musicals

REVIEW: Moonbox Productions presents Regina Taylor’s soul stirring ‘Crowns’

Posted on by The Sleepless Critic

 ‘When I’ve done the best I can, I want my crown.’

This is one of a few significant songs led by Lovely Hoffman in a production about faith through grief and much more.  Through testimonies, reflections, and soul stirring music, Regina Taylor’s inspiring Crowns explores life’s journey through hats which can make a profound statement, represent a lot of sacrifices, and ultimately stand for something greater. 

Mildred E. Walker, Cortlandt Barrett, Mirrorajah, Janelle Grace, Elijah Brown, Kaedon Gray, Cheryl Singleton* in ‘Crowns’
Photographer: Chelcy Garrett

With Regine Vital’s soul stirring direction, Kurt Douglas’s upbeat choreography, and David Coleman’s powerful music direction, Moonbox Productions continues Regina Taylor’s Crowns live and in person at Arrow Street Arts in Cambridge, MA through Sunday, May 4.  Perfectly timed around Easter and prior to Mother’s Day, this semi-interactive production is an uplifting 90 minutes with no intermission.  It is not limited to the stage and its church atmosphere has a collection benefiting Rosie’s Place.  Click here for more information and for tickets.

Hats in ‘Crowns’ Photographer: Chelcy Garrett

One may stay silent and observe, but this show is quite a celebration and the audience is invited to show their enthusiasm and engage in a joyful noise, clap and sing along.  The Crowns cast is friendly, warm, welcoming and makes it easy to join in as part of their community.  Having attended a previous Moonbox production, it is also comforting that a teleprompter is available to follow and sing along to a vast selection of powerful gospel works.

Mildred E. Walker and Mirrorajah in ‘Crowns’ Photographer: Chelcy Garrett

Demure and delicate or a sparkling showstopper, Crowns show that hats hold greater meaning than an article you place on your head, especially to a group of southern women who have welcomed a young girl from Brooklyn named Yolanda into their church.  After Yolanda’s brother in killed, Yolanda is sent to live with Mildred E. Walker as wise Mother Shaw, Yolanda’s grandmother in South Carolina. Mirrorajah portrays Yolanda, a city girl who looked up to her brother and had not had much guidance in her life.  Yolanda’s fish out of water experience makes room for compelling comical moments and soul stirring revelations with an excellent cast who takes on various roles as their stories unfold. 

The Cast of ‘Crowns’ Photographer: Chelcy Garrett

With gray columns and offstage instrumentalists David Freeman Coleman and Brandon Mayes, Issak Olson’s transformative lighting illuminates the altar in Baron S. Pugh’s modest set design enhanced by a variety of multicolored hats, hat boxes, flowers and vanity mirrors hung on each side of the stage.   Eye catching and detailed lace parasols also make a strong impression.  Decked out in distinctive hats, E. Rosser and wig designer Schanaya Barrows makes each character stand out sharply dressed in vibrant and bold colors as Yolanda makes her own impression in a colorful jacket and shining shoes.

Lovely Hoffman*, Mirrorajah and Cortlandt Barrett in ‘Crowns’
Photographer: Chelcy Garrett

Crowns is a collection of music, stories, testimonials, traditions and reflections exploring the meaning behind ‘hattitude’ while delving into cultural, ancestral and historical context including segregation.  From how to wear a hat to what type of hat to wear, structure, fabric, etiquette and significance, each character has an original reflection on how their hats made an impact in their lives and to those around them.

Kaedon Gray, Lovely Hoffman* and Janelle Grace in ‘Crowns’ Photographer: Chelcy Garrett

The entire cast which includes Cortlandt Barrett, Janelle Grace, Lovely Hoffman, Cheryl D. Singleton, Mildred E. Walker and Kaedon Gray boasts soaring vocals as well as irresistible charm in their lively and witty dialogue.  Mirrorajah delivers a moving performance as leery yet curious Yolanda, especially as she proclaims, ‘I don’t know how a dead soul can rise again’ and shines in the upbeat number I’ve Got Joy like a Fountain.  Dressed all in white, Walker as Mother Shaw exuberantly sings, In the Morning, blends beautiful harmony for Ol Ship of Zion and delivers an amazing a capella rendition of Take me to the Water with the cast.  Lovely Hoffman as Velma’s rendition of His Eye is on the Sparrow also boasts incredible harmony as well as the spiritual Wade in the Water featuring the cast.  It is difficult to choose standouts when they are all so brilliantly done.

Mirrorajah and company in ‘Crowns’ Photographer: Chelcy Garrett

Eshe O Baba is Yoruba for ‘Thank you father’ which is a significant phrase in Crowns. Fueled by love, experience the wonder of Crowns.   

Moonbox Productions continues Regina Taylor’s Crowns live and in person at Arrow Street Arts in Cambridge, MA through Sunday, May 4.  Click here for more information and for tickets.

REVIEW: Boston Lyric Opera’s ‘Carousel’ illuminates in the darkest of times

Posted on by The Sleepless Critic

Anne Bogart establishes an immensely creative way to establish this carousel, but this one is enclosed behind a steel cage.

Under Anne Bogart’s symbolic direction, Shura Baryshnikov’s blend of sweeping and playful ballet-inspired choreography and beautifully conducted by David Angus, Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts.  The action is not limited to the stage and runs 2 hours and 50 minutes with one intermission.  Click here for more information and for tickets.  It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

Edward Nelson as Billy and Brandie Sutton as Julie in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Based on the 1909 Hungarian play Liliom, Rodgers and Hammerstein’s Carousel has stood the test of time as a classic musical with themes that have resonated with audiences and adapted in a number of ways over its 80 year history.  It debuted right here on Boston’s Colonial Theatre stage for its pre-Broadway run on March 27, 1945 and Gordon MacRae and Shirley Jones starred in its 1956 critically-acclaimed film adaptation.  It has also been revived onstage a number of times over the years, but its most acclaimed stage revival occurred in 1994.  This dark and provocative depiction won multiple Tony Awards including Best Revival of a Musical, Best Choreography, Best Scenic Design, Best Musical Direction and a Best Actress win for Audra McDonald as Carrie Pepperidge.

However, I am most fond of it because I was part of a traditional college production as Mrs. Mullin.   Dressed in a thick fur coat, leather maroon skirt and fishnet stockings, Boston Lyric Opera’s Sarah Heltzel holds her own as widow and carousel owner Mrs. Mullin.  Streetwise, lovelorn and more than a little manipulative, Heltzel puts up a tough front that can barely conceal her true feelings for Edward Nelson as complicated and charismatic carousel barker Billy Bigelow.

Set in coastal Maine, Carousel tackles what has been considered controversial themes when it was released in 1945.  Its portrayal of domestic violence, generational trauma and family pressures are some of the darker issues of this musical, but strength, faith, support and community stand just as tall in this production.

Olivia Moon dances at a celebration in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Earon Chew Nealey and Haydee Zelideth collaborate to showcase wildly modern and vibrant wigs and shimmering costumes which include carousel workers dressed from a glimmering butterfly to elaborate horses.  The script features a few subtle changes, but mostly sticks to the essence of the traditional production 80 years ago. Minor changes can make a big difference such as Jamie Barton’s rendition of When You Walk through a Storm instead of ‘hold your head up high,’ as Nettie’s building vocals advises ‘Keep your head up high.’  However, terms such as ‘scallywag,’ ‘riff raff,’ ‘pollywog’ and ideas such as mill workers having to be back for curfew in a boarding house sounds somewhat awkward within the contemporary glow of the production.

Carrie (Anya Matanovič) and Julie (Brandie Sutton) share a moment in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

 Sara Brown’s mostly barebones set features a multipurpose wooden platform, winding staircase and a rustic wooden set with beach grass, a plant is fittingly and symbolically capable of weathering any storms or conditions.  Brian H Scott’s multicolor lighting embellish these exuberant costumes, the rippling coastline, and its intense moments punctuated by an animated lit halo illuminated above the cast serving various purposes throughout the production. 

Anya Matanovič as Carrie and Omar Najmi as Enoch in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

The orchestra swells and the cast delivers soaring harmonies and rich and flawless vocals.  In denim cut off shorts, sparkling stockings and boots, soprano Brandie Sutton depicts mysterious Julie Jordan and in pink hair and an exuberant fuchsia tutu, soprano Anya Matanovic bursts with joy as Carrie Pepperidge.  Cool and collected Julie with dreamy and transparent Carrie is the envy of all friendships.  These are two strongly bonded women and their compelling and excitable camaraderie unfailingly lift each other up, look out for and support each other in every victory and heartache. 

Edward Nelson as Billy Bigelow charms the crowd in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a black beard and orange suspenders, tenor Omar Najmi portrays staunchly traditional, practical yet big dreamer Enoch Snow.  If you think Carrie has dreams, Enoch’s are bigger.  Enoch is confident of his strengths and Matanovic’s Carrie clearly adores him.  They embark on some sweet moments and humorously curious misunderstandings.

Boston Lyric Opera’s 80th anniversary production of CAROUSEL. Photo by Nile Scott Studios

In a white cowboy hat, black leather vest, tattered black jeans and multicolor hooded sweatshirt, baritone Edward Nelson strikes a chord in a powerful performance as prideful, defensive and contemplative Billy Bigelow.  Nelson not only masters the inflection and intensity of the character especially in a humorous and stirring transformation for Soliloquy, but also captures Billy’s conflicted and anxious demeanor.  Nelson shares some of that conflict with mysterious Sutton in a touching rendition of If I Loved You which isn’t love at first sight, but gently unfolds through song as the ensemble looks on.  They are a consistent presence as stage hands making blossoms fall, workers and community members who are never far away.

Abigail Marie Curran (as Louise) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a flowing black skirt and tied blouse, Abigail Marie Curran as misguided Louise is luminous expressing liveliness, longing, and loneliness in each delicate, athletic and dynamic step.  In fatigues and work boots, baritone Markel Reed delivers some comical moments in slick and tricky Jigger who does little to conceal his shady motivations, especially during Blow High, Blow Low.

Markel Reed (as Jigger Craigin) and Edward Nelson (as Billy Bigelow) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a billowing polka dot skirt and vibrant purple hair, mezzo soprano Jaime Barton is inviting as nurturing, wise and discerning Nettie.  Barton is as playful in June is Busting out All Over and This was a real Nice Clambake as Rodgers and Hammerstein’s appetizing lyrics burst forth in succulent glory.  When You Walk through a Storm is a masterpiece and Barton delivers it tenderly.

Nettie (Jamie Barton) and the townspeople post-clambake in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

It was a remarkable experience to revisit this beloved musical and Bogart’s latest vision does little to affect the show’s inherent story or the timeless message of hope and resilience in the darkest of times.

Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts.   Click here for more information and for tickets.  It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

REVIEW: Featuring a stellar cast, a riveting and indelible ‘Parade’

Posted on by The Sleepless Critic

A blanket and balloon have never held greater meaning under Georgia’s magnolia trees and endless sunshine.

Taking place nearly 50 years after the Civil War in 1913, Max Chernin depicts Leo Frank, a quiet and disciplined Jewish Brooklynite who is working hard to build a life in Georgia with his Southern wife Lucille, portrayed by Talia Suskauer, when one harrowing night changes everything.  Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime. 

When truth is set aside, where is there to turn?

Winner of two 2023 Tony Awards for Best Revival of a Musical and Best Direction of a Musical by Michael Arden with evocative choreography by Lauren Yalango-Grant and Christopher Cree Grant, the national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23.  Based on a true story, this riveting production runs 2 hours and 30 minutes including one intermission.  Click here for more information and for tickets.

Max Chernin (center) and company in the National Tour of PARADE, photo by Joan Marcus

It is particularly significant that Parade is on tour in Boston due to Massachusetts’ foundational roots including its Cradle of Liberty nickname, but also timely because Parade’s Boston run occurs through Purim, a Jewish festival rooted in the Book of Esther celebrating a historic Jewish triumph over oppression.

This captivating musical is based on a gripping true story and evokes a wide range of emotions.  Like a parade, it spectacularly unfolds with an opening drum roll of The Red Hills of Home boasting gorgeous harmonies, splendor and Michael Arden’s acclaimed and seamless direction as well as Dane Laffrey’s moving and sweeping scenic design.   

Adorned in vivid bunting as lights descend from the ceiling, Dane Laffrey’s elaborate and rolling set transforms from a wide open field into a wooden courtroom blending Sven Ortel’s descriptive projection design of dramatic and documentary-style elements revealing historical photos of the real people, places and newspaper headlines as crucial dates trace the events of the story.  Billowing clouds and colorful landscapes stand out vividly between the black and white footage.  Susan Hilferty and Mark Koss impressively capture the essence of the era in pastels, frills, smocks, three piece suits, newsboy caps, parasols, and brimmed hats.   

The National Touring Company of PARADE, photo by Joan Marcus

Having seen Jason Robert Brown’s The Last Five Years, Brown has a gift for articulating a vast range of complex emotions and glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and from rueful to optimistic.  The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought provoking.

Max Chernin and company in the National Tour of PARADE, photo by Joan Marcus

Featuring a large and stellar cast of approximately 30 people with many of them portraying more than one role, I was blown away hearing the depth and resonance of this particular array of amazing and occasionally a cappella vocals under Charlie Alterman’s magnificent music direction.  Chernin’s vocals have a unique beauty as he embodies Leo’s stark loneliness and deft humor in How Can I Call this Home.  With gravitas and sincerity, Chernin is excellent as Leo as he shares his thoughts in melodious vocals and quiet candor especially during his remarkable ballad, It’s Hard to Speak my Heart.  He has elevating chemistry with Talia Suskauer as spirited and resourceful Lucille and they create powerful harmony for the lively and optimistic duet It’s Not Over Yet and a stunning rendition of All the Wasted Time.

Talia Suskauer and Max Chernin in the National Tour of PARADE, photo by Joan Marcus

Jack Roden is mesmerizing as Frankie Epps, especially during a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmonies to foreboding of a boy maturing in an instant.  Roden and Olivia Goosman as exuberant Mary Phagan share some endearing scenes for the catchy The Picture Show.

Olivia Goosman, Jack Roden and company in the National Tour of PARADE, photo by Joan Marcus

Griffin Binnicker shines as charismatic yet contentious Tom Watson as he leads the urgent Hammer of Justice and Michael Tacconi is notable as scandal thirsty reporter Brett Craig desperate to revive his career in the darkly playful hymnal Real Big News.

The National Touring Company of PARADE, photo by Joan Marcus

Parade’s layered and stirring choreography is demonstrated in the hypnotic turn and parallels of The Factory Girls to the mischievous spring of Pretty Music with impressive Chris Shyer as slick Governor Slaton jubilantly spinning ladies across the dance floor.  Another highlight is the clanking rhythms and chilling choreography of Feel the Rain Fall with Ramone Nelson’s commanding vocals as mysterious Jim Conley and the telling and satirical number Where will you Stand when the Flood Comes.

Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE, photo by Joan Marcus

Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking.  A haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of storytelling that is sure to stay with you long after the production is over. 

Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus

The national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23.  Click here for more information and for tickets.

REVIEW:  No stopping this beat in Sullivan Rep’s vibrant and uplifting ‘Hairspray’

Posted on by The Sleepless Critic

If only we can all have Tracy Turnblad’s unwavering optimism and this much dancing in my own life.

‘I’ll eat some breakfast and change the world’ is just one of the confident lyrics that Nora Sullivan as tenacious Tracy declares in Good Morning Baltimore while dreaming about dancing on television in 1962 Maryland.  

Nora Sullivan as Tracy in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

With a glowing chandelier above, Sullivan Rep kicks off its second season fittingly lighting up an American Legion dance floor with scattered colorful platforms and an energetic groove in Hairspray, an upbeat romantic musical comedy that just might lift anyone’s spirits.

With exuberant direction and choreography by Dan Sullivan as well as creative music direction by Jenny Tsai, Sullivan Rep continues Hairspray live and in person at the American Legion in Newton, Massachusetts through Saturday, March 1.  This theatre in the round production is approximately two hours with one intermission.  Click here for more information and for tickets.

Nora Sullivan as Tracy in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Featuring a large and lively cast, Hairspray has always been an upbeat production while infusing important messages about body positivity, bullying and racism boasting a hopeful and bubbly lead that believes anything is possible.  What I enjoyed most about this particular production of Hairspray is its vibrancy and constant motion demonstrated while scenes unfold simultaneously on colorful platforms as dancers spin, turn and flow in DW’s vivid and elegant costumes into each changing scene.  For example, Good Morning Baltimore depicts Tracy’s world with infectious rhythms and clever staging as Eve Harrison as Tracy’s best friend Penny and Tracy pour over an authentic retro television set surrounded by what they are seeing on the screen.  Not only is the audience treated to the action onstage, but to Tracy and Penny’s reactions to what they are witnessing.

Jack Magan as Link Larkin and Nora Sullivan as Tracy in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Another highlight is demonstrated in Big Doll House which infuses tap and portable and intersecting bars that elevate the comedy and the chemistry between the actors and as hula hoops spin, teen rebellion takes charge as Eve Harrison, Emily Lambert as Amber Von Tussle and Sullivan sound off on their own individual microphones for Mama I’m a Big Girl Now.

Kevin Hanley as Corny Collins and cast in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Tracy dreams of performing on Baltimore’s teen dance TV show The Corny Collins Show and winning the heart of Link Larkin, a council member and heartthrob performer on the show as Tracy demonstrates in the love struck and beautifully staged I Can Hear the Bells.   Sullivan exudes charm and an imaginative turn of phrase as Tracy in a jovial performance with pretty vocals that expel spontaneous and comical shrieks of teen excitement during various parts of the production.  Eve Harrison as Penny and Sullivan’s Tracy share a fun loving rapport in exciting teen high jinks.  Jack Magan depicts heartthrob Link with smiling eyes and a mix of openness and charisma sharing some amusing scenes with Tracy.  Marell Perry is cool and collected delivering smooth and distinctive vocals as Seaweed J Stubbs, especially for the catchy number Run and Tell That. Kevin Hanley is disarming as classically handsome Corny Collins for its title track while Katie Van Clark as Velma Von Tussle and Emily Lambert as Amber Von Tussle make for an impressive egotistical, calculating, manipulative and at times a bit unhinged mother daughter team out to win.  One of Lambert’s funniest moments was when she shouted, ‘What happened to the bland and spineless guy I fell in love with?’ and boasts sharp vocals in the number Cooties.

Jack Magan as Link Larkin in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Tim Lawson revels in his role as Tracy’s once aspiring designer mother Edna and Kai Chao is delightful as Tracy’s inventor father Wilbur during a sweet rendition of You’re Timeless to Me. 

Lizzy Pierre Saint as Little Inez and Hanifa as Motormouth Maybelle in Sullivan Rep’s ‘Hairspray’

Whether delivering the playful and bluesy Big Blonde and Beautiful or a moving rendition of I Know Where I’ve Been, Hanifa offers passion, charisma, and stylish vocals as Motormouth Maybelle.  Whether portraying a principal at the end of his proverbial rope, a wild bailiff or taking control of a TV shoot, Anthony Rinaldi manages to make each of his roles amusingly memorable.

The Dynamites of Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Get up and see Hairspray continuing live and in person at the American Legion in Newton, Massachusetts through Saturday, March 1.  Click here for more information and for tickets.

REVIEW: Yorick Ensemble’s dark and rollicking ‘The Guy Who Didn’t Like Musicals’ hums its own unique tune

Posted on by The Sleepless Critic

Imagine Office Space meets Little Shop of Horrors with a twist…and it only gets wilder.

Set in Hatchetfield in 2018 with a vintage vibe, Tom Marsh depicts polite yet direct office worker and everyman Paul.  A particular man of few words, Paul is surrounded by people who cannot keep much to themselves until a mysterious astronomical event threatens to change everything.

Directed appealingly by Kari Boutcher with lively music direction by Elias Condakes, Yorick Ensemble continues horror sci-fi musical parody The Guy Who Didn’t Like Musicals through Saturday, February 22 live and in person at the Plaza Theater in Boston Center for the Arts in Boston, Massachusetts.  This production is occasionally not limited to the stage, contains adult content and language and runs one hour and 45 minutes with one intermission.  Click here for more information and for tickets.

Yorick Ensemble’s ‘The Guy Who Didn’t Like Musicals’ cast Photo by Toni Photography

Simply staged with rolling and portable props, The Guy Who Didn’t Like Musicals is in part a musical, but if you are not a musical fan, do not let that deter you.  The production delivers inside jokes for theatre fans as well as its own share of material for those who are not a fan of the genre.  It has an appealing vintage flair while still fitting well in its contemporary setting largely due to excellent lighting and sound designer Michael Jay. 

Silly, zany, and exceedingly funny fluctuating from cheerful to eerie without taking itself too seriously…at first.  The musical numbers often dive head first into the absurd and range from sinister to upbeat and catchy with one example demonstrated in the creepily upbeat and catchy number La Dee Dah Dah Day which comes off cheery before morphing into a trance.

Yorick Ensemble’s ‘The Guy Who Didn’t Like Musicals’ cast Photo by Toni Photography

The Guy Who Didn’t Like Musicals delivers love triangles, family drama and more.  Introducing Paul with feigned grandiosity, Marsh is sympathetic as Paul and shares some compelling scene time with Demi Dicarla as intuitive barista Emma.  However, Marsh’s best moments have a darker tinge including the tormented struggle he endures in Let it Out. 

With the exception of Marsh who exclusively portrays Paul, this bold and enthusiastic cast often uses improvisation to play to the audience while sliding into a number of different roles.  Some of the roles may seem random, but will become crystal clear by the end of the production.   It is entertaining to place which office coworker might seem all too familiar such as Kelly McGowan as obnoxious Ted or Katie Iafolla as discontented cat sweater-wearing office gossip Charlotte.  However, Bradley Boutcher’s Alexa worshipping Professor Hidgens is a delightful scene stealer.  Right down to the wild timber in his voice, Boutcher hints at all the mad scientists of 1950s films becoming wackier and more hilarious with each scene and culminating into an outrageous Show Stoppin Number.   

Yorick Ensemble’s ‘The Guy Who Didn’t Like Musicals’ cast Photo by Toni Photography

The Guy Who Didn’t Like Musicals has its dark side which can feel uneven at times and is at its best when it is not taking itself too seriously.  Approach this production with an open mind.  Mixing and inspired by a smorgasbord of genres, it isn’t an easily defined production which leaves room for it to become its own darkly humorous creation that works.

Yorick Ensemble continues horror sci-fi musical parody The Guy Who Didn’t Like Musicals through Saturday, February 22 live and in person in the Plaza Theater in Boston Center for the Arts in Boston, Massachusetts.  This production is occasionally not limited to the stage, contains adult content and language and runs one hour and 45 minutes with one intermission.  Click here for more information and for tickets.

REVIEW:  Sullivan Rep capped off their premiere season with a heartwarming ‘Annie’

Posted on by The Sleepless Critic

The power of tomorrow.               

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks during Depression-era New York in 1933.  It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope.  As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Sullivan Rep proves this steadfast musical favorite never goes out of style.

To cap off their first season of New Beginnings and Opportunities, Sullivan Rep brought back this beloved musical classic to a sold out audience for most of its run.  Directed warmly by Dan Sullivan, Annie continued its successful run through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts.  The music was two and a half hours including an intermission.  Click here for more information.

Charlotte Kuong and Leah Hudson in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

Part of what makes Annie such fun to produce is although the tale remains the same, there is always room to perform it a little differently each time.  Having seen the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn, and the late great Albert Finney, it is easy to forget the stage version sticks to the storyline for the most part, but also contains additional songs.  Sullivan Rep also added some welcome candid quips to the show such as ‘Some were from the Bronx, Miss,’ and ‘Just think…New Jersey’ for added humor as well as a touching moment when all the orphans harmonize for the final phrase in the number Maybe for added resonance.

Rather than utilizing the Windsor Club stage itself, Dan Sullivan made the most of the space for Annie by performing it at eye level in the auditorium to create an immersive experience featuring a pared down set the cast set up and took down with each scene.   From a startling lightning storm to a red glowing stove to colorful and festive cheer, lighting director Erik Fox kept the show’s optimistic spirit in check throughout the production.

The Orphans perform ‘It’s a Hard Knock Life’ in ‘Annie’ Photo courtesy of Sullivan Rep

Wearing thick scarves, layers and period hats, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today.  In a pinstriped suit and silk tie, Todd Yard boasted soaring vocals as workaholic and tough-minded New York City billionaire tycoon Oliver Warbucks as he paid tribute to his beloved city with N.Y.C.  before later performing a stirring rendition of Something was Missing which is just a couple of the additional songs included in the stage version of the musical, but not in the film.  N.Y.C. had a skip in its step featuring piles of presents, special appearances by Mr. Peanut and Santa Claus and a wowed city newcomer who delivered stunning vocals in her brief appearance during the song. 

Charlotte Kuong and Todd Yard in Sullivan Rep’s ‘Annie’ Photo courtesy of Sulliva Rep

In a fur lined coat and lilac heels, Temma Boudreau charmingly depicts elegant Grace Farrell, Oliver Warbucks’s levelheaded secretary and shares a few sweet moments of her own with Kuong.  Boudreau’s breezy yet professional demeanor fit in well with Yard’s no nonsense moxie.   

Donning a straight red haircut, Charlotte Kuong depicted a bit more restrained version of Annie still infused with cleverness, earnestness and charm.  Her strong and clear vocals were most prominent during the numbers Maybe with adorable Leah Hudson as Molly as well as the show’s signature song, Tomorrow.   She also shared some endearing moments with Yard as Oliver Warbucks and charming him into seeing New York City with her was a particular highlight.

Temma Boudreau and Charlotte Kuong in ‘Annie’ Photo courtesy of Sullivan Rep

The orphans’ version of Fully Dressed is adorable and sure to make you smile. Sound designer Andrew Mulholland successfully rewound the clock featuring vintage radio programs and an always entertaining look at how radio created sound effects in the 30s.

In curlers and a whistle that she makes the most of during the show, Carly Evans depicts a sarcastic and matter of fact Miss Hannigan.  While some actresses sink their teeth into what can be considered an over the top role, Evans instead downplayed Miss Hannigan as exasperated, dark and moody showing off her strident vocals for Little Girls as the orphans demonstrated their knack for pushing her buttons. Cristhian Mancinas-Garcia as Hannigan’s conman brother Rooster and Melissa Paz as bleached blond Lily St. Regis make an amusing, sleazy pair and with Evans, a trio of conspiratorial adversaries.  Paz is a powerful singer and looked like she enjoyed portraying a woman who can’t sing.  Some of the rollicking chorography of Easy Street offered some subtle nods to the film version.

Brian Higgins as FDR and cast in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

From select city shoppers to matching uniformed house staff to government officials, this enthusiastic ensemble cast enhanced the joy in this classic tale highlighted by Brian Higgins as a jovial and charismatic FDR, Robert Orzalli as Drake with a twinkle in his eye, Anthony Rinaldi stood out as jocular radio announcer Bert Healey, and the gum chewing, New Yorker Boylan Sisters were a treat.

Sullivan Rep capped off their season with Annie through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts. Click here for more information and what is in store next season.

REVIEW: Reflections and camaraderie navigate Midwinter Revels’ uplifting ‘The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice’

Posted on by The Sleepless Critic

Island waves and a Celtic touch navigate two interpretations of a classic folk tale.

Directed with ruminating holiday cheer by Debra Wise and versatile music direction by Elijah Botkin, the 54th annual Midwinter Revels presents The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday, January 12, 2025.  This traditionally interactive production is approximately two hours 30 minutes with one intermission.  Each performance has a sponsor and dedication noted in the program. Click here for more information and for tickets.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Athéna-Gwendolyn Baptiste

This year’s Midwinter Revels occasionally takes to the seas sharing interconnected stories of identity, culture, traditions, ancestry and much more.  Aiden Parkinson portrays a cynical Celtic poet while Cedric Appolon and Kortney Adams depict a family of New Bedford newcomers from Cabo Verde who receive a mysterious package and Candida Rose Baptista is a beautiful yet elusive stranger that unleashes a new perspective.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Andrew Burke-Stevenson Kortney Adams and Aiden Parkinson

Jeremy Barnett’s festive and inviting set is steeped in the spirit of the season with illuminated lanterns, strings of old fashioned multicolor bulbs and white lights adorned on garlands and wreaths by lighting designer Jeff Adelberg as well as detailed shelves packed with a variety of books and knickknacks.  Featuring a number of traditional and contemporary Cape Verdean and Celtic instruments, the intimate Cambridge Brass Ensemble onstage orchestra beautifully delivers a wide array of music genres including Celtic, jazz, and Cabo Verdean tunes as well as a mix of moving, humorous and traditional Midwinter Revels carols for sing-along such as an a cappella SILENT NIGHT led by David Coffin who hosts with his usual welcoming charm and good humor.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus

Ugly Christmas sweaters, street wear, velvet vests, plaids, wild patterns and period pieces are only a fraction of the convivial costuming by Heidi Hermiller weaved into this large cast.  Candida Rose Baptista stuns in a gold embroidered royal blue draped gown as she shares unique, uplifting and memorable Cape Verdean tunes such as SÓ SABI sing along and later the catchy and uplifting Batuku tune FAMILIA, DESPEDIDA & SIMA NOS È SO NOS along with the Sea Change Chorus amid beautiful fish and island projections.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Lourenco “Pelé” Fernandes, José Lúis “JL” Spencer, and Candida Rose Baptista

One of the best parts of the production is the spooky number Skin and Bones performed by flashlight that may bring you a chill.  David Coffin and Mary Casey also take the stage for an amusing and eloquent a cappella version of the Irish folk number THE HUMORS OF WHISKEY and step dancer Rebecca McGowan impressively shares her spellbinding skills peppered into the production. 

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus and Rocky Road Children’s Chorus

Uniquely creating the motion and depths of the high seas, the adorable The Rocky Road Children with harmonious fiddler Liz Hanley perform the ORO MA BHADIN lullaby.  The Rocky Road Children also shine for The WREN SONG while keeping the beat with sticks accompanied by bodhrán Abe Finch and David Coffin on recorder.  David Coffin, accompanied by a trio of musicians called the Bailemian Band performs a wonderful rendition of THESTAR OF THE COUNTY DOWN.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Straw Men Mummers

Parkinson performs a stirring rendition of OISÍN AND TÍR NA NÓG and shares some reflective scenes with Appolon and Adams as they gradually learn from each other in shared experiences.

It was fascinating to witness the variations upon this symbolic and metaphorical Selkie story which share significance with each other in their own way from an Irish and then a Cape Verdean perspective.  Rather than delving into a traditionally streamlined plot this year, this musical production spends more time in camaraderie and fellowship sharing individual fables and tales while celebrating the Winter Solstice and holiday season with warmth and comfort.  Bringing a number of traditions together, the Midwinter Revels make merry the spirit of the season with reflections, humor and hopefulness in its own charming way.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley David Coffin and the cast of Midwinter Revels

Midwinter Revels presents The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice’ live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday January 12, 2025.  Click here for more information and for tickets.

REVIEW:  Boasting a heartwarming and zippy soundtrack, a marvelous ‘Dr. Seuss’ How the Grinch Stole Christmas!  The Musical’ revels in the wonders of the beloved book

Posted on by The Sleepless Critic

Whether you like the Grinch or not, be sure to witness this remarkable version of Dr. Seuss’ How the Grinch Stole Christmas!  The Musical.  It is a humorous and dazzling way to spend 85 minutes taking in the holiday spirit with the family.

By sticking to Dr Seuss’ imaginative vision, the beloved book springs to life onstage in a vibrant and thrilling way.  Past film adaptations have been overdone and bogged down with side stories and imagined history, but not this musical.  As an avid fan of the book and the famous 1966 animated TV special, I was thrilled to see this musical firmly faithful to Seuss’ literary vision.  Dr. Seuss’ How the Grinch Stole Christmas!  The Musical expands parts of Seuss’ vision that already exists in the book for a heartwarming and interactive experience about the value of love and camaraderie.

James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

With steadfast direction by co-directors Matt August and Bob Richard while Richard also navigates the musical’s energetic choreography, Dr. Seuss’ How the Grinch Stole Christmas! The Musical continues live and in person at Boch Center Wang Theatre in Boston, Massachusetts through Monday, December 23.  Click here for more information and for tickets.

From the reflective perspective of Evan Blackwell as Old Max and Chamberlin Little as Young Max who both play their parts to perfection as Narrator and character respectively, Dr. Seuss’ How the Grinch Stole Christmas The Musical is a musical comedy about a Grinch who claims to hate Christmas and feels he must stop Christmas from coming…but how?

W. Scott Stewart as Old Max and Xavier McKnight as Young Max in the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Greeting the audience with a white wreath on a red Who populated backdrop, this cheerful and interactive musical is the perfect length at 85 minutes with no intermission and brings to life the book in a way the padded film adaptations never did.  Featuring a number of catchy and heartfelt numbers weaved through its rhyming dialogue, enhancing this tale into a musical is hardly a stretch because the Whos love to sing.

Boasting three dimensional illustrated moving set pieces directly from the book, John Lee Beatty’s innovative set design include an enchanting illustrated three dimensional tree lit with glowing white and red bulbs, the Grinch’s illustrated snow covered cave and the drawn fireplace mantel with colored stockings.  It also offers glimpses of the animated classic in red and gold bulbs hanging across the ceiling adding bursts of color. 

Craig Stelzenmuller’s playful lighting often follows the action and brings sparkle to an already bright and cheerful set design.  Blue and green lights flash, glitter and move along like its own character in this wonderful tale as it also creates brief and foreboding shadows as the Grinch makes his grand entrance. 

The Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Boasting piled high hairdos, Sarah Smith’s festive, textured and Seuss-centric costumes in red, pink, white and green form wild shapes accessorized with oversized bows, bowties and elf shoes.  However, the Grinch’s vivid green and furry costume with exacting makeup is ideal right down to his long and slender fingers. 

James Schultz as THE GRINCH in the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Occasionally frightful but more often comical with his deep and versatile baritone voice, Matt Forbes is excellent as the cool and temperamental Grinch sharing gripping and amusing scenes with Little as Max as well as endearing ones with Trinity Vittoria De Vito as angelic Cindy Lou Who.  De Vito’s chiming vocals and captivating demeanor impressively deliver the gentle and touching ballad, Santa for a Day as she interacts with Forbes with blind adoration.  Little as Young Max is devoted and lovable with an expectant grin to the Grinch’s perturbed scowl and dastardly smirk as they join together for I Hate Christmas Eve with the Whos and in a playful rendition of This Time of Year with Blackwell as Old Max.

James Schultz as THE GRINCH, Sofie Nesanelis as Cindy-Lou Who and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel.

Delivering the famous tunes you already know like Blackwell’s amazing rendition of You’re a Mean One Mr. Grinch and Welcome Christmas, Mel Marvin also builds on famous excerpts from the book for original songs such as the warm Who Likes Christmas, thunderous I Hate Christmas Eve, and wild Whatamawho where the Grinch famously exclaims, ‘Oh, the noise, noise noise noise!’ 

James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

With sing-along opportunities and thrilling special effects as Blackwell shares this classic children’s tale, Dr. Seuss’ How the Grinch Stole Christmas!  The Musical holds its own to the book and the famous 1966 animated TV special live onstage reflecting on all the themes of the book such as materialism, bullying, and greed with a beautiful message and holiday treat fitting for the entire family.

James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Dr. Seuss’ How the Grinch Stole Christmas! The Musical continues live and in person at Boch Center Wang Theatre in Boston, Massachusetts through Monday, December 23.  Click here for more information and for tickets.

REVIEW: Facing corporate greed and corruption with a sprinkling of levity in Lyric Stage’s ‘Urinetown: The Musical’

Posted on by The Sleepless Critic

I went in skeptical. 

Having been invited to see this show years ago when a friend was in it, the title and premise lacked a certain initial appeal.  Yes, the show is about what the title suggests, but as narrator or maybe more like ringmaster Anthony Pires Jr as Officer Lockstock insists, ‘The setting is not Urinetown, just the name of this musical comedy.’  Janie E. Howland’s set is dingy in various shades of brown and littered with broken toilets and grime as undefined shapes pepper the stage. 

Anthony Pires, Jr and Paige O’Connor in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

And yet….

The set is a ruined landscape as one would imagine it would be for a musical comedy called Urinetown, but Mark Hollmann’s piano-infused music is suspenseful, foreboding, urgent and bright and Deb Sullivan’s mood-induced lighting design stands out.  As serious as some of the issues the show addresses are in a story about urination becoming a privilege for the rich and not a human right, the production’s satirical tone sits somewhere between not to be taken too seriously and a cautionary tale of oppression, corruption and more.

With thought provoking direction by Courtney O’Connor with lively choreography by Christopher Shin, The Lyric Stage Company opened its 50th anniversary season with musical parody Urinetown: The Musical live and in person at Lyric Stage Company in Boston, Massachusetts through October 20.  The action is not limited to the stage and run two hours with a 10 minute intermission.  Click here for more information and for tickets.

The cast of Urinetown: the Musical Photo by Nile Hawver

Taking place in an unknown city that suffers from a severe water shortage, Anthony Pires Jr as narrator and Officer Lockstock, Gabriel Graetz as Officer Barrell, and Lisa Yuen as rigid and business minded Penelope Pennywise, must enforce that each city resident pay a fee to urinate passed down by Christopher Chew as President and Owner of Urine Good Company’s Caldwell B. Cladwell.  When an incident takes place involving Remo Airaldi as Joseph “Old Man” Strong, Kenny Lee as Strong’s idealistic and determined son Bobby decides to do something about it.

Urinetown boasts a wealth of powerful vocals including Yuen’s stellar rendition of It’s a Privilege to Pee capped off by an astounding finale belt.  In rubber boots, fanny pack, and pigtails, Yuen brings depth to Pennywise who is caught between a rock and a hard place not unlike another survivor she portrayed earlier this year in Reagle Music’s South Pacific.  Pennywise must do what she thinks she must in fear of the alternative.

Lisa Yuen, Anneke Angstadt and James Turner in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Anthony Pires Jr is charismatic, engaging and a lifeline as Officer Lockstock who alternates between law enforcement and narrating the plot at various interludes.  Pires Jr’s self aware humor and sharp comedic timing adds levity to this bold satire that delivers its share of dark moments in a way that does not feel as heavy with Pires Jr at the helm.  The Cop Song, a duet with Graetz and Company, offers an inside look of what it’s like to enforce the law here to a cheerful beat.

Kenny Lee and Elliana Karris in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Elliana Karris depicts Cladwell’s rich, beautiful, compassionate, and idealistic daughter Hope who believes in change and shares an endearing rendition of Follow Your Heart with Bobby.  They are goofy, giddy and share each other’s wide eyed optimism and determination.  Kenny Lee is instantly likeable and impressive as Bobby who also longs to make a difference.  Paige O’Connor is excellent as precocious, street smart and conflicted Little Sally who shares some funny and fascinating scenes with Lee and Pires Jr throughout the production.

Christopher Chew and the cast of ‘Urinetown: The Musical’ Photo by Nile Hawver

With commanding vocals, Christopher Chew depicts threatening yet humorous adversary Caldwell B. Cladwell.  Chew strikes a delicate balance between scathing and corrupt with comic wit.  Cladwell could have easily delved into cartoon villainy, but Chew brings enough manipulative chutzpah to songs like Mr. Cladwell and Don’t Be the Bunny to make him a credible and worthy foe.

Musically directed by Dan Rodriguez, Urinetown features not only a number of songs in an array of styles, but also a variety of musical references which includes The Wizard of Oz, West Side Story and Les Miserables.  The cast’s moving rendition of Run Freedom Run and the seemingly peppy I See a River are both memorable.  As the band plays above the stage, it sheds some light as this skillful production delves into themes such as oppression, socialism, corporate greed, fear, corruption and freedom.  It’s also a strong metaphorical satire about something one would hopefully never have to go through.

If you can get past that, The Lyric Stage Company continues Urinetown: The Musical at Lyric Stage Company in Boston, Massachusetts through October 20.  Click here for more information and for tickets.

REVIEW: The con is on as Moonbox Productions presents musical comedy ‘Dirty Rotten Scoundrels’

Posted on by The Sleepless Critic

An odd couple and a lucrative bet….but if you think you know how this slippery musical comedy tango will end, there is much more here than meets the eye.

Directed skillfully by Allison Olivia Choat with absorbing music direction by Catherine Stornetta and upbeat yet spicy choreography by Brad Reinking, Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20.  This show has adult themes and runs approximately two hours and 15 min with one ten minute intermission.  It also boasts open captions that come in handy during the performance.  Click here for more information and for tickets.    

Matthew Zahnzinger, Shonna McEachern* and Phil Tayler in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

A remake of 1964’s Bedtime Story, Dirty Rotten Scoundrels hit the big screen in 1988 starring Michael Caine and Steve Martin before it became a popular Broadway musical comedy in 2004 garnering a number of Tony nominations including Norbert Leo Butz’s Tony Award-winning performance as Freddy.  In 2019, Anne Hathaway and Rebel Wilson starred in the film remake renamed The Hustle.

From Hawaiian shirts to stately formal wear in cheerful colors, some aspects of E. Rosser’s costume design is inspired by the 1988 film, but thankfully contemporarily updated from the film’s bulky 80s style clothing.

Taking place over one summer on the French Riviera, Dirty Rotten Scoundrels focuses on a group of conmen doing what they do best.  It has an odd coupling vibe with Matthew Zahnzinger as sophisticated master conman Lawrence with his co-conspirator André who encounters Phil Tayler as skilled yet uncouth novice Freddy.  Freddy is a small time conman who immediately admires Lawrence’s success and longs to learn the ropes.  When they both set their eyes on Shonna McEachern as mysterious Christine, the stakes are high and the con is on.

With simple staging on two floors by Peyton Taveres with portable props by Andrew Reynolds as well as an onstage band behind glass, Andrea Sala’s upscale multicolor lighting takes center stage and has a delightful mind of its own demonstrated by Zahnzinger’s Lawrence who drolly exclaims, ‘Breeding is important, but lighting is everything!’ 

Matthew Zahnzinger and Julius P. Williams III in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Adorned in a three piece suit with a red carnation and suave ascot, Zahnzinger perfects a thick British accent and is the picture of refinement as Lawrence.  Charismatic, suave and boasting a crafty smirk, Zahnzinger shines as Lawrence and is more than game as this smooth world traveling con artist. Julius P. Williams III portrays Lawrence’s behind the scenes right hand man André.  Williams III is quite the schmoozer who is big on decorum and short on patience.  Lawrence and André’s conspiratorial tête-à-têtes and knowing glances make them an amusing comedy duo.  When Phil Tayler as younger, outspoken, unhinged and underhanded Freddy Benson enters the scene, the real excitement begins. 

Matthew Zahnzinger, Phil Tayler and Sophie Shaw in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

It is easy to see how seamlessly Dirty Rotten Scoundrels fits as a musical comedy and after watching the 1988 comedy film, the musical is tremendously more fun.  With sultry and exuberant choreography by Brad Reinking, this charming ensemble has as big of a personality as the distinct main cast.  From the two step to yodeling to even birdcage choreography which has to be seen to be believed, Dirty Rotten Scoundrels infuses these dance sequences in all the right places.

Tader Shipley and cast in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Most of the women seem gullible and naïve with few exceptions including Tader Shipley as Jolene Oakes as a fabulous, cart wheeling southern belle in glittering gold cowboy boots.  Shipley’s over the top delivery as she headlines Oklahoma is an unforgettable treat.  Boasting soaring vocals, Shonna McEachern depicts the altruistic Christine and performs a lovely ballad with Tayler for Nothing is Too Wonderful to Be True.

Shonna McEachern* and company in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Through David Yazbek’s lyrically clever music, Dirty Rotten Scoundrels’ catchy soundtrack often plays on words, especially demonstrated through Ruffhousen with Schüffhausen featuring a memorably comedic twist between Lawrence, Freddy, and Christine.  Like Zis, Like Zat is a coy duet featuring André and Christine English as wide eyed Muriel and the tongue twisting and captivating cha cha-inspired The More We Dance between Lawrence and Christine.  Phil Tayler as Freddy is at his avaricious best for Great Big Stuff!

Phil Tayler and company in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

Dirty Rotten Scoundrels is silly, sneaky and romantic with a brand of self aware humor that smoothly brings the audience in on the art of the con. It’s a lot of fun to be in on this hustle.

Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20.  Click here for more information and for tickets.