You’ve Got Mail, a hit film starring Tom Hanks and Meg Ryan, explores the virtues and survival of a small business bookstore up against a number of factors including corporate bookstore chains. Small bookstore owner Kathleen Kelly and her fictional Shop around the Corner is embraced by the community for its rich history, Kelly’s unique personality reflected in every aspect of her bookstore including the storefront, her handpicked books, and the selection of readers and performers that appear at her store. Every aspect is meticulously designed to make a particular impression for the customer. The Shop around the Corner’s small but knowledgeable staff would not only know each handpicked book by heart and personally assist you in making a selection, but probably knows most of their devoted customers not only by name, but as a friend.
Supporting small business has not only always been a prevalent topic, but has gained that much more significance in the last few years, especially during the height of the pandemic. Corporate business, rising real estate prices, the tough economy, and many other factors continuously impact the survival of small businesses and without more support, they often get left in the dust.
The New York City Indie Film Festival featured a variety of films from shorts to narratives to documentaries curated with common themes. Sleepless Critic had the opportunity to review screenings on music, small businesses, love and connection and much more.
Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010. Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series and here for what we had to say about the films in the Documentary 12 series.
Directed insightfully by Beatriz Browne, renowned short documentary 34 Carmine Street makes a strong argument not only for the survival of a historic and strong minded Greenwich Village bookstore and other unique, longtime small businesses on that street, but encapsulates what makes small businesses an irreplaceable part of the community without being preachy or political. It digs deep into a part of Greenwich Village’s history where these small businesses have survived for decades while always having something significant to say about the world. It may also change your mind about where you shop next.
34 Carmine Street, Cinema and Sanctuary, and Trash Day were all part of Documentary 14 at the New York City Indie Film Festival which continued through June 19 in person at the Producers Club. Click here for more information on this annual festival and its winners.
What is it like to feel stuck due to circumstances beyond your control?
Curated by Gerard van den Broek, each film in the Documentary 12 series including Dancing is an Old Friend, Hilary, Inventory, Looking for Jack, and The Green Line at the New York City Indie Film Festival through June 19 featured people who faced unforeseen obstacles in an attempt to find peace within.
Whether facing trauma, isolation in a pandemic, family brokenness or being caught between one nation and another, these themes invite a feeling of powerlessness until hope is found. This particular collection of documentaries delivered some surprising twists and turns in some profound situations in an attempt to discover where one belongs in the world.
The New York City Indie Film Festival featured a variety of films from shorts to narratives to documentaries curated with common themes. Sleepless Critic had the opportunity to review screenings on music, small businesses, love and connection and much more. Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010. Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series.
Directed by Marta Renzi, Dancing is an Old Friend is written by and stars Leah Barsky and Jennifer Tortorello Walker. It is a relatable account of an amateur ballroom dancer and professional ballet dancer brought together by dance who must find new ways to connect after the pandemic put the world in isolation. They both struggle with this new way of life but are determined to forge ahead together.
During the pandemic, the arts were hit hard. Many professional dancers had to find alternate ways to demonstrate their art and remain in top form until the time came for them to once again take the stage. Dancing is an Old Friend explores the momentum of their daily lives during the pandemic and a chance to examine why they live their lives the way they do and where dance factors into it now and in the future.
What made this film fascinating is not only the captivating athleticism and style of the dancers in action, but comparing each perspective on dance itself and how it demonstrates the bonds of this friendship. This is not a tragic account of being lost during the pandemic, but an intimate and sincere documentary that explores the good and bad in equal measure and the hope that springs forth during this life altering period of time.
What may or may not have happened is a mystery in Hilary.
Hilary Porter, through her own drawings, illustrates a repeated and menacing alien encounter that has left her haunted. Hilary’s harrowing recollection unfolds through her graphic narration and unusual drawings as she shares that she was always thought she was different. Director and producer Mariana Zarpellon offers some insight into who Hilary is and how she has been affected by these encounters and though I was initially intrigued by this film, I was left with more concern for Hilary’s well being than the rationality and content of Hilary’s recollections.
Resourcefulness is a defining quality in any artist and nothing less than resourcefulness and love defines the story of Inventory, a documentary directed and produced by Daniella Gitlin, the daughter of sculptor, Michael Gitlin. The film is designed not only to share her father’s relatable journey as a struggling artist, but the unconventional manner in which Michael Gitlin’s legacy is being preserved.
Interwoven into the film are classic American standards such as Someone to Watch over Me, beloved songs from Gitlin’s heritage, and past family photos to create a vintage ambiance and to smoothly rewind the clock to a time before her father’s inventory had accumulated. It is a unique and personal story about how love and family transcends obstacles even under unusual circumstances and how the film’s most extraordinary “inventory” is not just confined to Gitlin’s art.
For anyone who is searching or has searched for a family member, the idea of finding them is met with a plethora of emotions. Sara Zeppilli Freeman captures just that and more in her deeply personal documentary, Looking for Jack. Part of Looking for Jack’s endearing strength is it is shot much like a home movie where it is easy to put oneself in Sara’s shoes. As Sara talks to the camera with a jittery glow, her excitement is palpable at the promise that her life is about to change.
On this special day with Sara wearing a broad smile, one can picture themselves in Sara as she excitedly waits in anticipation and trepidation to meet her father for the first time in 21 years having traveled from Boston to Portugal. No matter the outcome, that moment of time is a monumental experience to be treasured and hopefully not regretted. The pinnacle of the film is that building tension as Sara waits, the camera panning carefully through Sara’s surroundings for that moment of relief.
In a land fraught with uncertainty, Yehudit Kahana is no stranger to anxiety and strife for most of her life. Co-written with Sharon Yaish, directed, and produced by Yehudit Kahana herself and set from the early 2000s to today, illuminating documentary The Green Line focuses on Yehudit’s coming of age as she resides in Elon Moreh, a land near the Green Line which borders the Palestine territories and Israel. Since a life changing incident occurred resulting from an innocent child’s game, Yehudit has struggled with the threat of sudden violence, terrorist attacks, and chaos in a place where she doesn’t feel she entirely belongs.
The Green Line delivers a wealth of information on certain incidents in Israel, Palestine, and the Green Line which can be confusing at times, but what is clear was how Yehudit felt in circumstances beyond her control in a harsh and threatening land determined to break free. The Green Line has some lighter and amusing moments with family that not only shed light on Yehudit’s understandably frustrating, strict, and expected traditional place as a female in the world and in the path of the Torah, but also explores how valuable the road less taken can be.
Dancing is an Old Friend, Hilary, Inventory, Looking for Jack and The Green Line were all part of Documentary 12 at the New York City Indie Film Festival which continued through June 19. Click here for more information on this annual festival and its winners.
The New York City Indie Film Festival concluded on June 19 after approximately a week of screenings at the Producers Club in New York City. It featured a variety of films from shorts to narratives to documentaries curated with common themes. At this festival, Sleepless Critic had the opportunity to see screenings on music, small businesses, love and connection, and much more which will be explored in future articles. Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it first launched in 2010. Click here for more information.
Curated by Lucie Guillemot, this narrative film collection explored different aspects of love and connection. Directed by John Tsiavis, Chabe is a vivid short film about Isabel Gomez, a woman who assists in a cataracts surgery project for a Mexican indigenous tribe. Rich in unique color and told through Isabel’s eyes, the film evokes Isabel’s sheer joy in helping others and the complex process of this tribe’s journey from dark to light. Chabe made me long to see more on it all.
Directed insightfully by Clare Redden and Joseph Pulitzer, Conversations with Female Clowns is a surprising look at connection through laughter from a unique perspective. Reflected through a group of female clowns, it explores not only the incentive for a woman to become a clown, but the societal and personal norms as a female that seem to relate all too well to this profession. It sheds light on the idea of clowning from a new angle with an opportunity to see these female clowns in action. From a hospital clown to a member of the Big Apple Circus, Conversations with Female Clowns is an eye opening and humbling experience about what it truly means to be funny.
Dictionary explores the ODU concept of the seven stages of love in vignettes. A tribute to the Indian culture, Aishwarya Sonar has a great deal to convey in the screening’s brief time frame and writer, director, and producer Elena Viklova aptly evokes the fleeting and sacred power of love in each frame. From the warm bloom of attraction to the stillness of grief, Sonar elevates each stage in dynamic subtleties.
Por Mi Hija (For My Daughter) is an immersive Spanish language film that addresses familial love and the dream of what is thought to be a better life. Written, directed, and produced by Fernando Rodriguez who dedicated this film to his wife and kids and based on two true stories,Por Mi Hija is a stirring account that examines what creates a fulfilling life in an unconventional way.
Christopher Bustos as Leo and Daniela Vidaurre as Emma are young newlyweds living a happy life surrounded by family in Mexico when they receive life changing news that prompts Leo to seek success in California. Bustos and Vidaurre depict a strong and relatable couple with endearing chemistry as they face moving and realistic trials and tribulations while Luciana Elisa Quiñonez shines as imaginative and sweet Luciana.
The real strength in this film lies in its unconventional timeline and how it manages expectations and reality. The various parallel scenes between Leo and Emma including having a meal or riding in a car are gripping as it is weaved into the film’s progression and there is a dreamlike quality looking into the past as well as a hazy, ethereal ambiance of the future. This particular style enhances the film’s poignant message while achieving a balance between the lighthearted and tense moments. It also embodies what the characters cannot quite see at the time until the film’s stunning revelation.
Chabe, Conversations with Female Clowns, Dictionary and Por Mi Hija were all part of Narrative 14 at the New York City Indie Film Festival which continued through June 19. Click here for more information on this annual festival and its winners.
Genesis and Rashad think they know each other well. This lovable couple jokes, knows each other’s likes, quirks, habits, and dreams, and yet in one night, they start to see each other in a new and unfamiliar way.
With multi-layer direction by Jacqui Parker, Lyric Stage Company presents Loy A. Webb’sThe Light through June 26 at Lyric Stage Company live and in person in Boston, Massachusetts. The show is 70 minutes long with no intermission and is Lyric Stage’s final show of the season. This show contains mature topics. Click here for more information and tickets.
Elmer Martinez’s expressive lighting enhances the evocative nature of this production. It is a meaningful show hinging on the strengths of its leads and Yewande Odetoyinbo as school principal Genesis and Dominic Carter as firefighter Rashad are more than up to the task. While both characters are stubborn, Odetoyinbo’s grounded and witty nature as Genesis strikes an important balance with Carter’s optimistic and playful sense of humor as Rashad. Carter is charismatically charming and leads in some of the production’s funniest moments while Odetoyinbo as Genesis is best as the tension builds. It is a joy to watch as they zing each other, tease, dream about the future, debate, and share some of their most treasured memories together. Their innate and compelling chemistry attract such a fondness for this couple that it is easy to get lost in what seems like their complete compatibility.
However, realizations and revelations run deep on this special night. Webb’s clever script invites the audience into this couple’s intimate relationship in all its charms with some passing notes of underlying resentment while carefully laying its cards on the table and raising the stakes through every twist and turn. Odetoyinbo and Carter are a true force as they approach the humor, tension and the difficult and serious topics with compassion.
The Light makes the most out of its 70 minute run time. It has good pacing and escalates quickly, fueled by Odetoyinbo and Carter’s natural chemistry as the show veers toward its powerful conclusion.
Lyric Stage Company presents Loy A. Webb’s The Light through June 26 at Lyric Stage Company live and in person in Boston, Massachusetts. The show is 70 minutes long with no intermission and is Lyric Stage’s final show of the season. This show contains mature topics. Click here for more information and tickets.
Swan Lake has stood the test of time for generations and it is no mystery why. Seeped in regal splendor, Swan Lake is a visually-striking portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest. Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.
With seamless musical-direction by Mischa Santora, Tchaikovsky’s majestic score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet rises out of Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Performed in memory of John W. Humphrey, Swan Lake has returned to the Boston Opera House for the first time since Mikko Nissinen re-imagined the ballet in 2016. This four-act performance has one intermission. Click here for more information and tickets.
Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake. Swan Queen Odette, portrayed with graceful fragility by Lia Cirio, catches his eye and it is love at first sight. It soon becomes clear that the swans were once women cursed by sorcerer Von Rothbart, depicted menacingly by Tyson Clark. Tyson Clark as Rothbart is an incredible and unpredictable force as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.
Golden-braided, ornate headpieces, flowing pastel garments, parasols, garlands, exquisitely feathered tutus and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight by lighting designer Mark Stanley.
Marked by such precision, Mikko Nissinen’s choreography is ballet at its finest. Emily Entingh and Sage Humphries are visually-stunning rising gracefully and beautifully fluttering out of the mist. A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe, delicate strokes. The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist. It still stands as one of the beautiful displays of ballet I have ever seen.
In the castle gardens, dancers whimsically join together in a feast dance with goblets and joyfully present the prince with rich garlands. While the castle garden depicts almost a dreamlike setting, an equally opulent ballroom with vast ceilings lit in red later depict a livelier setting as a grand and dynamic lineup of guests gather to charm the kingdom including princesses, czardas, and Neapolitans.
Patrick Yocum is impressive as Prince Siegfried as he evokes loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance as if floating across the stage. Light and dark in Tchaikovsky’s Swan Lake is demonstrated impeccably in Lia Cirio in a complex, dual role. As guarded Odette, her every move diligent and yet her statuesque beauty and downcast demeanor enrich her mysterious and powerful presence. Tingling violin resonates in Tchaikovsky’s emotive score as Cirio and Yocum share a hesitant and sweet encounter. He tenderly lifts and comforts her at every turn. Cirio can craftily engage an audience and masters her dual role as mysterious and confident Odile. That striking look she gives reminded me of the fire she brought to her 2020 performance in Boston Ballet’s Carmen. Cirio’s cunning smile and playful charisma gleam as Yocum takes her hand playfully and yet, almost possessively in a spellbinding and exhilarating dance.
Swan Lake is such a haunting and beloved tale of tender grace and arduous passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s Academy award-winning Black Swan. Mikko Nissinen has adjusted a few scenarios in Swan Lake since its re-imagining in 2016, but only for its betterment to create an even more thrilling, illuminative and memorable experience.
Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Click here for more information and tickets.
The brutal world of boxing punctuated with the complex harmonies of jazz set to simmering opera? This premise might seem outlandish, but Terence Blanchard’sChampion An Opera in Jazz cleverly weaves these three elements together into an absorbing true story and cautionary tale of a welterweight boxer and a symbolic shoe that gains more significance than anything that takes place in the ring.
Boston Lyric Opera (BLO) presented their final show of the season, Terence Blanchard’s Champion An Opera in Jazz, for one weekend only through Sunday, May 22 at the elegant Emerson Cutler Majestic Theatre in Boston, Massachusetts. It is a shame this captivating production was limited to two exclusive concert-style performances in Boston, but it could not be helped due to COVID. Champion An Opera in Jazz has adult themes with one intermission. Click here for more information about the Boston Lyric Opera, upcoming events, and for details on BLO’s recently announced upcoming season.
As the chorus took up the boxes in the balcony to produce a resonant, semi-surround sound quality led by Brett Hodgdon, the orchestra warmed up and played onstage for the duration of the performance. With creatively engaging stage direction by Timothy Douglas, the intense drama and interaction within the strong cast far exceeded my expectations as concert versions of a work often focus more on music than plot. In a packed house, Blanchard leaves much to unpack in this show’s more than two hour time frame.
This introspective tale explores the complex relationships, trauma, abuse, neglect, and harrowing circumstances in welterweight boxer Emile Griffith’s life. However, what really affected me the most was just as Emilie Griffith discovers who he is and who he wants to become, he endures constant pressure and insistence from others to be the version they see in him. Griffith had the talent and ambition to craft his own vision, but his destiny ultimately takes a detour.
Musically-directed by David Angus, Champion is helmed by an insightful and fierce cast that eloquently evoke Michael Cristofer’s multi-layered libretto. Champion has plenty of heart and heartache, but also has a redemptive quality and joy in life’s smaller victories. Three versions of Emile Griffith portrayed by Brian Major as older Griffith, Markel Reed as younger Griffith, and Jonathan Harris as Little Emile Griffith each deliver a fresh perspective at pivotal points in Griffith’s life. With uplifting and humorous commentary at times to lighten the production’s darker moments, ring announcer Matthew Arnold serves fittingly as a semi-narrator of this work.
A profound and engaging baritone, Major is heartrending and charismatic as he delves deep into Emile Griffith’s continuing and complex struggles. Griffith has a lot to handle and it is touching to watch his sweet scenes with tenor Jesus Garcia as patient and grounded Luis.
Markel Reed delivers an exceptional portrayal as Young Emile Griffith. Reed’s dynamic vocals blended with the sheer mastery of Griffith’s physical and psychological transformation from a wide-eyed, idealistic, and determined young man to an adult with eyes wide open to his future is a marvel to watch. Jonathan Harris as adorable Little Emile Griffith makes a brief, yet significant mark in this story as well.
Stylishly adorned in a floral dress and matching hat, Tichina Vaughn strikes a delicate balance of playfulness, detachment, and mournfulness as mysterious and headstrong Emelda Griffith. This brilliant mezzo-soprano accomplishes a degree of sympathy for Emelda which is difficult to muster as Emelda struggles with her aching discontent, heartache, and constant need for greener pastures.
In a crisp blue suit, Wayne Tigges also brings some sympathy to tough-talking Howie Albert who has a skewed vision of Griffith, setting Griffith on an uncertain path. Wayne’s multi-layered, rage-inducing aria of Killer Instinct is prevalent throughout the show and Wayne’s rendition particularly makes it memorable. Tenor Terrance Chin-Loy as Benny ‘Kid’ Paret and soprano Chabrelle D. Williams as Sadie Donastrog Griffith both demonstrate their remarkable range in contrasting dual roles.
It was once difficult to imagine jazz as a boxing opera, but having heard the smooth, unpredictable, thrilling, and moody undertones as the music builds tension and urgency, I cannot imagine Champion An Opera in Jazz any other way. Champion’s unconventional and stirring delivery is just what makes the show’s ubiquitous message ring true.
Champion An Opera in Jazz was Boston Lyric Opera’s final production of the season. Click here for more information about the Boston Lyric Opera, upcoming events, and for details on BLO’s recently announced upcoming season.
Whether it was a wink, a smile, Anthony Pires Jr’s mischievous laugh, the crackling chemistry and snappy asides among this multi-talented, finely adorned cast or Central Square Theater’s transformation into a vivid vintage Harlem nightclub, Ain’t Misbehavin’ certainly knows how to throw a roaring party.
With festive lighting by Jeff Adelberg, red cocktail tables and lamps lining a gold-embroidered stage that frames the intimate, big band orchestra while eye-catching portraits hang on each side of the stage, Jon Savage’s alluring set design immediately sets the mood for an interactive, carefree, spontaneous, and humorous concert event fueled by Fats Waller’s tremendous talent.
Accented by Elizabetta Polito’s distinctive costumes from furs to glimmering garments to slick pinstripe suits and bowler hats, Ain’t Misbehavin’ seamlessly rewinds the clock to the roaring 20s where Harlem nightclubs and speakeasies sprung up for a boisterous night of revelry during the Prohibition era. Kicking off the show with a recording from Fats Waller himself, Ain’t Misbehavin’ reveals Waller’s catchy musical repertoire ranging from exuberant romance to humorous irreverence to playful flirtation while also addressing significant and sobering issues of the era that remain rife today. This incredible cast depicts it all with clever and mesmerizing swagger as well as some measure of illuminating heartache.
Led and enhanced by conductor Dan Rodriguez’s swift and extraordinary piano work especially for the thrilling stride piano number, Handful of Keys, this fiery, six-piece orchestra masters every brass-tinged and drum-laden beat with finesse.
With an vocal aptitude for exciting, big band numbers as well as ardent crooning, a few of this show’s many highlights include Lovely Hoffman’s clever and moving Mean to Me and the sheer energy and vibrant vocals in Yacht Club Swing and The Joint is Jumpin.’
Ain’t Misbehavin’s crackling chemistry is well demonstrated between Lovely Hoffman and Anthony Pires Jr as they deliver a playful duet for the light and amorous number, Honeysuckle Rose. Christina Jones and Jackson Jirard take the stage for a sweet version of I Can’t Give You Anything But Love and Sheree Marcelle and Anthony Pires Jr deliver an equally charming duet for I’m Gonna Sit Right Down and Write Myself a Letter. Accented by Jirard’s limber movements and amazing choreography through hazy lighting, the show takes on a captivating, psychedelic turn as Jirard sings The Viper’s Drag. Anthony Pires Jr shows off big personality and comedic sass for Your Feets too Big before the cast gathers for a heartrending Black and Blue.
The only thing more exciting than the music are the side smirks, irritated looks and onstage antics clearly hinting of the juicy drama happening between cast members behind the scenes, though it is all part of a show that thrives on the audience’s enthusiasm and interaction. Ain’t Misbehavin’ is a riveting musical celebration for a multi-talented musician clearly ahead of his time.
Central Square Theater and The Front Porch Arts Collective continues sensational Ain’t Misbehavin’ The Fats Waller Musical‘ live and in person at Central Square Theater in Cambridge, MA through Sunday, May 29 before moving to the Greater Boston Stage Company in Stoneham, MA from June 9 to June 26. Click here for more information and tickets.
Having witnessed A Far Cry’s triumphant return to performing live and in person last September as they kicked off their 15th season with Circle of Life, it was an honor and fitting to review Sunset, A Far Cry’s final concert of the season. Sunset was originally scheduled for March 2020 and this Grammy-nominated, self-directed chamber orchestra was thrilled to finally present it onstage. With a heartfelt introduction by Sarah Darling, Boston-based A Far Cry brought a diverse repertoire of suspense, tragedy, and soaring vocals by mezzo-soprano Krista River before joining a collection of promising musicians including Project STEP for a robust finale.
Following opening group Project STEP, A Far Cry took the gorgeous Jordan Hall stage in Boston, MA for their final concert on Friday, May 13 for 90 minutes with no intermission. A Far Cry will cap off their 15th season with a Spring Soiree on June 1 at the Nathaniel Allen Center for Arts and Culture in Newton, MA. The event includes a sneak peek of next season, outdoor cocktails, hors d’oeuvres, and a charity auction with the option to attend in person or virtually. Click here for more information and here for a look at A Far Cry’s upcoming season.
Elegantly dressed in flowing dresses and suits, A Far Cry opened their final concert with all 18 criers for Julius Eastman’s Joy Boy. A piece likened to the feeling of falling in love, Joy Boy has a trickling and mounting intensity as the orchestra gradually comes to life. It is fascinating to watch the ebb and flow in Joy Boy’s soothing opening rhythms which escalate to a gripping crescendo before lulling into its resonating finale.
Imagine moments before a stunning discovery in a suspenseful film. That’s the escalating tension built around Lutoslawski’s fiery Musique Funebre, Spanish for Funeral Music. A Far Cry performs this chilling and somber dirge with rich, Hitchcockian flair enhanced by a stroke of the viola and plucking, creeping rhythms. Fueled by searing drama and violin-tinged, pulsing urgency, A Far Cry plays furiously to bring this masterful work to an exciting and astounding climax that might leave you with a few goose bumps by the finale.
Led by Grammy award-winning mezzo-soprano Krista River’s airy and soaring vocals, A Far Cry took on Respighi’s classic piece, Il Tramonto, which is an Italian phrase translated as The Sunset. It is a popular piece having been featured in films such as the western classic, The Good the Bad and the Ugly. Adorned in a shimmering blue gray gown with her hair swept into an updo, River’s expressive vocals and her stirring countenance brings out the surreal poignancy of this tragic romance. Based on a poem by Percy Bysshe Shelley, Il Tramonto has a moving story behind it and possibly inspired by a real life disaster in Indonesia.
A Far Cry recalled how music has been “cathartic journey” and like many in the arts and beyond, the love for the arts has been tested, especially in the last few years. Joined by promising musicians in New England Conservatory, NEC Prep, and Project STEP, A Far Cry brought this concert to a robust and wondrous close with Vicente Lusitano’s Aspice Domine and Ralph Vaughan Williams’s Fantasia on a Theme, the latter dedicated to an inspiring teacher that encouraged young musicians to pursue their musical aspirations. Highlighted by a duo of skilled violinists, this group of musicians brought A Far Cry’s 15th season to a glorious close with a mix of fragility, power, and a stirring finale.
A Far Cry will cap off their 15th season with a Spring Soiree on June 1 at the Nathaniel Allen Center for Arts and Culture in Newton, MA. The event includes a sneak peek of next season, outdoor cocktails, hors d’oeuvres, and a charity auction with the option to attend in person or virtually. Click here for more information and here for a look at A Far Cry’s upcoming season.
How can a childhood fib possibly be part of the best summer ever?
Amid Carter Miller’s vivid and dynamic lighting against a cloud covered sky as multi-instrumentalist and sound effect aficionado Robertson Witmer stands over a grill in an apron and sunny yellow sneakers ready to serve a hot dog, Merrimack Repertory Theatre’sBest Summer Ever might give you the urge for summer to arrive a little sooner. Rowan Doyle’s breezy set design is not the alone in setting up the carefree days of summer. In a button down shirt, dark pants and striking red and white sneakers relaxed in a lawn chair, popular storyteller and NPR contributor Kevin Kling is an open book ready to share an engaging, wild, and moving account of incredible hijinks during the life changing and unforgettable summer he experienced at 9 years old.
With compelling direction by Steven Dietz, Merrimack Repertory Theatre presents the east coast premiere of Best Summer Ever through Sunday, May 22 live and in person at Merrimack Repertory Theatre in Lowell, MA. There will be no virtual show available and the show runs 70 minutes with no intermission. Click here for more information and for tickets.
Kevin Kling knows how to tell a great story. Full of liveliness and spontaneity, what sets Best Summer Ever apart from other productions is Kling’s unique and distinctive touch. He shares personal anecdotes with plenty of asides, quirky details, and having experienced the show on Mother Day, it is easy to tell each tailored performance is fueled by the interaction and enthusiasm in the audience. He has a great rapport with Rob who dives head first into some of the production’s sillier moments of Vikings, a purple snow cone gone awry, and chilling ghost stories. Both seem a kid at heart and they work succinctly as Rob provides the soundtrack and dynamic mood-setting sound effects at a sometimes thrilling pace.
Kling strikes a clever balance of adult reflection and falling right back into his childhood mindset of growing up in Minnesota. He uses the phrase, ‘unstructured time’ and equating that with ‘boredom’ or in speaking about his farming grandparents, Kling exclaims, “If Grandpa could cut it off, Grandma could pickle it.”
The show also has its share of heartwarming family moments and explores the wonder and imagination of childhood that just might take you back too.
Merrimack Repertory Theatre presents the east coast premiere of Best Summer Ever through Sunday, May 22 live and in person at Merrimack Repertory Theatre in Lowell, MA. There will be no virtual show available and the show runs 70 minutes with no intermission. Thursday, May 19 will be a Q and A Ask the Artists night. Click here for more information and for tickets.
A broken arm is the catalyst to much more for Evan Hansen.
Winner of six Tony Awards including Best Picture, Dear Evan Hansen stage musical took Broadway by storm in 2014 by distinctly addressing subjects that are becoming dangerously prevalent in contemporary society. Dear Evan Hansen delves into difficult territory and is not for everyone, but it is not hard to see why this musical has gained such acclaim.
The use of social media, the internet, and digital rather than face-to-face interaction due to the pandemic have had people feeling more alone than ever before which has caused social anxiety to gain a greater foothold in our society. With sweaty palms, a constant stream of over thinking, an overwhelming feeling of loneliness in a crowd, and the pressure to live up to what others expect, senior high school student Evan Hansen struggles with interacting with almost everyone until a chance encounter changes his life.
Based on the Tony award-winning musical, Dear Evan Hansen is available on HBO Max, on DVD, and on demand. Click here for more information.
The film adaptation of Dear Evan Hansen has gained some notoriety among the stage musical’s fans because a portion of the musical’s character driven development is left out of the film. As one who has not seen the musical, Dear Evan Hansen is a pretty somber musical experience about a tragedy and a lie that ends up having a life of its own as the film progresses. There are cringe-worthy moments to be certain, but they stem from how deep the rabbit hole of that big lie goes and its inevitable consequences.
What first attracted me to this production was Requiem, a powerful number with beautiful harmony that still stands as my favorite performance. Kaitlin Dever’s chiming vocals as Zoe carry the poignant conflict and the bitterness of Requiem while still preserving her as a troubled and sympathetic figure. Amy Adams as Cynthia Murphy delivers a heartrending performance highlighted by her part in Requiem. However, without a solo number such as A Little Bit of Light as part of this film adaptation, her character has a lack of dimension and less of a sense of what her actual relationship has been with her late son who is lost to mental illness. Danny Pino as Larry Murphy reveals a compelling and complex relationship with his late stepson, but the film would have been better if the adaptation delved deeper into his character. Julianne Moore has much more to work with as Heidi Hansen, Evan Hansen’s single mother. She and Ben Platt as Evan have a complicated, yet caring relationship and Moore shines for the moving number, So Big/So Small. Amanda Stenberg as overachieving Alana Beck is a fascinating look into another side of mental illness and how people are not so different in Anonymous Anymore.
Ben Platt originated the Tony award-winning role as Evan Hansen and also does a marvelous job for the film. Though he seems a little old for the role at this point, Platt’s portrayal of Evan’s anxiety is palpable as he depicts Evan’s struggles right from the opening number, Waving through a Window. His vocals have a soft and introspective quality as he shares his bewilderment and tenseness in attempting to socialize and make friends. At times he is visibly shaken and some of the mixed signals and missed social cues he reads from others can be painful to watch. His simple and hopeful delivery for All We See is Sky Forever is a pivotal and bittersweet song and You Will be Found is inspiring and universally-appealing. Platt also has some awkward but sweet chemistry with Dever as Zoe in the numbers, Only Us and If I Could Tell Her.
Dear Evan Hansen film is not a powerhouse musical, but is filled with quiet reflections, inspirational messages, and sobering revelations. Much of the film deals with various aspects of coping with life and grief, but it also has scattered humor and a few darkly comical moments in the number Sincerely, Me. The ending is not delivered the same way as the musical and seems to wrap too quickly. As one who hasn’t seen the musical, I was less aware of what was missing and seeing Ben Platt’s performance was worth watching. See Dear Evan Hansen the film for its memorable cast and appealing soundtrack, but hold out for the stage musical to get the entire story.
Dear Evan Hansen is available on HBO Max, on DVD, and on demand. Click here for more information and here to see the stage musical on Broadway or on its national tour.