiple narrators, The Company Theatre assembles a powerful and inspirational tale of virtue and humility in the face of cruelty and obsession. 

Salvatore Guillermo Garcia, Peter S. Adams and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Set in 1492 Paris, Salvatore Guillermo Garcia leads the cast in riveting form as quiet and gentle hearted Quasimodo who acts as Notre Dame Cathedral’s bell ringer and is kept in the bell tower visited solely by Peter S. Adams as manipulative Dom Claude Frollo.  Starved for company and overjoyed by any shred of attention, Quasimodo anticipates The Feast of Fools, an exciting France feast day celebrated by the clergy during the Middle Ages and perhaps an opportunity to be accepted for a day.

Set designer Ryan Barrow replicates the regal stone pillars and the gold signature Notre Dame Cathedral bells brought to life by its harmonious chiming.  However, the jewel in this detailed set is a multicolored stained glass cathedral dome above the wooden balcony which lighting designer Dean Palmer Jr. brilliantly enhances and bathes the set in an array of colors rooted in the stain glass during the production. 

Company Theatre’s ‘The Hunchback of Notre Dame’ set Photo by Zoe Bradford

So much of The Hunchback of Notre Dame hinges on its ability to capture this complex production’s powerful hymnal ambiance and The Company Theatre does that in spades not only through its strong lead vocals, but through twenty-two additional choir members consistently enhancing the action onstage.  It is at times “blow your hair back” powerful and expressive, the production’s thunderous and harmonious voices exhilarating right from its magnificent opening number, The Bells of Notre Dame.  I was visibly moved many times.

Peter S. Adams in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Peter S. Adams as Dom Claude Frollo and Dru Daniels as Florika are both lauded operatic talents who collaborated in Company Theatre’s wonderful The Secret Garden.  Adams delivers a more measured performance as Don Claude Frollo, a manipulative and righteous priest.  Firm and commanding, Adams brings additional dimension to the role and his exchanges with Garcia as Quasimodo are as fascinating as they are bittersweet.  His rich rendition of Hellfire and Esmeralda is bold yet tormented, exposing momentary glimpses into his shielded angst.  Dru Daniels also embellishes every moment she has onstage with her magnificent vocals as Florika.

Salvatore Guillermo Garcia with Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Costume Designer Kiera O’Connor has assembled an assortment of vibrant and multi-colored costumes as well as traditional vestments similar to the Disney adaptation and its time period, but adorned in Parisian masquerade masks, the shimmering and imaginative gargoyles are the ones that truly shine.  Sally Ashton Forrest’s unique, playful, ballet-inspired and symbolic choreography impressively drive Anne Martland as Hugo the Playful, Mel Carubia as Victor the Reasonable, and Gilbert Dabady as Laverne the Nurturing Gargoyle as they advise and keep Salvatore Guillermo Garcia as lonely Quasimodo company.  Paired with these intricate and sparkling ensembles, they provide not only comic relief, but work together to articulate distress, comfort, amusement and more while acting as a respite and community sanctuary for Quasimodo in the bell tower.

David J. Kim and cast in The Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

With a knowing smile, David J. Kim portrays stealthy showman and deemed King of the Gypsies, Clopin Trouillefou.  Kim’s smooth delivery and complicated demeanor makes him a charming enigma.  Kim leads the revelers in an animated rendition of Topsy Turvy and with Lopes, Roussell, Adams and Garcia in a spellbinding Rhythm of the Tambourine.

Celena Lopez and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Celena Lopes gives a mesmerizing performance as frank, saucy, compassionate, resourceful and headstrong Esmeralda, a role voiced for the Disney adaptation by a charismatic actress known for spirited female characters, Demi Moore.   Lopes performs an incredible rendition of the hopeful ballad, Someday with Jack Roussell as seemingly bombastic, egotistical and regal Phoebus de Martin and shares charming chemistry with Garcia.  However, Top of the World and stirring God Help the Outcasts is where Lopes is at her best.

Jack Roussell and cast in the Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Salvatore Guillermo Garcia offers a paramount performance as Quasimodo, a role in which he dedicates to his late mother.  The sheer physicality and understated performance boasted by sterling vocals he delivered as Jean Val Jean in Academy of the Company Theatre’s previous production of Les Miserables make him the perfect choice for this role. Garcia embodies Quasimodo’s humble naiveté, trepidation, loneliness and yearning as well as the soft glow that passes over Garcia’s shy and meek features.  From the wondrous ache of Out There and tender Heaven’s Light to the soaring Made of Stone, Garcia caps off this meaning musical experience worth witnessing for yourself.

Celena Lopes, Salvatore Guillermo Garcia, Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

The Company Theatre Center for the Arts presents The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday, August 17.  Click here for more information and for tickets.

REVIEW:  Nostalgia, strong vocals and electrifying special effects fuel ‘Back to the Future the Musical’

Posted on by The Sleepless Critic

Time is of the essence in Back to the Future the Musical.

Innovatively directed by John Rando with Chris Bailey’s energetic choreography and dynamic Music Direction by Matt Doebler, Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20.  This zippy production runs 2 hours and 40 minutes with one intermission and is currently on national tour.  Some subtle themes and dialogue are toned down to make this musical more family friendly. Click here for more information on their next stop and for tickets.

David Josefberg in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

No one will ever be Michael J. Fox or Christopher Lloyd in these particular roles.  Moreover, I am a firm believer the original film is perfectly cast and a reboot or any other adaptation will never quite live up to the original 1985 hit film.  However, I do think that there are a lot of thrills and fun to be had in some of the extensions from the film such as Back to the Future: The Ride and Back the Future: The Musical which boasts some spectacular and immersive special effects and quick pacing to make this production more like a theatrical thrill ride.

To think Back to the Future was conceived when producer Bob Gale discovered his father’s high school yearbook and wondered if they would have been friends if he and his father attended high school together.  Back to the Future the Musical not only boasts technological and scientific wizardry, but is also a family tale.  Marty, in a likable portrayal infused with some of Fox’s notable inflections by Lucas Hallauer, knows his family is not on the fast track to success as Luke Antony Neville as uncompromising Principal Strickland insultingly blares at Marty into his Matterhorn in Got No Future.

Luke Antony Neville and Lucas Hallauer in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Marty wishes his family were on a different path as Marty’s family is swiftly introduced in Hello-Is Anybody Home?  Hallauer explains, ‘My dad would come in third in a two man race.’  Introverted, anxious and painfully shy, Mike Bindeman captures the awkwardness of Marty’s father George who takes what he gets while trying to avoid confrontations at all costs.  Zan Berube delivers strong vocals and embodies Marty’s mother Lorraine with ease.   

With a memorable laugh, wild facial expressions and threatening presence, Nathaniel Hackmann is well cast as obnoxious and calculating Biff as if the film’s Biff, depicted by Thomas F. Wilson, went back in time for this role.

Nathaniel Hackman, Lucas Hallauer, Mike Bindeman and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

 Some of the cast leans on some of the original cast’s inflections, but David Josefsberg as eccentric Doc Brown, makes the character his own and shares a warm rapport with Lucas Hallauer as Marty reminiscent of the hit film. 

David Josefberg and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Fast talking and excitable, Josefsberg exudes Doc’s wise and unwavering optimism while dreaming of an immense future in the motivational ballad, For the Dreamers as well as in lighter moments in a bit of self aware humor for It Works and the synthetic sounding 21st Century as the stage lights in sparkling, flashy and futuristic costumes when it is not leaning into scientific white lab coats.

This production would have worked just as effectively as a play and does not necessarily need to be a musical, but the cast’s powerful vocals, especially by Cartreze Tucker who is a highlight as optimistic visionary Gordie Wilson in an extended role, work.  Tucker boasts sensational vocals as Gordy Wilson for the inspirational number, Start Somewhere. 

Cartreze Tucker and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Back to the Future The Musical also makes some clever choices that capture the spirit of the film while building on some of the film’s themes such as Doc Brown’s inspirational For the Dreamers and the nostalgic harmony in Cake which is a welcome trip into 50s nostalgia and ironic humor while offering mellifluous harmony.  Other songs such as the cringe My Myopia and Pretty Baby are better left as brief scenes than full songs.  Something about that Boy brings together multiple scenes featuring Berube, Hackmann, and the cast.  Fifties classics such as Johnny B. Goode and Earth Angel recreate classic scenes from the film as well as selections from the film’s iconic soundtrack by Huey Lewis and the News.

Lucas Hallauer and Zan Berube in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The multicolored costumes capture two iconic eras as well as ensembles right out of the 1985 film.  High tops, slouch socks, jean jackets, diner attire, frilly retro patterned dresses, Marty’s orange vest, and Lorraine’s classic pink prom dress are just a sample of this array of distinctive retro apparel.  The fifties and the eighties are defined by certain characteristics, but it does not overpower the film’s universal themes.

Filled with retro pieces and realistic projections, the rolling and rotating sets are impressively detailed from an elaborate tree bursting with fall leaves, Lorraine’s bedroom similar to the hit film and Doc Brown’s house complete with portraits of his legendary mentors and inventors under twinkling stars.

Lucas Hallauer and the DeLorean in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The story is good, but the electrifying special effects are worth the price of the ticket as the real star, the DeLorean, roars to life.   Chris Fisher’s impressive illusion design, Tim Lutkin and Hugh Vanstone’s intricate and futuristic lighting, Finn Ross’s realistic video design, and Gareth Owen’s rumbling sound design unite to create an elaborate time jumping experience that immerses the audience into this compelling journey.

Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20.  The production is also currently on national tour.  Click here for more information on their next stop and for tickets.

REVIEW:  Spectacular and heartfelt, experience the magic of North Shore Music Theatre’s stellar ‘The Wizard of Oz’

Posted on by The Sleepless Critic

There’s no place like home or Oz, especially when it comes to North Shore Music Theatre’s immersive production of The Wizard of Oz.

With Matthew Stern’s splendid music direction and featuring rarely heard full versions of The Wizard of Oz’s classic numbers including Over the Rainbow and If I Only Had a Brain, The Wizard of Oz focuses on a sweet Kansas farm girl and her trusty dog who find themselves in a strange land with no idea how to get home and a witch suddenly in their wake.

Creatively directed by Robert W. Schneider with Brianna Fallon’s lively choreography and Alex Berg’s robust sound design, North Shore Music Theatre continues beloved musical, The Wizard of Oz live and in person through Sunday, July 20 at North Shore Music Theatre in Beverly, Massachusetts.  The action is not limited to the stage and runs two hours and twenty minutes including an intermission. 

Not only is this theatre in the round experience family friendly, but tailored to be universally enjoyed by all ages with plenty of refreshing surprises and originality as if you are seeing this classic again for the first time.  Click here for more information and for tickets.  

Bridget Delaney (Dorothy Gale) and Bug Minnie (Toto) in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Opening with Pamela Hersch’s encompassing and picturesque projections which unveil a unique and moving message before this classic tale begins to unfold, it was easy to see that North Shore Music Theatre’s The Wizard of Oz is going to be one for the ages.  In braids and a gingham sepia dress, Bridget Delaney as Dorothy vocally glides through the full version of Harold Arlen’s Over the Rainbow and her luminous performance suggests a certain Judy Garland appeal.  A beautiful soprano, Delaney embodies Dorothy with unrestrained curiosity and a determined spirit, yet careful not to let her impulsiveness get the better of her.  Her endearing interactions with her little dog Toto, portrayed with impressive poise by Bug Minnie, make them a delightful pair.

Ethan Carlson (The Scarecrow) and Bridget Delaney (Dorothy Gale) with the cast of “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Featuring a couple of songs and a few characters not included in the 1939 film, North Shore Music Theatre keeps this classic musical with a lion’s share of freshness and surprises.  For example, though the Jitterbug number is not included in the final 1939 film, it is an inviting and catchy jazz-inspired addition as black, yellow and white striped creatures invade the stage with stealthy and humorous intensity.

Sean Bell (The Tin Man) with Sarah Crane, Jessica Minter, Caitlin Wilayto in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

I cannot say enough about costumer Travis M. Grant with wig and hair designer Rachel Padula-Shuflet creating an incredible array of vintage and vibrant ensembles crucial to artfully transform each scene and Fallon’s inventive chorography, especially evident in its exhilarating and surreal tornado sequence.  Poppies swirl elegantly, trees chat animatedly, and snow materializes with a graceful flourish.  Jack Mehler’s dynamic lighting includes the vivid yellow brick road thrillingly or hauntingly enhances Ryan M. Howell’s meticulously executed and imaginative set.

The cast of “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

The Wizard of Oz’s large and captivating cast is an exuberant and enthusiastic bunch that elevates each memorable scene and may appear from anywhere around the venue.  Astute comic quips and improvisational moments including clever pop culture references give this classic an updated feel without taking away from the musical’s poignancy and heartfelt timelessness.  In a sparkling ball gown in various shades of pink and surrounded by adorable munchkins, Kerry Conte’s bright vocals and warm and nurturing demeanor veer away from the egotistical, vivacious and chipper voiced diva established in other iterations of Glinda.  This epic musical also boasts remarkable dual roles that will not be revealed here, but are surprisingly brilliant casting choices for this classic tale.

Kerry Conte (Glinda) and the cast of Munchkins in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Decked out in a amazing black gown peppered with glimmering red sparkle, Michele Ragusa’s unpredictable Wicked Witch delivers a mischievous cackle and is depicted occasionally a bit more humorously, putting a lighter spin on the character.  Ragusa clearly relishes the role in an energetic and intimidating performance.  David Coffee amiably captures the mysterious, well meaning, and avid storytelling Professor Marvel.

Michele Ragusa as The Wicked Witch in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Ethan Carlson is an expert tumbler and his pliable body and warmth make him a wonderful Scarecrow.  Sean Bell as Tinman and E. Mani Cadet as Cowardly Lion both deliver endearing and humorous performances and this trio truly make the characters their own.  Cadet’s spirited demeanor and quick wit make the number, If I Were King of the Forest a lot of fun and baritone Bell brings charismatic charm in a tender rendition of If I Only Had a Heart.  With Delaney as Dorothy, this quintet develop a lasting and compelling camaraderie that ring especially true during the numbers We’re Off to See the Wizard, Merry Old Land of Oz, and huddled together for Lions and Tigers and Bears.

Ethan Carlson (The Scarecrow), Sean Bell (The Tin Man), Bridget Delaney (Dorothy Gale), and E. Mani Cadet (The Cowardly Lion) in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Simply put, it is one of the best staged versions I have ever seen and was moved several times during the production.  North Shore Music Theatre’s The Wizard of Oz is a magical, spirited and unforgettable musical journey that still profoundly resonates to everyone young at heart.

Dash down this yellow brick road and immerse yourself in North Shore Music Theatre’s production of The Wizard of Oz which continues through Sunday, July 20 live and in person at North Shore Music Theatre in Beverly, Massachusetts.  Click here for more information and for tickets.