The Sleepless Critic

REVIEW: Imaginary Beasts conjures a boisterous ‘The Spider and the Fly’

Posted on October 29, 2023 by The Sleepless Critic

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.

REVIEW: Between laughter and rage, the Huntington Theatre, Alliance Theatre, and Front Porch Arts Collective’s leaves food for thought with ‘Fat Ham’

Posted on October 25, 2023 by The Sleepless Critic

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.

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.

REVIEW: In Company Theatre’s ‘Misery,’ fandom takes a dark turn

Posted on October 19, 2023 by The Sleepless Critic

Think of something so exciting and beloved to you that it may even teeter beyond reason.

To Annie Wilkes, a particular book series by Paul Sheldon is so real to her and brings immense joy to her lonely existence. That is until she encounters that author face to face.

Sharply directed by Michael Hammond on the eve of Stephen King’s 50^th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.

Company Theatre presents ‘Misery’ Carol Laing Stearns as Annie Wilkes and Joe Siriani as Paul Sheldon Photo by Zoe Bradford

Fear not.

Misery is written by Stephen King, but is much more of a psychological thriller than horror, with only a few squeamish exceptions.

King’s well known books such as The Shining, Carrie, Pet Cemetery, Salem’s Lot and It are tales that might conjure up a nightmare or two, but Misery rides much more on tension than gore. It also could stand as a personal account for King. Though the book takes place in snowy Colorado, director Michael Hammond wisely added a more personal touch by moving the production to fellow New England state Maine where several of King’s novels are set and where King himself resides. Oh, and Misery is also about an author and his number one fan.

Aside from being a horror mastermind, King is an intuitive observer of the dark recesses of the human condition which is one of the keys to his long term success. It is wonderfully evident in The Body (King’s novella that became the film, Stand by Me), The Shawshank Redemption, The Green Mile, and Hearts in Atlantis. Misery does not address supernatural or mythical monsters, but is a cautionary tale of obsession, loneliness, isolation and infamy while also delving into two characters tied together by literature deep in the woods of Silver Creek, Maine.

Company Theatre presents ‘Misery’ with Joe Siriani as Paul Sheldon Photo by Zoe Bradford

Misery is also popular as the acclaimed film that shot first time leading actress Kathy Bates to stardom and to her first Academy Award in 1990. Famous novelist Paul Sheldon, portrayed by James Caan, gets into a car crash in a snow storm. Former nurse Annie Wilkes, portrayed by Kathy Bates, rescues him and takes him to her remote cabin to recover. Buster, depicted by Richard Farnsworth, is investigating Paul Sheldon’s mysterious disappearance.

A trio of pivotal actors drives this intense and mysterious tale led by Carol Laing Stearns as Annie Wilkes. King drew inspiration from a real person for Wilkes and Stearns makes confiding, matronly, condescending and delusional Annie Wilkes her own, though Stearns’s drawl and some inflections resemble Bates’s depiction. Stearns delivers a chilling performance as she partakes in psychological gymnastics with Joe Siriani as famed author Paul Sheldon. The two have potent adversarial chemistry and though tough guy James Caan was known for his powerful and fierce acting roles, Joe Siriani depicts Paul Sheldon as a more sympathetic, self effacing, yet moody character. A particular highlight is Stearns and Siriani’s darkly humorous depiction of Sheldon’s agonizing writing process which surely drew on King’s own experiences and Stearns’s quick thinking in handling a technical issue. Peter S. Adams amplifies the production’s dire tension as suspicious, yet affable Buster who pops in from time to time.

The Company Theatre presents ‘Misery’ with Carol Laing Stearns as Annie WIlkes and John Stamos as Barkley

With weathered floral wallpaper, a large wooden cross, vintage candelabra, and dark floor paneling, set designer Ryan Barrow reflects Wilkes’s fondness for the past in a detailed, rustic, dilapidated and functional remote cabin with complete front porch surrounded by evergreen trees. Scattered about the cabin are Easter eggs from the book and film including a couple of pig statues in the dining room and bedroom. Dean Palmer Jr’s dynamic lighting demonstrates not only extreme weather conditions and the passage of time through a secluded window, but a creepy foreboding subtly lurking throughout the production. Sally Ashton Forrest’s darkly humorous sound design is peppered with vintage classic tunes that articulate each scene and along with Cathy Torrey’s regional costume design including plaids and boots and realistic makeup, these elements complete the stark isolation prevalent in the deep woods of Maine.

As a book lover, writer, and someone who has loved something that teeters beyond reason, Stephen King’s Misery is a suspenseful and dark tale of what happens when that love goes awry.

Sharply directed by Michael Hammond on the eve of Stephen King’s 50^th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.

REVIEW: Arlekin Players Theatre divulges vivid, twisty and gripping ‘Just Tell No One’

Posted on October 11, 2023 by The Sleepless Critic

Arlekin Players has multiple secrets to tell.

Arlekin Players ‘Just Tell No One’ Benjamin Evett Photo credit to Arlekin Players

In a world saturated by news, war, and strife, Just Tell No One shares a few conflicts up close and personal and each are a matter of life and death. Magnified by multiple television screens while a script lies among the tattered and charred papers littering black film on the floor, Arlekin Players reaches into Natal’ya Vorozhbit’s Bad Roads translated by Sasha Dugsdale, Natal’ya Vorozhbit’s Three Rendezvous translated by John Freedman with Natalia Bratus, and Just Tell No One from Oksana Savchenko’s full-length play Night Devours Morning translated by John Freedman to illustrate a number of brutal revelations with a sort of abandon.

Arlekin Players ‘Just Tell No One’ Anne Gottlieb Photo credit to Arlekin Players

In Partnership with Worldwide Ukrainian Play Readings which is part of CITD’s Hope Initiative, The Arlekin Players (zero-G) Lab reaches into the dark recesses of the human condition with staged reading benefit Just Tell No One live and in person at the Arlekin Players in Needham Heights, MA through October 14. This show has adult themes, explicit language and graphic imagery. The show runs 65 min without an intermission and without a bad seat in this intimate, theatre in the round setting. Click here for more information and for tickets that are selling fast.

Arlekin Players ‘Just Tell No One’ Gene Ravvin and Polina Dubovikova Photo credit to Arlekin Players

With ruefully clever direction by Igor Golyak, Just tell No One is a raw, intense, and unyielding journey with moments of grim humor stemming from mysterious motivations. No ordinary staged reading, Just Tell No One latches onto the audience through its powerful cast consisting of Lucas Boniface, Irina Bordian, Daniel Boudreau, Polina Dubovikova, Benjamin Evett, Rimma Gluzman, Anne Gottlieb, Alexander Petetsky, Gene Ravvin, Julia Shikh, and Robert Walsh. Gene Ravvin as He is crude, menacing, and frightening as he circles alert, calculating, and shrewd Polina Dubovikova as She in a fight for their lives in the shadows of a dank basement as Eric Dunlap’s immersive video and multi-media effects with Tyson Miller’s eerie blue lighting punctuate the filthy and isolated atmosphere. Dunlap and Miller’s innovative skills later generate a fantastical and notable icy setting. Lines become blurred as they both struggle for power over the situation. Alex Petetsky as Vasya the farmer and Julia Shikh as Vasya’s wife make amusing conspirators hinging onto a naïve and young girl’s guilt, depicted impressively by Irina Bordian. Bordian’s anxiety is palpable as she faces the couple.

Arlekin Players ‘Just Tell No One’ Irina Bordian as The Girl Photo credit Arlekin Players

Benjamin Evett depicts sympathetic and humble The Man with questionable motives and Anne Gottlieb introduces the chill in the air as she opens the show with masterful and thought provoking prose as The Woman. Each vivid, suspenseful and unflinching scenario tells so much and yet so little and now it’s best to say no more.

Arlekin Players ‘Just Tell No One’ The Women Photo credit Arlekin Players

The Arlekin Players (zero-G) Lab reaches into the dark recesses of the human condition with staged reading benefit Just Tell No One live and in person at the Arlekin Players in Needham Heights, MA through October 14. This show has adult themes, explicit language and graphic imagery. The show runs 65 min without an intermission and without a bad seat in this intimate setting. Click here for more information and for tickets that are selling fast.

REVIEW: Central Square Theater reveals ‘Angels in America Part 1: Millennium Approaches and Part 2: Perestroika’

Posted on October 3, 2023 by The Sleepless Critic

For a show about grief, life springs forth briskly inside the pristine walls of hospital quarters that house only a few scattered chairs. The radio comes to life with a few select news and pop culture references signaling its 80s setting. Much of what is portrayed isn’t what it seems and Director Eric Tucker and scenic designer Deb Sivigny provide order to the disarray as props twist, sashay, and sway in the semi-interactive chaos at a terrific pace. In a particular highlight, members of the cast physically pile together to form a bed as they rely on each other for support while the dialogue flows and it all works beautifully. Angels in America: Millennium Approaches somehow makes sense of it as it embraces the manic nature of the world and in this genius and raw staging, consistently propelling it forward.

Eddie Shields as Prior Walter and Zach Fike Hodges as Louis Ironson in Central Square Theater’s ‘Angels in America Part 1’ Photo by Nile Scott Studios

Central Square Theater and Bedlam present Tony Kushner’s Pulitzer Prize-winning and Tony Award-winning Angels in America Part 1: Millennium Approaches and Part 2: Perestroika at select times through Sunday, October 8 live and in person at Central Square Theatre in Cambridge, MA. This is a review of Part 1 which is three and a half hours including two intermissions and contains adult content, nudity, and some graphic scenes. Click here for more information and for tickets.

This multi-talented, collaborative cast not only demonstrate physical prowess with its integral props and settings for each energetic and urgent scene, but some depict a mix of complex and sympathetic characters which intersect into different storylines. Debra Wise slips into a beautiful Yiddish accent as a Rabbi tasked with officiating a funeral, a significant phantom from the past, and later as a stern Mormon mother. The Rabbi’s terse, wry wit and candid delivery highlight Wise’s apt skills before she later manifests Hannah Pitt’s guarded and concerned motherly misgivings. One looks death in the eye, one has faced death and the latter is afraid to watch. At one point, the Rabbi examines an immigrant’s journey by exclaiming, ‘You do not live in America. No such a place exists.’

Central Square Theater Angels in America Part 1 Debra Wise Photo by Nile Scott Studios

Angels in America takes off with the hustle and bustle of death and business that zings and marches as acclaimed lawyer and power broker Roy Cohn, depicted with biting wit and magnetic, yet morbid cynicism by Barlow Adamson meets his new Mormon assistant from Salt Lake City, Joe Pitt, portrayed with principled diffidence by Alexander Platt. Adamson and Platt are quick to establish a mentorship as they learn more about each other.

Maurice Emmanuel Parent, Zach Fike Hodges, Kari Buckley, and Eddie Shields in Angels in America Part 1 Photo by Nile Scott Studios

Angels in America addresses many complex questions including the nature of love, grief, religion, freedom, and the state of the world where hope is so hidden and nearly bereft of existence. John R. Malinowski’s menacing lighting is at once investigative and haunting as it veers and shifts so cleverly that it is difficult to tell if it is shedding light in a dark world or exposing the dark with light. The show profoundly tackles loneliness in most of its characters and how each one of them copes with their present circumstances. Eddie Shields as Prior Walter gets the brunt of it physically and psychologically as he is faced with HIV. Using humor and escapism to mask his inner turmoil, Shields delivers a bold and heartrending performance facing obstacle after obstacle.

Maurice Emmanuel Parent, Helen Hy-Yuen Swanson and Kari Buckley in Central Square Theater’s ‘Angels in America Part 1’ Photo By Nile Scott Studios

Kari Buckley suffers a quieter battle as agoraphobic Harper. Buckley’s gleaming smile, endearing and quirky inquisitiveness, and denial masks her own inner turmoil as she turns to medication for relief and as a life raft for her unhappiness. Harper muses, ‘People are like planets. You need a thick skin.’ Buckley and Maurice Emmanuel Parent as Mr. Lies share some whimsical scenes that cleverly act as a relief from the heavier material. Maurice Emmanuel Parent also portrays supportive, compassionate, and reasonable Belize who levelheadedly sets the record straight in a debate about love and politics with Zach Fike Hodges as Louis who is doing everything he can to avoid the truth about Prior’s condition. Hodges weaves impulsively in out of the five stages of grief and in his suffering further complicates things.

Central Square Theater Angels in America Part 1 Maurice Emmanuel Parent and Zack Fike Hodges Photo by Nile Scott Studios

Angels in America is not for the faint of heart. It is rueful, witty, cynical, sobering, and unflinchingly unearths the shadows and heartache of the boundaries of freedom in a world gone mad before it sheds some light. Though both parts of Angels in America can exist on their own, Part 1’s conclusion leaves plenty of room for Part 2.

Helen Hy-Yuen in Central Square Theater’s ‘Angels in America Part 1’ Photo by Nile Scott Studios

Central Square Theater and Bedlam present Tony Kushner’s Pulitzer Prize-winning and Tony Award-winning Angels in America Part 1: Millennium Approaches and Part 2: Perestroika at select times through Sunday, October 8 live and in person at Central Square Theatre in Cambridge, MA. Part I is three and a half hours including two intermissions and contains adult content, nudity, and some graphic scenes. Click here for more information and for tickets.

REVIEW: The Huntington’s ‘Prayer for the French Republic’ a contemplative family drama

Posted on September 30, 2023 by The Sleepless Critic

How does one live in fear?

Two linked tales unfold at times simultaneously onstage. Having recently presented the epic multi-generational play, The Lehman’s Trilogy, The Huntington explores the world of the Salomon family whose stock in trade is selling pianos in Joshua Harmon’s Prayer for the French Republic. Though a piano sits center stage, it is less about the family business, but about this French Jewish family’s experiences over the years residing in Paris at a pivotal time in 1944 and 2016. The Salomon Family has resided in Paris for five generations. Fear may change its face over the years, but somehow remains the same.

With shrewd direction by Loretta Greco, The Huntington presents Joshua Harmon’s Prayer for the French Republic continuing through October 8. The show is two hours and 50 minutes with one ten minute intermission and contains adult content. Click here for more information and for tickets.

Left to right: The cast of Prayer for the French Republic; photo by T Charles Erickson

Andrew Boyce’s chic and moving turntable scenic design complete with crown molding, distinctive gold framed paintings, cozy fireplace, and canapé sets a signature Parisian tone as a vintage piano sits center stage. After two starting revelations, Prayer for the French Republic unravels two tales delving into loneliness, family, fear, love, grief, and the hardships and persecution the Jewish face, questioning the meaning behind ‘Republic for all.’

Left to right: (foreground) Tony Estrella; (background) Peter Van Wagner, Phyllis Kay; photo by T Charles Erickson PRAYER FOR THE FRENCH REPUBLIC By Joshua Harmon The Huntington Theatre 09/06/23 Directed by Huntington Artistic Director Loretta Greco Lighting Design: Christopher Akerlind Costume Design: Alex Jaeger Scenic Design: Andrew Boyce PRAYER FOR THE FRENCH REPUBLIC is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. http://www.concordtheatricals.com T Charles Erickson Photography Photograph © T Charles Erickson tcharleserickson.photoshelter.com

The show has an enigmatic air tied together by Tony Estrella who acts a narrator and family member. As Estrella sets up the audience for what is next and weaving in and out of the narrative, his semi-interactive and complex role as Patrick paints him as antagonist, thoughtful narrator, and brother with a frank and natural delivery.

Left to right: Amy Resnick, Tony Estrella; photo by T Charles Erickson PRAYER FOR THE FRENCH REPUBLIC By Joshua Harmon The Huntington Theatre 09/06/23 Directed by Huntington Artistic Director Loretta Greco Lighting Design: Christopher Akerlind Costume Design: Alex Jaeger Scenic Design: Andrew Boyce PRAYER FOR THE FRENCH REPUBLIC is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. http://www.concordtheatricals.com T Charles Erickson Photography Photograph © T Charles Erickson tcharleserickson.photoshelter.com

The show explores some traditional Jewish customs and is a study in ancestry as Amy Resnick as Marcelle takes a moment to explain this strong willed family tree. Carly Zien is a bit of a scene stealer and delivers a crackling performance as witty, moody and seemingly unstable Elodie, Marcelle and Charles’s daughter. Zien’s fast talking and frank delivery as Elodie offers equal amounts horror and humor as she explains the frustrating state of the world to Talia Sulla as bright eyed, lively, well meaning but increasingly outspoken Molly. Molly’s cheery disposition is refreshing to orderly and increasingly tense psychiatrist Marcelle depicted keenly by Amy Resnick and the mother and daughter dynamic is thrust into overdrive as Resnick and Zien butt heads on almost every issue. Nael Nacer steps in as fair minded Charles for this performance and Joshua Chessin-Yudin depicts headstrong, sympathetic and unassuming Daniel, Elodie’s brother. Chessin-Yudin and Sulla share some endearing scenes as they wrestle with the other’s point of view.

Left to right: Talia Sulla, Joshua Chessin-Yudin; photo by T Charles Erickson

Contentions within the family and the future are laid out in a piece of clever staging as their dining room table steadily shifts. Another noteworthy incident builds prickling tension and silent trauma as Molly overhears an argument in the next room with only Sulla’s face visible in the shadows. Phillis Kay as Irma and Peter Van Wagner as Adolphe make a disquieting yet charming couple, but it is Jared Troilo as Lucian with Jesse Kodama/Will Lyman as Pierre Solomon who makes the greatest impact with a startling revelation that presses for more questions than answers.

Left to right: Phyllis Kay, Jesse Kodama, Jared Troilo; photo by T Charles Erickson

Prayer for the French Republic is contemplative and direct with its share of lighter moments as both tales converge to beg the question: How do we move forward? How to move forward in the face of fear?

REVIEW: Boston Lyric Opera’s ‘Madama Butterfly’ a mesmerizing and surprising metamorphosis

Posted on September 27, 2023 by The Sleepless Critic

‘I gave my tears into the earth, now it must give me back flowers.’

This is just a hint of Puccini’s masterful lyrics that encapsulates profound love and loss in Puccini’s epic classic 1904 Italian libretto Madama Butterfly presented live and in person at Emerson Colonial Theatre through Sunday, September 24. This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1. Click here for more information and more about Boston Lyric Opera’s season.

After their onstage wedding Butterfly’s Karen Chia-Ling Ho and Pinkerton’s Dominick Chenes love spills out onto the San Francisco streets PHOTO BY KEN YOTSUKURA

With heartrending direction by Phil Chan and stirring choreography by Michael Sakamoto, Madama Butterfly was delivered with an altered setting and contemporary flair over a period of time from 1941 to 1983. Puccini’s Madama Butterfly is a searing and brilliant love story and the source material for the Tony award-winning Broadway musical, Miss Saigon. This time, Madama Butterfly’s settings ranged from Hawaii to San Francisco to Arizona. Jeanette Oi-Suk Yew’s multifaceted lighting not only reflected the shadows and watercolor reflection in a lively nightclub but the rich purple and rose of the horizon at daybreak as moving set pieces transported the audience to contrasting settings. Featuring multicolor fans, contemporary yellow crowns, and regal military uniforms, Sara Ryung Clement’s distinctive, silky, and shimmering costumes in bursting color embellished the festivities of the Club Shangri-La in Chinatown in San Francisco, where Navy officer B. F. Pinkerton, depicted with enigmatic sweetness by tenor Dominick Chenes and soprano Karen Chia-Ling Ho as naïve, proud, bubbly and devoted Butterfly or Cio-Cio San meet in 1941. It will be a night they never forget.

Uncle Bonze Hyungjin Son center makes a shocking revelation about Butterfly Karen Chia-Ling Ho in BLOs new production of MADAMA-BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s production of Madama Butterfly had the audience gripped in a full range of emotions as the eye level live orchestra led by Annie Rabbat articulated Puccini’s moving array of arias punctuated by magnificent drums. Boasting angelic vocals, Chia- Ling Ho blossomed as Madama Butterfly, her coy yet fragile depiction poignant and buoyant as she navigated through a plethora of challenges during World War II and Pearl Harbor. Chenes and Chia-Ling had captivating chemistry only enriched by powerful vocals and enthralling dialogue. Mezzo soprano Alice Chung at first offered an understated performance as steadfast and loyal Suzuki, but Chung’s depiction gradually culminated into one of the most endearing characters of the production alongside Troy Cook as compassionate and protective Sharpless. Baritone Junhan Choi had a reduced role as Commissioner/Registrar in Madama Butterfly compared to the engineer’s meaty role in Miss Saigon, but Choi left his mark during each of his memorable scenes in a charismatic portrayal of dark humor and dastardly wit.

Suzuki Alice Chung l. laments the news Pinkerton Dominick Chenes brings with him in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Michael Sakamoto’s dynamic choreography ranged from delicate to fitful, most notably as Butterfly took the stage in a traditional dance with the Club Shangri-La performers and later in a stirring dance featuring Cassie Wang. Wang’s symbolic performance was peculiar, heartfelt, foreboding and so riveting that it may remain ingrained into the psyche long after the performance has ended.

During a visit from Officer Sharpless Troy Cook r. Butterfly Karen Chia-Ling Ho center reveals a secret in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s Madama Butterfly took some liberties from the classic libretto that dealt in immigration, bigotry, and patriotism in a surprising array of twists and turns and proved to be a production that will not soon be forgotten.

Boston Lyric Opera presented Puccini’s Madama Butterfly through Sunday, September 24 live and in person at Emerson Colonial Theatre in Boston, Massachusetts. This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1. Click here for more information and more about Boston Lyric Opera’s season.

REVIEW: Sparkle and charm fuel Titusville Playhouse’s ‘The Prom’

Posted on September 26, 2023 by The Sleepless Critic

Having been invited to The Prom for the second time this year, it seemed best to celebrate this time around in a frilly dress. It was especially appropriate catching a show while away on vacation and with Jordyn Linkous’s festive and glittery wig and costume design, it was easy to fit right in.

Innovatively directed and creatively staged by Niko Stamos with lighthearted choreography by Jordyn Linkous, Titusville Playhouse presents musical dramedy The Prom live and in person in Titusville, Florida through October 1. This show contains some strobe lighting and special effects. It runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

Mandy Kerridge as Dee Dee Allen, Steven J. Heron as Barry Glickman and cast in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry. Inspired by a true story, anxious Emma, depicted with self effacing humility by Delaney Sue McGough, invites a date to the Prom with none other than Myanell Enriquez as popular Alyssa, the daughter of the head of the Parent Teacher Association. Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town. The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana. The Prom delivers plenty of humor ranging from silly to satirical with a sincere and underlying message about helping others.

Mandy Kerridge as Dee Dee Allen and Delaney Sue McGough as Emma Nolan in ‘The Prom’ Photo credit to Titusville Playhouse

With extraordinary music direction by Spencer Crosswell, The Prom boasts strong vocals from an amiable cast. Glamour takes center stage with Mandy Kerridge as Dee Dee Allan, a self absorbed and award-winning actress. Kerridge’s impressive vocal range and wonderful belt is on full display for It’s Not About Me and The Lady’s Improving. Along with Steven J. Heron as warm, lovable, and lauded actor Barry Glickman, Danny Sanchez as no nonsense PR rep Sheldon, Corey Evans as openhearted Trent, and Sarah Ruth Joyner as inspirational Angie Dickinson, these seemingly shallow thespians bring some humorous moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lit with soft and cheerful multicolored lighting by Davis Vande Steeg , The Prom features a dynamic set design by Niko Stamos including a digital screen that transforms settings in an instant including the store front of a 711, a monster truck rally, and the glittering festivities of a Prom. Some clever staging includes the transformation of an Applebee’s to a balcony seat during a beautiful rendition of We Look to You as well as veiled and translucent staging for the number, Tonight Belongs to You.

Steven J. Heron as Barry Glickman and the Executive and Artistic Director of the Titusville Playhouse and Delaney Sue McGough as Emma in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone. It is positive throughout, even in the face of Emma’s most difficult challenges. McGough’s chiming vocals in forlorn yet earnest number Just Breathe is a compelling revelation while Holly Fuller’s tight lipped delivery proves fitting for tough and immutable antagonist Mrs. Greene. Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Cast photo Photo credit to Titusville Playhouse

The Prom contains a wealth of welcome, inside Broadway humor and references as well as notable choreography including a sweet rendition of You Happened and the Fosse-inspired choreography of Zazz. The Prom provides a message driven and sparkling escape to fun and frivolity if only temporarily from the realities of life.

Titusville Playhouse presents The Prom live and in person in Titusville, Florida through October 1. This show contains some strobe and special effects and runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

REVIEW: In partnership with the city of Chelsea and Teatro Chelsea, Apollinaire Theatre staged a street fighting and adventurous summer ‘Hamlet’

Posted on August 30, 2023 by The Sleepless Critic

Ser o no ser esa es la cuestion (To Be or not to Be)

This was the classic question posed by Apollinaire Theatre Company in partnership with Teatro Chelsea and the City of Chelsea in a bilingual production of Shakespeare’s classic play, Hamlet which took place on Fridays and Saturdays only from August 4-19 live and in person at various locations in Chelsea, Massachusetts. Though it was not necessary to understand both Spanish and English to enjoy this show and does not take away the gravitas of Shakespeare’s eloquent text, those who understood the dialogue in Spanish may have been at an advantage. The free production was 90 minutes with no intermission.

Each performance featured a pre-show that offered take out or delivery dinner, live entertainment, and a pop up Beer Garden by BearMoose Brewing Company at 6:30 pm prior to the performance at 8 pm. Click here to see what is next for Apollinaire Theatre Company and Teatro Chelsea this fall.

Alan Kuang ‘Hamlet’ rap Photo credit to Danielle Fauteux Jacques

Every summer for the past 20 years with donor support, the Apollinaire Theatre Company has been presenting outdoor theatre productions free to the public in partnership with the city of Chelsea. This year’s production of the Shakespearean classic, Hamlet mixed the traditional with the contemporary while keeping the audience on its feet. Intricately directed and cleverly staged by Danielle Fauteaux Jacques with lighthearted chorography by Audrey Johnson, the show is an immersive experience as the production expands beyond the stage and cast members can enter from anywhere.

Armando Rivera as Hamlet in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Though the roads were blocked off, there was still plenty that might have distracted this focused cast. However disruptive, outdoor disturbances such as traffic, noises or foot traffic did not distract them from their performances for an instant. Armed with microphones, it was fascinating to watch each scene unfold complete with transportable lighting, sound, ominous sound effects with Diana Mediola and Juhi Nagpal‘s elaborate sets and props. How complicated it must have been to stage something like this while gathering an increasing and surrounding crowd led to each destination by a single notebook.

Shakespeare’s Hamlet is about the Prince of Denmark who discovers his mother has married his uncle after his father has been murdered. An urgent message inspires Hamlet to believe ‘something is rotten in the state of Denmark.’

Armando Rivera as Hamlet and Paul Benford-Bruce in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Hamlet is a compelling drama that boasts some iridescent and noteworthy special effects such as blue smoke drifting above Paul Benford-Bruce’s haunting figure on a distinctive blue tinged city fountain lit by Joe Morales. Resolute, firm, and eerie, Benford-Bruce delivers a memorable performance as Hamlet’s father. David Reiffel’s ominous and echoing sound design and composition lent to the foreboding mystique of the production.

Anna Riggins as Ophelia, Alan Kuang as Laertes, Paola Ferrer as Gertrude and Brooks Reeves as Polonius in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Nodding to the Elsinore, Denmark setting during the late middle ages while boasting a sleek and contemporary flair, Hamlet blended the contemporary with the historical through its colorful, stately, and elegant costumes in furs, leathers, and glittering crowns by Elizabeth Rocha.

Armando Rivera as Hamlet, the Prince of Denmark, led this impressive cast. Rivera exacted the alarming rage expected of Hamlet in the face of betrayal. Rivera excelled at Hamlet’s darkly playful, determined, and off kilter demeanor, especially in a powerful scene alone with Ophelia and with Brooks Reeves as Claudius.

Anna Riggins delivered an absorbing performance as Ophelia with a wide smile, bright eyed virtue, and a complete infatuation and intriguing chemistry with Rivera. Clinging to any sign of affection, Riggins offered a vulnerable and sympathetic performance. Riggins also shared a sweet chemistry with her brother, Laertes and Ron Lacey who portrays their proud and concerned father, Polonius. Alan Kuang is naturally charismatic in the role of valiant and forthright Laertes, especially during an all out and literal street fight with Rivera.

Play-Within-A-Play in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Brooks Reeves as Claudius achieved a suave poker face, but with just enough of a devious smirk to embellish this role with Paolo Ferrer as mysterious Gertrude, they are a beguiling pair. Claudius is a calculating character and left little room for sympathy. Reeves particularly shined during the play-within-a-play scene as Reeves exclaimed, ‘Get me some light!’ With skillful feigned concern and sarcasm, Reeves was well suited for the role as some of that demeanor is also on display in the Old North Church’s production of Revolution’s Edge through September.

Armando RIvera as Hamlet and Brooks Reeves as Claudius Photo credit to Danielle Fauteux Jacques

Hamlet was not complete without the appearance of Rosencrantz and Guildenstern, portrayed with jovial humor by Aloe Domizio and Paul St. Cyr respectively. Wheeling in on lit bicycles, they made a seeming pair of silly and dimwitted bookends as Hamlet’s childhood friends. However, like each character in this Shakespearean classic, they are more than meets the eye.

Apollinaire Theatre Company, in partnership with Teatro Chelsea and the City of Chelsea, presented an outdoor bilingual production of Shakespeare’s classic play, Hamlet which took place on Fridays and Saturdays only from August 4-19 live and in person at various locations in Chelsea, Massachusetts. Click here to see what is next for Apollinaire Theatre Company and Teatro Chelsea this fall.

REVIEW: New Ohio Theatre’s ICE Factory’s ‘Here I Fall Up’ and ‘How I Disappeared’

Posted on August 22, 2023 by The Sleepless Critic

A girl is starting to wonder if she is fall apart or is she just falling up?

Gianna Milici, Sophia Drapeau, and Lauren-Quigley in ‘Here I Fall Up’ Photo credit to Natalie Powers

Featuring chiming melodies, a girl is somehow tethered to her family’s seaside home in a way that makes her question her own sanity. Surrounded by her sisters who narrate the story, Here I Fall Up is thoughtfully directed and composed by Beth Golison and directed creatively by Annabel Heacock and Maiya Pascouche and is just under an hour. It was featured at New Ohio Theatre’s ICE Factory in NYC and was streaming through August 12. Click here for more information.

The girl, portrayed sympathetically and realistically by Sophia Drapeau, ventures into dark places that keeps the audience guessing whether the girl is actually experiencing something outside this world or is it all happening inside the girl’s head? Drapeau’s suffering throughout this production makes a real case for either and watching the girl attempt to cope with anxiety and a severe degree of agoraphobia is heartfelt, earnest, and a bit distressing to witness. The bluish and haunting shadows by Chris Voegels combined with the simple, multifunctional set by Jessie Baldinger are as imaginative as it is symbolic of a girl longing to make a connection outside the girl’s fears and vulnerabilities.

Rose Tablizo and Sophia Drapeau in ‘Here I Fall Up’ Photo credit to Natalie Powers

Here I Fall Up’s inviting, folksy, and intermittently catchy acapella harmonies from sisters and narrators Samantha Medina Chachra, Lauren Rose Quigley, and Gianna Millici combined with Rose Tablizo’s mysterious presence keeps the production a bit lighter while tackling some darker issues.

Here I Fall Up is thoughtfully directed and composed by Beth Golison and directed creatively by Annabel Heacock and Maiya Pascouche and is just under an hour. It was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.

Does it matter where I put my roots down?

Identity should be not what one is, but who one is. Not the labels, but the person. That is not such an easy journey living in NYC.

Told from the perspective of six immigrant Asian individuals living in NYC, How I Disappeared is a bilingual production about grasping for acceptance in the world without assumptions or grief, but with understanding. Directed by Tianding He and produced by CHUANG Stage, it is done creatively, though not always clearly in this abstract and Avant Garde production.

How I Disappeared is just under an hour and was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.

From an individual covered in overwhelming and all encompassing remnants of NYC including a liberty hat, Broadway sign, wearing a mask and carrying a suitcase subway map to the desolate and metaphorical marine characters on the NYC subway, How I Disappeared emphasizes the intimidating, overwhelming, noisy, and isolating city atmosphere.

The glassy reflections particularly stand out in this part projection by Brian Shin-Hua Ellis and part animated puppetry by Wilden Weihn production. From a Puffer fish to a whale wandering on a subway, each distinctive marine creature delivers a combination of bittersweet and relatable humor as the narrator describes each creature’s authentic capabilities and defenses. Steeped in soothing blue aquatic lighting by Will DeJianne, it seems absurd witnessing them on the subway, and yet it becomes a snapshot of humanity as the show progresses.

The production does have lighter moments of dancing including catchy and original live music by John Tsung and Siyi Chen as well as its fair share of silliness with underlying messages of perseverance in the face of fears, doubt, and judgment. Staying true to oneself and anything is possible.

How I Disappeared is just under an hour and was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.