musicals

REVIEW:  Company Theatre delivers an inspiring and ever enchanting Rodgers and Hammerstein’s family-friendly musical, ‘Cinderella’

Posted on by The Sleepless Critic

The Company Theatre proves that magic does not just come from a wand in Rodgers and Hammerstein’s Cinderella.  

Boasting more magic than other popular adaptations, Cinderella brings to light the virtues of being humble, loyal, generous, and yearning to make a difference in the world.  What is wonderful about this adaptation is Rodgers and Hammerstein invites the audience to root for the Prince as much as Cinderella herself.

Resourcefully co-directed by Zoe Bradford and Sally Ashton Forrest with lively musical direction by Steve Bass, The Company Theatre continues Rodgers and Hammerstein’s Cinderella live and in person at the Company Theatre in Norwell, Massachusetts through December 17.  Based on the book by Oscar Hammerstein II and a new book by Douglas Carter Beane, this family-friendly musical is approximately two hours with one intermission and appealing for all ages.  Click here for more information and for tickets.

Cinderella’s Glass Slipper Image by Zoe Bradford

The Company Theatre always has a way to make the holidays a bit brighter with their December show.  Whether bathed in starlight or snow,  Ryan Barrow’s moving set fluctuates from a modest village landscape including towering forest,  rustic well and a vine crept stone wall to glimmering and fanciful surroundings featuring a large golden clock, a sophisticated marble staircase, pristine white florals, crystal chandeliers, and a gold embroidered living room.  Dean Palmer Jr’s warm lighting and Ellie De Lucia’s radiant costume design eloquently depicts the musical’s mid to late 1800s setting through illuminating candlesticks and lanterns, opulent gowns, and gold embroidered suits and vests. 

Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein create a robust fairy tale with Cinderella that features characters fleshed out much more soundly than other adaptations.  The only adaptation that may come close is the imaginative 1998 film based on the Charles Perrault fairytale, Ever After:  A Cinderella Story starring Drew Barrymore. 

Cinderella features an exuberant cast in this smart and warmhearted fairytale.  Prince Topher, portrayed with shrewd charisma by Sean Donnelly, is valiant, humble, good humored, and protective, proving his virtue in every aspect of his performance.  What is wonderful about these characters is it is not just understood who they are. They are not stereotypes, but consistently showing their mettle by growing and transforming in significant and unpredictable ways.

Emily Lyons as Charlotte, Melissa Carubia as Gabrielle, and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Could an ugly stepsister have her own love interest?  In this story, anything is possible.  Rather than a rehash or a contemporary twist, this twist is rather timeless.   It has much more to offer than the often simplistic style of Cinderella’s tale.

Cinderella focuses on a humble young girl who is a servant to her wicked stepmother and ugly stepsisters.  However, when the kingdom announces a masked ball for Prince Topher to find a wife in order to become king, every maiden in the kingdom is clamoring for an invitation.

Donnelly’s Prince Topher is handsome, generous, and a practical dreamer that protects his kingdom from any threat that comes its way.  However, he also questions his place in the world, knowing he has much more to offer than his lot in life as King as expressed insightfully in the upbeat Me, Who I Am in a compelling duet with Melissa Paz as Cinderella.  Both also shine for the lyrically rich number Ten Minutes Ago.  Donnelly depicts Topher with dignity and sincerity, making it easy to root for such a character on his own virtues.  He shares some complex scenes with Christopher Hagberg as Sebastian who spends his time raising the Prince and overseeing the kingdom.  Status conscience and mysterious, Sebastian provides a unique vision of the Prince’s future.

Wearing a kerchief and simple blue skirt, Ella, who is nicknamed Cinderella, is witty, selfless and compassionate.  A bright and soaring soprano, Paz as Cinderella works without complaining and tolerating every cruelty she encounters without repayment.  She is also obedient under the most ridiculous of demands.  She befriends adorable and comical puppet woodland creatures who bop to the music, sing along, and every once in awhile, scene steal in their own right. 

Emily Lyons as Charlotte, Vickie Gerard-Culligan as Madame, and Melissa Carubia as Gabrielle in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Cinderella’s ugly stepsisters are not a pair of braying bookends, as some adaptations suggest.  They are individuals with their own goals in mind.  Melissa Carubia portrays awkward, bashful yet clever Gabrielle and Emily Lyons depicts narcissistic and brutally frank Charlotte.  Both have excellent comic timing.  Lyons shines in an array of humorous quips for the animated Stepsister’s Lament.  Obsessed with status and wealth, Vickie Gerard-Culligan as status hungry Madame is often flagrant and nonchalantly cruel as she wraps herself in her own little world.  Gerard-Culligan reveals a fascinating side to Madame briefly in a delightful rendition of Lovely Night with Gabrielle, Charlotte, and Cinderella, but is always focused on exactly what she wants.

Vickie Gerard-Culligan as Madame and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Ryan Rappaport delivers a zealous performance as purposeful revolutionist Jean-Michel, but could not help but think of him at times as a character missing from Les Miserables.  He is determined to change the world and every change starts at home.  With playful and powerful vocals, Joey Thordarson is a riot as distinguished town crier Lord Pinkelton, gleeful in his important work.

Always amazing Dru Daniels as Marie is much more than she seems, delivering inspiring showstopper There’s Music in You and the catchy signature tune, It’s Possible.  

Dru Daniels and Melissa Paz in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein’s Cinderella offers timeless and rich commentary on this classic tale with a beautiful and important message about believing in the impossible.  Even adults may shed a happy tear or two.

Resourcefully co-directed by Zoe Bradford and Sally Ashton Forrest with lively musical direction by Steve Bass, The Company Theatre continues Rodgers and Hammerstein’s Cinderella live and in person at the Company Theatre in Norwell, Massachusetts through December 17.  Based on the book by Oscar Hammerstein II and a new book by Douglas Carter Beane, this family-friendly musical is approximately two hours with one intermission and appealing for all ages.  Click here for more information and for tickets.

REVIEW:  Fueled by a mesmerizing soundtrack, witness The Huntington and SpeakEasy Stage Company’s quietly stirring ‘The Band’s Visit’

Posted on by The Sleepless Critic

Imagine longing for a phone call from a loved one or the act of just mustering up enough courage to speak to a girl.  Imagine welcoming a group of strangers to your table and into your private home for the night because they are in need of a place to stay.  Think about that kind of selflessness and hospitality freely given without a second thought.  These seemingly small acts of kindness make a big impact in The Band’s Visit.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage Company presents The Band’s Visit by Itamar Moses through December 17.  The show is 90 minutes with no intermission.  Click here for more information and for tickets.

The Band’s Visit made its Broadway debut in 2017 with Tony Shaloub as Tewfiq and went on to win multiple Tony Awards.  Much of this acclaimed show hinges on its eclectic and spellbinding music soundtrack which ties the band and the locals together, particularly essential when they are feeling misunderstood.  This multi-talented onstage band certainly can jam especially for the numbers Soraya and Haj-Butras and receives some additional hidden accompaniment which is delightedly revealed in an unexpected way.

Cast of The Band’s Visit; Photo by T Charles Erickson

Set in 1996 in a small Israeli town located in the middle of the Negrev Desert where nothing unusual ever seems to happen, the townsfolk are dazzled by a traveling and stranded Egyptian band wearing distinguished powder blue uniforms by Miranda Kau Giurleu.  The Band’s Visit is an unconventional and unassuming musical that quietly and most assuredly will open hearts and minds to the little things in life that are sometimes overlooked.

The Band’s Visit unveils heartache and hope in such a remote land that the locals may sometimes feel forgotten.  Many aspects of Jimmy Stubbs and Wilson Chin’s nostalgic scenic design fondly rewinds the clock using iconic pieces of nostalgia while also evoking the isolated nature of the town which includes a towering lamp post, a phone booth richly and authentically detailed with fingerprints and grime on its plastic cover, and a deserted blue street with yellow stripes.  One of the most memorable scenes recreates a retro roller skating rink equipped with multicolored lights, disco ball and DJ. 

Jennifer Apple, Brian Thomas Abraham; Photo by T Charles Erickson

This production delivers many surprises and this intriguing cast is no exception.  Brian Thomas Abraham wonderfully portrays modest orchestra leader Tewfiq.  Abraham’s reserved Tewfiq expresses his art with charisma, but offstage, he is a man of few words.  Guarded and mysterious, Abraham shares fascinating chemistry with Jennifer Apple, a natural as feisty divorcee Dina especially for the beguiling numbers Omar Sharif and Something Different.  Stunning in a gorgeous red flowing burgundy frock, Apple captures Dina’s resilience and yearning for happiness beyond what this small town can offer but something is holding her back.  Apple’s bright smile and intensity is particularly notable in a scene stealing incident slicing watermelon in It is What it Is.

Marianna Bassham, Andrew Mayer, Robert Saoud, James Rana, Jared Troilo; Photo by T Charles Erickson

Mariana Bassham, who has a history of impactful roles including a starring role in SpeakEasy Stage’s People Places and Things from 2022, is impressive alongside Jared Troilo as Iris, Itzik’s long suffering and resentful wife.  Even in an uplifting scene involving household instruments, Bassham’s vacant expression and fatigue is the picture of indifference and discontented heartache as she stares into the abyss of a life unfulfilled.  Troilo’s Itzik is warm and helplessly optimistic despite his family’s circumstances.  Troilo has a powerful voice which is understated for this particular performance for a quietly tender Itzik’s Lullaby. 

Noah Kieserman, Mac Ritchey, Jared Troilo; Photo by T Charles Erickson

The Band’s Visit also offers a mix of lighthearted comedic moments.   Jesse Garlick shines as awkward and bewildered Papi for the zany number Papi Hears the Ocean as Josephine Moshiri Elwood as self effacing Julia looks on.  Kareem Elsamadicy is much more than meets the eye as Haled in the smooth and lovely rendition of Haled’s Song about Love.  Emily Qualmann as Anna and Fady Demian as Zelgar make an entertaining pair of partiers and Noah Kieserman delivers gorgeous vocals with the cast for the enthralling number, Answer Me.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage presents The Band’s Visit by Itamar Moses through December 17.  The show is 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW: Sparkle and charm fuel Titusville Playhouse’s ‘The Prom’

Posted on by The Sleepless Critic

Having been invited to The Prom for the second time this year, it seemed best to celebrate this time around in a frilly dress. It was especially appropriate catching a show while away on vacation and with Jordyn Linkous’s festive and glittery wig and costume design, it was easy to fit right in.

Innovatively directed and creatively staged by Niko Stamos with lighthearted choreography by Jordyn Linkous, Titusville Playhouse presents musical dramedy The Prom live and in person in Titusville, Florida through October 1.  This show contains some strobe lighting and special effects.  It runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

Mandy Kerridge as Dee Dee Allen, Steven J. Heron as Barry Glickman and cast in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry.  Inspired by a true story, anxious Emma, depicted with self effacing humility by Delaney Sue McGough, invites a date to the Prom with none other than Myanell Enriquez as popular Alyssa, the daughter of the head of the Parent Teacher Association.  Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town.  The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana.  The Prom delivers plenty of humor ranging from silly to satirical with a sincere and underlying message about helping others.

Mandy Kerridge as Dee Dee Allen and Delaney Sue McGough as Emma Nolan in ‘The Prom’ Photo credit to Titusville Playhouse

With extraordinary music direction by Spencer Crosswell, The Prom boasts strong vocals from an amiable cast.  Glamour takes center stage with Mandy Kerridge as Dee Dee Allan, a self absorbed and award-winning actress.   Kerridge’s impressive vocal range and wonderful belt is on full display for It’s Not About Me and The Lady’s Improving.  Along with Steven J. Heron as warm, lovable, and lauded actor Barry Glickman, Danny Sanchez as no nonsense PR rep Sheldon, Corey Evans as openhearted Trent, and Sarah Ruth Joyner as inspirational Angie Dickinson, these seemingly shallow thespians bring some humorous moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lit with soft and cheerful multicolored lighting by Davis Vande Steeg , The Prom features a dynamic set design by Niko Stamos including a digital screen that transforms settings in an instant including the store front of a 711, a monster truck rally, and the glittering festivities of a Prom.  Some clever staging includes the transformation of an Applebee’s to a balcony seat during a beautiful rendition of We Look to You as well as veiled and translucent staging for the number, Tonight Belongs to You.

Steven J. Heron as Barry Glickman and the Executive and Artistic Director of the Titusville Playhouse and Delaney Sue McGough as Emma in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone.   It is positive throughout, even in the face of Emma’s most difficult challenges.  McGough’s chiming vocals in forlorn yet earnest number Just Breathe is a compelling revelation while Holly Fuller’s tight lipped delivery proves fitting for tough and immutable antagonist Mrs. Greene.  Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Cast photo Photo credit to Titusville Playhouse

The Prom contains a wealth of welcome, inside Broadway humor and references as well as notable choreography including a sweet rendition of You Happened and the Fosse-inspired choreography of Zazz.  The Prom provides a message driven and sparkling escape to fun and frivolity if only temporarily from the realities of life.  

Titusville Playhouse presents The Prom live and in person in Titusville, Florida through October 1.  This show contains some strobe and special effects and runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

REVIEW: New Ohio Theatre’s ICE Factory’s ‘Here I Fall Up’ and ‘How I Disappeared’

Posted on by The Sleepless Critic

A girl is starting to wonder if she is fall apart or is she just falling up?

Gianna Milici, Sophia Drapeau, and Lauren-Quigley in ‘Here I Fall Up’ Photo credit to Natalie Powers

Featuring chiming melodies, a girl is somehow tethered to her family’s seaside home in a way that makes her question her own sanity.  Surrounded by her sisters who narrate the story, Here I Fall Up is thoughtfully directed and composed by Beth Golison and directed creatively by Annabel Heacock and Maiya Pascouche and is just under an hour.  It was featured at New Ohio Theatre’s ICE Factory in NYC and was streaming through August 12.  Click here for more information.

The girl, portrayed sympathetically and realistically by Sophia Drapeau, ventures into dark places that keeps the audience guessing whether the girl is actually experiencing something outside this world or is it all happening inside the girl’s head?  Drapeau’s suffering throughout this production makes a real case for either and watching the girl attempt to cope with anxiety and a severe degree of agoraphobia is heartfelt, earnest, and a bit distressing to witness. The bluish and haunting shadows by Chris Voegels combined with the simple, multifunctional set by Jessie Baldinger are as imaginative as it is symbolic of a girl longing to make a connection outside the girl’s fears and vulnerabilities.

Rose Tablizo and Sophia Drapeau in ‘Here I Fall Up’ Photo credit to Natalie Powers

Here I Fall Up’s inviting, folksy, and intermittently catchy acapella harmonies from sisters and narrators Samantha Medina Chachra, Lauren Rose Quigley, and Gianna Millici combined with Rose Tablizo’s mysterious presence keeps the production a bit lighter while tackling some darker issues. 

Here I Fall Up is thoughtfully directed and composed by Beth Golison and directed creatively by Annabel Heacock and Maiya Pascouche and is just under an hour.  It was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12.  Click here for more information.

Courtesy of CHUANG Stage

Does it matter where I put my roots down?

Identity should be not what one is, but who one is.  Not the labels, but the person.  That is not such an easy journey living in NYC.

Told from the perspective of six immigrant Asian individuals living in NYC, How I Disappeared is a bilingual production about grasping for acceptance in the world without assumptions or grief, but with understanding.  Directed by Tianding He and produced by CHUANG Stage, it is done creatively, though not always clearly in this abstract and Avant Garde production.

Courtesy of CHUANG Stage

How I Disappeared is just under an hour and was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12.  Click here for more information.

From an individual covered in overwhelming and all encompassing remnants of NYC including a liberty hat, Broadway sign, wearing a mask and carrying a suitcase subway map to the desolate and metaphorical marine characters on the NYC subway, How I Disappeared emphasizes the intimidating, overwhelming, noisy, and isolating city atmosphere.

The glassy reflections particularly stand out in this part projection by Brian Shin-Hua Ellis and part animated puppetry by Wilden Weihn production.  From a Puffer fish to a whale wandering on a subway, each distinctive marine creature delivers a combination of bittersweet and relatable humor as the narrator describes each creature’s authentic capabilities and defenses.  Steeped in soothing blue aquatic lighting by Will DeJianne, it seems absurd witnessing them on the subway, and yet it becomes a snapshot of humanity as the show progresses.

Courtesy of CHUANG Stage

The production does have lighter moments of dancing including catchy and original live music by John Tsung and Siyi Chen as well as its fair share of silliness with underlying messages of perseverance in the face of fears, doubt, and judgment.  Staying true to oneself and anything is possible.

How I Disappeared is just under an hour and was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12.  Click here for more information.

REVIEW: A dynamite Joan leads Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’

Posted on by The Sleepless Critic

The title track is more than catchy.  Not only may it inspire humming the hook long after the show is over, but it’s a clever tribute to a saint that was motivated to accomplish her mission from God at all costs.  It’s inspirational, fiery, and sung with a rock growl by Liza Giangrande, a charismatic actress with a dynamite vocal range who also portrayed Jo in Greater Boston Stage Company’s Little Women the Musical last year and received an Eliot Norton Award nomination for her performance.  Giagrande was definitely born to do this.

Liza Giangrande and cast in Company Theatre’s Born to Do This: The Joan of Arc Rock Opera Photo by Mike Scott

Giangrande does a spectacular amount of heavy lifting for this role which contains a large repertoire of original musical numbers with a large cast that take her from Domremy, France to the City of Orleans at the age of 16 to attempt to accomplish what no woman has before.

With book and lyrics by Zoe Bradford and co-directed by Zoe Bradford and Sally Ashton Forrest, music and lyrics by Melissa Carubia with collaborator Michael Hammond and musically directed by Robert McDonough, Company Theatre unveiled the world premiere of Born to Do This:  The Joan Of Arc Rock Opera live and in person at Company Theatre in Norwell, MA continuing through August 20.  Click here for more information and for tickets.

Company Theatre’s Born to Do This: The Joan of Arc Rock Opera cast Photo by Mike Scott

Illustrations, painted detailed backdrops of the French countryside, and dank dungeons with wrought iron gates by Ryan Barrow are illuminated by lighting designer Dean Palmer Jr. with visual projections by Logan Puleikis.  Purple lighting, flaming lanterns and intermittent celestial brightness blended with dynamic visual projections of a gorgeous church altar, a brilliant starry sky, luminescent flames and lit church windows create the mysterious and humble atmosphere of the Middle Ages.

Francesca Miele and Dru Daniels in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott

Born to Do This: The Joan of Arc Rock Opera tells a broad and epic historical tale that delves into Joan Of Arc’s life, but also explores the Hundred Years’ War between France and England.  The show has an uplifting overture and begins with a glimpse into one of Joan of Arc’s victories before rewinding the clock back to her childhood.  Francesca Miele depicts the younger version of Jeanne with effervescent charm, determination, and chiming vocals.  Miele and Anne Martland share some sweet scenes together as Jeanne’s conflicted and compassionate mother with the beautiful number, Angels All Around.

Zion Amparo and Francesca Miele in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott

The enigmatic manner in which Jeanne learned of God’s mission is peculiar and fascinating involving Dru Daniels as Nanette and Zion Amparo as St. Michael.  It is unimaginable, and yet so clear and extraordinary.  It would have been nice to have seen Amparo’s encounters with Jeanne more often just to see the progressive building of that bond.  Amparo soars for the number One Life and the angels’ presence during battle scenes were a beautiful touch.  Laird LaCoste is enchanting as Henry IV as he flaunts around playfully for the adorable number, The King with Two Crowns oblivious to the weight of his future accompanied by Kevin Groppe as the Duke of Bedford and Bishop Cauchon by Steve Dooner who both deliver impressive performances especially for Sold for a King’s Ransom.  Giangrande and Dooner create some riveting tension, especially later in the production.

Salvatore Guillermo, Garcia, Shane Smith, Peter S Adams, and Braden Misiaszek in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott

However, this show has its uneven moments and does not fit squarely as a rock opera.  The music is considerable with a weighty storyline and would like to have known some of the characters better.   With so many other cast members traditional and faithful to the era in boots, plain garments, and royal vestiges, some of the other costumes in leather, feathers, sneakers, and eyeliner are so contemporary, they seem out of place.  For example, in the number, Nobody Parties Like a Bastard, the party scene seems to not quite fit with the mood and manner of the rest of the production. 

Kaileigh E Bumpus Liza Giangrande and Dru Daniels in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott

Jeanne is trying to accomplish a tremendous mission which makes an indelible impact, breaks societal norms, and the production makes it as plain as day that Jeanne is doing what is considered a man’s job.  It is critical to the story, but is emphasized much more than Jeanne’s accomplishments which weren’t as clear.  What warrior Joan of Arc accomplished being different is also what made her special, extraordinary, and the very reason this musical was created.  Her adversity and faith becomes her greatest strength.

Greatness isn’t always understood, and her destiny was built on exactly who she was and stands as a testament to the good she accomplishes at such a young age and an inspirational life that should never be forgotten.

With book and lyrics by Zoe Bradford and co-directed by Zoe Bradford and Sally Ashton Forrest, music and lyrics by Melissa Carubia with collaborator Michael Hammond and musically directed by Robert McDonough, Company Theatre unveiled the world premiere of Born to Do This:  The Joan Of Arc Rock Opera live and in person at Company Theatre in Norwell, MA continuing through August 20.  Click here for more information and for tickets.

REVIEW:   Company One’s ‘The Boy Who Kissed the Sky’ a heartfelt tale that rocks the cosmos

Posted on by The Sleepless Critic

Music lifts, transports, comforts, brings people together, and provides its own therapy to the happy and the hurt.  Though the Boy, depicted with earnest and imaginative optimism by Errol Service Jr., is not aware of it yet, a force much bigger than him is going to lead the way to his destiny. 

Errol Service Jr. in ‘The Boy Who Kissed the Sky’ Photo by Erin-Crowley

Directed inventively by Summer L Williams with funky musical direction by David Freeman Coleman, joyfully choreographed by Victoria Lynn Awkward and loosely based on legendary guitarist Jimi Hendrix’s life, Company One presents Idris Goodwin’s celestial and groovy The Boy Who Kissed the Sky live and in person at the Strand Theatre in Dorchester, Massachusetts and now streaming through Saturday, August 12.  This far out production is 70 minutes with no intermission and pay what you can tickets are available.  Part of what makes Company One’s The Boy Who Kissed the Sky special is its commitment to the community and social change by partnering with a number of community organizations including Project Bread, Zumix, and Boston Music Project through this production.  Click here for more information and tickets.

Adriana Alvarez, Errol Service Jr. and Martinez Napoleon in ‘The Boy Who Kissed the Sky’ Photo by Erin Crowley

In many ways, musician Jimi Hendrix was deemed ahead of his time.  Part biography, part musical and part fantastic trip through time, the cosmos, and through hardship, The Boy Who Kissed the Sky envisions possibly how Hendrix got there.  It is noteworthy that Service’s boy is never referred to as Hendrix and can be translated into any dreamer’s potential.

 This production boasts a wealth of various projections by Rasean Davonte Johnson including traffic and misty rain as well as kinetic water colored special effects and cosmic imagery.  Through all of the pizzazz and psychedelic special effects lies an inspirational tale built for any dreamer attempting to overcome challenging circumstances.  Set in Jimi Hendrix’s hometown of Seattle, Washington, It also delivers a strong message about the value of hard work, keeping an eye on the prize, and believing in one’s boundless potential.

The cast of ‘The Boy Who Kissed The Sky’ Photo by Erin Crowley

The Boy Who Kissed the Sky’s energetic cast is lead by Errol Service Jr. referred to only as The Boy.  Much of the cast plays more than one role.   Service’s Boy is amiable, sympathetic, imaginative and inquisitive as he waits for his mother, depicted warmly by Yasmeen Dunkin.  Cedric Lilly is enigmatic and forthright as the boy’s veteran father, Mel and Keira “Kee” Prusmack delivers a humorous yet kindhearted performance as Mrs. Newton, the boy’s nosy neighbor.

L-R Martinez Napoleon and Errol-Service Jr. in ‘The Boy Who Kissed the Sky’ Photo by Erin Crowley

However, grooving through time and space backed by some of Hendrix’s music history and influences is Martinez Napoleon who soars as J. Sonic.  With excellent vocals, mystical charisma, and an easy rapport with Service Jr, Napoleon sweeps through the production with a smooth yet caring demeanor as Martinez attempts to demonstrate that the boy, using a broom as a guitar, is more powerful than the boy ever thought possible.

The cast of ‘The Boy Who Kissed The Sky’ Photo by Erin Crowley

Backed by Eugene H Russell IV and Divinity Roxx’s uplifting rock n roll and blues-inspired score especially for numbers A Feeling Without A Name and Way Back,  The Boy Who Kissed the Sky is a musical celebration elevated by Jimi Hendrix’s iconic fashion sense and Danielle Dominique Sumi’s dramatic and galactic 60s-inspired costume design.  An epic and renowned onstage band trio jams high above the production’s stage alongside a gigantic moon and Wooden Kiwi Productions constructed the rock n roll set equipped with giant wooden amplifiers and stereo speakers under Danielle DeLaFuente’s scenic vision.

Idris Goodwin’s ‘The Boy Who Kissed the Sky’ is appropriate for all ages and a wonderful production to anyone could use a little inspiration.

Directed inventively by Summer L Williams with funky musical direction by David Freeman Coleman, joyfully choreographed by Victoria Lynn Awkward, and loosely based on legendary guitarist Jimi Hendrix’s life, Company One presents Idris Goodwin’s celestial and groovy The Boy Who Kissed the Sky live and in person at the Strand Theatre in Dorchester, Massachusetts and now streaming through Saturday, August 12.  This far out production is 70 minutes with no intermission and pay what you can tickets are available.  Click here for more information and tickets.

REVIEW:  Dive under the sea with Reagle Music Theatre of Greater Boston’s magical ‘The Little Mermaid’

Posted on by The Sleepless Critic

Sebastian is right. 

Life under the sea is better than anything we have up here especially if it is Reagle Music Theatre of Greater Boston’s lively and family-friendly production of Disney’s The Little Mermaid.  Having witnessed Disney’s 1989 classic The Little Mermaid several times, one of the many reasons to see Reagle Music Theatre’s stage version is it contains additional songs and scenes while still delivering all the beloved dialogue, music, and costumes from the 1989 film.  It was refreshing to see that The Little Mermaid has so much more to say.

Directed and choreographed exuberantly by Taavon Gamble with buoyant music direction by David Coleman, Reagle Music Theatre of Greater Boston presents Disney’s The Little Mermaid through Sunday, August 6 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This production is 130 minutes with a fifteen minute intermission.  Click here for more information and for tickets.

Ariel (Kayla Shimizu) and Sebastian (Davron and ensemble perform ‘Under the Sea’ in Reagle Music Theatre’s Disney’s The Little Mermaid. Photo by Herb Philpott

Less than 35 years after the release of Disney’s 1989 classic film and not too long after the release of Disney’s live action remake The Little Mermaid this year, Reagle Music Theatre of Greater Boston has chosen a grand time to bring this land and sea classic to life onstage.  Some will recognize the set pieces and settings from the 1989 film, but Reagle’s production also boasts a great deal of originality as well.

From shimmering fins to uniquely- shaped, brilliantly colored costumes adorned with carefully structured headdresses, Emerald City Theatrical delivers Caribbean charm in all of its animated splendor.  Tony Ferrieri’s layered aquatic scenic design combined with Franklin Meissner Jr’s impressive lighting enhances the complexion and depth of the production’s kaleidoscopic waves, transforming from welcoming to at times threatening along a backdrop steeped in puffy clouds.

King Triton’s Kingdom Disney’s The Little Mermaid presented by Reagle Music Theatre thru August 6 in Waltham Photo by Herb Philpott.

Based on the Hans Christian Anderson tale and the Disney film, The Little Mermaid is about a curious mermaid princess named Ariel, depicted with vibrant charm and soaring vocals by Kayla Shimizu, who falls in love with not only a human prince, but the world on land.  She is offered a way to escape the sea, but will she take it?

Ariel (Kayla Shimizu) singing Part of Your World in Reagle Music Theatre’s ‘The Little Mermaid’ through August 6. Photo by Herb Philpott

The Little Mermaid boasts a completely lovable cast led by Ariel, portrayed with enthusiastic, wide eyed wonder by Kayla Shimizu.  Shimizu’s compelling performance and powerful vocals are remarkably reminiscent of Jodi Benson, the actress who voiced Ariel in the 1989 film.  Shimizu shines with splendid renditions of Part of Your World, The World Above and If Only.  Shimizu shares captivating moments with Ray Robinson as amiable and refined Prince Eric, sweet camaraderie with endearing Kenny Lee as shy, friendly and adorable Flounder and brave, streetwise, and frank Jack Mullen as seagull Scuttle.  Having depicted Will Parker in Reagle’s previous musical, Oklahoma, Mullen again demonstrates his sharp comic wit and jubilant dance moves in a hilarious rendition of Positoovity. 

Positoovity from Disney’s The Little Mermaid presented by Reagle Music Theatre in Waltham. Photo Herb Philpott.

A vision in deep, sparkling red, Davron S. Munroe is exemplary as strict and critical crab Sebastian who assists King Triton, portrayed with wise regality by Cristhian Mancinas-Garcia.  In a display of bursting color and enchanting merriment, Munroe’s calypso-infused rendition of Under the Sea is stupendous and Kiss the Girl not only has tender charm, but delivers a humorous and delightful depiction of twilight, especially as frogs look on.

Ariel (Kayla-Shimizu) and (Sebastian Davron) and ensemble perform Under the Sea in Reagle Music Theatre’s Disney’s The Little Mermaid. Photo by Herb Philpott

Sibling rivalry has never been more fun as showcased through Ariel’s mersisters consisting of Kindred Moore, Aimee Coleman, Joy Clark, Ellie Lauter, Aubrie-Mai Rubel and Olivia Foght.  They are gorgeous beauty queens who gossip, laugh and try to upstage each other.  They perform a catchy, 50s style rendition of She’s in Love with Flounder where even the fishy puns are cute.

Kenny Lee as Flounder and the Mersisters perform ‘She’s in Love’ from Disney’s The Little Mermaid presented by Reagle Music Theatre in Waltham. Photo Herb Philpott.

Rich Allegretto as Grimsby is also impressive as Prince Eric’s traditional yet sympathetic advisor and Teddy Edgar as deranged and passionate Chef Louis is hilarious even in a brief appearance for a marvelous rendition of Les Poissons.  Edgar’s menacing eyes and passion for food make every moment count! 

Katherine Pecevich as Ursula and Eels in Reagle Music Theatre’s Disney’s The Little Mermaid thru August 6. Photo by Herb Philpott.

A trio of dastardly proportions takes shape in Katherine Pecevich as Ursula and Ursula’s two lurking and smirking neon electric eel henchmen portrayed by Miki Grubic as Flotsam and  Alan Cid as Jetsam.  With wild hair and a black and purple glittering gown, Pecevich’s slippery manipulations and brash, yet shrewd machinations match whatever Cid and Grubic have in their co-conspiring minds.  Even though Ursula is the main attraction, Cid and Grubic’s functioning and eye catching costumes do a bit of their own scene stealing.  However, Pecevich’s charisma shines in a devious rendition of Poor Unfortunate Souls, her husky vocals only second to her maniacal laughter.

Directed and choreographed exuberantly by Taavon Gamble with buoyant music direction by David Coleman, Reagle Music Theatre of Greater Boston presents Disney’s The Little Mermaid through Sunday, August 6 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This production is 130 minutes with a fifteen minute intermission.  Click here for more information and for tickets.

REVIEW:  Reagle Music Theatre of Greater Boston kicks up its heels with Rodgers and Hammerstein’s classic ‘Oklahoma!’

Posted on by The Sleepless Critic

From the first few divine notes of the show’s opening number, Oh, What a Beautiful Morning captured vividly by Jared Troilo’s charismatic Curly, Troilo creates one morning not to be missed.  Reagle Music Theatre of Greater Boston’s Oklahoma! combines top notch choreography, a jubilant cast, and an interactive set that invites the audience to settle into its own home on the range. 

Reagle Music Theatre’s ‘Oklahoma’ Aunt Eller Carolyn Saxon and Ensemble Photo credit Robert Pascucci

With luminous direction and exceptional choreography by Rachel Bertone, Reagle Music Theatre kicks off their summer musical season with the stomping fun of Rodgers and Hammerstein’s musical classic, Oklahoma! continuing live and in person through July 2 at the Robinson Theatre in Waltham, Massachusetts.  Click here for more information and for tickets. 

With its wealth of historical references weaved into Rodgers and Hammerstein’s classic soundtrack capturing the spirit of the time, it is no wonder that Oklahoma! won the Pulitzer Prize for musical composition in 1944 and is still thriving after 80 years. 

Musically directed and conducted by Dan Rodriguez, Reagle Music Theatre delivers the production’s joyous zest for life, the thrill of camaraderie, timeless messages as well as dark, tense and suspenseful moments.  Rodgers and Hammerstein wrote their second musical, Carousel shortly after Oklahoma’s success and both shows share some of the same themes.  Reagle Music Theatre delicately weaves its joyous moments with themes of loneliness, temptation, and obsession effectively especially through its powerful chorography and soundtrack, balancing this timeless tale.

Based on Lynn Riggs play, Green Grow the Lilacs, a colorful and rustic set rewinds the clock to the Oklahoma Indian Territory just after the turn of the century, equipped with softly flickering lanterns, vintage photographs, wooden fences, prairie landscapes, a wooden and winding fence, and interactive props hanging from the walls.  Franklin Meissner Jr.’s evolving lighting gradually becomes its own character, effectively transforming the mood from a soft rising sun to a nightmarish hue.

Emerald City Theatrical wonderfully captures the authenticity of the time with cheerful costumes from plaids to pinstripes as well as richly colored bandanas, suede stirrups, leather vests, cowboy boots, and pastel puffed sleeved dresses with stylish Victorian boots.

Reagle Music Theatre’s ‘Oklahoma’ Curly (Jared Troilo) and Laurey (Kayla Shimzu) Photo credit Robert Pascucci

Ruggedly dressed in suede chaps with a button down shirt, leather vest, and cowboy boots, Jared Troilo’s Curly McLain has an imaginative streak and an innate zest for life albeit infused with an occasional bit of overconfidence.  Whether engaging Kayla Shimizu as Laurey in a whimsical carriage ride during the imaginative The Surrey with the Fringe on Top or musing about life in Oh What a Beautiful Morning, Troilo puts his heart into Curly delivering an inspired performance.  Troilo also has a sweet rapport with Carolyn Saxon who brings wise sensibility and playfulness to Aunt Eller through her considerable grin, yet she is a woman not to be trifled with.

Reagle Music Theatre’s ‘Oklahoma’s’ Aunt Eller and Curly Photo credit Robert Pascucci

In a fishtail braid and striped overalls, Shimizu depicts headstrong and practical Laurey with sass, strong vocals, and introspective charm.  The production more clearly examines nonconformist Laurey who wants to do anything but what is traditionally expected, yet still yearns for a big love.  Through refined, twirling and ballet-infused choreography that combines the traditional with the contemporary topped with lace lined parasols, Many a New Day illustrates that contrast as Laurey longs for her own path. 

Reagle Music Theatre’s ‘Oklahoma’ Laurey and Girls (Out of My Dreams) Photo credit Robert Pascucci

Jack Mullen has many standout moments showing off rodeo and dance skills as fun loving, somewhat hotheaded, and spontaneous Will.  Will’s rendition of Kansas City has never been more fun with lively vocals and slick choreography as The Territory Boys stomp, tap, and perform various stunts. 

Oklahoma’s Ado Annie (Rebekah Rae Robles)and Will Parker (Jack Mullen) Photo credit Robert Pascucci

A vision in pink, Rebekah Rae Robles depicts excitable Ado Annie with a feigned wild-eyed innocence and childish mischievousness.  With a glimmer in her eye, Robles’s chemistry with both Will and Johnny Gordon as bewildered peddler Ali Hakim has its own distinct charm. Wearing a green suite, Gordon as Ali Hakim cleverly balances this dynamic character with comedy and slyness.  Rick Sherburne also makes a lasting impression as Andrew Carnes, Ado’s intimidating and overprotective father, especially during the number, The Farmer and the Cowman.

Reagle Music Theatre’s ‘Oklahoma’ Dream Laurey and Jud Daniel Forest Sullivan. and Girls Photo credit Robert Pascucci

Daniel Forest Sullivan brings a deeper sadness to skilled hired hand and loner Jud residing in a one room smokehouse.  Sullivan masters this role in its quieter moments, amplifying each scene’s tension and making his character that much more mysterious.  His scenes with Curly are somber and powerful even through Jud’s twisted judgment. With an unmistakable laugh, Caitlin Zerra Rose as Gertie Cummings is a great deal of frivolous fun.

Reagle Music Theatre’s ‘Oklahoma’ Dream Ballet Dream Laurey (Nicole Volpe) and Dream Curly (Joel Douglas) Photo credit Robert Pascucci

However, the biggest reason to see Oklahoma! is Bertone’s stellar choreography from the powerful and symbolic ballet Out of My Dreams to the snappy excitement of its title track.  The show exemplifies the closeness and camaraderie of simpler times.  It captures the joy of being in one another’s company which has become more precious in the last couple of years.  The entire cast captures the distinct spirit of Oklahoma! in all its sweeping joy. 

Reagle Music Theatre kicks off the summer musical season with Rodgers and Hammerstein’s musical classic, Oklahoma! continuing live and in person through July 2 at the Robinson Theatre in Waltham, Massachusetts.  Click here for more information and for tickets. 

REVIEW: By song and by sea, interactive musical comedy ‘Toothy’s Treasure’ makes waves in Boston

Posted on by The Sleepless Critic

A pirate’s life is not for everyone, but when it comes to the possibility of treasure, perhaps anyone might be willing to learn.

Widely interactive with its share of comedic pop culture references and more, musical comedy Toothy’s Treasure by Brayden Martino and composed by John-William Gambrell arrived for one weekend only at Boston Center for the Arts live and in person from Wednesday, May 31 through Sunday, June 4.  The production was 95 minutes with no intermission and offered pay-what-you-can tickets.  Click here for more information.

The Off-Broadway cast of ‘Toothy’s Treasure’ Photo by Brayden Martino

What is great about the day in the life of a pirate is that every day is different and the same can be said for Toothys Treasure.  Part sink-or-swim improvisation, musical comedy, and interactive tale, Toothy’s Treasure is never the same production twice.  The core plot may remain the same, but Toothy’s Treasure steers in various directions and with the amount of improvisation actually involved, it can be tricky to keep this type of show from starting to veer off course.  However, it does keep the cast and the audience on their toes. 

He’s a Pirate or otherwise known as the Pirates of the Caribbean Theme song, Under the Sea, and Ruth B’s Lost Boy are just a few of the mood setting preshow tunes piped into the Black Box Theatre to warm up the crowd as cast members humorously mingle.  Easter eggs such as a cereal box, skeleton, a cardboard rudder, and multi-purpose wooden boxes hold a purpose or two as the show progresses.

As pirates are often in peril, a crack team of multi-talented actors are on hand to weather the storm, albeit like all pirates, with more than a bit of self preservation.  Cait Winston is more than up to the challenge as not only a lively parrot puppeteer, but with a knack for maneuvering other humorous roles along the way.  Creator Brayden Martino, in lavender threads, is commanding, foppish, and egotistical as Captain Moldy Bones who leads a crew including Chloe Gardner and Mabel White to replace a certain missing crew member on their voyage to locate Toothy’s buried Treasure.  Charlize Vermaak and Dylan Gombos also lend spontaneity and playfulness to various roles.

The Off-Broadway cast of ‘Toothy’s Treasure’ Photo credit to Brayden Martino

The musical aspect holds promise, especially as certain lyrics are cleverly altered to fit ever changing scenarios performed by an onstage musical trio.   A few highlights include the catchy opening number Thank you Scurvy which explores the next quest for this dastardly and swashbuckling crew.  My Lady the Sea is a charming piece delivered with devoted fervor by Mabel White as Squid Lips and the introspective What Would I Do boasts humorous and well timed sound effects skillfully engineered by Bella Cario, Brayden Martino, and Evelyn Dumeer.  Break the Mold by Chloe Gardner, who depicts humble and earnest Wet Shoe, brims with boldness and sincerity. 

The show is strange, silly, humorous, and adventurous with a sincere message, but features a bit more improvisation for its own good and might benefit from sticking a bit more to structure.  However, Toothy’s Treasure is a funny and entertaining piece of theatre that allows the audience to be part of the story and to decide if it’s indeed a pirate’s life for you.

Toothy’s Treasure by Brayden Martino and composed by John-William Gambrell arrived for one weekend only at Boston Center for the Arts live and in person from Wednesday, May 31 through Sunday, June 4.  Toothy’s Treasure has taken the stage off-Broadway and in Boston.  Click here for more information and when it will return Off-Broadway in New York.

REVIEW:  Umbrella Stage Company unveils riveting musical, ‘The Color Purple’

Posted on by The Sleepless Critic

How does one find faith when everything falls apart?

Based on the Pulitzer Prize-winning novel by Alice Walker, The Color Purple is a powerful and thought provoking historical drama that examines life’s true meaning, redemption, transformation, and the search for faith and love when all seems lost.

With stirring direction by BW Gonzalez, Nathanael Wilkerson’s lively music direction, and instinctively choreographed by Najee A. Brown, Umbrella Stage Company continues the Tony award-winning musical, The Color Purple by Marsha Norman through Sunday, June 4 live and in person at the Umbrella Arts Center in Concord, MA.  The show has two acts with one intermission and contains some mature themes.  Some package shows also offer walking tours.  Click here for more information and tickets.

Shy’Kira Allen as Celie and cast Photo by Jim Sabitus

Umbrella Stage Company could not have chosen a better time to bring this particular musical to the stage this year.  The Color Purple celebrated the 40th anniversary of the acclaimed novel last year and the 1985 film directed by Steven Spielberg featured an all star cast including Whoopi Goldberg, Danny Glover and Oprah Winfrey.  It garnered several Oscar nominations including Best Picture. This December, a musical film adaptation of The Color Purple will premiere featuring a multitalented cast including Taraji P. Henson, Halle Bailey, Fantasia Barrino, and H.E.R.

Having never read the book or seen the film, The Color Purple was an eye opening experience.  It holds turmoil, peril, and cruelty, but it is also an extraordinary tale of miracles, transformation, humor, and unyielding hope exclaimed by a mesmerizing cast of powerful voices each with their own challenges to overcome.  Walker’s dynamic characters possess a wealth of depth and complexity that deliver some astonishing twists and turns.  The Color Purple features a powerful and Grammy award-winning score that infuses gospel, ragtime, jazz, and blues. The uplifting Our Prayer is gripping right from the start and the tapestry of moving numbers that follow makes the musical all the more enthralling.

‘Our Prayer’ from The Color Purple Photo by Jim Sabitus

SeifAllah Salotto-Crisobal’s impactful lighting design meticulously sets the tone in creative and multicolored pastels transforming Janie E. Howland’s modest wooden set equipped with whips and a silver barrel.  Covering a 40 year range, costume designer Danielle Dominigue Sumi navigates various eras with finesse including culturally appropriate attire from muted to kaleidoscopic colors.

Shy’Kira Allen as Celie and Kayla Leacock as Nettie Photo by Jim Sabitus

In 1909 rural Georgia, Celie at 14 is about to give birth.  She finds solace in her buoyant and discerning sister Nettie in a beautiful depiction by Kayla Leacock.  Their genuine camaraderie is sheer joy to witness as Celie navigates her own unmerited suffering.  Nettie is one of many spiritually strong and often challenged women surrounding inquisitive, naïve, obedient, and shy Celie depicted remarkably by Shy’kira Allen, that teach her about resilience and fortitude.  Kai Clifton is a powerful force as daring Sofia with a trailblazing attitude and demeanor rare of a woman in the early 1900’s as demonstrated in a sage and commanding rendition of Hell No!  Crystin Gilmore holds her own power as captivating and liberated performer Shug Avery who breezes into Georgia on a whim bringing excitement, scandal, and humor to the town as demonstrated in an alluring rendition of Push the Button.  However, Gilmore truly shines in quieter moments with her tender rendition of Too Beautiful for Words as well as the show’s heartfelt title track.

Crystin Gilmore as Shug Avery and cast Photo by Jim Sabitus

Shy’Kira Allen rises to the challenge as complicated Celie and though Allen has many memorable scenes with the cast, her most powerful scenes are the ones she must stand on her own such as in Lily of the Field, Dear God, and a brilliant rendition of I’m Here.  Brian Demar Jones is impressive and deceptively charismatic as short sighted and egocentric Mister while Jordan Aaron Hall is likable as compassionate yet impressionable Harpo.  Rural Georgia is an area not without its gossip and keeping the mood light in the midst of the show’s most difficult moments are the humorous and ever knowing Church Ladies, their clever vocal styling slick for Shug Avery Coming to Town and Uh Oh.

Kai Clifton as Sofia and cast Photo by Jim Sabitus

Umbrella Stage Company delivers Alice Walker’s message with such collective fervor, make time to witness this Color Purple. 

Umbrella Stage Company continues the Tony award-winning musical, The Color Purple though Sunday, June 4 live and in person at the Umbrella Arts Center in Concord, MA.  The show has two acts with one intermission and contains some mature themes.  Click here for more information and tickets.