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REVIEW: Kevin T. Durfee’s ‘Scenes of (Dis)Connections’ at NYC’s The Chain Theatre One Act Winter Festival

Posted on by The Sleepless Critic

Oh, what might have been….

Don’t let the upbeat opening music fool you.  This is one intense table.

Three individuals arrive at a poker game.  One individual is earnestly present in spite of her current circumstances and two cannot escape their immediate pressures and distractions even though they all share a common goal – to be present together. 

Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Written and directed thoughtfully by Kevin T. Durfee, Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City.  Due to a blizzard, this program had to be delayed a week.  Click here for more information about the production and here for more information about Chain Theatre, which presents over 90 one act productions during its annual winter festival.

Mary McCarthy in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

A small, floral covered table should bring friends together, but they cannot help but misunderstand each other.  In their own way, they all secretly plead for help, but cannot be heard.  Durfee uses communication breakdown in a clever way to depict each individual’s perspective through Mary McCarthy as struggling mother One, Griffin Garnett portrays struggling worker Another, and Hannah Wu depicts unemployed Alternative.  Athleisure, a business suit, and casually dressed respectively fittingly reflect their distinctive life perspectives.   They all aptly underline their distress as they long for the comfort of each other’s company, but cannot escape their various individual pressures.  

Griffin Garnett in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Confiding and connecting are so important.  Durfee was inspired to write this work through his own experiences meeting up with friends and everyone is so engulfed in their current circumstances, they catch up, but may lack genuine connection.  Durfee uses potentially life altering circumstances, but lack of connection is so easy to do in friendship or in any relationship, especially when even the lure of a cell phone is enough of a distraction from making a genuine human connection.  Listening, connection and confiding can lighten anyone’s struggles even when things happen.   

Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Scenes of (Dis) Connections provide just a snapshot of a friendship without a background story, but could be the foundation of a larger narrative.  In its brief time, it begs a few questions about these three interesting characters.  How they became friends, how they found themselves in these circumstances and how their friendship progresses would make for an excellent larger production. 

Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Ryan Blaise and Shannon Adams Creative

Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City.  Click here for more information about the production and here for more information about Chain Theatre.

REVIEW:  Searing and stunning, Central Square Theater’s ‘The Moderate’ makes a lasting impact

Posted on by The Sleepless Critic

To say it is riveting is an understatement.

 The Moderate is sure to alter your perspective on the digital world as much as it impacts each member of this small and likable cast.  Be sure to see The Moderate as much for its engulfing state of the art technology as for its stunning emotional core.

Innovatively designed and directed by Jared Mezzocchi, Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1.  This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission.  Click here for more information and for tickets.

Nael Nacer in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

The Moderate is not shared chronologically which helps to make this production a mesmerizing digital journey from its very first frame.  Rewinding the clock to March 2020, a humble yet determined Frank Bonner, powerfully and evocatively portrayed by Nael Nacer, interviews for a job as an internet moderate while the world is in COVID isolation.

The Moderate packs a lot into its brief and swiftly moving timeframe.  It delves into a wide spectrum of themes including loneliness, isolation, family strife, trauma, the gravity of internet addiction, abuse, the dark web, racism, social media, the raw and exhibitionist side of human nature and the lengths one would endure to provide for family.

Nael Nacer and Jules Talbot in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

We live in an encompassing digital world and it is not likely to change any time soon and this technology is depicted in brilliant and meticulous ways.  The show is wisely served up with no intermission which elevates this production’s immersive and gripping style of storytelling. Captivatingly set up and directed, Christian Frederickson’s robust sound design, Mezzocchi’s Multimedia design, and Sibyl Wickersheimer’s distinctive set design invites the audience into not only into what Nael Nacer as Frank sees, but how each character is experiencing one another digitally and in real time.  You are not just an observer, but experiencing each frame navigating right along with the cast between the digital world and reality.

Nael Nacer and Celeste Oliva in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

This amazing show boasts an impressive cast.  Celeste Oliva is intense and relatable as Frank’s estranged and levelheaded wife, Edyth.  Nacer and Oliva fall into difficult and various misunderstandings and both still manage to remain sympathetic under their strained circumstances.  Nacer’s Frank is darkly humorous, naïve and charming in his frustrations over technology.  Jules Talbot brings a mix of lighthearted and dark humor as Rayne, a young maverick union fellow moderate who offers Nacer’s Frank valuable insight into the digital world.  Greg Maraio portrays Frank’s level headed manager Martin who is all too aware of the difficulty and dangers of their positions and the impact it is sure to have on their lives and Sean Wendelken makes a stunning impression as Gus.

Sean Wendelken in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

However amazing the show’s technology is delivered, what truly sets this show apart is its humanity.  It does have genuine lighthearted and humorous moments while remaining unflinching of its emotional toll and remarkably and honestly lays bare the cast’s individual vulnerability and urge to make a difference. Through this shared experience, you may empathize with what they are going through as well and have a better understanding of our real and unpredictable digital landscape.

Jules Talbot and Nael Nacer in Central Square Theatre’s ‘The Moderate’ Photo by Nile Scott Studios

Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1.  This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission.  Click here for more information and for tickets.

REVIEW: Discovery enriches two short films: A frenetic ‘Subway Crush’ and sophisticated ‘Waltz for Three’

Posted on by The Sleepless Critic

A simple crush becomes something more.

In a matter of three minutes on a New York City subway, Subway Crush makes a statement about ideas of perception and interpretation that continually resonates in our digital culture.  It is a slice of digital life that escalates quickly and stands as a peek into a bigger picture ominously, candidly, and realistically captured by more than one person behind a phone. What is the truth behind what you are seeing and explores one of many ways information can be dangerously misinterpreted.

Still from ‘Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi

Both written and directed by Oriana NG, Subway Crush and French short film Waltz for Three are two profoundly different films.  Crush exhibits escalation while a subtle revelation emerges in Waltz for Three.  Increasingly feverish and frenetic Crush is candidly captured as it makes a significant statement about our contemporary culture while Waltz for Three is timeless and sophisticated with a stirring emotional core.  Yet both films are built in misunderstandings that long to be resolved.

‘Still from Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi

With impactful direction and written by Oriana NG, Subway Crush and Waltz for Three continue to make the film festival circuit and were recently screened at the 2026 Dances With Films New York Edition on January 15-18.  Click here for more information on the writer and director as well as future screenings.

Part of the cast of ‘Waltz for Three’

A quiet encounter has a profound effect on two people.

Surrounded by distinctive finery in a gorgeous castle in France, Agnès feels isolated. Ophélie Lehmann portrays reserved, soft spoken and unassuming Agnès who is quite certain what she wants when she invites Mikaël Mittelstadt as handsome Jean home.  However, it is not for the reasons one might expect.

Ophélie Lehmann in ‘Waltz for Three’

In many ways, French short film Les Trois Valseurs (Waltz for Three) explores two worlds.  This multilayered and unpredictable tale has a meaty emotional core for two likable people who have experienced a great deal in very different ways.  The film takes its time, but does not drag as these two make discoveries about each other.  The costuming and props, includes a distinguished victrola, an ethereal clock and a golden lighter, are delicate, detailed and gleaming and the way the two carry themselves evokes almost a dreamlike ambiance.  With hair swept up and adorned in an elegant dress, stately and enigmatic Agnès is mature beyond her years while Mikaël Mittelstadt’s Jean is charming and uncertain with his whole life ahead of him.  They share compelling chemistry and perceive each other in a new light as the film unfolds.

Mikaël Mittelstadt
in ‘Waltz for Three’

Not all the film’s questions are answered and in many ways, the answers aren’t necessary.  The genuine moments that gently unfold are encapsulated in their gradual understanding of one another.

Mikaël Mittelstadt and
Ophélie Lehmann in ‘Waltz for Three’

Subway Crush and Waltz for Three were recently screened at the 2026 Dances With Films New York Edition on January 15-18.  Click here for more information on the writer and director as well as future screenings.

REVIEW:  Thinking outside the box is part of the appeal of ‘Class Dismissed’

Posted on by The Sleepless Critic

‘It’s easier to imagine the end of the world than the end of capitalism.’

This quote from philosopher Frederic Jameson is one of many reflections studied in this energetic and satirical experimental theatre work, Class Dismissed.  This interactive work features a cast of students, teachers and volunteers from the audience.  Some of the lighter topics include pillow fights and day drinking.

Director and performer Daniel Irizarry in ‘Class Dismissed’ Photo by Bronwen Sharp

This is no ordinary classroom and the production’s moments of seriousness resonate over the lighter ones.  As director and performer Daniel Irizarry states, ‘Knowledge is painfully acquired’ and that resonates on many levels.  As in any classroom, pearls of wisdom shine through.

Pepper Binkley in ‘Class Dismissed’ Photo by Bronwen Sharp

Written by Robert Lyons and imaginatively directed by Daniel Irizarry, La Mama Experimental Theatre Club presents ‘Class Dismissed’ live and in person at Ellen Stewart Theatre in New York City through Sunday, May 4.  This work runs 95 minutes with one intermission and is also available to live stream.  Please bring a book so you may donate it or swap it with an audience member.  You can also be a consensual volunteer.  Click here for more information and for tickets.

In high socks and pumpkin letterman jackets which is just a glimpse of Hayley Wallenfeldt’s vibrant costumes, these earnest, unconventional and adventurous teachers lend to Florian Stabb’s inventive sound design playing instruments and creating music including makeshift instruments like two skillets and sing a cappella ranging from dance to horn infused rhythms to Italian opera.

Yaraní del Valle Piñero and Rhys Tivey in ‘Class Dismissed’ Photo by Bronwen Sharp

Hallucinating a post-capitalist manifesto, Class Dismissed also focuses on two grad students portrayed by Yaraní del Valle Piñero and Rhys Tivey satirically and at times outlandishly reporting on the state of the world.  This creative experimental work can be confusing at times but an intriguing concept and some elements work better than others.  As this is interactive and experimental theatre, you won’t see the same show twice and a different artist is featured at every performance.  Recent live stream performers were Ji-Young Kim from South Korea’s Seoul Institute of The Arts and Naz Göktan and Efe Çetinel from Bilkent University in Turkey.

Pepper Binkley in ‘Class Dismissed’ Photo by Bronwen Sharp

Lit-professors Pepper Binkley and Daniel Irizarry explain that they are using two different strategies for two different goals.  This work recites as much poetry, prose and noir as it comments on consumerism, pleasure and the established order.  You can expect the unexpected in this classroom and these teachers are willing to go to great lengths to deliver a high energy and memorable experience while the students dream about the future.

Photo by Bronwen Sharp

La Mama Experimental Theatre Club presents ‘Class Dismissed’ live and in person at Ellen Stewart Theatre in New York City through Sunday, May 4.  Click here for more information and for tickets.

REVIEW:  Love reigns supreme in The Huntington’s whimsical ‘The Triumph of Love’

Posted on by The Sleepless Critic

Witness impassioned lovers and the loved overwhelmed.

Directed shrewdly by Loretta Greco,  this is the language of love in Pierre Carlet de Chamblain de Marivaux’s French romantic farce, The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6.  This whimsical tale runs two hours and 15 minutes with one intermission and Joanna Strapp stepped in for Marianna Bassham as  Léonide for this performance. This production is also available to stream. Click here for more information and for tickets.

The cast of The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

The Triumph of Love waxes poetic about love and then some in this elaborate love story that contains as many declarations of love as lighthearted comedy.  Though The Triumph of Love was written in 1732, it contains insightful ideas, humor, and a classic storyline that connected with its era just as effectively as it does a contemporary audience in delightful ways.

If love is a battlefield, Alison Altman as confident, passionate, and outspoken Léonide is a commander.  In a layered and juicy love story,   Princess Léonide pursues naïve and sheltered Agis, portrayed nobly by Robert Kellogg, who is sequestered in Hermocrate’s country retreat.  However, in order to get close enough to Agis, Altman and Avanthika Srinivansan as her humorous maid Corine must disguise themselves as men and execute a delicate, devious, absurd and yet brilliant scheme to win her true love by using all the wiles she knows how.

Left to right: Allison Altman, Rob B. Kellogg in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Junghyun Georgia Lee’s serene scenic design boasts a lovely garden landscape embellished with lemon trees, florals, vine covered walls, and a stone bench while Fan Zhang intertwines classical and contemporary French flair to Zhang’s original music and sound design.  The painted skyline fades from turquoise to pastels to aquamarine through Christopher Akerlind’s romantic lighting expressing the progression of the day.  Lee also demonstrates 18th century French fashion beautifully in elegant silk gowns with petticoats, fingerless gloves, colorful cravats, refined vests and boots as well as finely detailed frock coats with gold embellishments and multicolor garments.

Left to right: Marianna Bassham, Allison Altman, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Led by Alison Altman as Princess  Léonide whose complex character is somewhat of an antihero,  The Triumph of Love champions a remarkable cast and Marivaux’s script offers each character an opportunity to shine during the production.  Occasionally addressing the audience,  Altman’s relentlessly determined Léonide has some earmarks of both hero and villain.  She is conscious of her power to influence and manipulate while pulling the strings of each character for love’s sake.  Resisting her charms is near impossible and Altman masters this multidimensional character with finesse though you may be occasionally torn about her decisions.

Left to right: Marianna Bassham, Nael Nacer in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Altman’s Léonide shares enchanting chemistry with nearly everyone, but her brief encounters with Kellogg as Agis are sweet and splendid.  They are adorable together and it’s easy to root for this pair.  The plot thickens pretty quickly and most of this lighthearted farce is not meant to be taken seriously.  

Strapp  as Léontine and Nael Nacer as Hermocrate portray virtuous and staunchly reasonable siblings who have shut out the world with their nephew Agis to pursue the intellectual life.  The entire cast delivers sharp comic timing and while Vincent Randazzo as Harlequin get his share of laughs, Strapp and Nacer’s moments of exasperation, panic and self aware humor is first rate as exemplified in one instance where Nacer looks around and softly wonders, ‘Why am I standing here?’  With realizations so innocent and captivating, it won’t take you long to love them both. 

Left to right: Patrick Kerr, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Statements such as ‘God forbid there should be love in that house’ and  ‘Perhaps if I could be hilarious for awhile, I could amuse myself to death’ are just a couple of the hilarious quips uttered by Vincent Randazzo as Harlequin, Hermocrate’s valet.  Rambunctious and mischievous, Randazzo’s frank delivery and gossipy nature are only outdone by his comical facial expressions.  With Patrick Kerr as practical gardener and straight man Dimas, they make a wonderfully humorous duo.   

Madcap and absorbing, bring love to the front lines with The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This production is also available to stream.  Click here for more information and for tickets.

REVIEW:  Family dynamics in The Huntington’s world premiere of Mfoniso Udofia’s ‘The Grove’

Posted on by The Sleepless Critic

What comes before you is not as powerful as what comes next.  Forging ahead has never been more difficult for Adiaha in The Grove.

Abigail C. Onwunali in The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

With skillful direction by Awoye Timpo and captivating choreography by Adesola Osakalumi, The Huntington presented the world premiere of The Grove, the second of Ufot’s  nine-play family cycle, live and in person at The Calderwood Pavilion in Boston, Massachusetts through Sunday, March 9 and is currently available to stream online.  This intriguing bilingual production in English and Ibibio runs 1 hour and 45 minutes with one intermission.  The Ufot Family Cycle features three Ufot Nigerian-American family generations.   Click here for more information and how to steam this production.

The cast of The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

Jumping from 1978 in The Sojourners to Worcester, Massachusetts in 2009, The Grove explores family roots, identity, and more as Adiaha’s struggles under the anxiety of facing her extended family as she carries a secret that she fears is against her Nigerian heritage and will ruin her family’s expectations.

Lit brilliantly by Reza Behjat, a silvery, translucent and multipurpose carousel backdrop not only serves as an extension into other scenes, but as a mysterious window into another world which features allegorical figures and inspiration for Abigail C. Onwunali as introspective perfectionist Adiaha Ufot, the eldest daughter in the Ufot household.  The production opens to the Ufot family cooking and meticulously housecleaning to prepare for Adiaha’s master’s degree graduation under the direction of Ufot’s father and patriarch Disciple, depicted with righteous enthusiasm by Joshua Olumide.  A grandfather clock, wooden stove, living room with sofa and chairs provide a portion of Jason Ardizzone-West’s sleek and innovative set.

Janelle Grace and Ekemini Ekpo of The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

The Grove has a strong cast sharing a tight family bond, each holding their own deep convictions within an umbrella of expectations.  In spite of his Disciple’s objections, Amani Kojo as Adiaha’s little brother Ekong Ufot dares to embrace the world around him and adopt American culture.  Kojo as determined Ekong seems an unconventional voice of reason within the family remaining vigilant under his father’s pressure.

Left to right: Janelle Grace, Joshua Olumide, Abigail C. Onwunali, and Patrice Jean-Baptiste in The Grove; directed by Awoye Timpo; photo by Marc J. Franklin

 Olumide as Adiaha’s orthodox father Disciple, a PhD scholar himself, staunchly urges his oldest daughter Adiaha forward through higher education in hopes of marrying her off so she can carry on Nigerian tradition in her own family.  Disciple’s insistent nature and urgency reverberates with Onwunali’s Adiaha as she anxiously follows another path weighed down by the fear of disappointing him.  Onwunali encapsulates this role in her pleading demeanor exemplified by her nervous and short answers attempting to tow the line for her family and what is expected of her.  Adiaha’s plight to be who her family wants and her own dreams are being squashed within and it is impossible not to feel for this young woman. 

Left to right: Paul-Robert Pryce, Makuda Steady, and Joshua Olumide in The Grove; directed by Awoye Timpo; photo by Marc J. Franklin

Aisha Wura Akorede as Toyoima Ufot shares a credible sibling rapport with Onwunali as Akorede delivering teasing yet tough love.  Akorede brings lightheartedness and some laughter as the subject matter intensifies.

Patrice Johnson Chevannes is impressive as conflicted Abasiama, exhibiting Abasiama’s struggles and trauma with quiet and harrowing strength as a traditional Nigerian wife and mother in a sly and powerful scene with Adiaha.  Abasiama also shares some amazing scenes with Disciple recalling their long and complex history.

Abigail C. Onwunali and Patrice Johnson Chevannes in The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

Adiaha’s outlet into herself is through her writing as mysterious voices and shadows, depicted vividly by Ekemini Ekpo, Janella Grace, Patrice Jean-Baptiste, Dayenne Walters, and Chibuba Bloom Osuala, are a driving force and play a uniquely powerful collaborative role in this production.

A journey of discovery, The Grove delivers a familiar storyline in a distinctive and fascinating manner.  Its artistry, symbolism and multi-layered style of storytelling embellish every aspect of the production into a new and refreshing experience.

The Huntington presented the world premiere of The Grove at The Calderwood Pavilion in Boston, Massachusetts through Sunday, March 9 and is currently available to stream online.  Click here for more information and how to steam this production.

REVIEW:  Oscar nominated documentary shorts ‘Instruments of a Beating Heart,’ ‘Death by Numbers’ and ‘I am Ready, Warden’ at Coolidge Corner Theatre for a limited time

Posted on by The Sleepless Critic

The repercussions of two horrific and devastating crimes and a quiet lesson in discipline are just a few of the 2025 documentary shorts nominated for the 97th annual Academy Awards which took place on Sunday, March 2.  All of these shorts are available online and now playing at the Coolidge Corner Theatre in Brookline, Massachusetts through Thursday, March 6.  Click here for more information and for tickets.

Sam Fuentes in ‘Death By Numbers’

 Please note that this review does not include Netflix’s The Only Girl in the Orchestra who took home Best Documentary Short or the New Yorker’s Oscar nominated documentary short Incident.

A beautifully engaging documentary from the start, Ema Ryan Yamazaki’s 23 minute Japanese short film Instruments of a Beating Heart, presented by Op-Docs, is a tender and endearing piece about an audition held for first graders for a part in a musical performance Ode to Joy in Tokyo 2022.  The film’s cinematography is bright and inviting offering an inside look at these adorable, excitable and impressionable children learning about discipline amid competition.  Their teacher is wise and firm with the students to help them grow.  The film specifically focuses on intimidated Ayame who longs to play a particular instrument in the performance.  The hidden meaning behind the title will not revealed here, but it is worth seeing this wonderful and tender film.

Ayame in ‘Instruments of a Beating Heart’

 “Forever will always be yesterday.”

The classroom frozen in time, the warning signs and so much more encapsulate Parkland School horrific school shooting.

Written by Sam Fuentes and directed by Kim A Snyder, Death by Numbers dives deep inside case #26 from the perspective of traumatized survivor Sam Fuentes and the nature of what it is to live through this unimaginable loss.

The numbers represent not only the facts of the case, but what they know about the shooter through evidence of his mindset and sticks to Sam’s exclusive outlook on the case while tracing a fraction of her long and incalculable road to healing.

Death by Numbers also examines the unimaginable loss, guilt, forgiveness, grief, death, and mortality as well as an agonizing and riveting encounter with the shooter.  It is a unique and chilling film that is humanized by Sam’s dynamic perspective.

‘I am Ready, Warden’

In 2022, Texas Inmate John Henry Ramirez counts down the days until his execution after being convicted of the murder of Pablo Castro in 2004.  

MTV Documentary Films presents I am Ready, Warden, a stirring 37 minute documentary set in Livingston, Texas that impressively covers just about every perspective of this heinous and unplanned act, its aftermath, and a snapshot into Ramirez’s background.  It is mainly told from Ramirez’s perspective, but contains interviews with the godmother who supported Ramirez when his family left, the victim’s family, Ramirez’s son born when Ramirez was on the run, and takes a deeper look at Texas’s death penalty.  I am Ready, Warden also examines the complicated emotions of everyone involved in this case including what results when Ramirez tries to reach out to the victim’s son, Aaron.

All of these shorts are available online and now playing at the Coolidge Corner Theatre in Brookline, Massachusetts through Thursday, March 6.  Click here for more information and for tickets.

REVIEW:  From loneliness to lovestruck:  Oscar Animated Short films Nina Gantz’s ‘Wander to Wonder’, Loïc Espuche’s ‘Yuck (Beurk)’, Nicolas Keppens’s ‘Beautiful Men,’ ‘In the Shadow of the Cypress’ and Daisuke Nishio’s ‘Magic Candies’

Posted on by The Sleepless Critic

Please note that the Academy Award for Best Animated Short film winner was In the Shadow of the Cypress announced at the 97th Academy Awards on Sunday, March 2.  All the Academy Award nominated films including the winner are available online and now playing at the Coolidge Corner Theatre in Brookline, Massachusetts through Thursday, March 6.  Click here for more information and for tickets.

From loneliness to love struck, this year’s Oscar nominated Animated shorts mixed lighthearted comedy and tragedy covering a wide range of issues including the effects of trauma, bullying, and PTSD.

Nina Gantz’s dutch and international stop motion animated short Wander to Wonder is a poignant and strange reflection of days past.  It runs 14 minutes.

Though the short is about a children’s show, it is not for young children and features some disturbing content. 

Nina Gantz’s ‘Wander to Wonder’

Flies swarm as a group of tiny performers are trapped inside an old studio and fighting for survival where 80s Belgium children program Wander to Wonder was filmed after its originator Uncle Gilly, depicted by Neil Savage, passes away.  Wander to Wonder has a sorrowful and dank feel to reflect how much time has passed since the gleam of this beautiful and eccentric, if not widely watched children’s show was on the air.  Delivering moments of wacky humor, Toby Jones as Fumbleton, Amanda Lawrence as Mary and Terrance Dunn as Billybud express an inherent yearning as they reflect upon the fond memories of the program and make an awkward attempt to recreate some of them while trying to survive which can be bereft, odd and gruesome.  I felt for their sad situation, but didn’t find myself invested enough in the characters as they struggle to adapt.

Written and directed by Loïc Espuche featuring bright and inviting two dimension animation, French short film Yuck! (Beurk)  is a 13 minute long sweet tale about discovering first love.

Loïc Espuche’s ‘Yuck (Beurk)’

A group of children revel in spying on others at summer camp and are disgusted as they watch couples kiss.  However, Leo discovers he has a crush on his friend Lucie.  Yuck explores the discovery, joy, confusion and heartache of life through the eyes of a child.  It is a brief and endearing tale that is worth every minute.

What if you can learn the truth about life around you?

Daisuke Nishio’s ‘Magic Candies’

Written by Baek Heena and directed by Daisuke Nishio, Magic Candies is an insightful 21 minute Japanese CGI animated short about a lonely boy named Dong Dong who purchases a pack of mysterious candies and runs 21 minutes.  However, these colorful candies have a compelling and unexpected power that takes Dong-Dong by complete surprise. 

With the exception of the distinctive characters, the settings are incredibly realistic.  From Dong-Dong’s textured jeans to each detailed strand in the dog’s fur to the layered patterns in Dong-Dong’s wrapped blanket to sweeping fall foliage, Magic Candies unfolds is an aesthetically pleasing manner and is a must see film that is funny, moving, silly, clever and heartwarming.

‘In the Shadow of the Cypress’

Directed by Shirin Sohani and Hossein Molayemi, Iranian short film In the Shadow of the Cypress, winner of the Academy Award for Best Animated Short, delves into the strained relationship between a father who suffers from PTSD as the result of war and his daughter which is nearing a breaking point.

Both live together in an isolated seaside house.  The two dimensional 20 minute animated film boasts finely delicate details that enhance the rippling waves, the slender and stylized design of each of the characters right down to the father’s long striped beard.  Its remarkable sound design embellishes a storm of seagulls, an alarming ship ablaze, and the subtle triggers that set the father off as he struggles with his harrowing conflict within.  It can be slow at times, but it is worth watching for its captivating conclusion.

How far would you go to look your best?

Nicolas Keppens’s ‘Beautiful Men

Balding brothers Steven, Bart, and Koen travel to Istabul to have hair transplants.  However, it is quickly discovered that only one appointment is available.  It traces each character’s nature, insecurities, and how they handle the situation as this error becomes known.

Nicolas Keppens’s Beautiful Men is a two dimension 19 minute international comedy drama short which combines cut out stop motion and white board animation and contains some adult content and nudity.  It is at times a candid short that explores just how far one would go for self improvement.    

Each of Academy Award nominated films including the winner is available online and at the Coolidge Corner Theatre in Brookline, Massachusetts through Thursday, March 6.  Click here for more information and for tickets.

REVIEW:  From comedy to complication in Erin Moughon’s ‘Escape (The Pina Colada Song), Kevin Cheng’s ‘Dear Diary,’ Pascal Phoa’s ‘Last Train to Nevada’ and Kevin T. Durfee’s ‘Between the Wired Fence’ at NYC’s The Chain Theatre One Act Winter Festival

Posted on by The Sleepless Critic

From traumatic to comical to poignant, Program #9 explores a variety of struggles among two people from strangers to spouses including grief, circumstances or growing apart.

Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Erin Moughon’s Escape (The Pina Colada Song), Kevin Cheng’s Dear Diary and Pascal Phoa’s Last Train to Nevada are 15 minute One Act productions Kevin T. Durfee’s Between the Wired Fence runs 45 minutes. Click here for more information and for tickets.

Aren’t most breakups complicated?  However, this particular one is on another level.

Claire Shiell and Matthew Menendez in Erin Moughon’s Escape (The Pina Colada Song) Photo courtesy of Chain Theatre

Candidly directed by Perryn Pomatto, Erin Moughon’s Escape (The Pina Colada Song) shares too small a snapshot into a relationship with quickly building tension as a woman breaks the news to her boyfriend that she wants to break up with him.  What ensues is outside the expected as Claire Shiell and Matthew Menendez share some humorous moments unleashing frank relationship truths along the way building to a fascinating revelation.  Escape leaves more questions that beg for a prequel or a sequel to this one act.

Elizabeth McBryde and Kevin Cheung in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin

With ruminating direction by Emily M. White, the cherry blossoms are in bloom as Elizabeth McBryde as reserved Josie settles on a Central Park bench to verbalize her thoughts in her daily journal entry in Kevin Cheng’s Dear Diary.  However, her sensible thoughts are interrupted by an encounter with Kevin Cheng who is memorable as optimistic and cheerful Pablo practicing a speech. Dear Diary is poignant and funny with more to the story that Josie can reveal as disarming Pablo charms her into helping him out and they discover more about one another.

Elizabeth McBryde and Kevin Cheng in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin

What if escape is your last hope?

Pascal Phoa’s Last Train to Nevada focuses on a couple who are running out of options in 1942.  Their only hope of being together requires a drastic change that is sure to change both their lives.  With stirring direction by Yibin Wang, Pascal Phoa portrays an uncertain Freddy and Gwyneth Benitez-Graham as a despairing Ida from different countries in a dangerous and intolerant climate.  Phoa and Graham bring complexity to their character’s motivations as time is running out and they are in urgent need of an answer.

Pascal Phoa and Gwyneth Benitez-Graham in Pascal Phoa’s ‘Last Train to Nevada’ Photo courtesy of Chain Theatre

At some point, something has to give.

Written and directed by Kevin T. Durfee, Between the Wired Fence reflects on timing and aspiration as a couple metaphorically stares at one another from two sides of a figurative fence.

Elisa Falanga and Shannon Adams-Gray in Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre

Shannon Adams-Gray offers a thought provoking performance as overwhelmed but successful financial adviser Sawyer who was once an aspiring actress.  Daniel Bishop portrays Odie, Sawyer’s spontaneous and intuitive husband who tries to help her cope as he pursues a career in performance art.  Bishop as Odie’s outlandish and over the top persona is a seeming contrast to Adams-Gray as Sawyer’s forced sensibilities, but there lies an underlying charm and clear bond in their brief stage time together.

Daniel Bishop Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre

When Elisa Falanga delivers a mysterious package, it springs forth an eye opening reckoning for Sawyer and a new understanding on how they can both move forward.

Between the Wired Fence offers humor and insight on both sides of the fence into life’s delicate timing while touching upon the anxieties and pressures of the world and what it means to succeed.

Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2.  Click here for more information and for tickets.

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.