The Sleepless Critic

REVIEW: Image Theater’s ‘Lost Cellphone Weekend’ puts an amusing noir spin on a familiar addiction

Posted on February 8, 2024 by The Sleepless Critic

Existing without a cell phone is a tricky business. However, unplugging for a weekend shouldn’t be impossible.

However, it is for many people. There are those who have their whole lives tied up on their phone from bank accounts to personal history while others have an unshakable habit of constantly finding comfort in that tiny screen. A cellular phone is the scientific term, but is it really such a stretch that is referred to as a cell phone? People can be confined to its gaze.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Steve Gilbane’s Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10. The show is 100 minutes with no intermission. Click here for more information and for tickets.

Ken Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Projections operator John Cipolaro provides the clean and modern set which includes a busy office, bedroom and street while implementing a few carefully placed set pieces such a multitasking bar cabinet, tables, and chairs. Sound operator Mike Flynn sets the tone with a lively and suspenseful score while Music Director Ian Chin directs an intimate onstage orchestra for the dynamic soundtrack.

Ken Meehan, Casey Moore, and Diane Milesky Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Based loosely on The Lost Weekend starring Ray Milland and part metadrama, Lost Cell Phone Weekend takes on a vintage noir vibe, but also stands as a light and humorous cautionary tale that focuses on ad executive Don and his girlfriend Helen who embark on a weekend away to a Vermont Bed and Breakfast. Unbeknownst to Don, Helen intends to have a wireless weekend without a cell phone in sight. You bet antics ensue and discoveries are made about this little weekend that no one could have expected.

Ken Meehan as Don Birnham, who may resemble the famous other Don from Mad Men, delivers a charismatic blend of old school charm and quick comedic timing embellished by Gilbane’s quip-laden script. Meehan’s fast talking sentimentality over a cell phone is over the top and yet curiously relatable. Wild eyes in a suit, Meehan prowls about the area under a suave façade zeroed in on the one thing that will keep him Connected, which is a particularly catchy number. Diane Milesky Meehan as Don’s romantic and sensible fiancée hopes this little getaway will rekindle their relationship. They share some fun chemistry, especially knowing that Ken and Diane are married to each other in real life. Diane goes wonderfully rogue as she articulates her feelings with the playful ballad, Look at Me.

Phil Thompson and David Hansen in ‘Lost Cell Phone Weekend’ Photo by Britton Boughner

Phil Thompson is a natural as tough and candid bartender Nat. Tall and lanky with a mix of subtle intimidation and mischievousness bearing a passing resemblance to Clint Eastwood, Thompson as Nat creates a doomed path for the haunting number, The Downfall of Man.

Casey Moore and David Hansen take on a few roles, but Moore is noteworthy as phone whiz Gloria in a red dress and Hansen as a mysterious and silly stranger claiming to be a very busy person. The cast later puts things into skewed perspective on this resonating topic with the striking number, A Little Poison.

The cast of ‘Lost Cellphone Weekend’ Photo by Christian De Rezendes

Lost Cellphone Weekend is an amusing and light musical comedy experience with vintage flair that comments on that pesky little cell phone habit but beware! It may challenge you to discover this big beautiful world and those dear to you more often.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10. The show is 100 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Company One Theatre with The Theater Offensive explores the power of friendship and an absorbing mystery with ‘The Interrobangers’

Posted on February 7, 2024 by The Sleepless Critic

Small town Foggy Bluffs, New York has things that bump in the night, but can a group of young sleuths solve the case?

With compelling direction by Josh Glenn-Kayden, Company One Theatre in partnership with The Theater Offensive and the Boston Public Library presents The Interrobangers, a new play by M Sloth Levine live and in person at the Central Branch of the Boston Public Library through February 24. The productions is free with pay what you want tickets and action is not limited to the stage. The Interrobangers is recommended for ages 13 and up. Click here for more information and for tickets.

Schanaya Barrows, Chris Everett, Anderson Stinson, III, Jenine Florence Jacinto, and Jay Connolly in ‘The Interrobangers’ Photo by Erin Crowley

Quaint, old towns can have such history including spooky legends, myths, and strange occurrences. Foggy Bluffs, New York is no exception but here also lies a big secret beneath its quiet façade. Accompanied by an adorable dog named Hoover, childhood friends Zodiac, Hank, Luna, and Dani must band together to uncover just what this little town has been hiding.

Founded in 1691, set designer Danielle DeLaFuente with Projections Designer Maria Servellon has carved out Foggy Bluffs, an impressive and realistic fictional town with rolling fog, haunting landscapes, and lively and colorful hangouts such as the Jackalope, Flatwoods Pizza, and Roswell’s Thrift n’ Find which is complete with a wide selection of authentic Foggy Bluffs souvenirs. The occasional grainy vintage town video footage is also a real treat. Lighting designer Elmer Martinez with sound designer Anna Drummond keeps the exciting pace of its interspersed friendly and eerie lighting as Drummond delivers a catchy and funky soundtrack.

Anderson Stinson, III and Jay Connolly in ‘The Interrobangers’

Taking place sometime in the 80s, the production has the earmarks of a Scooby-Doo vibe and it is amazing to observe the overall zany, spooky, and thoughtful tone including the making of a familiar van. E. Rosser’s trendy and multihued costume design highlights each character’s distinct personalities. Even during its comedic moments though, it tackles the angst, confusion, pressure to be perfect, identity, peer pressure, acceptance, trauma and other serious topics kids can experience growing up. An interrobanger is described as a bundle of emotions wrapped up into one word and suitably describes the show that delivers light and reflection in a unique manner.

Jenine Florence Jacinto, Anderson Stinson III, Schanaya Barrows, and Jay Connolly in ‘The Interrobangers’ Photo by Erin Crowley

It delves into the nature of friendship from a dynamic cast who share a warm and engaging rapport. Friendship as children grow up that may sometimes mean growing apart or those rare friends that even if time has passed, they can still find their groove. How a class president portrayed by Schanaya Barrows as Dani, a timid yet brilliant student depicted by Jenine Florence Jacinto as Luna, a fascinating and troubled bohemian portrayed by Anderson Stinson III as Zodiac with Jupiter Lê in a remarkable depiction of Zodiac’s energetic and empathetic dog Hoover, and popular jock depicted by Jay Connolly as Hank form a mischievous group that all might have more in common than they realize.

Anderson Stinson III and Jupiter Lê in ‘The Interrobangers Photo by Erin Crowley

Each character offers engaging and nuanced performances, especially Stinson as Zodiac who movingly depicts what it is like to struggle with issues that cannot easily be explained and still remain an open, inquisitive and loving person. In a gray suit and aviator sunglasses, Alex Jacobs is a hypnotic force as the mysterious Mr. Dahl to show that even a little town like Foggy Bluffs always has a mystery to be solved.

REVIEW: Lexus Broadway in Boston presents sizzling and spectacular ‘Moulin Rouge the Musical’

Posted on February 4, 2024 by The Sleepless Critic

Moulin Rouge is sizzling, romantic and grand scale entertainment perfect just before Valentine’s Day.

Boasting Derek McLane’s lavish and sophisticated heart-shaped sets fueled by Justin Townsend’s vivid lighting so vibrant that could be its own character and Catherine Zuber’s edgy, timely and shimmering costumes, Moulin Rouge the Musical is a glorious spectacle right from the start blending its unique delivery of a multi-generational jukebox musical soundtrack as well as lively and athletic choreography that makes an immediate impact.

The cast of the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Nothing less could be expected from director Baz Luhrmann, who is not only behind the 1997 frenetic film of the same name in which the musical is based on starring Nicole Kidman and Ewan McGregor, but has a creative hand in the musical’s signature style. Filled with popular songs of its time, Moulin Rouge has always been a lavish and wild celebration of desire, the rigid social class divide and first love, but somehow Moulin Rouge the Musical harnesses these rich themes on a considerably larger scale and it is nothing short of a feast for the eyes.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4. The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children. Click here for more information and for tickets. Click here for Moulin Rouge’s national tour schedule.

Not only does Moulin Rouge The Musical contain a wide range of sharp and slinky choreography by Sonya Tayah, but features distinct characters with powerful vocals that make lasting impressions. Robert Petkoff brings enthusiasm, poetic and flamboyant charisma to Moulin Rouge’s nightclub master of ceremonies Harold Zidler starting with an incredible first appearance in Welcome to the Moulin Rouge further embellished by a fierce foursome who sang Christina Aguilera, Pink, Lil Kim, and Mya’s Lady Marmalade first made famous combined with an even catchier and colorful Can Can Can.

Adéa Michelle-Sessoms and Jennifer Wolfe in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Sarah Bowden as Nini is a sensational dancer and alongside Danny Burgos as Santiago sure know how to turn up the heat. Burgos and Bowden make a sultry and flirtatious pair especially in the catchy and cathartic Backstage Romance with the cast featuring music from Lady Gaga, Britney Spears, and the Eurthymics.

Gabe MartInez as Santiago and Libby-Lloyd as Nini in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

In a top hat and thick mustache, Andrew Brewer is cunning as distinguished and wealthy businessman The Duke of Monroth. He seems good to be true and has an agenda all his own. Nick Rashad Borroughs as Toulouse-Lautrec performs a wonderful and moving rendition of Nature Boy and shares warm and humorous camaraderie with Christian Douglas as Christian and Danny Burgos as they advise Christian about life at the Moulin Rouge.

David Harris as The Duke of Monroth in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Christian Douglas is captivating as naïve, charming, and idealistic Christian. Christian is a promising American artist and songwriter longing for his big break. At the Moulin Rouge in Paris, he sets eyes on Moulin Rouge’s confident, complex, and ambitious main attraction Satine, portrayed splendidly by Gabrielle McClinton. McClinton, decked out in a black and diamond ensemble, proves herself a versatile showstopper in The Sparkling Diamond singing snippets from Beyonce, Madonna, Marilyn Monroe and Rihanna with over the top dramatic flair, sensuality, and commanding vocals. Douglas and McClinton bring gorgeous harmony together for Elephant Love Medley featuring Come What May and Silly Love Songs. Christian also performs a haunting and fiery rendition of El Tango de Roxanne.

Courtney Reed as Satine in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Moulin Rouge the Musical offers many exciting surprises that will not all be revealed here. The swift and complex orchestration by Music Director Andrew Graham and sound designer Peter Hylenski uniquely integrates a selection of hit songs with unpredictable humor and drama. It is a fast paced firecracker of a love story that is as edgy as it is moving. Don’t miss the chance to see Moulin Rouge The Musical.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4^th. The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children. Click here for more information and for tickets. Click here for Moulin Rouge the Musical’s national tour schedule.

REVIEW: Lyric Stage Company’s unleashes a powerful ‘Trouble in Mind’

Posted on February 3, 2024 by The Sleepless Critic

Wiletta has always longed to be a famous actress, but at what cost?

With shrewd direction by Dawn M. Simmons, Lyric Stage Company presents Trouble in Mind by Alice Childress, part of Lyric Stage Company’s 50th season, live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, February 4. The show is 2 hours and 20 minutes including one intermission and the action is not limited to the stage. Click here for more information and for tickets.

The Cast of Trouble in Mind Photo by Nile Hawver

Sound designer Aubrey Dube’s jazz-inspired soundtrack rewinds the clock to the late 50’s. Connected by a spiral staircase, Shelley Barish’s vintage two floor set features elegant and colorful mid century-inspired furniture pieces, gold and burgundy trim, and scattered hanging crystal chandeliers and yet is also true to any backstage theatre rehearsal setting, including a realistic red glowing exit sign hanging over a backstage door, dressing rooms, and a gleaming ghost light.

Some of Rachel Padula-Shufelt’s vintage costumes include a mix of muted and bold colors as well as lively patterns that not only reflect each character’s distinct personalities, but the action in the scene. One scene has McConnia Chesser as Millie Davis and Patrice Jean-Baptiste as Wiletta presented in rich colors to stand out while Allison Beauregard as Judy Sears is adorned in smart suits in softer pastel patterns.

What is particularly fascinating about Trouble in Mind is Alice Childress’s meaty and layered script. It is an intriguing production that tackles racism, truth, censorship, stereotypes and much more taking place in New York City in 1957. A play within a play, this engaging and multifaceted cast rehearses backstage for a divisive production called Chaos in Belleville as the underlying tension of this seemingly happy theatre group builds. When things start to get real, that is where the real story unfolds.

MaConnia Chesser, Patrice Jean-Baptiste, and James Turner. Photo by Nile Hawver

The cast has sharp dramatic and comedic skills to navigate the often swiftly changing tone of this production and delves into the nature of Broadway theatre. At the center of this tale is seasoned actress Wiletta, depicted with a mix of cheerfulness and hearty determination by Patrice Jean-Baptiste. Wiletta eagerly shares her ambitions privately, but hesitates to pursue her loftier dreams in the interest of remaining a working Black actress. Jean-Baptiste shares a warm rapport with Robert Walsh as supportive Irishman Henry who works for the production. Their nurturing understanding of one another is a particular highlight. Jean-Baptiste also confides in young actor John Nevins, portrayed by Kadahj Bennett, who also longs to succeed in show business.

James Turner, Davron S. Monroe, Patrice Jean-Baptiste, and Allison Beauregard. Photo by Nile Hawver

Allison Beauregard portrays naïve ingénue Judy Sears with an array of nervous chatter behind a pretty face. She longs to say and do the right things, but at times, Judy cannot seem to get out of her own way. Beauregard does an impressive job depicting this enigmatic character’s nuances as each situation changes.

Barlow Adamson as firm and condescending director Al Manners is not unlike other complex characters that Adamson has aptly captured. Manners feels over worked and underappreciated which fuels some of his impatience, belittling nature and frankness. Adamson navigates the shifting atmosphere of each rehearsal and has a powerful effect on each of the cast members. From Bill Mootos as self conscious Bill O’Wray to MaConnia Chesser as wealthy, humorous and seemingly confident Millie, Adamson more often than not, stirs the pot.

Cautious, wise, and experienced Sheldon, depicted by Davron S. Monroe, at first seems an understated character, but Monroe later makes a sudden and indelible impression in one of the most memorable and stirring scenes in the production.

Trouble in Mind was created in 1955 and yet much of the themes are alarmingly relevant today. Some of Trouble in Mind can be unsettling with veiled barbs, underlying tension, disdain, slights, and grim humor behind a smile, but the authentic reactions and self awareness are riveting to witness. At one point, Manners states, ‘What is Truth? Truth is simply whatever you can bring yourself to believe, that is all.’ Some familiar food for thought.

REVIEWS: Harbor Stage Company’s striking ‘Northside Hollow’ and Liv at Sea Productions presents absorbing ‘Liv at Sea’

Posted on January 28, 2024 by The Sleepless Critic

The thrill of feeling engulfed in a theatrical experience is just what Harbor Stage Company delivered when disaster struck as part of their tense drama Northside Hollow in an already intimate setting. Harbor Stage Company’s Northside Hollow brought fascinating and immersive storytelling to the stage with authenticity and occasional humor.

Grippingly directed and written by Jonathan Fielding and Brenda Withers, Harbor Stage Company presented Northside Hollow from Tuesday, January 11 through Saturday, January 20 live and in person at Boston Center of the Arts (BCA) Plaza Black Box Theatre in Boston, Massachusetts. The production was 1 hour 20 minutes with no intermission and had some mature language. Click here for more information and Liv at Sea Productions with Harbor Stage Company presents Liv at Sea currently running through Sunday, January 28.

Industrial lights and mysterious headlamps play a crucial role in the production’s immersive authenticity as well as the feeling of sheer engulfment in a catastrophic event. Strewn metal, wooden pieces and tight passages create a realistic pit and an arduous challenge to overcome.

The chilling tension took hold minutes into the production and the audience becomes a part in Gene’s mutual distress. Injured Gene portrayed with frank cynicism, humorous likability, and a wonderful drawl by Robert Kropf, is a miner in peril. He is trapped in a collapse and is too injured to climb out alone. Volunteer EMT Marshall, depicted with insightful practicality by Alex Pollock, arrives to rescue him, but can they escape and how did this collapse happen in the first place?

Northside Hollow L to R Robert Kropf and Alex Pollack Photo credit to Edward Boches

The twists and odd turns are quite compelling and though the show is mildly predictable, the execution is extraordinary. With grime caked on his face, Kropf captures Gene’s stubbornness, worn demeanor, sardonic humor, and sheer exhaustion as he helplessly asks for the impossible – a burger. Gene shares fascinating camaraderie with spiritually centered, focused and sensible Pollack as Marshall. Brimming with emotion and perspective, both actors deliver powerful performances as they contemplate faith, relationships, mortality, music, morality, and life’s intricacies while merging their skills in an attempt to conquer the loneliness and fear of this moment.

Harbor Stage Company presented Northside Hollow from Thursday, January 11 through Saturday, January 20 live and in person at Boston Center for the Arts (BCA) Plaza Black Box Theatre in Boston, Massachusetts. The production was 1 hour 20 minutes with no intermission. Click here for more information and Liv at Sea Productions with Harbor Stage Company presents Liv at Sea is running through Sunday, January 28.

REVIEW: Liv at Sea Productions presents absorbing ‘Liv at Sea’

It is the kind of silence that could only mean that something has changed.

Two people in metaphorically two different places in their relationship stand in a stark and bare room. One is at the precipice while the other is helpless witnessing it. Both are in agony and one is longing for water.

Paige O’Connor and Nick Wilson in ‘Liv at Sea’ Photo credit to Edward Boches

Affectively written and directed by Robert Kropf, Liv at Sea continues live and in person at Boston Center for the Arts (BCA) Plaza Black Box Theatre in Boston, Massachusetts through Sunday, January 28. The production has some mature language, runs 90 minutes with no intermission, and contains a brief strobe light sequence. Click here for more information and for tickets.

With bare feet on sand colored carpet, introspective indie music weaves cleverly in and out of this production by sound designer Joe Kenehan as Liv hesitates to share her true feelings. With cheerful lighting in unexpected places by John Malinowski, the unembellished staging features an at first blank canvas that comes to life mixing cinematography by Adam Foster and art to illustrate metropolitan and creation while the symbolic black and white costumes add a single splash of color for renewal.

Paige O’Connor as Liv in ‘Liv at Sea’ Photo credit Edward Boches

The audience is arranged in the center while the action is refreshingly not limited to this stage. A dramatic tale told out of sequence and largely unconventional which includes the quirky, romantic, artistic, and brooding dreamer Liv, depicted with nonconformist charm by Paige O’Connor. While O’Connor’s long gazes and deep and contemplative silences can weigh down a room, anxiety-laden and chatty Nick, portrayed by Nick Wilson, bends over backwards to lighten it with humor. Many of their exchanges are strained and tense and yet both characters are distinctive and likable. Wilson is particularly funny as he delves into an uninvited guessing game with Liv. In charming glasses and a beard, Wilson is sympathetic and earnest as he struggles to understand his restless and distant live-in girlfriend.

‘Liv at Sea’ Photo credit to Edward Boches

A mysterious stranger, depicted by Jack Aschenbach, appears to provide a complicated bright spot in this production. Serious, romantic and perceptive, Ashenbach unleashes a new side in O’Connor’s Liv that comes with risk in what the future holds.

Liv at Sea is an absorbing journey that explores the nature of relationships at its root and bloom as well as its endings, beginnings, and the restless uncertainty in-between with hope and ruefulness.

REVIEW: ‘Music from the Sole’ made an uplifting Boston debut with Celebrity Series of Boston

Posted on January 20, 2024 by The Sleepless Critic

With upbeat rhythms and sweeping and intricate grace, Music from the Sole: I Didn’t Come to Stay is such a lively and fervent celebration, one can only wish this group would extend their visit to Boston. Cheerful and exuberant lighting brighten the stage as the onstage band creates an eclectic blend of house, jazz, samba, Afro-Brazilian and funk in an inviting journey of smooth and invigorating rhythms capable of uplifting any mood.

Music from the Sole Photo credit to Robert Torres

With captivating choreography by Leonardo Sandoval combined with the dancers’ skillful improvisation, Celebrity Series of Boston presented Music From the Sole: I Didn’t Come to Stay from Thursday, January 11 through Saturday, January 13 live and in person at New England Conservatory’s Plimpton Shattuck Black Box Theatre in Boston, Massachusetts. Music from the Sole is currently on tour. This semi-immersive dance celebration is approximately one hour with no intermission. Click here for more information, click here for Music from the Sole’s upcoming events, and here for what is next for Celebrity Series of Boston.

NEC’s Plimpton Shattuck Black Box Theatre has an attractive set up with a raised stage without a bad seat in the house. In an array of pulsating rhythms, Music from the Sole made a refreshing and breezy entrance from the wings of the intimate theatre and moving through the crowd, the group encouraged the audience to respond to what they saw in any way that moved them. Music from the Sole’s compelling performance made moving in some way to the beat irresistible. The show’s mesmerizing and skittering tap dancing resembled a rollicking train as their soles hit the floor and also featured the graceful pitter patter of bare feet that slid and glided in an array of intricate maneuvers. One notable performance featured Ana Tomioshi’s swift footwork enhanced by a radiant smile as her shadow lit up against what resembled a glowing orange sun before the other dancers joined in a drum-laden beat.

When the dancers composed of dance captain Ana Tomioshi, Naomi Funaki, Orlando Hernandez, Roxy King, Gerson Lanza, Leonardo Sandoval, Lucas Santana, and Gisele Silva collectively took the stage, it was an effervescent and energetic excursion. Their collective enthusiasm was contagious and a joy to watch. If only every job could be met with such zeal.

Kathy Kaufmann’s integral lighting set the excitement and warmth of each performance in a varying array of purples, pinks, greens, oranges, blues and reds while Dede Ayite’s bright and multicolored costume design lent to the festive nature and depicted the culture in lime green pants, pastels, bright island-inspired patterns, feathers, and stripes. The crackling and smooth sounds of the five piece band composed of Josh Davis, Magela Herrera, Noe Kains, Gregory Richardson, and Jennifer Vincent melded together seamlessly as the dancers moved in harp, guitar, and bass-infused rhythms creating their own unique expressions as they clapped, leapt and stomped to the beat. Some members of Music from the Sole are both instrumentalists and dancers and it was exciting to see what combination of dancers and musicians would take the stage next.

With captivating choreography by Leonardo Sandoval combined with the dancers’ skillful improvisation, Celebrity Series of Boston presented Music From the Sole: I Didn’t Come to Stay from Thursday, January 11 through Saturday, January 13 live and in person at New England Conservatory’s Plimpton Shattuck Black Box Theatre. Music from the Sole is currently on tour. This semi-immersive dance celebration is approximately an hour with no intermission. Click here for more information, click here for Music from the Sole’s upcoming events, and here for what is next for Celebrity Series of Boston.

REVIEW: Anything goes in Ryan Landry’s ‘The Rocky Menorah Christmas Show’

Posted on January 3, 2024 by The Sleepless Critic

Three chrome microphones, two slaying reindeer and one Mrs. Grinchley describes just a fraction of Ryan Landry’s wild tale as The Gold Dust Orphans presented The Rocky Menorah Christmas Show which recently ended its run on December 23 live and in person at the Iron Wolf Theatre at the Lithuanian Citizens Association in South Boston, Massachusetts. This vintage-style Rocky Horror musical parody was strictly for adults containing graphic nudity and is 90 minutes with one intermission. Click here for more information and the full advisory.

From ugly holiday sweaters to antler ears to twinkling light necklaces to candy cane shirts, it was a festive and dynamic crowd that attended The Rocky Horror Menorah Christmas Show. Refreshments and merchandise were available at the theatre and envelopes were taped to the back of each seat for donations.

TURN AROUND: Taryn Lane as Janet and Eric McGowan as Brad, Briana Scafidi, Alex Davis, Kaedon Gray, and Spookey as the Snow Cone Dancers Photo by Michael von Redlich

The Gold Dust Orphans are known for delivering their own take on vintage films indicated by the retro black and white tube TV which illustrated each theme that was happening onstage through various film montages from Bambi to The Shining. This is The Rocky Horror Picture Show with a holiday twist, but do not expect to hear the songs known from the popular film. Though the story’s characters, a portion of the costumes, and set up are similar which included the signature glittering lips, A Rocky Menorah Christmas Show featured original music with a jingle bell twist by Tad McKittrick and Tim Lawton parodying a number of popular songs by Patti Smith, David Bowie, Meatloaf, Bonnie Tyler, Taylor Dayne, Joe Cocker and the Go-Gos.

Welcome comedic local references varied from quips about North Shore Massachusetts accents to local landmarks to host puppets ‘GBH’s Jim Braude and Margery Eagan bringing clever humor to their signature banter. Additionally, The Brookline Sisters, a vintage trio of glittering backup singers in red, green and yellow composed of Tad McKittrick, Lizette Morris and Gina Carmella, acted as commentators and semi-narrators throughout this production.

To be clear, never been a fan of The Rocky Horror Picture Show in any of its various forms. After several attempts, still not a fan. Rocky Horror Picture Show is considered a cult classic, but in the Tim Curry-iness of it all, Clue is the preferred cult classic in this critic’s book.

BRAD&JANET: Eric McGowan as Brad Keebler and Taryn Lane as Janet Winky Photos by Michael von Redlich

Sure, The Rocky Horror Picture Show 1975 film was risqué and banked on shock value not particularly relevant to the story and this show is similar in that regard. The Rocky Menorah Christmas Show focuses on two Christian elves decked out in fluffy pink and blue that spring a flat on their sled and their only hope is to get help at a mysterious and ice laden castle. Janet, depicted by Taryn Lane, is an insufferable, demanding, melodramatic, and superstitious know-it-all while Brad, portrayed by Eric McGowan, is a henpecked, timid, and dimwitted follower.

Ryan Landry as Mrs. Grinchley dons convincing green makeup and depicts the mastermind of this particular operation accompanied by ghoulish companions Kiki Samko as maid Fuchsia and Joey Pelletier as Butler Gift Wrap. Though at first this Grinch can be a mean one, Murphy’s Grinchley is a candid and bawdy creature that runs the moral compass of this zany universe. Political and religious ribbings and commentary run as amok as this lusty and at times darkly humorous tale takes shape.

GRINCHLEY: Kaedon Gray and Briana Scafidi as the Snow Cone Dancers, Ryan Landry as Mrs. Grinchley Photo by Michael von Redlich

Directed by Kiki Samko and choregraphed by Briana Scafidi, the cast collectively delivered strong vocals and are skilled dancers especially in the athleticism and impressive stunts performed by Spookey in a Speedo and sunglasses featured in 20^th Century Boy. This semi-immersive and interactive show occasionally breaks the 4^th wall and the characters sometimes are not limited to the stage.

FUCHSIA & GIFTWRAP: Kiki Samko as Fuchsia and Joey Pelletier as Gift Wrap Photo by Michael von Redlich

The Rocky Menorah Christmas Show is fast paced, but especially in the second half, starts to lose focus and hits a fork in the road in more ways than one. From a dirty Santa to blow up astronauts to demons to ghouls to tap dancing reindeer to a blow up yellow monster, anything goes and this cast does not leave much to the imagination. While the show does not seem to take itself seriously, when it does toward the end, its strong message seems a strange extra in this wild parody.

The Gold Dust Orphans presented The Rocky Menorah Christmas Show which recently ended its run on December 23 live and in person at the Iron Wolf Theatre at the Lithuanian Citizens Association in South Boston, Massachusetts. This vintage-style Rocky Horror musical parody was strictly for adults containing graphic nudity and is 90 minutes with one intermission. Click here for more information and the full advisory.

REVIEW: Midwinter Revels brilliant ‘The Feast of Fools’ blends hope and laughter in the darkest of times

Posted on December 23, 2023 by The Sleepless Critic

Dragon battles! Reindeers dance! Kings and Fools! Hope in darkness.

This year’s annual Midwinter Revels is titled The Feast of Fools: A Medieval Celebration of the Solstice, and though fools may be onstage, not even a fool would miss this production.

Showing fresh ingenuity and as immersive as ever, The Feast of Fools delivers as much reveling as insightfulness into medieval hierarchy, the contemporary world we live in, and and the importance of eternal peace in this unpredictable world.

L to R: Vincent Ernest Siders (The King), Laurel Swift (Boney), René Collins (Folly), Eliza Rose Fichter (Fiasco), Roger Reed (Flop), and members of the Midwinter Revels Solstice Chorus Photo by Paul Buckley

Directed cleverly by Patrick Swanson and Debra Wise while seamlessly musically directed by Elijah Botkin, Midwinter Revels joyfully presents The Feast of Fools: A Medieval Celebration of the Solstice through December 28 live and in person at Sanders Theatre in Cambridge, Massachusetts. The December 16^th performance was dedicated to ‘GBH’s legendary and beloved Brian O’Donovan who passed away this year. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

An apt and enthusiastic master of ceremonies, veteran reveler David Coffin grandly declared, ‘We are all here to sing!’ He vigorously prepares the audience pre-production for an afternoon of sing-along carols and interactive fun in the spirit of the season.

David Coffin and the cast of Midwinter Revels: The Feast of Fools Photo by Paul Buckley

Accompanied by lively fiddle and horn-infused rhythms performed by the onstage Sting and Buzzy Walking Band, scenic designer Jeremy Barnett warmly sets the stage with an inviting red glowing wooden fireplace festively adorned with garland and pewter mugs hanging on both sides of the mantel. The Yule Log and a Christmas Star are pivotal pieces in this exciting tale and keys to a bright New Year.

Costumes Supervisor Dexter Wadsworth and costume designer Heidi Hermiller deliver a splendid and kaleidoscopic vision of medieval and festive garb from villager to soldier and jester to royalty in gold embroidered velvet, silver and gold detailed armor, shiny red and black scales, a blue-hued pair of enormous ethereal wings, and much more.

This particular production featured Jeff Adelberg’s gorgeous and luminous lighting for a moonlit night, in a glowing red fire, gleaming lanterns, a haunting twilight on a vastly creative voyage, and in a dazzling solstice flame. Illuminated by gleaming lanterns, Gabriel’s Message is a moving and glorious moment in this touching production.

L to R: René Collins (Folly), Athéna-Gwendolyn Baptiste (Angel), and Laurel Swift (Boney) Photo by Paul Buckley

Rene Collins as Folly, Eliza Rose Fichter as Fiasco, and Roger Reed as Flop form a comical and jovial trio of fools with affable camaraderie who declare they must present The Feast of Fools celebration much to the King’s accommodating dismay. Where love, joy, peace and hope metaphorically take center stage, the trio wears bright, distinctive, and zany costumes as they navigate this symbolic and exciting tale with juggling and more.

L to R: Eliza Rose Fichter (Fiasco), Vincent Ernest Siders (The King), René Collins (Folly), and Roger Reed (Flop) Photo by Paul Buckley

The talented Evergreen Children have a larger role in this tale as their angelic falsetto voices partake in carols, games, puppetry and more. Some of the particular highlights include a beautiful rendition of Lees Wais’ Wassail with David Coffin on recorder and Karen Burciaga on rebec. Roger Reed not only portrays dimwitted and mustachioed Fop, but pops up in additional roles including a mischievous and expressive participant in a children’s game of Old Roger is Dead before taking on a silent, silly, yet fascinating role later in the production. Charismatic Rene Collins later demonstrates some unique skills and magnificent courage facing an intriguing domestic beast.

L to R: René Collins (Folly) and Heather Koerber Nunes (Dragon) Photo by Paul Buckley

Wearing animal hats including crow, cow, and sheep, The Evergreen Children chime for an adorable rendition of There was a Pig Went out to Dig and a significant illuminating shadow puppet show for the King, portrayed with a charismatic baritone laugh by Vincent Ernest Siders. His regal, playful and natural gravitas is a bit scene stealing, even without a crown. His poignant yet hopeful recitation of the Shortest Day was delivered with full throated gracefulness and one of the most memorable parts of this production.

Accompanied by a concertina, The Pinewoods Morris Men literally revel with bells on in an interactive Morris Dance, an intricate and rhythmic Upton stick dance, and the traditional Mummers Carol.

Andrew Conant, Ewan Swanson, and the cast of Midwinter Revels: The Feast of Fools Photo by Paul Buckley

Soloist Barbara Allen Hill provided rich vocals in various parts of the production including O Cruor Sanguinis chant, the instrumental hymn Dies Irae and in a stirring arrangement by John Fleagle’s Winter Wakeneth.

Having never been swept up in the moment of the production, it was exhilarating to participate in the interactive and traditional Lord of the Dance as revelers and audience members joined arms in the halls dancing jubilantly into intermission and in the lobby of the Sanders Theatre.

The Midwinter Revels Solstice Dancers Photo by Paul Buckley

From Sing We Noel to the Peasant Dance to the Traveler’s Prayer to the Village Bransle Ding Dong Merrily on High to the marvelous Lord of the Dance dynamically choreographed by Susan Dibble, the Midwinter Revels will have everyone on their feet to ring in a wondrous New Year.

Directed cleverly by Patrick Swanson and Debra Wise while seamlessly musically directed by Elijah Botkin, Midwinter Revels joyfully presents The Feast of Fools: A Medieval Celebration of the Solstice through December 28 live and in person at Sanders Theatre in Cambridge, Massachusetts. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

REVIEW: With a mix of joy, reflection, and sweet surprises, The Holiday Pops’ milestone 50th year continues to make the season bright

Posted on December 22, 2023 by The Sleepless Critic

From hymnal to classical to Santa to the Grinch, The Holiday Pops offers something for everyone and makes it easy to alleviate the stress of the season and happily embrace what truly matters.

Celebrating a milestone 50^th year and the welcome return of the all-volunteer Tanglewood Festival Chorus, The Holidays Pops delivers a tapestry of classical and beloved Christmas carols, spiritual hymns, as well as holiday traditions through art and illustrations which always includes an annual visit from a surprisingly innovative and always jolly Santa Claus. Boston Pops conductor and host, Keith Lockhart garners warmth and reflective holiday cheer weaving in a certain classic Grinch quote by Dr. Seuss, a highly anticipated sing-along, and maybe even a dancing Maestro.

12.1.23 Keith Lockhart conducts Holiday Pops 2023 (Hilary Scott)

Sponsored by Fidelity Investments, led by Keith Lockhart, and ideal for the whole family, The Holiday Pops continues at Boston Symphony Hall through Christmas Eve. The show runs two hours including an intermission. Click here for more information and tickets.

Elegantly adorning the intrinsically-detailed gold balconies with twinkling lights on thick, festive wreaths is just a sampling of the stunning surroundings inside Symphony Hall. The stage spontaneously comes to life from illuminated gifts to lighted Christmas trees to glimmering dancing snowflakes.

12.1.23 Baritone Andrew Garland performs Vaughan Williams’ Fantasia on Christmas Carols with the Holiday Pops (Hilary Scott)

This beautiful performance delivered equal doses of contemplative material and lightheartedness with the first half fanciful and spiritual. Among the many highlights, Baritone Andrew Garland grandly delivered an eloquent and soaring rendition of Fantasia on Christmas Carols by Ralph Vaughan Williams.

12.1.23 12 Days of Christmas with the Tanglewood Festival Chorus (Hilary Scott)

With a generation bombarded with CGI and AI, The Holiday Pops thrilled audiences with author Jan Brett’s colorful, authentic and imaginative illustrations. Accompanied by seamless orchestration by the Boston Pops, the audience absorbed themselves in a Jan Brett children’s book that offers a rich new vision of Tchaikovsky’s classic, The Nutcracker. Among the memorable images was a fire breathing dragon, reindeers that have antlers with lighted candlesticks, dancing bears, and Santa in a headstand wearing a bucket hat.

12.1.23 Tribute to Harry Belafonte at Holiday Pops (Hilary Scott)

The evening also contained a moving tribute to EGOT Winner, activist, and musician Harry Belafonte not only honoring Belafonte’s calypso-inspired classic tunes, but his impressive activism featuring various pictures and video of his part in the March on Washington, supporting Martin Luther King Jr, and his work with UNICEF.

The Pops delivered a captivating gospel tribute in Swahili called The Good News Voyage arranged by David Coleman which contained Go Tell it on the Mountain. In the second half of the show, The Holidays Pops presented a Jewish song sung in Hebrew, Tikkun Olan (Heal the World), a riveting rendition expressing the yearning and urgency to heal and repair the world ‘Pray for peace and justice/For the sake of peace/heal the world’ as the tempo accelerated into a powerful crescendo.

12.1.23 Santa Claus with Keith Lockhart (Hilary Scott)

Brimming with beloved classic Christmas carols and guest appearances by Santa and more, the second half of Holiday Pops was a vibrant, yuletide spectacle joyfully kicking off with Sebesky’s Frosty All the Way, a jazz-infused medley featuring Jingle Bells, Frosty the Snowman and more. The brass ensemble spinning their instruments was among the playful sights as they performed this catchy and airy collection of carols.

12 Days of Christmas

Boston Pops’ charming signature versions of Sleigh Ride are always clever, cheeky, and increasingly full of madcap high jinks and the 12 Days of Christmas show that anything can happen among illuminated dancing snowflakes. The Holiday Pops also presented a special annual reading of Clement Clarke Moore’s Twas the Night before Christmas, read briskly by enthusiastic special guest WBZ News journalist Matt Shearer to mark its publication nearly 200 years ago before Santa arrived. While bulbs glow to the beat, the jolly Tanglewood Festival Chorus delivered A Merry Little Singalong in Santa hats and ears which included Rudolf the Red-Nosed Reindeer, Walking in a Winter Wonderland, and more.

Holiday Pops concluded with the tender Let There Be Peace on Earth, as Earth shone overhead, brilliantly conveying the quiet hope for the coming New Year.

REVIEW: Sara Bareilles serves up music and pie for film version of ‘Waitress the Musical’

Posted on December 15, 2023 by The Sleepless Critic

Perhaps love is like a pie. It’s comforting, fluffy, messy and sometimes forbidden.

When Joe’s Diner offers 27 varieties of pie including ‘White Knuckle Cream Pie’ and ‘In the Dark, Dark Chocolate Pie,’ love can get complicated.

Fathom Events presents a heartwarming and meaningful musical comedy, Waitress the Musical, a show that proves the greatest secrets in life might just be found in the kitchen. A lively production that made a splash on both Broadway and on a national tour, this filmed stage version is particularly special because it stars Grammy-nominated singer-songwriter Sara Bareilles, the woman behind the music and lyrics to the production. Waitress the Musical boasts an all female production team and is based on the book by Jessie Nelson and screenplay by the late and great Adrienne Shelly. This film is dedicated to Shelly’s memory.

With a cast of colorful and comical characters and based on the 2007 film of the same name starring Keri Russell, Waitress the Musical film version is serving its best at select movie theatres for a limited time and will soon be available for streaming and video on demand. The show has some mature themes. Click here for more information and tickets.

L to R: Charity Angel Dawson as Becky, Sara Bareilles as Jenna and Caitlin Houlahan as Dawn in ‘Waitress the Musical’ Photo credit to Fathom Events

REPORT THIS AD

From a bright neon sign and red chrome booths to clever choreography that brings diner dancing a fresh, new meaning, the majority of Waitress is set inside the vintage and picturesque Joe’s Pie Diner as patrons and musicians interact onstage. Impressive songs range from catchy to reflective and numbers such as When He Sees Me and Opening Up are sure to stay with the audience long after the show is over.

Full of heart, what Waitress the Musical achieves is a delicate balance of the sweetness and realism, delving into the lives of a group of dynamic characters who dream of a better life. Sara Bareilles depicts diner baker Jenna who finds herself pregnant and falling in love with her doctor. Jenna expresses her thoughts on life through the humorous titles she deems to Joe’s Diner Pie of the Day.

REPORT THIS AD

It is impressive to watch mezzo soprano singer-songwriter Bareilles take the stage though it is sometimes difficult to separate her from her music. Sara Bareilles delivers a natural and inspiring performance as Jenna with her offbeat daydreams among the most memorable highlights of the film. Bareilles depicts Jenna’s complex web of emotions with dark humor and a spark of hope. Her smooth and familiar vocals offer an emotional rendition of A Soft Place to Land and She Used to Be Mine.

Bareilles as Jenna shares playful chemistry and beautiful harmony with compassionate and mysterious Drew Gehling as Dr. Pomatter in Bad Idea and the tender You Matter to Me. Lanky and a bit neurotic, Gehling doesn’t immediately seem so suave, but his compassion and quirky persona give him a fascinating charm. Dressed in a plaid shirt, worn jeans, and an acoustic guitar, Joe Tippett as Earl is manipulative, possessive, and at times chilling, especially for the rock tinged number, ‘You Will Still be Mine.’ Tippett is also ironically Sara Bareilles’s real life fiancé.

With oversized earrings, wild hair, and tiger prints, Charity Angel Dawson offers a great deal of comic relief as outspoken, wise cracking, and supportive waitress Becky. Spirited and direct, Becky captivates for the number, I Didn’t Plan It and her onstage charisma will have the audience hanging on her every word including her sarcastic and priceless reactions to her surroundings.

REPORT THIS AD

In bright red glasses, Caitlin Houlahan portrays Dawn with her own endearing comedic timing and shines as a yearning bundle of nerves for the catchy tune, When He Sees Me. Imaginative and shy while she rhythmically shoots ketchup into the mustard bottle, Dawn awkwardly deems herself ‘a woman of many passions.’ With Christopher Fitzgerald as scene stealing Ogie, they are a comedic force to be reckoned with. Gleeful and goofy yet determined, Fitzgerald shows the power of love has sharp comedic rhythm in a bungle of flawless and unsuppressed energy.

Boasting a wonderful laugh and a curmudgeonly personality, Dakin Matthews portrays difficult customer and diner owner, Joe. A darkly comical storyteller, Joe’s conversations with Jenna are frank, open, and offer sage advice. Take it from an Old Man is tender, paternal, and moving number. Matthews as Joe also captures the uplifting spirit of the production as he remarks, ‘Baking a pie is a magical experience.’

With a cast of colorful and comical characters and based on the 2007 film of the same name starring Keri Russell, Waitress the Musical is serving its best at select movie theatres for a limited time and will soon be available for streaming and video on demand. The show has some mature themes. Click here for more information and tickets.