musicals

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.  

REVIEW: Reputation and a darker vision in Reagle Music Theatre of Greater Boston’s stirring ‘Evita’

Posted on by The Sleepless Critic

She was a mystery, but everyone thought they knew her.  

From a wily and ambitious teenager to rising political figure, Eva (Evita) Perón knew she belonged at the top before she ever knew how to get there. 

Thoughtfully directed with sweeping chorography by Rachel Bertone as well as robust musical direction by Dan Rodriguez, Reagle Music Theatre of Greater Boston proudly presents Andrew Lloyd Webber’s Tony award-winning musical, Evita through Sunday, July 20 at The Robinson Theater in Waltham, Massachusetts.  This production is approximately 2 hours with a fifteen minute intermission.  Click here for more information and for tickets.

Eddie Noel Rodriguez and the cast of Reagle Music Theatre of Greater Boston’s ‘Evita’

Evita, with music, book and lyrics by award-winning collaborators Andrew Lloyd Webber and Tim Rice, is a rock opera set in Argentina from 1934-1952.  Part of what makes Evita such a captivating work is its vibrant pacing and memorable soundtrack.  Based on the life of Maria Eva Perón, Evita’s life moves much like the soundtrack’s quick rhythms as it journeys through song from night club to city street to majestic balcony with barely a pause for applause.  Cameron McEachearn’s grand set divulges Eva’s life in its sheer magnitude in its sterling balcony with brick bursting out of its cracked walls.

This version of Evita includes songs not featured in the 1996 film of the same name.  The Art of the Possible, a cryptic number not in the film and featuring a group of officers, is particularly engaging.  Eva, in a powerful performance by Isabella Bria Lopez, is a young woman taking Argentina by storm and sees opportunity in Juan Perón, depicted with regal like mindedness by Ryan Mardesich.

Eddie Noel Rodríguez as Che; Isabella Bria Lopez as Eva Perón; and the Cast of Evita

Lopez exudes stealthy charm in a knowing smile when she first appears as a teenager.  However, behind her feigned naiveté, Eva is shrewdly on the move as soon as her feet hit the ground for the catchy and effervescent number, Buenos Aires.  Lopez takes Eva from a vivacious teenager onward and excels at her developing influence and maturity through the years. 

She hits her vivacious stride with Buenos Aires which delves into her instant love for the city and keeps up the brisk pace for this demanding role throughout, though some notes at times can sound a bit strident.  She delivers an impressive version of Evita’s signature number, Don’t Cry for Me Argentina, glowing in a pristine glittering gown, one of Ellie De Lucia’s 400 vintage costumes in a multitude of dress patterns from casual to elegant to military garb.  The production’s visceral ensemble ranges from heartwarming to heartbreaking as they collectively portray the elite to peasants to Eva’s fascinating family. 

Eddie Noel Rodríguez as Che; Isabella Bria Lopez as Eva Perón; Ricardo “Ricky” Holguin_ as Magaldi

No one succeeds without opposition.  Che, depicted with charisma and sardonic wit by Eddie Noel Rodriguez, resonates as part keen observer and part narrator while representing not only the poor working class, but perhaps the truth in his personable delivery.  In a vest, gray slacks and a scally cap, he occasionally engages the crowd, but his primary focus is on Evita.  Tempering each scenario with satirical flair, Rodriguez captures the essence of Che and makes the role uniquely his own as he travels on a risky path for speaking up.  From his mocking observations in Oh What a Circus as well as And the Money Kept Rolling In, his humorous duet in Good Night and Thank You with Lopez, and the reflective ballad, High Flying Adored, you’ll be glad to be taking this musical journey with Rodriguez.

Ricardo “Ricky” Holguin and cast in Reagle Music Theatre’s ‘Evita’

Boasting rich and charming vocals for Magaldi’s signature song, On This Night of a Thousand Stars, Ricardo “Ricky” Holguin blends sensitivity, melodrama, and humor to bombastic night club singer, Magaldi and was a hit with the audience.  Other notable numbers include a tender rendition of Another Suitcase in another Hall by Rebekah Rae Robles and the stirring harmony of Santa Evita.

Rebekah Rae Robles in Reagle Music Theatre of Greater Boston’s ‘Evita’

Engulfing the audience from the moment of Eva Perón’s death from the very beginning, Reagle Music Theatre’s Evita delivers a darker and more distinctive version of Evita.  Baron Pugh’s alarming red and yellow lighting intensifies the fanaticism, dark humor and the power struggle not only between Eva and Juan tempering Eva’s supercilious ambition to run things behind the scenes, but among the masses and in the hypnotic cries of ‘Perón!’  Previous versions portray Eva and Juan as likeminded, but share a genuine love.  Here they seem more like fellow conspirators and Lopez’s You Must Love Me becomes less of a realization or statement, but a desperate plea.

Isabella Bria Lopez; Ryan Mardesich and the Cast of Evita

Reagle Music Theatre of Greater Boston’s Evita offers a unique and memorable perspective that sets it apart from other versions in its resonating and cautionary storytelling while leaving room to get lost in the music and motivations of this intriguing, enigmatic and controversial figure yearning for the spotlight.

Reagle Music Theatre of Greater Boston proudly presents Andrew Lloyd Webber’s Tony award-winning musical, Evita through Sunday, July 20 at The Robinson Theatre in Waltham, Massachusetts.   Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company’s ‘Little Shop of Horrors’ blooms a darker green

Posted on by The Sleepless Critic

This sad little flower shop on Skid Rowe holds a secret.

From John Stone’s playfully ticking sound design to Erik D. Diaz’s fascinating ‘blooming’ set,’ Greater Boston Stage Company makes two things abundantly clear:  Don’t feed the plants and everyone’s life should be narrated by a streetwise Greek chorus.

Directed with comic edge by Ilana Ransom Toeplitz and Chris Shin’s zany chorography, Greater Boston Stage Company continues horror comedy rock sci-fi musical, Little Shop of Horrors live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, June 29.  This production runs approximately two hours with one intermission.  Click here for more information and tickets.

Kayla Shimizu, Stephen Markarian and Bryan Miner in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

Celebrating its 65th anniversary this year, Little Shop of Horrors embarked on quite a journey to become the cult classic it is today.  Originally based on Jack Cullier’s 1932 story Green Thoughts, Little Shop of Horrors was originally a 1960 B movie featuring a then lesser known Jack Nicholson before it was developed into a 1982 stage musical and then a 1986 musical film adaptation featuring Rick Moranis, Bill Murray and John Candy.  The musical also introduced sadistic dentist Orin, portrayed by Steve Martin in the film.

It’s a seemingly simple tale about young love on Skid Rowe in a fledgling flower shop that houses a curious and unique breed of plant.  Some critics have compared it to the daring tone of the cult classic, ‘Rocky Horror Picture Show,’ but Little Shop of Horrors is usually delivered with a more subtle brand of campy charm.

This wild tale is headlined by the sweet and sassy sounds of female Greek chorus trio Chiffon, Crystal, and Ronnette who pop up in the most unexpected places during the production. With few exceptions, the music, with lyrics by award-winning composer Alan Menken, have a catchy, rock n’ roll vibe including tunes that pay tribute to 60s girl groups. 

Becky Bass, Corlandt Barrett and Pearl Scott in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

From casual street garments to flashy glam by Chelsea Kerl, these three dazzling vocalists certainly know how to make an entrance.  Cortlandt Barrett as Chiffon, Becky Bass as Crystal and Pearl Scott as Ronnette are a tough, humorous, and street-smart trio who unveil the real ins and outs of Skid Rowe through harmony, kicking it off with the catchy signature track, Little Shop of Horrors and especially showing off their mellifluous vocals for Skid Rowe (Downtown).

The set of Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

With haunting and ominous illumination by Corey Whittemore, Erik D. Diaz combines creepy and dilapidated featuring vintage brick storefronts, beaten up garbage cans, a weathered Mushnik Florist sign, and an eerie projection screen splashed with blood at center stage.  What Diaz does with the set is vivid, remarkable and transformative right down to its carefully timed shop bell.  Set in the 1960s, Little Shop of Horrors is packed with 50s and 60s references such as I Love Lucy, Howdy Doody, Donna Reed, and Betty Crocker.

The cast of Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

The show has a gift for funny and ironic contrasts with a cast that has increasingly complicated motives.  Wearing black-rimmed glasses, a baseball cap and a sweater vest, William David Kay stepped in for Stephen Markarian offering an earnest portrayal as Seymour, a sympathetic yet conflicted botanist.  Anxious and occasionally clumsy, Kay emphasizes Seymour’s inherent, inescapable loneliness as he struggles to remain forthright and honest as the show progresses.  He shines in the darkly tender number Grow for Me and in his awkward adoration for trusting, insecure and frequently unlucky Audrey, portrayed sweetly with a light accent and plucky charm by Kayla Shimizu.  In a particularly comical moment, Seymour warmly hopes to take Audrey to “a fancy dinner at Howard Johnson’s.”

Photo of Kayla Shimizu, Stephen Markarian* and Bryan Miner* by Nile Scott Studios.

Shimizu’s lovely soprano vocals carry a lullaby or a soulful belt beautifully.  She shares her simple, 50s domestic dreams in a funny and tender rendition of Somewhere That’s Green and with Seymour in a powerful rendition of Suddenly Seymour.

Stephen Markarian* Audrey II and Kayla Shimizu Photo by Nile Scott Studios.

Disheveled and desperate in colorful and busily patterned suits, Bryan Miner is wonderful as worn and frustrated flower shop owner, Mr. Mushnik.  Tightly wound and barely holding onto hope, Miner’s Mushnik is especially clever with William David Kay as Seymour for the manipulative and comical calypso-infused number, Mushnik and Son.  Mushnik may be too smart for his own good.

Audrey II, Stephen Markarian* and Bryan Miner* in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

I’ve seen a few versions of Little Shop of Horrors and this is the edgiest production I have seen.  Jared Troilo works overtime to portray a number of satirical characters that are impressively goofy and fun.  Troilo is next level sinister in a no-holds-barred performance as Orin, a belligerent, gyrating, narcissistic biker dentist punctuated by a berating sneer and a glottal “dull” utterance.  It occasionally crosses the line from darkly funny to disquieting and overdone.

Becky Bass, Pearl Scott, Cortlandt Barrett and Jared Troilo in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

However, the real spectacle is  Audrey II, the sly and soulful plant that changes everything.  Anthony Pires, Jr. boasts versatile and grimly wise vocals as well as a gift for pleading exemplified in the rock number, Feed Me.  Inventively manipulated by Sydney Grant, Audrey II is a comical and extraordinary specimen right down to bright colors and shiny, dangling teeth.  Audrey II is handled in such an innovative, natural, and humorous way, the results are truly captivating.

Audrey II, Kayla Shimizu and Stephen Markarian in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

Greater Boston Stage Company’s Little Shop of Horrors continues live and in person through Sunday, June 29 at the Greater Boston Stage Company in Stoneham, Massachusetts.  Click here for more information, tickets, and for details about the Little Shop of Horrors raffle.

REVIEW:  Love is in the air with Lyric Stage’s immersive ‘Hello, Dolly!’

Posted on by The Sleepless Critic

It’s Dolly’s world and we just live in it.

Commanding the stage and the audience is pitch perfect Aimee Doherty as conspiring Dolly Levi who sings for her supper as a successful matchmaker.  A shrewd businesswoman, Dolly sees what life can hold for everyone else in Yonkers and beyond, but her confidence wanes when it comes to a second chance at love.

Aimee Doherty* (Photo by Mark S. Howard)

With innovative direction by Maurice Emmanuel Parent, uplifting Music Direction by Dan Rodriguez and buoyant choreography by Ilyse Robbins, Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22.  This immersive musical’s action is not limited to the stage and runs approximately two hours and 30 minutes with one intermission.  Click here for more information and for tickets.

Having seen other versions of Hello, Dolly! before, I’ve always been impressed by the charm of fast talking and resourceful Dolly Levi.  However, this particular production integrates modern and classic elements by having Dolly Levi not only at the cast’s service, but yours as well.  Making a bustling entrance, Doherty passes out her business card to members of the audience and occasionally shouts out her services as the musical progresses and she always makes a sale.

Aimee Doherty* and Joshua Wolf Coleman* (Photo by Mark S. Howard)

It also infuses modern elements without losing the Golden Age atmosphere while satirically commenting on outdated ideas of a woman’s role in society.  At one point, Joshua Wolf Coleman as Horace Vangergelder quotes one of his late wife’s expressions, ‘Marriage is a bribe to make a housekeeper think she is a householder.’  Hello, Dolly! delivers a bit of tongue in cheek humor through clever bits of improvisation from a contemporary perspective.

Stephen Caliskan, Aimee Doherty*, Sophie Shaw and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

Janie E. Howland cleverly makes the most of the space and the expansive nature of New York through multilevel staging, a worn sign of Yonkers on one side of the stage and Grand Central on the other punctuated by a sprawling map on New York on the ground.  Images of the Statue of Liberty and the sparkling George Washington Bridge stands out in the distance while a glittering gold and black wrought iron staircase sits center stage adorned with Dolly’s signature white feather.

From tap to ballroom to a polka to lithe and athletic choreography, Robbins keeps this musical showcase lighthearted and lively especially demonstrated through a humorous Waiter’s Gallop, the patriotic Motherhood March, the elegance of Dancing, Put on Your Sunday Clothes and the its dazzling title track. 

Aimee Doherty* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

With contagious steely eyed conviction and unrelenting confidence, Aimee Doherty shines as Dolly Levi who can hustle with the best of them.  Her first velvet maroon and black gown, one of many stylish gowns of the Victorian era, shares some similarity to Mary Poppins, another dynamo problem solver who can make anything happen.  Boasting an array of feathers, detailed parasols, lace, sequins, fans, boots, bustles and three piece suits, but costume designer’s Kelly Baker’s sharp and meticulously detailed floral hats are showstoppers.  

Michael Jennings Mahoney*, Joshua Wolf Coleman*, and Max Connor (Photo by Mark S. Howard)

Doherty shares some amusing scenes with Joshua Wolf Coleman as gruff and old fashioned rich widower Horace Vandergelder who often do not see eye to eye as Dolly has been hired to find him a match.  Coleman demonstrates old fashioned practicality through the upbeat It Takes a Woman.   Meanwhile, Max Connor as Barnaby and Michael Jennings Mahoney as Cornelius work for Horace and make a naïve and humorous duo, longing for adventures of their own. Kristian Espiritu delivers a dreamy rendition of Ribbons down my Back and shares giddy chemistry with Mahoney as Cornelius.  With flabbergasted facial expressions enough to make you laugh, Mark Linehan is a bit of a scene stealer as hilariously snooty frazzled head waiter Rudolph.

Jackson Jirard and Mark Linehan* (Photo by Mark S. Howard)

The show is also campy and the over the top excitement can be fun, but might not work for everyone.  Hello, Dolly delivers a number of madcap high jinks, but also genuine heart in the cast’s earnest search for love.  Featuring a few characters who are widowed, it is just as much about matchmaking as it about a second chance at love.   Having not seen this musical for many years, this wistful aspect seems more prominent in all of its adventurous optimism.  Doherty delivers a stirring rendition of Before the Parade Passes Me By with a building hopefulness and authenticity longing to truly embrace life again.     

   

Kristian Espiritu,* Michael Jennings Mahoney* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

Lyric Stage’s Hello, Dolly may inspire you to forget your troubles for little while and immerse yourself in Dolly’s world.  Mahoney as Cornelius at one point also delivers a tender rendition of It Only takes a Moment and wondrously proclaims, ‘Isn’t the world full of wonderful things?’  It just might help you notice them too.

Aimee Doherty* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22.  Click here for more information and for tickets.