Theatre | The Sleepless Critic

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 February 28, 2025 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: Yorick Ensemble’s dark and rollicking ‘The Guy Who Didn’t Like Musicals’ hums its own unique tune

Posted on February 22, 2025 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

REVIEW: Navigating a dream in Central Square Theater’s ‘SPACE’

Posted on February 19, 2025 by The Sleepless Critic

For some aviators, space is so close and yet so far away.

The journey for breakthrough can span generations and Space examines the rocky path to bring women to space by taking leaps and bounds through time while unveiling a mix of accomplished and still some hidden figures.

A Catalyst Collaborative@MIT production written by LM Feldman with innovative direction by Larissa Lury, Central Square Theater continues SPACE live and in person through Sunday, February 23 at Central Square Theater in Cambridge, Massachusetts. The performance is not limited to the stage, contains some mature themes and runs approximately two and a half hours including one intermission. Click here for more information and for tickets.

Barlow Adamson and Kaili Y Turner in Central Square Theater’s ‘SPACE” Photo by Nile Scott Studios

Prior to SPACE, make your way to a star-filled, adjacent room to study an array of promising and bright aviators featured in this production. Some who became astronauts and others who attempted to break through barriers while making strides for others.

Introduced by Kaili Y. Turner as the first African-American woman to travel to space Mae Jemison and Barlow Adamson as JFK, Central Square Theater’s SPACE transcends 100 years bringing together aviation legends whose paths may have never crossed in reality, but gathered together in this production where anything is possible.

Catherine K. Slusar, Kaili Y. Turner, Hui Ying Wen, and MK Tuomanen in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios

Qingan Zhang’s simple yet expansive set design with John R. Malinowski’s transformative lighting and Nate Tucker’s immersive sound design combine for a celestial experience. The journey to become an astronaut is a physical and mental rollercoaster and this production articulates that rigorous and complicated path in an unconventional and effective manner. This multilayered production maintains a swiftly moving pace through simultaneous conversations and detailed commentary while stylistically evolving from scene to scene with a zippy narrative.

The cast’s fascinating rapport explores the similarities and differences these women might have shared had they existed in the same time period, especially when they put their heads together. It is unique method of examining their individual backgrounds and how they might have interacted if time and space had no barriers. The production discusses each of these dynamic women’s accomplishments (some who were self taught) and delves into aspects of their personal lives, interests and tragedies which those in charge unreasonably deem to affect their ability for the program compared to male candidates.

Catharine K. Slusar, Hui Ying Wen, Valencia Proctor and Monica Risi in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios

Some of the strongest scenes of the production include the arduous testing involved for this group of women test candidates in the 1961 Mercury 13 space program. Led by Barlow Adamson as a testing official, the candidates physically pile together through clever human choreography during testing, symbolizing a bond with the other women who may have never met in reality, but share a common dream.

MK Tuomanen and Mitra Sharif in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios

MK Tuomanen delivers a memorable performance as daring and carefree Sally Ride and aptly articulates the panic and pressure of being NASA’s special consultant Geraldyn Cobb in a dual role. Listing jaw dropping accomplishments, Catherine K. Slusar avidly depicts Jackie Cochran’s sheer vigilance in a difficult position navigating the system as a Woman Airforce Service pilot, spokesman, and sponsor of the Mercury 13 space program. Adamson portrays an inspiring and exacting JFK and juggles a number of other characters with finesse and occasional humor while Turner delivers a fervent performance as Mae Jemison.

Mitra Sharif, Hui Ying Wen, Catherine K Slusar, Valencia Proctor, MK Tuomanen and Monica Risi in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios

At one point in the production, it is mentioned that there is no ceiling in space. Learning about these brilliant women who reached and fought tirelessly through generations for their mutual dream to innovate beyond the system through changes, blockages and rejection to explore space stands an as an inspiration for any dreamer to persist no matter what until that dream is a reality.

Central Square Theater continues SPACE live and in person through Sunday, February 23 at Central Square Theater in Cambridge, Massachusetts. The performance is not limited to the stage, contains some mature themes and runs approximately two and a half hours including one intermission. Click here for more information and for tickets.

REVIEW: Natural and supernatural lessons in Company One’s ‘Haunted’

Posted on February 13, 2025 by The Sleepless Critic

What more could be haunting this haunted house?

Spiritually stuck in the Y2K era and in an often vacant house for the past 20 years, two indigenous brother ghosts long to rise to the great beyond and reunite with Creator and their ancestors. However, something more is haunting this house beyond the antics they use to chase prospective home buyers away. Using dance as escapism and as a way to cope, Bradley Lewis depicts an over the top Ash who never had the chance to grow up while older brother Aaron, portrayed with reticence by Chingwe Padraig Sullivan, carries a lot that he cannot move beyond as well.

Bradley Lewis, Katherine Callaway, Evan Turissini, Tanya Avendaño Stockler (Photo by Ken Yotsukura Photography)

Written, directed and choreographed by Tara Moses, Company One presents thought provoking horror comedy Haunted continuing live and in person in Rabb Hall at the Boston Public Library through Saturday, February 15. The show runs approximately two hours with one 15 minute intermission and tickets are available at a pay what you can basis. Click here for more information and for tickets.

Chingwe Padraig Sullivan, Katherine Callaway, Bradley Lewis (Photo by Ken Yotsukura Photography)

Y2K reigns supreme as two brothers are culturally frozen in time having never moved beyond Ash’s adoration of Britney Spears or Aaron rocking out to Creed since their deaths in 2003. However, Danielle Delafuente’s scenic design reflects how frequently time marches on as books, furniture and portraits change as the brothers imagine and fret over an all too predictable future. A nice touch is the ice film on the windows to indicate paranormal activity. However, the brothers often play music and can make the living see things, yet it is a wonder why the living do not acknowledge when Ash plays one song after another. Is the living so steeped in their world that they cannot hear or see what is playing on a boom box?

Elmer Martinez’s symbolic lighting and Aubrey Dube’s foreboding sound design builds intensity and keeps the lines of communication going embodying this unknown entity through flashing pink and purple lights, ominous chimes and illuminated images on the walls.

Evan Turissini (Photo by Ken Yotsukura Photography)

With the exception of the two brothers and JāQuan Malik Jones as Vincent, the remaining cast members portray a number of unlikable stereotypes. From a righteous Quaker to a scholarly intellectual historian, Evan Turissini often portrays these shallow characters with a mix of dark humor and audacity while Katherine Callaway and Tanya Avendaño Stockler become increasingly more manipulative with each newcomer. The ghosts often make assumptions everyone acts a certain way perhaps in fear of being disappointed. It might have been more intriguing if Vincent and the brothers saw more than one side of these characters.

Chingwe Padraig Sullivan, Katherine Callaway, Evan Turissini, Tanya Avendaño Stockler, Bradley Lewis (Photo by Ken Yotsukura Photography)

On the flip side, JāQuan Malik Jones delivers an impressive performance as level headed Vincent whose actions are anything but predictable. Lewis as Ash and Sullivan as Aaron share a likable rapport as paranormal brothers whose bickering and conflicts often stem from too much time together, but they also share a mutual respect partly due to this supernatural bonding time.

Chingwe Padraig Sullivan, JāQuan Malik Jones, Bradley Lewis (Photo by Ken Yotsukura Photography)

Haunted has some inconsistencies and may have benefited by a shorter run time, but offers a lot of educational insights into man’s connection to the land, indigenous culture, the Land Back movement, and how one can learn more and contribute to change.

Company One presents thought provoking horror comedy Haunted continuing live and in person in Rabb Hall at the Boston Public Library through Saturday, February 15. The show runs approximately two hours with one 15 minute intermission and all tickets are available at a pay what you can basis. Click here for more information and for tickets.

REVIEW: Actors’ Shakespeare Project delivers an astounding ‘The Piano Lesson’

Posted on February 7, 2025 by The Sleepless Critic

“Money can’t buy what the piano costs.”

Berniece’s significant comment is markedly underestimated by Boy Willie, portrayed with tenacity, blind ambition and frenzied charm by Omar Robinson, who has big plans and is not wasting any time gathering what he came for…the family piano. However, Jade Guerra as Berniece might not be the only one standing in his way.

Profoundly directed by Christopher V. Edwards, Actors’ Shakespeare Project continues August Wilson’s Pulitzer Prize-winning drama The Piano Lesson live and in person at Hibernian Hall in Roxbury, Massachusetts through Sunday, February 23. A moving and intriguing mix of humor, suspense, storytelling, and legacy, The Piano Lesson runs 2 hours and 45 minutes including one intermission. Click here for more information and for tickets.

Omar Robinson and Anthony T Goss in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Featuring a billboard amid an ominous sky resembling the Pittsburg of Wilson’s Seven Guitars in which this show is also set except in 1936 during the Great Depression, Jon Savage’s layered, two floor scenic design allows the audience to see beyond what the cast can which becomes invaluable later in the production. A green front door stands ahead of a spacious house featuring a living room with an attached kitchen, a large wooden staircase, vintage striped couch with softly lit retro lamps, an overhead brass chandelier and a chiseled black piano sitting center stage. Highlighted by watch chains, suspenders, denim overalls, Ava tea dresses and three piece suits, Costumer Nia Safarr Banks not only aptly rewinds the clock, but captures each character’s distinct personality and individuality through their wardrobe. Lighting designer Isaak Olson working together with sound designer James Cannon and R. M. Lawrence’s music direction generate surging and thrilling special effects at pivotal moments during the production.

The set of Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Having witnessed Netflix’s lauded The Piano Lesson back to back with this production, Actors Shakespeare Project’s The Piano Lesson is an all encompassing and far more powerful show even with Samuel L. Jackson filling Doaker’s discerning shoes. The Piano Lesson delivers all the elements of a compelling story including humor, suspense, camaraderie, poignancy and carefully developed characters carrying more than a few regrets. Although Netflix’s The Piano Lesson is an acclaimed work, this production’s intensity and style is best enjoyed with the action unfolding onstage simultaneously and all at once.

Jonathan Kitt and “ranney” in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

The production’s tone can be heavy, but is balanced by each member of this collaborative cast sharing a candid, organic and fascinating chemistry while delivering August Wilson’s robust dialogue at a lively and engrossing pace. The comical moments and family tension builds right from the start and Jonathan Kitt’s frank and engaging storytelling reels you right into the Charles family’s harrowing history.

Omar Robinson, “ranney”, Anthony T Goss, Daniel Rios Jr. and Jonathan Kitt in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

As the family matriarch and the voice of reason, Kitt portrays railroad cook Doaker’s low key presence with a wonderful humility, quiet strength and discernment. Doaker wisely and metaphorically explains, “Train is going to get where it’s going. It might not be where you going …the train don’t never stop. It’ll come back every time.”

Jade Guerra, “ranney”, Jonathan Kitt and Omar Robinson in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

“Ranney” is humorous, savvy and at times unhinged applying wildly amusing expressions as Wining Boy, Doaker’s sharply dressed and talented musician brother. A comic force sharing anecdotes and a warm camaraderie with Kitt’s Doaker, “ranney” especially shines during a humorous scene attempting to sell a suit to Anthony T Goss as Lymon. Wilson also demonstrates some observable inherited family traits within the Charles family including Boy Willie’s competitive instincts and confidence that may not have fallen far from the family tree in his Uncle Wining Boy. It’s just one example of all the subtle yet significant connections Wilson establishes that seamlessly tie these characters together to refine its remarkable conclusion.

Jade Guerra and Daniel Rios Jr. in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

With amiable charm and naiveté, Anthony T Goss is wonderful as quiet, sympathetic and well meaning Lymon. Goss makes the character one to root for through his easygoing demeanor and mannerisms. Jade Guerra creates a unique and impressive intensity as tough and capable Berniece, a widowed mother ahead of her time carrying the weight of the world on her shoulders while sharing heated and riveting scenes with Robinson as persistent Boy Willie and letting the barbs fly. Daniel Rio Jr. infuses reserved conviction and earnestness as Avery, especially in his attempt to ease Berniece’s struggles. Brittani J. McBride as flirtatious yet complicated Grace and Ariel Phillips as beautiful and precocious Maretha hold their own rounding out this compelling cast.

Jade Guerra and Ariel Phillips in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Exploring family, slavery, hardships, trauma and legacy, one of the most impactful scenes involve Robinson, Goss, Kitt, and “ranney” joining together in a zealous rendition of a hymn improvising with makeshift household instruments while processing their generational trauma together and as individuals working through their past and current hardships. Enhanced by this skilled group, Edwards masterfully executes this multilayered scene that is warm, poignant, and powerful all at once.

Omar Robinson, Jonathan Kitt, “ranney”, and Anthony T Goss in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Led by Omar Robinson who is fantastic as frenzied, excitable yet mysterious Boy Willie, The Piano Lesson culminates into a tremendous finale connecting each piece of August Wilson’s rich storytelling for a memorable and intense ending that may remain with you long after the production is over.

One of the best productions I have seen all season, Actors’ Shakespeare Project continues August Wilson’s Pulitzer Prize-winning drama The Piano Lesson live and in person at Hibernian Hall in Roxbury, Massachusetts through Sunday, February 23. Click here for more information and for tickets.

REVIEW: The Mark Morris Dance Group, presented by Global Arts Live, displayed a mostly fetching ‘Look of Love’

Posted on February 2, 2025 by The Sleepless Critic

You may be familiar with far more Burt Bacharach songs than you realize.

That was certainly my experience watching The Mark Morris Dance Group’s pre-Valentine’s Day and retro- inspired music dedication to Burt Bacharach, The Look of Love.

Named after Burt Bacharach and Hal David’s Academy Award-nominated song for the 1967 James Bond film, Casino Royale originally sung by Dusty Springfield, Global Arts Live presented The Mark Morris Dance Group’s The Look of Love for a limited engagement from January 23 to 25 at the Emerson Cutler Majestic Theatre in Boston, Massachusetts. Click here for more information, here for more on Global Arts Live and here for Mark Morris Dance Group’s next tour destination.

The Look of Love Jacobs Pillow 2023 Christopher Duggan

Burt Bacharach was an Oscar, Golden Globe, Grammy, and Emmy-winning composer and songwriter boasting an array of hits including songs from various movie soundtracks such as Butch Cassidy and the Sundance Kid, Arthur, Alfie, Promises Promises, My Best Friend’s Wedding, and interestingly enough, the strangely comical and catchy novelty tune to B horror flick, The Blob.

His songs are so memorable that they slip into contemporary culture in amazing ways as he continued releasing new songs into 2020. Who could forget the iconic, comedic and uplifting moment in My Best Friend’s Wedding when Rupert Everett started crooning I Say a Little Prayer before the whole table started singing along or when Kristen Wiig awkwardly started singing That’s What Friends are For at her best friend’s engagement party in Bridesmaids?

The Look Of Love Santa Monica 2022 Skye Schmidt

Burt Bacharach passed away in February 2023 so it was more than fitting to perform this dedication at the almost two-year anniversary of his passing. Kicking off with the Grammy award-winning and what Bacharach said was his favorite composition Alfie, The Mark Morris Dance Group embarks on a vivid journey in song and dance through an array of Bacharach’s popular hits.

Blaire Reinhard and Clinton Curtis create mellifluous harmony from the orchestra pit as dancers inhabit the stage for What the World Needs Now amid Nicole Pearce’s multicolored lighting which is at times luminous against Isaac Mizrahi’s multicolored assortment of flowing costumes and other times, overwhelming which can be a suitable description of love itself, striking a barrage of color before coming into luminous focus. The dancers are what coming into focus as brightly colored metal chairs and matching pillows complete this minimal set.

Bacharach has an array of peppy and sophisticated songs such as Do You Know the Way to San Jose, but Reinhard and Perry are at their best articulating heartache. Reinhard has an amazing belt and throws herself into Don’t Make Me Over and delivers charged vocals for Walk on By as dancers stride in rows concluding on a poignant moment of a woman looking on in the distance. Her expressive vocals for Are You There (With Another Girl) and Anyone Who Had a Heart in bold red lighting emphasize the pain of lost love, rejection and heartache while Curtis’s smooth vocals rise for The Look of Love in a dizzying display as dancers drift and sway in a green and purple backdrop punctuated by a tender embrace.

Ethan Iverson’s unique music arrangements deliver a fresh and exciting use of Bacharach’s work exemplified in the tapping and gradually athletic and urgent pace as light flashes overhead for Raindrops Keep Falling on My Head.

This performance boasts mini situational love scenes depicted in Mark Morris’s storytelling choreography which includes a lip syncing karaoke singer for Message to Michael and other times dancer spin, leaping and soar at times quite literally depicting the lyrics in spreading wings or miming making a call.

The foreboding, kooky and funky vibe for The Blob reveals shadows of dancers possessed by a catchy beat. It is oddly comical in its red hued essence with the group in on the camp not to be taken too seriously.

UCSB Arts & Lectures – Mark Morris Dance Group “The Look of Love” 5/6/23 The Granada Theatre

The full company unites on a high note for I Say a Little Prayer with a joyful, fluttering, and sweet display amid a vibrant purple backdrop and a warm embrace much like the show began with a message of love, hope and support amid life’s suffering and struggles.

Though at times it can be visually overwhelming, The Mark Morris Dance Group provides an uplifting tribute to the genius that is Burt Bacharach and why his universal appeal and lasting impact will be celebrated for many generations to come.

Global Arts Live presented The Mark Morris Dance Group’s The Look of Love for a limited engagement from January 23 to 25 at the Emerson Cutler Majestic Theatre in Boston, Massachusetts. Click here for more information, here for more on Global Arts Live and here for Mark Morris Dance Group’s next tour destination.

REVIEW: Finding your voice in Lyric Stage Boston’s stirring ‘Crumbs from the Table of Joy’

Posted on January 25, 2025 by The Sleepless Critic

Looking back on life can bring joy, discovery, sorrow and wisdom in unexpected ways.

Cleverly directed by Tasia A. Jones, Lyric Stage Boston continues Lynn Nottage’s family drama Crumbs from the Table of Joy live and in person at Lyric Stage Boston through Sunday, February 2. This partially coming of age production not limited to the stage runs two hours and 20 minutes including an intermission. Click here for more information and tickets.

Dominic Carter,* Madison Margaret Clark, and Catia* (Photo by Mark S. Howard)

Crumbs from the Table of Joy boasts a fascinating cast as each character’s motivation unravels over time and explores some hot button issues prevalent yesterday and today. Madison Margaret Clark as impressionable and determined Ernestine recalls a pivotal time in her life close to graduating high school in the 1950s having moved from the South to Brooklyn with Dominic Carter as her strict, born again and traditional recently widowed father Godfrey and her candid sister Ermina, portrayed with sharp comic wit by Catia. Clark’s engaging delivery is an endearing mix of fondness and reflection recalling life’s little joys such as sharing cookies and precious family moments within the thin walls of a small apartment. As an aspiring actor, Ernestine fantasizes about how cinema solves everything and those scenes stand out as some of the brightest parts of the production.

Catia* and Madison Margaret Clark (Photo by Mark S. Howard)

Cristina Todesco’s translucent and versatile, dual level scenic design framed by a gold embroidered vintage stage and ornate industrial lights transforms into various dim spaces including a living room with dated and crochet adorned tattered furniture. Eduardo Ramirez’s animated lighting design combined with Aubrey Dube’s rich sound deliver carefully timed flickers of joy to instantly transport characters right within the narration from an apartment to a movie theatre to a train station in an array of flickering of lights and distinctive sound effects. Mikayla Reid’s retro costuming ranges from sophisticated in statement ensembles and pin striped suits to handmade floral dresses and patent leather shoes.

Catia,* Thomika Marie Bridwell,* and Madison Margaret Clark (Photo by Mark S. Howard)

Glamorous and smartly dressed, Thomika Marie Bridwell’s dazzling entrance as feisty, forward, flirtatious and daring Aunt Lilly creates an immediate spark in the production with a combination of spice and outspokenness in direct contrast to Dominic Carter’s conservative and stoic Godfrey. Godfrey is so reserved that at one point, Ernestine explains that her father says only white people can laugh on a Sunday. Hanging onto Father Divine’s every word with intensity yet quiet zeal, Dominic Carter delivers a solid performance as Godfrey who claims they came to Brooklyn because of Father Divine’s Peace Mission until something unexpected happens. Bridwell’s Lilly immediately alters the atmosphere with an unexplainable tension and it stands to show whether or not it is for the better. However, there is far more to this tale than meets the eye.

Thomika Marie Bridwell,* Dominic Carter,* and Margaret Madison Clark (Photo by Mark S. Howard)

Bridwell’s excellent performance lies in Lilly’s bold nature and expertly building tension in Lilly’s unorthodox manner of living. Her mix of persuasive charm, laugh out loud comic timing and resolve brings to light this complex character in all of her hidden vulnerability sharing memorable scenes with the cast including Catia as Ermina and Madison Margaret Clark as Ernestine looking on with a mix of shock and admiration for their Aunt while certainly making an indelible impression. Bridgette Hayes is also impressive as mysterious Gerte who suddenly plays a significant role that will not be revealed here.

Madison Margaret Clark, Catia,* Brigette Hayes,* and Dominic Carter* (Photo by Mark S. Howard)

A family drama that delivers some surprising twists and turns, Crumbs from the Table of Joy is a stirring production that shows real life lessons can come from the most unexpected places.

Lynn Nottage’s family drama Crumbs from the Table of Joy continues live and in person at Lyric Stage Boston through Sunday, February 2. This partially coming of age production not limited to the stage runs two hours and 20 minutes including an intermission. Click here for more information and tickets.

REVIEW: Apollinaire Theatre Company’s ‘Every Brilliant Thing’ counts its blessings

Posted on January 5, 2025 by The Sleepless Critic

As famous author Kurt Vonnegut once remarked, ‘Enjoy the little things in life, for one day you’ll look back and realize they were the big things.’

Bringing to light life’s simple pleasures, Every Brilliant Thing emphasizes that no matter what, there is always something to be grateful for, even when it seems impossible to find.

Amusing, heartfelt, poignant and immersive, Every Brilliant Thing is an interactive piece of experimental theater storytelling that hinges on involvement and its success depends on the combination of a charismatic and efficient storyteller and a game audience.

Cristhian Mancinas-García and Parker Jennings in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Directed insightfully by Danielle Fauteux Jacques and an excellent choice for the New Year, Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19. Alternately starring Parker Jennings and Cristhian Mancinas-García, this refreshing and informative production is presented in both English and Spanish and runs approximately 70 minutes long with no intermission. Click here for more information and for tickets.

Set in 1988 and beyond, the small but mighty little things in life are easier to find through the eyes of this seven year old storyteller, even when facing traumatic times. The prospect of dressing up as a Mexican wrestler, roller coasters, and wearing a cape are just a few of the brilliant things that make life worth living. Why would anyone want to throw it all away?

Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Transforming this Chelsea theater space into a cozy, multi-level room with vintage flair, scenic and sound designer Joseph Lark-Riley invites the audience to feel right at home featuring scattered living room chairs, flowers, plush couches, a dining room, and rugs spread out on the floor. Danielle Fouteux Jacques as lighting designer adds vintage flair with a variety of eclectic lamps and Lark-Riley’s upbeat selection of American Standards from the swing era and beyond. Music and exacting sound effects also play a significant and symbolic role in this production which leaves lots of room for originality and imagination with makeshift props and much more.

It takes a special ability to solely make an audience comfortable while bringing them into your confidence. Cristhian Mancinas-García rises to the occasion with unassuming sincerity and playfulness that adds levity to the production’s somber moments. Sharing his journey with earnestness and ingenuity, he warmly brings this zany and game audience cheerfully into elements of the production.

Every Brilliant Thing is ideal for people who wish to play along and participate in minor ways, but if you are performance shy, maybe sit in the back. It has some flexibility and a way of bringing the audience uniquely together while leaving you at the edge of your seat for what is next.

Fast paced and improvisational, Every Brilliant Thing infuses a life affirming journey into a shared experience while spontaneously drawing connections into its articulate and occasionally arbitrary script. Mancinas-García tackles a challenging piece and it is amazing how well he draws each connection into the story as each little joy is revealed in its amusing and ardent beauty that one can only long to reflect on them a bit longer.

Parker Jennings and Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

For some, the New Year can bring great hope and immense reflection. Every Brilliant Thing has a way of delivering both in love, loss, grief, and trauma with moments of humor and joy. It is short enough that it never wears thin and long enough to tell a complete, meaningful and relevant tale that will be sure to carry weight for many and a solid reminder of the joy in the smallest of things and a restored appreciation of everything.

Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19. Click here for more information and for tickets.

REVIEW: Fueled by intricate and electrifying dance rhythms, American Repertory Theater’s ‘Diary of a Tap Dancer’ an inspiring and remarkable journey

Posted on December 28, 2024 by The Sleepless Critic

Ayodele Casel has so much to say and masters the best way to say it as a dancer once advised her, “You have all the vocabulary. You just need to speak.”

Ayodele Casel (creator, choreographer, performer) in performance for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

An immediately engaging bilingual tribute to tap dance and much more written and choreographed by acclaimed dance dynamo Ayodele Casel and directed with gusto by Torya Beard, American Repertory Theater (A.R.T.) continues the world premiere of Diary of a Tap Dancer live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Saturday, January 4. The production runs two hours and 30 minutes including one intermission. Click here for more information and for tickets.

Ayodele Casel (creator, choreographer, performer) dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer Photo by Nile Scott Studios and Maggie Hall

Contemplating who tap belongs to, Diary of a Tap Dancer is a genuine, deeply personal and revealing story as Ayodele Casel, a woman of color, explores different eras of her life in two worlds and infusing it into her artistry. Set to symbolic and pulsing dance rhythms, Ayodele shares her story while recognizing other trailblazing dance and tap masters in an emotionally charged journey taking her from the Bronx to Puerto Rico and more. Born in 1975, it makes a powerful and profound statement through her art which includes determination, gumption, and persistence rising from her challenging upbringing to wonders unknown while making unexpected discoveries about herself along the way.

The cast dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer Nile Scott Studios and Maggie Hall

Casel is charismatic, inviting and natural as she searches for her destiny, culture, identity and acceptance sharing her reflections, insecurities, rage, disappointment, pain, humor, and sheer joy for her art infused in each step. Her snappy, exciting and sleek choreography commands the stage as she joins talents Naomi Funaki, Afra Hines, Quynn L. Johnson, Funmi Sofola, Liberty Styles, Annaliese Wilbur, and Ki’Leigh Williams in driving and exhilarating rhythms. Each dancer also effectively steps into various roles as Casel makes connections in this fascinating narrative.

Liberty Styles (performer) and Ayodele Casel (creator, choreographer, performer) in production for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

The star of this show is the dance illuminated with finesse by lighting director Brandon Stirling Baker in brilliant, gleaming and layered spotlight. Camilla Dely’s partially vaudeville-inspired costumes cross the classic with the contemporary featuring bow ties, top hats, suspenders, colorful street wear and billowing skirts.

Musically directed by Nick Wilders, an intimate onstage orchestra produces catchy rhythms composed of various instruments including Bomba drums by Keisel Jiménez Leyva so infectious, I could not help but bop my head to the beat.

Sharath Patel’s distinctive and energetic sound design combines nature and concrete jungle with honking horns, chirping crickets, and barking dogs that hold personal meaning of Casel’s upbringing in the city and Puerto Rico. Projection designer Katherine Freer captivates with transforming scenic projections that span from glowing diary writings that include Easter eggs within the production to stunning island sunsets and starlight to water color skies to graffiti decorated brick city buildings to images of Casel’s inspirations on Tatiana Kahvegian’s meticulously positioned scenic design.

Not only does Casel ruminate on her life, but historically explores the lives of a wide spectrum of inspiring dancers from chorus girls to Ginger Rogers who dedicated numerous hours to their craft facing pain, obstacles, oppression, racism, injustice and competition along the way. Casel’s immense love for the Golden Age of Hollywood to a wide range of music also inspires her incredible love for dance.

The cast dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

Diary of a Tap Dancer takes a relatable look at the dreaming, time, over thinking, worry, endless hours, tenacity, gumption, persistence, sheer grit and determination to dedicate to what you love no matter what which are lessons that transcends tap, but to any ambition.

Make time to see American Repertory Theater’s world premiere of Diary of a Tap Dancer continuing live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Saturday, January 4. The production runs two hours and 30 minutes including one intermission. Click here for more information and for tickets.

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

Posted on December 27, 2024 by The Sleepless Critic

The power of tomorrow.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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