The Sleepless Critic

REVIEW: Based on a true story and featuring music by Cyndi Lauper, Company Theatre’s ‘Kinky Boots’ has some bright ideas

Posted on August 15, 2024 by The Sleepless Critic

From beige to outrageously bold, Kinky Boots makes the shoes the stars.

‘Walking in another person’s shoes’ may be just a popular expression, but it fits so vividly into this unusual tale that is actually based on a true story. Set in England, Brandon Wong portrays sensible marketing whiz Charlie, the son of the owner of his family’s men’s shoe factory business, Price and Sons. Price and Sons has been passed down through generations, yet Charlie is not so keen on the world’s obsession with shoes or shoe manufacturing. His wise and distinguished father, memorably portrayed and boasting deep rich vocals by Peter S. Adams, wants to pass the business down to Charlie, but business isn’t what it used to be.

Company Theatre’s ‘Kinky Boots’ Dan Hannafin as George, Brandon Wong as Charlie, and Peter S. Adams as Mr. Price Photo by Zoe Bradford

However, one chance encounter leads to a Eureka moment in spades.

With conscientious direction by Zoe Bradford, upbeat musical direction by Robert McDonough and creatively choreographed by Sally Ashton Forrest, The Company Theatre steps into musical comedy Kinky Boots through Sunday, August 18 live and in person at the Company Theatre in Norwell, Massachusetts. This layered rock musical has adult themes and runs approximately two hours and 15 minutes with one intermission. Click here for more information and for tickets.

Originally a 2005 British film of the same name, Kinky Boots musical made its Broadway debut in 2013. Acclaimed singer-songwriter and She’s so Unusual singer Cyndi Lauper, who has always been driven by her unique individuality as much for her distinct talent, is a perfect fit for the musical’s score and became the first solo woman to ever win a Grammy for Best Music Theatre Album for Kinky Boots.

It was a delight to hear her pop synth and rock signature sound in a portion of the songs, especially evident in Charlie’s inspired rendition of Step One and in a standout performance by hilarious Liz Mongrello as Lauren expressively singing The History of Wrong Guys. Mongrello has a charismatic, edgy and lively vibe that was a hit with the audience and it’s easy to imagine a young Lauper in that role.

Company Theatre’s ‘Kinky Boots’ Brandon Wong as Charlie and Liz Mongrello as Lauren Photo by Zoe Bradford

Brandon Wong as humble and innovative Charlie’s best scenes are immediately evident with Gilbert Dabady as Simon aka drag queen performer Lola because most of their scenes are where both characters are at their most vulnerable. Wong’s Charlie has great ideas, but not without Dabady as Lola/Simon who builds and enriches those ideas and takes the big risks over Charlie’s hesitation. Along with a humorous performance by Dan Hannafin as factory manager George, their Eureka moment and niche market for saving the shoe company is building shoes for drag queens that accommodates the weight of a man. However, it is still a mystery how they sold the shoes they already had manufactured in the former style.

Company Theatre’s Kinky Boots Andrew Farina as Don and Gilbert Dabady as Lola Simon and cast Photo by Zoe Bradford

Though being less of a fan of the more rambunctious portions of the musical such as the sultry The Sex is in the Heel, the spirited rendition of The Most Beautiful Thing, powerful duet for Not My Father’s Son, and the touching ballad The Soul of a Man resonates in each character’s struggle for authenticity. Gilbert Dabady is a remarkable Lola/Simon who commands the room most of the time delivering strong vocals, a sharp sense of humor, and clever quips such as ‘Room full of people who feel normal by comparison.’ Flashy with distinctive taste that does not conform to gender limitations, frank and outspoken Dabady as Lola/Simon has complex confidence that hides veiled insecurity and shines the most at Lola/Simon’s most vulnerable and forthright moments.

Company Theatre’s ‘Kinky Boots’ Kat Murphy O’Connor as Nicola and Brandon Wong as Charlie Photo by Zoe Bradford

Andrew Farina as macho Don also shares some humorous and thought-provoking scenes with Dabady including a tango-infused duet for What a Woman Wants which leads to a stunning revelation. Kat Murphy O’Connor compellingly portrays bubbly yet pushy with a taste for the finer things Nicola, Charlie’s girlfriend. Sporting a classic look, O’Connor only has eyes for her future.

Tackling an array of themes including grief and authenticity, Kinky Boots features some catchy tunes including Raise You Up/Just Be, the acoustically rich Take What You Got, and Everybody say Yeah’s notable choreography highlighted by some fancy footwork on conveyer belts.

Company Theatre’s ‘Kinky Boots’ ‘Take What You Got’ number with onstage orchestration Photo by Zoe Bradford

Dean Palmer Jr. livens the production’s uplifting rock vibe through multicolored, mood-setting lighting that enhances set designer Ryan Barrow’s muted British shoe factory layered in steel and brick. The rolling set does have its own share of sparkle and is structured to make room for the real stars…the boots! Joe Michienzie’s dynamic costumes range from factory casual to flashy which includes sparking gowns, tiger furs, neon, and lace. However, the glittering, wildly stated, eye popping delights are the boots themselves.

Company Theatre’s ‘Kinky Boots’ cast Photo by Zoe Bradford

REVIEW: A divine world premiere of ‘The Queen of Versailles’

Posted on August 6, 2024 by The Sleepless Critic

If eternal ambition had a face, it would be Jackie Siegel’s. She chases her dreams like only a queen can.

With music and lyrics by Stephen Schwartz, shrewdly directed by Michael Arden with dynamic choreography by Lauren Yalango-Grant and Christopher “Cree” Grant, The world premiere of The Queen of Versailles continues its pre-Broadway run live and in person at Emerson Colonial Theatre in Boston, Massachusetts through August 25. This impeccably well-timed show grandly opened during the Paris Olympics and runs two hours and 45 minutes including one 20 minute intermission. Click here for more information and for tickets.

Kristin Chenoweth in THE QUEEN OF VERSAILLES. Photo Credit Ken Yotsukura

From its French-inspired royal opening, The Queen of Versailles is a gorgeous sight to behold and it is immediately clear that Emerson Colonial Theatre and this pre-Broadway debut are made for each other. Emerson Colonial Theatre’s architectural design is patterned after elements of Versailles and The Louvre. This elegant baroque-style venue’s meticulously-detailed gold trim, ornate murals, and glittering chandeliers superbly match Dane Laffrey’s multi-layered video and opulent scenic design including its fine crown molding, candelabras and matching gold embellishments.

The Queen of Versailles delves into the love of wealth, excess, and consumption led by a sterling performance by Kristin Chenoweth as the self-proclaimed queen herself, Jaqueline Siegel, or Jackie. Small town New Yorker Jackie has tremendous dreams as well as the determination and ingenuity to make them all come true with a degree in computer engineering. However, things do not go quite as planned, and Jackie is left to think of a new way to achieve her ‘champagne wishes and caviar dreams’ as described by host Robin Leach on the inspiring 80’s TV show, Lifestyles of the Rich and Famous that Jackie watched growing up with her family. Chenoweth’s sunny disposition, rich vocals and sharp comic timing tempers Jackie’s seeming shallowness with irresistible charm to make determined, resourceful, and relentless Jackie an instantly likable lead. Chenoweth’s vocals are just as dynamic and powerful as ever with the hilarious opening number, Because I Can as she embraces and embodies this complex character that prefers her diet coke in a golden chalice.

Kristin Chenoweth as Jackie Siegel in The Queen of Versailles – Credit Matthew Murphy

Though Chenoweth as Jackie and the cast seem to be speaking to the audience, Arden’s clever direction has the audience watching the making of The Queen of Versailles documentary where Jackie and her husband, F. Murray Abraham in an impressive portrayal as David, is in the process of building the biggest house in America patterned after Versailles and located in Orlando, Florida with a budget to the tune of 75 million and a Benihana in the basement. Leading to all this is a fascinating and vastly entertaining story based on Lauren Greenfield’s documentary film of the same name and the real life stories of Jackie and David Siegel. It’s a multilayered rags-to-riches-story….and that is only the beginning.

F. Murray Abraham as David Siegel in The Queen of Versailles – Credit Matthew Murphy

Boasting a brilliant cast, The Queen of Versailles is both socially satirical and genuinely funny while delivering a meaty and heartfelt storyline. Sparkling Chenoweth meets her match in F. Murray Abraham as wildly successful, charismatic and equally ambitious Timeshare King David. A slick and charming businessman, Abraham and Chenoweth rapidly share a likeminded rapport and some powerful scenes. Abraham and the cast humorously perform The Ballad of the Timeshare King with Laffrey’s marvelous video projections, some onstage orchestrations, and Christian Cowan’s notable western-inspired costumes. From meticulously-detailed historical to outrageously fabulous as well as from glitzy to edgy, Cowan’s colorful assortment of standout and distinctive costumes with Cookie Jordan’s embellishing wigs enliven each compelling scene.

Kristin Chenoweth and F. Murray Abraham in The Queen of Versailles – Credit Matthew Murphy

Nina White delivers a memorable performance as Jackie’s introspective daughter Victoria who feels like an outsider in her own home. Jackie has a complicated relationship with Victoria who likes to be called Ricky in spite of being named after the Queen. White’s soaring vocals lift stirring numbers Pretty Always Wins and Book of Random to another level as well as a stunning moment with Chenoweth for In Little Houses. White’s lighthearted duet with Tatum Grace Hopkins as struggling Jonquil for Poor Little Lizard bring some levity to the production’s more serious topics. White and Melody Butiu as a wonderful Sophia share a sweet camaraderie. Hopkins shares the stage with Chenoweth for a phenomenal rendition of I Could Get Used to This.

The Siegel Family in The Queen of Versailles – Credit Matthew Murphy

The supporting cast all have fabulous comic timing with a notable performance by Pablo David Laucerica in multiple roles including a smirking King Louis and as well as Andrew Kober as an over the top pageant host and others.

The Cast of THE QUEEN OF VERSAILLES. Photo Credit Nile Hawver

With gumption, determination, courage, and ambition, Chenoweth as Jackie candidly tells the audience you must thrust yourself onto greatness. Realizing your dream and what is truly important is quite a revelation and what a thrill to embark on this musical journey to chase a dream with the Queen of Versailles herself.

With music and lyrics by Stephen Schwartz, shrewdly directed by Michael Arden and dynamic choreography by Lauren Yalango-Grant and Christopher Cree Grant, The world premiere of The Queen of Versailles continues its pre-Broadway run live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through August 25. Click here for more information and for tickets.

REVIEW: Hub Theatre Company of Boston’s wildly revealing ’46 Plays for America’s First Ladies’

Posted on August 2, 2024 by The Sleepless Critic

Life in the White House has always been messy.

Resourcefully directed and choreographed by Ilyse Robbins, Hub Theatre Company of Boston continues politically satirical play, 46 Plays for America’s First Ladies live and in person at Club Café in Boston, Massachusetts through Saturday, August 3. This semi-interactive production is approximately 90 minutes with no intermission and tickets are on a pay-what-you can basis. Click here for more information and for tickets.

Lauren Elias, Sophia Mulharram, Yasmeen Duncan and Katie Pickett in ’36 Plays for America’s First Ladies’ Photo credit Andrew Keefe

It is quite a feat having to navigate each distinctive perspective of ’46 Plays for America’s First Ladies’ in a constrained and approximate 90 minute timeframe with no intermission, so this production hits the ground running. It serves more as a crash course for each first lady starting from Martha Washington literally framed elegantly with a classic side view as buntings hang above and the American flag is occasionally projected behind her. E. Rosser’s symbolic, patriotic and muted colonial style garments stay true to each setting with some occasional surprises along the way.

Sophia Mulharram, Lauren Elias, Yasmeen Duncan and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

With a cast of five which includes Yasmeen Duncan, Lauren Elias, Eleni Kontzamanys, Sophia Mulharram, and Katie Pickett portraying multiple roles with time saving costume changes and Samantha Mastrati’s essential props efficiently hidden in various places on the stage ranging from historical to contemporary to absurd, these hard working and talented individuals still manage to make it look easy.

From absurdity to solemnity to comedy to tragedy including a few music numbers, each play is creative and vastly different with modern nuances and exposing the herstory and women’s societal hierarchy as time marches on. Some of the production makes assumptions and analyses the perspectives of these ladies as modern observers. Much of it is surprising and at the same time sadly not given the tumultuous state of politics throughout history.

Lauren Elias, Sophia Mulharram, Yasmeen Duncan, and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

’46 Plays for America’s First Ladies’ offers a wealth of information in its limited timeframe backed up by direct quotes from these ladies stylistically displayed as each play progresses. A vast array of scenarios took place in the White House (which was first deemed The White House by a First Lady) and the title ‘First Lady’ has its own interesting back story with some stories questioning who the first lady really was at the time.

The cast of ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

The elicit affairs, the worries, the losses, unspeakable tragedies, disasters, emotional turmoil, the hospitality, the gossip, mudslinging and slander all had its place in the lives of the Presidents and their first ladies. Some did not know that their husband ran for President, some felt invisible while some reveled in their station as ambitious First Ladies and advised their husbands without getting credit, and some stuck to their domestic duties including one first lady who invented the pink bathroom. Some changed America forever for the better, one even deemed herself the Queen of America and that just the tip of the iceberg.

Yasmeen Duncan, Sophia Mulharram, Lauren Elias and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

It is not easy to delve into politics, especially these days. This fast paced production’s bold views are at times one sided and leading while exploring serious hot button issues in innovative and variety show style ways from vaudeville to comedic sketches to puppets to a play within a play and much more. While I enjoyed some parts more than others, the style of each play changes with each president and first lady with some revelations about these first ladies that just might unite us all.

Resourcefully directed by Ilyse Robbins, Hub Theatre Company of Boston continues politically satirical play, 46 Plays for America’s First Ladies live and in person at Club Café in Boston, Massachusetts through Saturday, August 3. This semi-interactive production is approximately 90 minutes with no intermission and tickets are pay-what-you can. Click here for more information and for tickets.

REVIEW: Confronting the elements in Annas-Lee Design and Graham Cole’s visionary ‘Origami Night’

Posted on July 31, 2024 by The Sleepless Critic

A lithe dancer, strong local imagery, a powerful narrator and an immersive stage briefly come together in a compact space for a memorable experience.

Annas-Lee Design and Graham Cole continue ‘Origami Night: a new choreopoem’ live and in person at the Plaza Blackbox Theatre at Boston Center for the Arts in Boston, Massachusetts through Sunday, August 4. This swiftly paced production is approximately 50 minutes with no intermission and presented as an up close and personal theatre in the round. Click here for more information and for tickets.

Origami Night continues through August 4. Photo courtesy of Annas-Lee Design and Graham Cole

Meditative, enchanting, and complex, Origami Night: a choreopoem is an intense experience unlike anything I have seen before. It delves into powerful themes such as grief, war, passion, trauma, and sheer joy in a unique manner that is constantly evolving as the production journeys through a woman’s life. At first, dancer Elenaluisa Alvarez performs an interpretive dance to Annas-Lee’s dynamic sound design and Boston-based author and poet Pamela Annas’s contemplative work narrated rhythmically by Luz Nicolás, but Alvarez has a mind of her own as does her surroundings. It is an unpredictable piece as Christopher Annas-Lee’s thunderous, alarming, tumultuous, dreamlike, soothing, and flashing multicolor lighting becomes its own character. The lighting leads the dancer which is at times funny and unique, but that will change as well. Red circle lighting where the narrator mentions red heels is a nice touch as well as the notable vibrations depicted by Annas-Lee.

Elenaluisa Alvarez in Graham Cole; “Origami Night”

Fueled by Graham Cole’s emotive, symbolic and at times humorous and passionate choreography, Alvarez is coy, scowls, flaunts and it is easy to imagine her skipping along a windswept aqua coast as it is to visualize her charming playfulness during a dance contest to big band rhythms. Virginia Belt’s loose and symbolic clothing helps to maintain a dreamlike atmosphere as Alvarez spins elegantly and then at once contorts in tight movements from stress and exhaustion.

Origami Night is a lot to take in and although printing the verses in the background might have been helpful, it might have also been distracting with the activity coinciding onstage. The narrator is compelling with a balanced presentation where one does not get lost in the dance over the narration. However, the captivating lighting may ensnare you in places that lead to its intriguing conclusion.

REVIEW: Company’s One’s ‘Hoops’ take on greater meaning

Posted on July 31, 2024 by The Sleepless Critic

Not to be mistaken for basketball, Hoops are jewelry individuals wear as a fashion piece, display cultural or ancestral significance or to make a statement as Bronx-born Puerto Rican Jennifer Lopez once fiercely remarked during a comedy sketch on The Tonight Show, ‘Don’t make me take off my Hoops!’ It served as a warning to host Jimmy Fallon that Lopez was not to be messed with.

Hoops can add subtle and delicate elegance or stand out as its own remarkable, not-to-be-missed fashion statement. I love my own hoops. Whether formal or casual, they go with everything and fit in for every occasion. Produced in all patterns, colors, and sizes, Hoops are unmistakable and certainly have a way of expressing themselves.

So it is no secret that this topic is right up my alley.

L to R Tiffany Santiago, Kaili Y. Turner, and Karimah Williams in Hoops Photo by Ken Yotsukura Photography

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA. This semi-interactive production is free with pay-what-you-want options, contains some adult language and is a dense 90 minutes with no intermission. Click here for more information and for tickets.

Brandie Blaze in Hoops Photo by KenYotsukura

Lively and pulsing rhythms greet the audience as multi-talented DJ Brandie Blaze spins tunes by local Boston artists as the production begins. This is not the kind of show where one watches and remains silent. The audience is encouraged to get up and dance, clap and show their enthusiasm as Blaze introduces this fervent cast who uniquely take the stage in their own style.

Part dance party, part testimonial and reflections, and part history lesson with a mix of comedic scenarios, the cast of Hoops share personal experiences, coming of age stories, and dig in deep into the idea that a piece of jewelry can make such an impact. Whether it is to feel closer to their family through an heirloom or to build confidence for an intimidating event, each individual has an original reflection on how their hoops made a difference in their lives. Sometimes the production gives hoops a bit too much credit, but it is effective serving as a reminder that they had the courage and power to get through these challenges within themselves.

L to R Albamarina Nahar and Tiffany Santiago in Hoops Photo by Ken Yotsukura Photography

The cheerful, hoop-inspired set design by Payton Tavares with Grace Kroeger has a bit of a ‘90s feel featuring bursts of neon green, pink, yellow and blue with dripping paint decorated on blocks. The DJ Booth is stylish and cozy featuring embellished shelves, vinyl, and flowers lining the walls. Each character decked out in their own signature pair of hoops, Erica Schoenberg’s colorful, urban and summer-inspired costumes makes each individual stand out as they portray various roles.

Elijah Brown in Hoops Photo by Ken Yotsukura-Photography

In large and sparkling hoops, affable Brandie Blaze hypes up the audience by singing and rapping to Blaze’s original music. Sharp and upbeat choreography by Jenny Oliver keeps the show exciting as Elijah Brown, Albamarina Nahar, Tiffany Santiago, Kaili Y. Turner, Karimah Williams and Beyoncé Martinez not only break out into dance, but collaborate well together onstage sharing a spectrum of stories and anecdotes about sharing hoops, breaking hoops, status, generational wealth and their own individual journeys.

L to R Brandie Blaze Kaili Y. Turner Tiffany Santiago Karimah Williams and Albamarina Nahar in Hoops Photo by Ken Yotsukura Photography

Funny, upbeat, and poignant, Hoops is a meaty exploration about feeling good about oneself while taking on the weight of the world with flourish.

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA. This semi-interactive production is free with pay-what-you-want options and is a dense 90 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Striking a delicate balance of comedy and spectacular feats, family-friendly ‘Cirque du Soleil: OVO’ celebrates brilliance in the smallest of creatures

Posted on July 27, 2024 by The Sleepless Critic

It’s always a wonderful sign when I spend more time in awe than writing things down and wow, does the time fly in a delicate balance of comedy and amazing feats.

Having only ever seen Cirque Du Soleil online or on television, it was a special treat to travel to the Agganis Arena in Boston, Massachusetts to witness the fascinating and unconventional stars of Cirque du Soleil’s latest production…insects.

Beautifully written, directed, and choreographed by Deborah Colker, Cirque de Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then to the SNHU Arena in Manchester, New Hampshire from August 8 through 11. This family-friendly, semi-interactive production is approximately two hours including a 20 minute intermission. Click here to go Behind the Scenes with the Sleepless Critic and here for more information and for tickets.

Flexible Dragonfly Photo credit Vlad Lorenzo

In a world likened to the Brazilian rainforest, an “OVO” which is Portuguese for ‘egg’, is carried to an insect colony by a Blue Fly called The Foreigner. Master Flipo, a jeweled beetle and master of this colony along with the community, are immediately curious about this incredible egg. Featuring performers mimicking exotic creatures including a ladybug, red spider, laced fly, crickets and many others that roam, leap, bend, contort, bounce, climb, flip and hunt this fascinating and multi-colored lit OVO, Cirque du Soleil: OVO is part sweet love story and part athletic spectacle with a good dose of absorbing comedy that is sure to enchant the whole family.

The Crickets Photo credit Vlad Lorenzo and courtesy of Cirque du Soleil OVO

What keeps Cirque du Soleil both amusing and enthralling throughout the production is it never lingers on the comedy or the choreography. It keeps the bright and lively pace moving while always featuring something new to explore. As a big fan of gymnastics, it’s easy to see its influence on this production. The meticulous manner in which these wild creatures move with Liz Vandal’s innovative costumes lend to the flexibility and sprightly nature of each individual and most notably in the crickets. Each controlled movement is bold and expressive as the soft sparkling glow of fireflies light up the stage while demonstrating astonishing aerial feats. Vibrant, colorful, and camouflaged insects fiercely scale lighting designer Éric Champoux’s projected and realistic surfaces above and below sea level. Tropical flowers grow and bloom onstage as part of Gringo Cardia’s vivacious set and a flourishing backdrop feature rain-soaked leaves in fine detail as a royal red queen directs her minions and a psychedelic Creatura slinks rampantly.

The Foreigner and Master Flipo Photo credit to Vlad Lorenzo and courtesy of Cirque du Soleil OVO

Warm yet strict Master Flipo shares some amusing encounters with the anxious and spiky Foreigner and the charming lady bug as they express themselves much like insects do. Keeping the jokes clownish and mostly kid friendly, the trio chirps, squirms, croons and shouts in their own language while miming their engaging intentions.

The Foreigner and The Ladybug Photo credit Vlad Lorenzo courtesy of Cirque Du Soleil

Sound designer Jonathan Deans and composer and music director Berna Ceppas navigate the on and offstage live orchestration that varies from soothing to edgy to ambient to electrifying. A playful onstage violinist, a drummer in a green mask, the haunting and soul-stirring harmonies of the red queen, an edgy and suspenseful guitar-tinged score as well as the immersive nights sounds of unique environments all bring this immense ecosystem to life in spectacular ways.

Fireflies Photo credit Vlad Lorenzo courtesy of Cirque du Soleil OVO

The laced fly spins like an ornament with the extension at the top of her head. The ballerina-like movements are graceful and delicate as it floats through the air and spins like a top. However, the red spider with a pink Mohawk crawls and glides urgently to edgy and captivating rhythms.

Cirque de Soleil: OVO revamped their show since taking a break during the pandemic with new acts and new music. What has not changed is the remarkable spirit of this wild ecosystem that learns to thrive in the brilliance in each other’s differences which all starts with an egg.

The cast of ‘Cirque Du Soleil OVO
Photo credit Max Bocanegra and courtesy of Cirque du Soleil OVO

Know before you go: fun facts and behind the scenes interview at ‘Cirque du Soleil: OVO’

Posted on July 24, 2024 by The Sleepless Critic

Insects can be elegant and extraordinary…and it all starts with an egg.

The Foreigner (Blue Fly) with a mysterious OVO (Egg). Photo credit Vlad Lorenzo courtesy of Cirque Du Soleil: OVO

Cirque du Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing in at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then at the SNHU Arena in Manchester, New Hampshire August 8 through 11. Click here for more information and for tickets.

Going behind the scenes at Cirque du Soleil: OVO, some intriguing facts were unveiled about how this tremendous production comes together. From the preparation to the performers which includes two Olympians to Liz Vandal’s kaleidoscopic costumes from Montreal, this unique production is brought to life in distinctive venues all over the world. The following are some amazing facts from Senior Publicist Janie Mallet of OVO:

Cirque du Soleil is celebrating its 40^th anniversary! OVO’s cast and crew is a multi-cultural group that has been traveling around the world since 2009. A quick paced touring production, OVO has spent fifteen years on the road changing city or country every single week. The show did break during the pandemic before returning in 2022 with a revamped production featuring new acts and new music.
‘Ovo’ is Portuguese for ‘egg’. The production starts when The Foreigner arrives at this new colony of insects with an egg on his back. The show explores how we interact with one another and learn to accept and celebrate our differences. There is a love story, curiosities, and a bit of a confrontation in a world likened to a Brazilian rainforest.
Not only does the production travel with a full gym backstage, but with a full time coach, access to nutritionists, two performance therapists, doctors and an artistic team of 100 people with 52 performing onstage.
The artists and athletes do their own cardio, strength training, and flexibility before attending meetings and trainings for the show. The performers expend so much energy and do not follow a diet. They eat what is best for them at their own discretion, but if they want to work on a specialized thing, they have three chefs and a catering team on hand.
The production has a lot of moving parts and the size and how the trucks are packed for the tours are different, especially if they fly across the ocean. Everything is meticulously labeled and the teams need to be ready to adapt to any last minute changes.
The production has over 1000 costumes. These costumes are built for the function of each performer and there are four full time technicians on tour to take care of the costumes. All the costumes require some training in order to wear them comfortably. The clowns have larger costumes while the crickets’ costumes are light and contain a lot of stretch for performing flips and jumps. The aerial acts also have lighter costumes as they fly from one platform to the next.
The production has six washers and three dryers that travel with them all over the world. Delicate costumes and wardrobes are dried with the fans and 60 loads of laundry are completed prior to each performance.

Gary portrays Master Flipo, the chief of the insect colony. Alongside Canadian poles artist acrobat David, they deliver some insight into their history in the circus, their favorite insects, and anticipating OVO’s opening night in Boston. In real life, Gary is from Austria and lives in Spain.

Gary: When I was 12, I decided I wanted to be a clown. I told my mom and never lost this dream. I ended up in a mime and circus school and then started to work in the circus before I joined Cirque de Soleil. They said, ‘We like your stupid face’ in 1992. I moved and did a show in Las Vegas and then back to Europe and then I’ve been here almost 7 years.

David: I started in the circus quite late at the age of 20. Usually acrobats start at a much younger age with gymnastics but at 20, I started from nothing. I saw a circus show and said that I want to do that and found out there were circus schools. I didn’t know they existed in Quebec City so I trained really hard for two years to get in because I found out that there are people all over the world who are trying to enter these professional schools. You need to already be good at something to get in and then somehow I got in. I did my three years of circus school for like 40 hours a week of training. Ever since, I’ve been in the circus and working with different circuses. I’ve been with OVO since the re-launch in 2022 with new artists and music. I’m part of the new acts.

We are very excited about the show and don’t know how the public is going to react yet, but we’re all feeling super rested because we just came back from three weeks of tour break from home. We’re very happy to be in Boston with the beautiful summer weather. We’ve met Bostonians on the street and they seem very nice.

Gary: Especially for us clowns it is very interesting in Boston to find out where they laugh and where they don’t laugh. We have to adjust the timing and are already having butterflies.

David: We toured with the show everywhere in the world. Depending on the different cultures, finding out how the audience will react is always our biggest concern.

Gary: What I anticipate sharing with the audience the most is always taking people onstage. Sometimes I have to improvise which I love and it challenges me. Generally, the whole show is a big festival of happiness. I don’t have favorites.

David: I am excited about my act just because in the living arts and in the circus there is always a bit of modification. It is never one stable show. It is thousands of versions of the show, even though it’s the same show for the public. For us, it has little changes and our act has new music, so we work on it frequently and make little changes in the choreography. It’s going to be fresh, new and exciting.

Gary: I love the jeweled beetle so I love my colors.

Gary as Jeweled Beetle Master Flipo Photo credit Vlad Lorenzo courtesy of Cirque du Soleil: OVO

David: It’s a very beautiful insect.

Gary: But at the same time, I love the ladybug.

The Foreigner and The Ladybug Photo credit Pat Beaudry and courtesy of Cirque Du Soleil: OVO

David: I really like the laced fly. The lace fly is the hair extension act and I think her costume is just brilliant and so colorful. It’s a beautiful act.

Gary: I like the crickets for the costumes. How they have an engineered costume where I always think, ‘How is it possible to move in that?’

The Crickets Wall Act Photo credit Vlad Lorenzo and courtesy of Cirque Du Soleil: OVO

David: Shout out to the Red Queen.

The Red Queen with cast of ‘Cirque Du Soleil: OVO’ Photo courtesy of Cirque Du Soleil: OVO

Gary: …and the clowns and the musicians.

David: OVO is really about inclusion. It’s about accepting our differences and celebrating the whole of the colony, even the cockroaches. They are all our friends. It’s sort of hard to choose one specific insect because they are all amazing.

David: The show takes years to train, but for this particular show, usually the creation of a Cirque de Soleil show is a few months. Like six months maybe and because the acrobats have been thinking about the show for a year or two, the physical preparation to get to this level takes years and years of training. Then we adapt the skills we have to the specific number and choreography that we need for the show, but it’s not like I train physically for years to be an insect. I train physically to be a circus acrobat and artist and then transfer the skills in a few months.

Gary: It’s the same thing with us…the clowns. We are being cast for that because our profile fits in it. The clown has his own profile for performing and stupidity. So I was cast because I am stupid and smart.

David: (laughs) Maybe that is also why I was cast.

Gary: (laughs) Bingo!

The insects of ‘Cirque du Soleil: OVO’ Photo courtesy of Cirque du Soleil OVO

Cirque de Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing in at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then at the SNHU Arena in Manchester, New Hampshire August 8 through 11. Click here for more information and for tickets.

REVIEW: Turn up that jukebox for Reagle Music Theatre of Greater Boston’s lively musical comedy ‘All Shook Up’

Posted on July 18, 2024 by The Sleepless Critic

Meet Chad, a would-be Elvis big on swagger, sideburns and love for the ladies.

From that electric Jailhouse Rock opening, All Shook Up soaks up the nostalgia and the lighthearted side of the ‘Fabulous ‘50s.’ Adding humor, fun frivolity and amazing choreography, All Shook Up boasts powerful vocals and plenty of love to the beat of Elvis’s greatest hits. Turn up that jukebox. It’s time for a ride down memory lane.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.

With exuberant direction by Arthur Gomez, tight and sweeping choreography by Larry Sousa with upbeat music direction by Mindy Cimini, Reagle Music Theatre of Greater Boston presents All Shook Up live and in person at the Robinson Theatre in Waltham, Massachusetts through July 21. This engaging musical comedy is approximately two hours with one 15 minute intermission and not for young children. Click here for more information and for tickets.

eagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.JPG

Vibrantly charged in florescent blue and red by Frank Meissner Jr, Reagle Music Theatre of Greater Boston brings the 50’s back to life with Janie Howland’s vintage set design of Main Street USA which includes Sylvia’s Honkey Tonk, Jim’s Service Station, Main Street Museum and appropriately Town Shoes which is a hint for those blue suede shoes. Each locale plays an integral part in roustabout Chad’s wild journey.

Boasting a Bye Bye Birdie vibe with Grease energy, All Shook Up looks at a small Midwestern town’s perspective on a summer day in 1955 when Chad, portrayed distinctly by Christopher Lewis, makes an instant impact. Lewis shakes up Main Street USA for the better while unearthing a guitar-tinged bebop vibe that self righteous and plotting Mayor Matilda, depicted with sharp comedic timing by Janis Hudson in a performance reminiscent of Joan Cusack, is determined to stop. In cat eye glasses and alongside James Turner the III as suspicious Sheriff Earl, Hudson shines in the fierce and catchy number The Devil in Disguise, humorously posing and barking out orders with zeal and authority.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Mayor Matilda (Janis Hudson) and (Christopher Lewis) and Sheriff Earl (James Turner III) Photo by Robert P.

All Shook Up is full of deadpan jokes and clever quips with Elvis song titles and lyrics. When a townsperson points out Chad’s blue suede shoes, Chad casually warns to lay off them. Part impersonation with the vocal chops to match, Chad embodies the larger than life qualities of Elvis, but takes it one step further making the part his own exemplified in a resonating rendition of I Don’t Want to demonstrating Lewis’s own unique and dynamic range.

A storm of unrequited love and love triangles taken from a mix of Shakespearean comedies, this ‘50s musical comedy infuses a lot of elements into this lively tale and it works. Christopher Lewis as Chad makes a powerful impression on everyone he meets. Gwynne Wood as Natalie is the mechanic and is looking for more excitement than this little town can hold. Wood is endearing as Natalie who is sensible, timid, and resourceful with a powerful belt for One Night with You. Wood shares some charming chemistry with Jackson Jirard as best friend Dennis who only has eyes for Natalie. Jirard also shares some amusing scenes with Lewis, Wood, and Alfred-Jean Chavier’s Jim as the voice of reason.

Tader Shipley as vampy blond bombshell Miss Sandra also makes her own impression with a soaring rendition of Let Yourself Go and alongside the cast for a sassy take on Teddy Bear/Hound Dog.

Carolyn Saxon brings sincerity and candidness to Sylvia and shares a varying yet sweet rapport with her daughter, Lorraine, depicted by Amaris Rios and Jean-Alfred Chavier as forthright and apprehensive widow Jim. Saxon performs a stunning rendition of There’s Always Me.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. Sylvia (Carolyn Saxon). Photo by Robert P.

The production also flips the script in more ways than one while staying faithful to the Shakespearean twists. Rebellious Lorraine and Preston Karp as dutiful Dean share exciting chemistry and their rendition of It’s Now or Never is a delight alongside Sousa’s innovative bus choreography.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. Dean (Preston Karp) and Lorraine (Amaris Rios) Photo by Robert P.

C’mon everybody is a classic and vintage showstopper weaving in classic dance moves as Emerald City Theatrical does it again in vintage gleaming colored costumes ranging in plaids, bowling shirts, and gorgeous fit and flair crinoline dresses.

All Shook Up is bright, catchy and a lot of fun with an inherent message within an array of beloved Elvis hits that might lighten the weight of this world for awhile.

With exuberant direction by Arthur Gomez, amazing choreography by Larry Sousa with upbeat music direction by Mindy Cimini, Reagle Music Theatre of Greater Boston presents All Shook Up live and in person at the Robinson Theatre in Waltham, Massachusetts through July 21. This engaging musical comedy is approximately two hours with one 15 minute intermission. Click here for more information and for tickets.

REVIEW: Embrace life and pursue the ultimate wave with Gloucester Stage’s summer soaked world premiere comedy ‘Wipeout’

Posted on July 16, 2024 by The Sleepless Critic

It is never too late to try something new.

Margaret nicknamed Gary, is ready to take risks. Whether throwing caution to wind by neglecting to wear sunscreen or a seatbelt, Gary is finally embarking on a lifelong dream – to ride the ultimate wave for her 77^th birthday in Santa Cruz, California…having never set foot in the water before.

Cheryl D. Singleton, Karen MacDonald and Noelle Player in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

With innovative and at times hilarious direction by Shana Gozansky as well as inviting lighting by Kat C Zhou, Gloucester Stage could not have chosen a more perfect time in its 45^th season to unveil the world premiere of Aurora Real de Asua’s comedy Wipeout continuing live and in person at Gloucester Stage in Gloucester, Massachusetts through July 28. The production contains a mix of important and needlessly explicit language, adult themes and runs approximately 100 minutes with no intermission. Click here for more information and for tickets.

Noelle Player and Karen MacDonald in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

Surrounded by brightly colored beach balls on an aqua draped landscape, three women and one handsome teenage Santa Cruz Surf Skool instructor take to the waves depicted in a wooden pool like structure with sea turtles and various marine life painted on its perimeter. The absence of water in Jenna McFarland Lorde’s immensely exuberant set design embellishes the humor and endearing moments in this production as rolling chairs carry surfboards. Infuse Aubrey Dube’s immersive Pacific Ocean sounds and Wipeout transforms into one lively surfing safari.

Wipeout’s excellent physical comedy is hysterical as the group carefully wades through the ‘water’ in scrupulous and urgent strokes while each character balances on their individual board. In water shoes and matching surf skool t-shirts by Jennifer Greeke, Gary, depicted with captivating depth and bawdy audacity by Karen MacDonald, is excitable, adventurous, and a playful prankster but there might be more to that than meets the eye. MacDonald’s more serious moments are equally adept in a glassy-eyed grimace or squirming consternation. Supportive, wise, cheerful and grounded school teacher Claudia portrayed beautifully by Cheryl D. Singleton, shares true companionship with Noelle Player as haughty and glamorous with a bit of a chip of her shoulder Wynn and Gary through the manner in which they share memories, meanderings, insecurities, inside jokes, gossip and bawdy references at times with Golden Girls flair. They embody a solid, longtime, and intimate friendship through thick and thin. This engaging trio fumbles to find common ground with Thomas Bilotta who is instantly likable as their patient, enthusiastic, and compassionate teenage instructor Blaze which is met with intriguing results. Wipeout is full of surprises as well as stirring and authentic life lessons as each character explores instinct, life’s unpredictability, mortality, and what is really means to embrace life to the fullest.

Noelle Player and Thomas Bilotta in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

With innovative and at times hilarious direction by Shana Gozansky and inviting lighting by Kat C Zhou, Gloucester Stage could not have chosen a more perfect time in its 45^th season to unveil the world premiere of Aurora Real de Asua’s dramedy Wipeout continuing live and in person at Gloucester Stage Company in Gloucester, Massachusetts through July 28. The production contains a mix of significant and needlessly explicit language, adult themes and runs approximately 100 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Teatro Chelsea’s ‘Fade’ a tense cautionary tale

Posted on July 10, 2024 by The Sleepless Critic

Tanya Saracho’s Fade proves the daily grind should always contain some chic choreography.

Accented by Desiree Salvo’s multicolored and club-inspired lighting and Armando Rivera’s intense and Latin-inspired upbeat rhythms, two people energetically tackle their workday. These eclectic and lively dance breaks provide a clever reprieve and gradually become more meaningful afterhours inside a television station where drama takes a front seat.

Directed thoughtfully by Armando Rivera with playful chorography designed by Movement Director Audrey Johnson, Teatro Chelsea presented Tanya Saracho’s Fade live and in person at Chelsea Theatre Works through Sunday, June 30. Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish have a bit of an advantage. This partially bilingual show was approximately 100 minutes with no intermission and contained explicit language. Click here for more information and for more on Teatro Chelsea’s upcoming performances.

Luz Lopez and Cristhian Mancinas-Garcia in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

The intimate manner in which the audience is situated offers a uniquely exclusive peek into Rivera’s detailed set design complete with commercial carpet, notes scribbled on a white board, a personalized bulletin board and functioning office equipment. Fade turns the tables a bit to focus on an individual who is not necessarily a likable figure. Mexican-born novelist Lucia (Lus-sea-a), portrayed with fiery anxiousness by Luz Lopez, is the new scriptwriter at a television station and is not quite sure where to begin. When Lucia meets quiet yet observant Mexican-American custodian Abel (A-bell) in an absorbing portrayal by Cristhian Mancinas-Garcia, she seemingly sees a like minded individual, but they soon realize that they are not exactly on a united front.

Lucia, feeling under qualified and insecure, is chatty, nosy, and opinionated as she rants about how unfair life has been for her living in California. She is anxious about success and blames everyone but her own abilities for the work she has done. To some points, she is justified working in a primarily white male environment. She jumps to conclusions, is a sneaky rule breaker and hotheaded while Abel is mysterious, reserved and reluctant to speak with her. However, their conversations progress from awkward to tense as focused, humble, and patient Abel cannot help but politely comply as Lucia uses guilt and pressure in order to have her way.

Lopez delivers a convincing and bold portrayal as Lucia who would be easy to sympathize with if she was more respectful of Abel’s wishes. Lopez’s Lucia is dramatic, persuasive, and a clear spark exists between her and Mancinas-Garcia as Abel. Mancinas-Garcia’s Abel is an immediately sympathetic character, forthright, and brutally honest which seems to be good for Lopez’s Lucia. However, delving into everything from family to politics and everything in between, things get complicated the more they learn about each other.

Cristhian Mancinas-Garcia and Luz Lopez in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

Luz Lopez and Armando Rivera make a visually compelling statement in Lucia’s clothing which reflects her gradual character transformation from low key basic attire to lavish and flattering accented with a patterned scarf while Mancinas –Garcia’s Abel’s uniform remains the same.

There lies a twist in this tale and it is startling even if it is one you might see coming. A tense workplace drama tempered by some comedic and upbeat flair, Fade tackles many topics including intuition, integrity and where you place your trust.