For some, the holidays can be the most wonderful time of the year and for others, the loneliest. What good fortune to find someone to make the holidays brighter.
Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’sThe Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.
Judy Song, Jenna Agbayani; photo by T Charles Erickson
It seems like destiny that Luna and Jane should meet. On Thanksgiving Day 1973, imaginative Korean chatterbox Luna, exuberantly portrayed with an infectious smile by Jenna Agbayani, invites quiet Filipino Jane, depicted with reserved and humorous wit by Judy Song, to her apartment shortly after meeting that day. Not only do they happen to be wearing the same colorful coat from Kmart, but they also see a familiarity in each other that they cannot quite place.
Agbayani as Luna warmly exclaims, ‘We have nothing so it is not a mess!’ Scenic and costume designer Junghyun Georgia Lee’s modest one bedroom studio apartment impressively rewinds the clock to the 70s featuring wood paneling, a burnt orange couch, retro wallpaper and dated appliances. The apartment has quite a realistic and detailed appearance right down to the dingy surface on the sliding glass doors. Lee’s retro costumes add cheerful splashes of color to the setting.
Jenna Agbayani, Judy Song; photo by T Charles Erickson
This dynamite duo has crackling and good humored chemistry that make the show a treat. It is not only in what they say, but the way they communicate without words. Agbayani and Song exhibit sharp physical comic timing in an overwhelmed glance, awkward mannerisms, and relatable reactions to the other’s way of life. Song as Jane is exceedingly polite and timid, but her expressions often give away what she really thinks.
Judy Song, Jenna Agbayani; photo by T Charles Erickson
Both are immigrant housewives who have never heard of Thanksgiving before and it is endearing to watch them share a genuine interest in each other’s stories, dreams, memories, how they are adjusting to life away from home, and in their fervent attempts to celebrate together.
With more than a generous helping of heart and humor, The Heart Sellers also comes with a great deal of realizations and reflections questioning where these two women belong in their new world during a pivotal time. They are important questions still addressed today.
Judy Song, Jenna Agbayani; photo by T Charles Erickson
The Heartsellers stands as a lively, wonderful and worthy visit centered on friendship. Bring a friend, a date, or a loved one because this is one story meant to be shared.
Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’s The Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.
Boasting more magic than other popular adaptations, Cinderella brings to light the virtues of being humble, loyal, generous, and yearning to make a difference in the world. What is wonderful about this adaptation is Rodgers and Hammerstein invites the audience to root for the Prince as much as Cinderella herself.
Resourcefully co-directed by Zoe Bradford and Sally Ashton Forrest with lively musical direction by Steve Bass, The Company Theatre continues Rodgers and Hammerstein’s Cinderella live and in person at the Company Theatre in Norwell, Massachusetts through December 17. Based on the book by Oscar Hammerstein II and a new book by Douglas Carter Beane, this family-friendly musical is approximately two hours with one intermission and appealing for all ages. Click here for more information and for tickets.
Cinderella’s Glass Slipper Image by Zoe Bradford
The Company Theatre always has a way to make the holidays a bit brighter with their December show. Whether bathed in starlight or snow, Ryan Barrow’s moving set fluctuates from a modest village landscape including towering forest, rustic well and a vine crept stone wall to glimmering and fanciful surroundings featuring a large golden clock, a sophisticated marble staircase, pristine white florals, crystal chandeliers, and a gold embroidered living room. Dean Palmer Jr’s warm lighting and Ellie De Lucia’s radiant costume design eloquently depicts the musical’s mid to late 1800s setting through illuminating candlesticks and lanterns, opulent gowns, and gold embroidered suits and vests.
Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford
Rodgers and Hammerstein create a robust fairy tale with Cinderella that features characters fleshed out much more soundly than other adaptations. The only adaptation that may come close is the imaginative 1998 film based on the Charles Perrault fairytale, Ever After: A Cinderella Story starring Drew Barrymore.
Cinderella features an exuberant cast in this smart and warmhearted fairytale. Prince Topher, portrayed with shrewd charisma by Sean Donnelly, is valiant, humble, good humored, and protective, proving his virtue in every aspect of his performance. What is wonderful about these characters is it is not just understood who they are. They are not stereotypes, but consistently showing their mettle by growing and transforming in significant and unpredictable ways.
Emily Lyons as Charlotte, Melissa Carubia as Gabrielle, and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford
Could an ugly stepsister have her own love interest? In this story, anything is possible. Rather than a rehash or a contemporary twist, this twist is rather timeless. It has much more to offer than the often simplistic style of Cinderella’s tale.
Cinderella focuses on a humble young girl who is a servant to her wicked stepmother and ugly stepsisters. However, when the kingdom announces a masked ball for Prince Topher to find a wife in order to become king, every maiden in the kingdom is clamoring for an invitation.
Donnelly’s Prince Topher is handsome, generous, and a practical dreamer that protects his kingdom from any threat that comes its way. However, he also questions his place in the world, knowing he has much more to offer than his lot in life as King as expressed insightfully in the upbeat Me, Who I Am in a compelling duet with Melissa Paz as Cinderella. Both also shine for the lyrically rich number Ten Minutes Ago. Donnelly depicts Topher with dignity and sincerity, making it easy to root for such a character on his own virtues. He shares some complex scenes with Christopher Hagberg as Sebastian who spends his time raising the Prince and overseeing the kingdom. Status conscience and mysterious, Sebastian provides a unique vision of the Prince’s future.
Wearing a kerchief and simple blue skirt, Ella, who is nicknamed Cinderella, is witty, selfless and compassionate. A bright and soaring soprano, Paz as Cinderella works without complaining and tolerating every cruelty she encounters without repayment. She is also obedient under the most ridiculous of demands. She befriends adorable and comical puppet woodland creatures who bop to the music, sing along, and every once in awhile, scene steal in their own right.
Emily Lyons as Charlotte, Vickie Gerard-Culligan as Madame, and Melissa Carubia as Gabrielle in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford
Cinderella’s ugly stepsisters are not a pair of braying bookends, as some adaptations suggest. They are individuals with their own goals in mind. Melissa Carubia portrays awkward, bashful yet clever Gabrielle and Emily Lyons depicts narcissistic and brutally frank Charlotte. Both have excellent comic timing. Lyons shines in an array of humorous quips for the animated Stepsister’s Lament. Obsessed with status and wealth, Vickie Gerard-Culligan as status hungry Madame is often flagrant and nonchalantly cruel as she wraps herself in her own little world. Gerard-Culligan reveals a fascinating side to Madame briefly in a delightful rendition of Lovely Night with Gabrielle, Charlotte, and Cinderella, but is always focused on exactly what she wants.
Vickie Gerard-Culligan as Madame and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford
Ryan Rappaport delivers a zealous performance as purposeful revolutionist Jean-Michel, but could not help but think of him at times as a character missing from Les Miserables. He is determined to change the world and every change starts at home. With playful and powerful vocals, Joey Thordarson is a riot as distinguished town crier Lord Pinkelton, gleeful in his important work.
Always amazing Dru Daniels as Marie is much more than she seems, delivering inspiring showstopper There’s Music in You and the catchy signature tune, It’s Possible.
Dru Daniels and Melissa Paz in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford
Rodgers and Hammerstein’s Cinderella offers timeless and rich commentary on this classic tale with a beautiful and important message about believing in the impossible. Even adults may shed a happy tear or two.
Resourcefully co-directed by Zoe Bradford and Sally Ashton Forrest with lively musical direction by Steve Bass, The Company Theatre continues Rodgers and Hammerstein’s Cinderella live and in person at the Company Theatre in Norwell, Massachusetts through December 17. Based on the book by Oscar Hammerstein II and a new book by Douglas Carter Beane, this family-friendly musical is approximately two hours with one intermission and appealing for all ages. Click here for more information and for tickets.
Imagine longing for a phone call from a loved one or the act of just mustering up enough courage to speak to a girl. Imagine welcoming a group of strangers to your table and into your private home for the night because they are in need of a place to stay. Think about that kind of selflessness and hospitality freely given without a second thought. These seemingly small acts of kindness make a big impact in The Band’s Visit.
Cast of The Band’s Visit; Photo by T Charles Erickson
The Band’s Visit made its Broadway debut in 2017 with Tony Shaloub as Tewfiq and went on to win multiple Tony Awards. Much of this acclaimed show hinges on its eclectic and spellbinding music soundtrack which ties the band and the locals together, particularly essential when they are feeling misunderstood. This multi-talented onstage band certainly can jam especially for the numbers Soraya and Haj-Butras and receives some additional hidden accompaniment which is delightedly revealed in an unexpected way.
Cast of The Band’s Visit; Photo by T Charles Erickson
Set in 1996 in a small Israeli town located in the middle of the Negrev Desert where nothing unusual ever seems to happen, the townsfolk are dazzled by a traveling and stranded Egyptian band wearing distinguished powder blue uniforms by Miranda Kau Giurleu. The Band’s Visit is an unconventional and unassuming musical that quietly and most assuredly will open hearts and minds to the little things in life that are sometimes overlooked.
The Band’s Visit unveils heartache and hope in such a remote land that the locals may sometimes feel forgotten. Many aspects of Jimmy Stubbs and Wilson Chin’s nostalgic scenic design fondly rewinds the clock using iconic pieces of nostalgia while also evoking the isolated nature of the town which includes a towering lamp post, a phone booth richly and authentically detailed with fingerprints and grime on its plastic cover, and a deserted blue street with yellow stripes. One of the most memorable scenes recreates a retro roller skating rink equipped with multicolored lights, disco ball and DJ.
Jennifer Apple, Brian Thomas Abraham; Photo by T Charles Erickson
This production delivers many surprises and this intriguing cast is no exception. Brian Thomas Abraham wonderfully portrays modest orchestra leader Tewfiq. Abraham’s reserved Tewfiq expresses his art with charisma, but offstage, he is a man of few words. Guarded and mysterious, Abraham shares fascinating chemistry with Jennifer Apple, a natural as feisty divorcee Dina especially for the beguiling numbers Omar Sharif and Something Different. Stunning in a gorgeous red flowing burgundy frock, Apple captures Dina’s resilience and yearning for happiness beyond what this small town can offer but something is holding her back. Apple’s bright smile and intensity is particularly notable in a scene stealing incident slicing watermelon in It is What it Is.
Marianna Bassham, Andrew Mayer, Robert Saoud, James Rana, Jared Troilo; Photo by T Charles Erickson
Mariana Bassham, who has a history of impactful roles including a starring role in SpeakEasy Stage’s People Places and Thingsfrom 2022, is impressive alongside Jared Troilo as Iris, Itzik’s long suffering and resentful wife. Even in an uplifting scene involving household instruments, Bassham’s vacant expression and fatigue is the picture of indifference and discontented heartache as she stares into the abyss of a life unfulfilled. Troilo’s Itzik is warm and helplessly optimistic despite his family’s circumstances. Troilo has a powerful voice which is understated for this particular performance for a quietly tender Itzik’s Lullaby.
Noah Kieserman, Mac Ritchey, Jared Troilo; Photo by T Charles Erickson
The Band’s Visit also offers a mix of lighthearted comedic moments. Jesse Garlick shines as awkward and bewildered Papi for the zany number Papi Hears the Ocean as Josephine Moshiri Elwood as self effacing Julia looks on. Kareem Elsamadicy is much more than meets the eye as Haled in the smooth and lovely rendition of Haled’s Song about Love. Emily Qualmann as Anna and Fady Demian as Zelgar make an entertaining pair of partiers and Noah Kieserman delivers gorgeous vocals with the cast for the enthralling number, Answer Me.
Cast of The Band’s Visit; Photo by T Charles Erickson
Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage presents The Band’s Visit by Itamar Moses through December 17. The show is 90 minutes with no intermission. Click here for more information and for tickets.
Three lost women. One embraces it, one denies it, and one leans into it.
In their first show since the pandemic, Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19. Written and directed by James Wilkinson, the show was 80 minutes without an intermission. Click here for more information on future performances.
From L to R: Laura Crook Waxdal, Morganna Becker, and Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wikinson
The set, which included a water pitcher and empty glass on a wooden desk sitting on top of a colorful Egyptian rug, is simply staged but each character handles the set differently. The harp-laden eerie music fits the ominous aura between scenes.
Hauntings I Have Lived Through may hint at a collection of ghost stories especially since it was delivered just after Halloween, but this is not entirely the case. Three separate women recall enduring unique types of trauma. However, coping with occasional moments of dark humor, their reactions are relatable even in the darkest of circumstances.
In The Hanging Tree, an increasing anxious and somewhat disheveled woman approaches the desk. She admits to coming off a tough breakup, though the breakup is mostly incidental to this woman’s real story. The real story develops from an offhanded remark about a mysterious Sycamore tree in her woodsy backyard of a house she is becoming increasingly uncomfortable residing in. With darting eyes, increasingly shaking hands, and a pale and stricken expression as she utters the anxiety laden yet humorous remark, ‘Pause for effect’ is effective as a rare light in Alex Alexander’s character’s bleak testimony before veering into an unpredictable direction.
Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson
Morganna Becker’s character has been through a lot, but her frank, sarcastic and chatty tone hints of denial as she recalls a macabre event in the show’s second part, Nora (All Over). This chapter is a bit muddled and at times difficult to follow, but there is no denying that this woman has also been through defining trauma. As Becker recounts her story as if incidentally recalling the difficulties of a typically tough day, there is a fear behind her engaging yet guarded demeanor. This story is particularly graphic and gory while Becker takes it in as if she is a spectator in her own life. Her subtle fear keeps her sympathetic as if she will at any minute grasp the gravity of what she has experienced.
Morganna Becker in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson
The finale, The Dark Lady Gospels, delves into experienced trauma, but does not seem to belong with the other parts of the trilogy. Laura Crook Waxdal delivers a strong performance as a twisted evangelist, but this compassionate woman does not practice what she preaches. This part seems more parlor trick and diatribe than what could have been a meaty exploration into this complicated and abandoned woman’s character. Perhaps her practices are a veiled attempt to cope with trauma, but even so, what she preaches seems beside the point and bereft of hope. As a woman with a considerable amount to live for, it does not fit squarely into the show’s premise and gradually strays too far from its focus hinging more on fear than exploration.
Laura Crook Waxdal in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson
Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19. Written and directed by James Wilkinson, the show was 80 minutes without an intermission. Click here for more information on future performances.
What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?
Anything she can and beyond.
Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.
Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.
The world should know more about visionary, promising poet and slave Phillis Wheatley.
Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton. Phillis’s colorful and distinctive gown is a particular highlight.
Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces
Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history. Very likely taking place at the historic Old South Meeting House which is also celebrating its 300th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard.
Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces
Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis, Phillis in Boston offers a unique and heartfelt perspective of this courageous woman. In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries. Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it. Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae. S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream. Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.
Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces
While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley. Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest. With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.
Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces
Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.
This Cinderella keeps it local and conjures a bit more practical magic.
Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola(Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12. Click here for more information and for a closer look at Boston Lyric Opera’s new season.
Move over glass slipper and fairy godmother and hello fashionistas and Amazon drivers. Cinderella is getting the city treatment with a few contemporary twists, but keeping its sparkling delivery and timeless moral message from a modern penthouse apartment overlooking the city of Boston.
ANGELINA (CECELIA HALL) MAKES HER ENTRANCE TO THE ROYAL BALL IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA)
Photo by Nile Scott Studios
The Emerson Cutler Majestic Theatre’s ornate theatrical setting is so fitting for Jenna McFarland Lord’s sophisticated and elaborate set design featuring two towering lit lamp posts. From a pristine, lightly furnished penthouse apartment to a starlit, fantasy masquerade garden party embellished with vines chasing the walls, a wrought iron staircase, and twinkling lights, Lord builds up the fanciful spirit of this modern fairy tale.
La Cenerentola, spoken in Italian with English subtitles, is a spin of the traditional fairytale Cinderella and centers around an imaginative woman who lives with the Baron and his two daughters and must cater to their every whim. When Don Ramiro shows up at the Baron’s doorstep, change just might be in the air.
DON MAGNIFICO, (BRANDON CEDEL, L.) IS THE WICKED STEPFATHER TO TISBE (ALEXIS PEART, C.) AND DANA LYNNE VARGA IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA)
Photo by Nile Scott Studios
However, some things haven’t changed in soprano Dana Lynne Varga as Clorinda and mezzo soprano Alexis Peart as Tisbe, Cinderella’s self-absorbed, scornful, and gold digging wicked stepsisters who can barely see beyond their mirrors (or in this case, their phones and selfie rings). The duo possesses certain regality in their bookend statures, if it was not for their disdain for others. Feathers, diamond encrusted bowties, crushed velvet, lace, and floral embroidery is just a portion of Trevor Bowen’s glittering, extravagant and fanciful costume design. Cecelia Hall as Angelina seems to simply float in her idyllic emerald gown. Don Magnifico, otherwise known as The Baron depicted with scene stealing glee by bass baritone Brandon Cedel, shares his daughters’ conceitedness decked out in rings, an earring, and carefully coiffed hair. Cedel waltzes around the apartment in self congratulatory bliss unless something or someone ruffles his flawless feathers. Though Cedel’s Baron does have a threatening side, Cedel spends much more time as a humorous ham as he flirts and shows off fun loving comic charm.
ANGELINA (CECELIA HALL) DREAMS OF A NEW LIFE FAR FROM WHERE SHE LIVES IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA)
Photo by Nile Scott Studios
In suspenders and doo rag cap, mezzo soprano Cecelia Hall gracefully portrays modest, tactful, and compassionate Angelina with agile vocals, shining especially in the production’s quieter moments. A sidelong glance, demure blush, and a barely concealed impish smile and gaiety escape her while she tends to her endless household duties, especially in the charismatic presence of tenor Levy Sekgapane as Don Ramiro. Sekgapone’s dazzling vocals and captivating rapport with Hall make for some of the production’s most delightful moments and Ferretti’s libretto wisely delves further into Ramiro’s persona than other Cinderella productions.
CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA
Hall also shares a sweet camaraderie with bass baritone James Demler through a good deed as humble and quick witted Amazon driver and part narrator Alidoro. Both Demler and Levi Hernandez as Dandini are immediately likable from the start. Demler’s gravitas and commanding vocals deliver some wondrous surprises while baritone Hernandez’s soaring vocals as Dandini show they are much more than meet the eye.
CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA
Gioanchino Rossini’s urgent rhythms, quick pacing, and playful, melodic dialogues enchant while the lightning speed of some of the libretto demonstrate the collective and extraordinary skill of this engaging cast. With a few more refreshing twists and turns than in Cinderella’s traditional tale, Boston Lyric Opera’s La Cenerentola(Cinderella) embarks on a humorous and jovial journey while emphasizing the power of love and grace in all circumstances.
CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA
Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola(Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12. Click here for more information and for a closer look at Boston Lyric Opera’s new season.
Just one of the many insightful musings that Lauren Gunderson injects into The Book of Will which is a rollicking, meaty and glorious tribute to Shakespeare and storytelling. Get thee to The Book of Will!
Lauren Elias and the cast of Hub Theatre Company of Greater Boston’s ‘The Book of Will’ Photo by Hub Theatre Company of Boston
Directed exquisitely by Bryn Boice, Hub Theatre Company of Boston continues Lauren Gunderson’s The Book of Will live and in person at The Boston Center for the Arts through Sunday, November 12. The show is approximately two hours with one intermission and always, a pay what you can production. Not a bad seat in the house. Click here for more information and for tickets.
The show begins with a comedic flourish and keeps its energetic pacing throughout the production. It is three years after Shakespeare’s death and a group of men gather and contemplate Shakespeare’s genius as well as the butchery and liberties that some theatres have taken since to depict his work over a pint at a tap house next to the famous Globe Theatre in London. How to keep Shakespeare’s work alive the way it should be remembered?
Jessica Golden and the cast of Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston
The Book of Will offers commentary on many aspects of Shakespeare’s work and delivers some Shakespeare references and quotes passionately, but it is not necessary to be a Shakespeare fan to enjoy the humor and sheer love of the written word and theatre.
The famous skull and brethren in Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston
The cast has crackling chemistry with commanding as well as shrewd comedic timing. No one is afraid to go too far for a laugh or to capture meaningful moments. Some of the performers take on dual roles which will not be revealed here.
Jessica Golden and Cleveland Nicoll are an adorable young couple while Laura Rocklyn and Brendan O’Neill are powerful and wise as they deal with challenging aspects of their long term marriage. Rocklyn and O’Neill evoke a different form of endearing relationship. Rocklyn, Nicoll, and O’Neill later share a powerful and beautiful sequence, especially demonstrated by O’Neill, as Nicoll and O’Neil contemplate the meaning of love and life. Rocklyn is just one of many wise and wonderful female characters in this production.
Cleveland Nicoll’s shows off sharp comedic timing through his scene stealing expressions, eye rolls, stubbornness and outrage while Dev Lutra delivers a commanding and charismatic performance as Burbridge, the head of the King’s Men. John Blair also offers a fascinating performance as Poet Laureate and Shakespeare’s ‘frenemy’ Ben Johnson.
Hub Theatre Company of Boston’s ‘The Book of Will’ set Photo by Hub Theatre Company of Boston
Payton Tavares’s straightforward set design features a timely wooden half moon stage, two tables and surrounding stools with barrels in the background and enhanced by rope. Ellie De Lucia’s authentic Elizabethan era costumes feature gold trimmed vests and buttons, silky grand gowns, Venetian breeches, wingtip shoes, spectacles, corsets, peasant blouses with some rich colors and patterns.
What else is there to say but see this wonderful production that shall bring as much joy as it will stir the soul.
Directed exquisitely by Bryn Boice, Hub Theatre Company of Boston continues Lauren Gunderson’s The Book of Will live and in person at The Boston Center for the Arts through Sunday, November 12. The show is approximately two hours with one intermission and always, a pay what you can production. Not a bad seat in the house. Click here for more information and for tickets.
Just in time for Halloween, Greater Boston Stage Company stages one creepy ghost story.
Taking a cue from the success of last year’s one man show, The Legend of Sleepy Hollow, Greater Boston Stage Company decided to draw from a few classic and haunting tales for this one woman show, We Had A Girl Before You.
Directed by Weylin Symes, Greater Boston Stage Company presents Trevor Schmidt’sWe Had A Girl Before You live and in person at Greater Boston Stage Company in Stoneham, MA through Sunday, November 5. It is 90 minutes with no intermission. Click here for more information and for tickets.
Annie Barbour in Greater Boston Stage Company’s ‘We Had a Girl Before You’ Photo by Nile Scott Studios
Wearing spectacles and with hair pulled back in a tight bun is just one of Annie Barbour’s many personas as she depicts Edwina Trout, a lonely and inquisitive woman who embarks on an ardent journey to work as a lady’s companion. Longing for love and a sense of belonging, she travels with hope on a dangerous journey to Wichham Manor.
Kathy Monthei’s gloomy and effective set boasts a distant and lit manor on a high hill, a large full moon, a wide staircase, a veiled and translucent black curtain, and bronze-like etchings on the walls with a built in crawl space. The show relies a great deal on David Remidios’s moody sound design and spontaneous special effects for a few jump scares along the way.
Annie Barbour in Greater Boston Stage Company’s ‘We Had a Girl Before You’ Photo by Nile Scott Studios
Annie Barbour not only depicts Edwina Trout, but a number of unsavory characters on her journey such as a gruff and surly barmaid and an abusive and resentful teacher. The physical prowess that Barbour carries is substantial, but she handles it while exacting accents, mannerism, and conversations varying from a dark scowl to a hypnotic stare. Trout is far more complex of a part than it seems and Barbour handles these variations of temperament believably. ‘We Had a Girl Before You’ is not as strong of a story as a classic tale of ‘The Legend of Sleepy Hollow,’ but it contains enough chilling content and wily twists that make for an interesting day at the theatre.
Annie Barbour in Greater Boston Stage Company’s ‘We Had a Girl Before You’ Photo by Nile Scott Studios
Greater Boston Stage Company presents Trevor Schmidt’s We Had A Girl Before You live and in person at Greater Boston Stage Company in Stoneham, MA through Sunday, November 5. It is 90 minutes with no intermission. Click here for more information and for tickets.
With a collection of zany characters such as a Moth, a Praying Mantis, a Gossamer Fairy, Figment, a Land Octopus, and a sleepy constable named Bluebottle, it is clear that The Spider and the Fly has no shortage of zealous imagination.
With so many productions that rely on the zip and zing of digital effects, CGI, and AI, it is exhilarating to see director Matthew Woods solely rely on homespun creativity and audience interaction to bring to life a vivid and unpredictable gothic children’s tale.
Imaginary Beasts ‘The Spider and the Fly’ cast Photo by Matthew Woods
Directed artfully by Matthew Woods, Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 live and in person at Chelsea Theatre Works in Chelsea, Massachusetts. The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up. Click here for more information and for tickets that are quickly selling out.
Blending vintage with the contemporary, The Spider and the Fly is quite the inquisitive adventure with lots of high jinks, scheming, plotting, sleuthing, and memorable and poetic dialogue that delivers a meaningful message about inspiration, friendship, and doing what is right. A panto is a form of wintertime family entertainment in the UK that weaves in puns, wordplay, jokes, and more. The Spider and the Fly is somewhat a panto within a panto as the cast embarks on an ardent journey to inspire a writer inside the writer’s own head.
Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and the Fly’ Photo by Matthew Woods
Brooks Reeves relishes in the part of King Cumbercrown who will stop at nothing to stop the Panto from happening, even if it means corrupting everyone in his path. Reeves is up to no good and his scheming and crafty behavior is such fun to watch as Reeves’s blue face scowls and sneers at the any sign of happiness and joy behind hypno spiral goggles.
The black and purple painted set design by Jason Taschereau has a vintage and mesmerizing quality while Cotton-Talbot-Minkin’s captivating and colorful costumes exude a gothic, fanciful and vintage edge with a dash of steam punk. As the look is inspired by silent films, outrageous patterns combine with bow ties, top hats, sparkling converse sneakers, lace, corduroy, pearls, flowered shoes and boots. Though it is gothic, it is not scary, but creative, inviting, and imaginative.
Laura Detwiler as the Great Author and Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and The Fly’ Photo by Matthew Woods
The continual audience engagement fuels this wild tale that does meander and veer off course occasionally, but it is difficult to notice with such a lively cast of characters that weave in some random contemporary pop and winking adult references. The Wednesday dance challenge, Rhianna, and random television show references are just a few examples.
Jamie Semel as Young Woodby and Evan Turissini as Madame Bijou in Imaginary Beasts ‘The Spider and the Fly’
Some of the cast depicts more than one role. Evan Turissini is all drama and also relishes in the part of lovelorn, flirty, and attention-seeking Madame Bijou, especially while vying for the attention of Bluebottle, portrayed with British flair by Colin McIntire. Sophia Yael Koevary as Daisy Mae and Jamie Semel as Young Woodby share some sweet scenes. With choreographer Laura Detwiler’s dynamic choreography, Camille Charlier as the Gossamer Fairy and Lindsay Eagle as The Ghost of Mary Whosie-Whatsit perform a harmonious rendition of Mills Brothers’The Glow Worm. Another memorable tune comes straight from the audience as the cast invites the crowd to believe in a spark, depicted by Erin FM and navigated by Beth Owens.
For a show about inspiration, The Spider and the Fly doesn’t need much coaching as it delves into this exciting production with a quick pace with lots of heart.
Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 at Chelsea Theatre Works in Chelsea, Massachusetts. The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up. Click here for more information and for tickets that are quickly selling out.
Whether in a kingdom or a small town, rumors still fly.
However, at this small town barbeque and with the audience as small town witnesses, Juicy has to overcome more than a Fat Ham to make things right within his wild and dysfunctional family.
Based partially on Shakespeare’s classic production Hamlet and conscientiously directed by Stevie Walker-Webb, the Huntington Theatre in association with Alliance Theatre and Front Porch Arts Collective presents James IJames’s semi-interactive dramedy Fat Ham through Sunday, October 29 live and in person at Calderwood Pavilion in Boston, MA. This Pulitzer prize-winning show is 90 minutes with no intermission and contains mature themes and strong language. Click here for more information and tickets.
Marshall W. Mabry IV, Lau’rie Roach. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.
What is refreshing about this contemporary iteration of Hamlet is not only is it much more of a comedy than a tragedy, but it also roots itself far more into the family dynamic than even Shakespeare portrayed. Watching Hamlet, one assumes that the king and his son had a traditional and loving father-son relationship. What if it everything was far more complicated? What if the father is not the model dad that a child grows to admire? Fat Ham bears a resemblance to the classic production in key plot points, but then flips the script and transitions into its own entity that delves into the cycle of intergenerational trauma swinging from ruthless, creepy and suspenseful to not taking itself too seriously.
Rather than Hamlet standing for Juicy, the metaphorical star of this production is just what one roasts during a barbecue, a fat pig as a grill takes center stage. However, there is a struggle of who is king of this house as Juicy’s father has just died and Juicy’s uncle suspiciously soon after marries Juicy’s mom, Tedra.
Victoria Omoregie, Thomika Marie Bridwell, Lau’rie Roach, Amar Atkins, Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.
Fat Ham is humorously set in ‘Virginia or Maryland or Tennessee’ and in a small town where gossip travels fast. Luciana Stecconi’s working class set design boasts tiny, multi-functional and mood setting white lights that adorn a large tree on a dilapidated back porch strewn with arbitrary clothes hanging on a disheveled clothesline. Baby shower balloons, a tire swing, grill and a fire pit surround a half decorated picnic table and chairs. Costume designer Celeste Jennings leans on frenetic colors and patterns to accentuate the essence of each character. Aubrey Dube’s rich sound design, Xiangfu Xiao’s sharp lighting, and Evan Northrup’s amazing illusion design all team up to illustrate some startling, eerie, foreboding, and pivotal revelations.
Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.
In some key ways, Fat Ham’s cast improves on the Shakespeare’s classic play and Ijames diligently exposes the hypocrisy of each character. The casting is also particularly astute as Juicy, depicted with timid and burdened inquisitiveness by Marshall W. Mabry IV and Lau’rie Roach portrays lively and wisecracking cousin Tio who buries insightfulness in raunchy humor. Ebony Marshall-Oliver as self centered Tedra still shares a nurturing and sympathetic rapport with Mabry while flaunting spicy swagger with Vincent Ernest Siders as Rev/Pap. A particular scene in which Marshall-Oliver and Mabry both shine is a dynamic musical interlude that shows off their individual charisma and prowess.
James T. Alfred, Ebony Marshall-Oliver, Victoria Omoregie, Thomika Marie Bridwell. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.
Vincent Ernest Siders stepped in as Rev/Pap and punctuates his performance with a domineering sneer as well as savage and manipulative taunting. Victoria Omoregie as Opal and Thomika Marie Bridwell as Rabby deliver a relatable and hilarious mother-daughter relationship while Amar Atkins bears his own burdens as Opal’s seemingly straight laced brother Larry.
Victoria Omoregie, Thomika Marie Bridwell, Lau’rie Roach, Amar Atkins, Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.
Sometimes it takes something big for life to change. Fat Ham explores overcoming betrayal and one’s supposed lot in life against all odds to forge a new path in a crazy world.
Based partially on Shakespeare’s classic production Hamlet and conscientiously directed by Stevie Walker-Webb, the Huntington Theatre in association with Alliance Theatre and Front Porch Arts Collective presents James IJames’s semi-interactive dramedy Fat Ham through Sunday, October 29 live and in person at Calderwood Pavilion in Boston, MA. This Pulitzer prize-winning show is 90 minutes with no intermission and contains mature themes and strong language. Click here for more information and tickets.
