The Sleepless Critic

REVIEW: Lyric Stage’s understated ‘Our Town’ makes the everyday extraordinary

Posted on October 15 by The Sleepless Critic

The one constant is change.

Though in a sleepy town like Grover’s Corners, change may not be frequent, but with time, it is inevitable.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s 1938 Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. This classic three-act production is not limited to the stage and runs two hours and ten minutes including an intermission. Click here for more information and for tickets.

Thomika Marie Bridwell* and Amanda Collins* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Our Town is one of the great American masterpieces of our time and holds a special place in my heart. Its subtle yet gripping messages about the circle of life universally resonate and can speak to any generation. I’ve seen Our Town several times before, and yet, every production is its own fresh and unique experience.

An astute play, I believe your perception of Our Town changes as you grow and change. Watching it as a teenager in a school play hits differently than seeing it as an adult and will transform again watching it as an elder. In its simplicity, it carefully unveils life’s profound and fleeting journey while staying relevant for each generation.

Scenic designer Shelley Barish and costumer Rachel Padula-Shufelt embrace its timeless quality by creating a modest yet classic tone in each element of the production. An impressive multipurpose wooden circular structure is the symbolic centerpiece of Grover’s Corners as Deb Sullivan’s rich and stirring lighting comes to life during affective and pivotal moments, especially in a vibrant purple moonlit sky bathed in puffy clouds. Instead of using early 19^th century period costumes, Rachel Padula-Shufelt shrewdly showcases classic Americana attire which includes suspenders, button down shirts, cardigans, stately three piece suits, understated dresses, and baseball and newsboy caps.

WIll McGarrahan* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Using very few physical props, much of the production is traditionally imagined through Will McGarrahan‘s skilled and interactive narration as Stage Manager. His engaging, mirthful and intimate delivery acts as part educator, omniscient narrator, occasional sage commentator, and at times, stepping into the action.

Kathy St. George* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

As much as the show may focus on the residents of Grover’s Corners, New Hampshire, they are second fiddle to the town itself and its unfolding features. Within the town’s examination and analysis starting in 1901, something lies deeper within its quiet beauty and unlocked doors. It also contains a wealth of local references that is not too far from its Boston staging.

Darren Paul, Thomika Marie Bridwell,* Jacob Thomas Less, Kathy St. George,* Amanda Collins,* Jessie Garlick and John Kuntz* in Lyric Stage’s Our Town Photo by Nile Hawver

Whether it’s Josephine Moshiri Elwood as forthright and wondrous Emily or Thomika Marie Bridwell as fanciful Mrs. Gibb, delightful Kathy St. George as inquisitive and precocious Rebecca or Amanda Collins as staunch traditionalist Mrs. Webb or John Kuntz as frank and disheartened Simon Stimson, this wonderful and well cast company authentically explore the small joys, hardships and realities of life with humor, humility and grace. Elwood as Emily and Dan Garcia as George Gibbs particularly share a sweet sincerity and idealistic charm as they discuss their bright futures.

Dan Garcia and Josephine Moshiri Elwood* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Some productions don’t need all the bells and whistles in order to be genuine and Our Town fits the bill through its strong sense of community. In this age where life is becoming more and more digitized, this small town unpacks life’s perplex meaning through connection in an impactful production season by season.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. Click here for more information and for tickets.

REVIEW: Lavishly dancing through France in Sullivan Rep’s ‘Can-Can’

Posted on October 11 by The Sleepless Critic

Freedom through dance is only part of the story in Cole Porter’s Can-Can.

Considered one of Cole Porter’s later musicals, Can-Can debuted in 1953 before being adapted into a 1960 film starring Frank Sinatra and Shirley MacLaine and some of its ideas make it identifiable to its 60s timeframe. It’s Alright by Me, I Love Paris, and C’est Magnifique are a few of the Cole Porter American Standard songs that are part of the Great American Songbook.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11. The action is not limited to the stage and set up like a dance hall. It runs approximately three hours with an intermission. Click here for more information and for tickets.

Carly Evans and Can-Can dancers in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Taking place in Montmartre, France, Carly Evans aptly portrays shrewd and stealthy businesswoman Pistache who knows just how to live under the radar until her girls are caught by the French authorities for lascivious dancing. The lively dancers coyly perform the satirical number, Maidens Typical of France.

Can-Can features two powerful leads in Carly Evans and Anthony Rinaldi and Dan Sullivan’s flowing, unbridled and meticulous chorography certainly make a great impression. Anthony Rinaldi is conflicted as Judge Aristide, torn between justice and his growing affection for saucy Pistache. Rinaldi and Evans make some beautiful music together and are certainly capable of mastering these individuals on the opposite sides of the law. Evans as Pistache shows off her hardnosed business sense impressively for Never Give Anything Away and Rinaldi soars in the catchy number, It’s Alright with Me.

Anthony Rinaldi and Carly Evans in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Dan Sullivan’s often lavish and splashy 1890s French forward fashion costumes by Judi Olson include bowler hats, lace, velvet, ruffles, saloon-style gowns, bustles, three piece suits, detailed parasols and top hats with Pistache’s elegant emerald green peacock gown as a particular highlight shown later in the production.

The cast of Sullivan Rep’s ‘Can-Can’ Photo credit to Sullivan Rep

This musical features grand dance numbers that are often flirty and playful even occasionally including a French accordionist. Can-Can explores love, the nature of dance, societal expectations, censorship, skewed media, the law and the art of being an artist. A.J. Lyman as Bulgarian sculptor Boris, Andy Ross as Theophile, Ryan Pereira as Hericule, Dom Pappagallo as Etienne, Hannah Shihdanian as Model and Rinaldi as Aristide have a good natured camaraderie and perform a standout number that takes humorous and lighthearted jabs at the nature of being an artist is Never Never Be An Artist.

Sullivan Rep Can Can Anthony Rinaldi and cast Photo credit Sulivan Rep

Dream Ballet has been popular in grand musicals such as Broadway Melody in Singin’ in the Rain, Louise’s Ballet in Carousel, and The Prologue in West Side Story which usually enhances or advances the plot of the musical. Though performed with ballet-inspired athletic zeal, Garden of Eden Ballet didn’t seem to advance the plot in a meaningful way other than being controversial during that time.

Sullivan Rep boasts powerful leads, vivacious dance numbers and features elegant attire, yet the musical itself has its setbacks. Clocking in at approximately three hours, some of the musical’s plot points seem filler and unnecessary to the progression of the story and some of the love connections and satirical outcomes didn’t quite make sense such as in If You Loved Me Truly.

Garden of Eden Ballet in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

With that in mind, Sullivan Rep vibrantly brings Cole Porter’s Can-Can to life with an enthusiastic cast and memorable music.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can-Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11. Click here for more information and for tickets.

REVIEW: Kindness and the little things in SpeakEasy Stage’s dramedy ‘Primary Trust’

Posted on October 8 by The Sleepless Critic

Kenneth’s visits to Wally’s Tiki Bar mean much more to him than just the two-for-one Mai Tais.

Quietly profound and inviting, Primary Trust is a unconventional journey about a lonely townie named Kenneth, performed with humble charm and simmering yearning by David J. Castillo, whose outlook on life is about to be shaken.

Arthur Gomez and David Castillo in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

With multilayered direction by Dawn M. Simmons, SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11. This intriguing production runs approximately 100 minutes with no intermission. Click here for more information and for tickets.

What I love most about Eboni Booth’s sharp and rapid fire script is that it is upbeat and funny while evoking a wide spectrum of emotions within its snappy dialogue. Anna Drummond’s urgent sound design keeps the pace of Booth’s charged and lively script as it veers from one quick witted scenario to the next. This small cast is more than up for the challenge enhancing the unique and often changing essence of this production.

David Castillo Luis Negrón and Arthur Gomez in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

A show without set changes, Shelley’s Barish’s compelling scenic design holds small town charm divided into sections including an island-inspired Tiki Bar with colorful leis and hale illuminated by Christmas lights as part of Karen Perlow’s soft atmospheric lighting, a stack of oversized books with bookcases, a large bank sign with a large wad of cash and a cozy park bench with lamppost.

Set in the cheery small town of Cranberry, New York (with a population of 15,000) and a hint of Our Town familiarity, Castillo as Kenneth lives a life of simplicity and certainty spending his days with Arthur Gomez as Kenneth’s encouraging and supportive only friend Bert. In glasses, jeans and a cardigan, Gomez delivers unassuming charisma and infuses warmth, optimism and enthusiasm into Bert’s candid and charming demeanor. However, there is a lot more to wise Bert than keeping Kenneth company. Sharing an endearing camaraderie and insightful dialogue, Gomez’s Bert is a source of security for Kenneth who is carrying a lot more than a lonely life on his shoulders.

One would think connection might come naturally in a small town, but not for Kenneth. With a nervous laugh, at times jittery demeanor, and a vast imagination, Castillo is excellent as Kenneth who confides in the audience and you can’t help but feel protective and a friend to him as he shares his setbacks and challenges while shyly appreciating the little things in life.

David Castillo and Janelle Grace in SpeakEasy Stage’s ‘Primary Trust’ Phot by Benjamin Rose Photography

Janelle Grace and Luis Negrón nimbly capture multiple roles during the production ranging from local townie to significant figures driving Kenneth’s story. Luis Negrón transforms into each role so impressively, it may take a moment to catch on while Grace demonstrates amazing and occasionally frenzied comic timing stepping into each role.

Whether Kenneth is sharing a moment of understanding with Negrón or a joyful chance moment with Grace, Primary Trust demonstrates humanity and compassion in each authentic moment.

Primary Trust holds a few important twists and turns best experienced as the story unfolds. Boasting an inherent depth, it has delightfully amusing moments that help smooth over the heavier elements and dark humor in Booth’s perceptive script without diminishing their significance. Make no mistake Primary Trust will make you laugh as often as you might be moved.

David Castillo as Kenneth in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11. Click here for more information and for tickets.

REVIEW: Titans of discovery and the wonder of a not so ‘Silent Sky’ at Central Square Theater

Posted on October 2 by The Sleepless Critic

Henrietta Leavitt is so passionately devoted to the stars that she decides to build her entire life around that dream. What unfolds is a journey much more complex than she ever anticipated.

With illuminative direction by Sarah Shin, Central Square Theater kicks off its new season with Lauren Gunderson’s Silent Sky continuing live and in person through Sunday, October 5 at Central Square Theater in Cambridge, MA. This celestial and biographical production is a Catalyst Collaborative@MIT Production and runs approximately two hours and 15 minutes including one intermission. Click here for more information and for tickets.

Jenny S. Lee and Max Jackson in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Lauren Gunderson’s Silent Sky boasts awe-inspiring connections about the nature of time and life’s occurrences through the cosmos. It is inspired by the real life story of historical figure Henrietta Leavitt, portrayed with a distinct drive by Jenny S. Lee. Leavitt is torn between two worlds and Scenic Designer Qingan Zhang effectively divides Henrietta’s life by a staircase between her warm Wisconsin home which includes populated bookcases, floral arrangements, framed family photos and a piano with Harvard University workspaces and an impressive towering refractor looming overhead to the stars. Lighting Designer Eduardo M. Ramirez with Projection Designer Michi Zaya showcase inviting and rich landscapes include the immensity of the cosmos and the magnitude of the ocean. In multicolor frocks, flowing skirts, detailed high necklines, tailored suits and formal dress coats, Costume designer Leslie Held elegantly captures the high fashion of the early 20^th century progressive era.

Max Jackson in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

One does not need to be familiar with astronomy to appreciate Silent Sky, but astronomy enthusiasts may have a more thorough understanding of some of the production’s finer scientific details. Delivered with a combination of humor and analysis, Silent Sky explores a broad number of subjects including love, family, the women’s movement, societal expectations, life’s unexpected shifts and what it truly takes for a breakthrough.

Kandyce Whittingham and Jenny S Lee in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Silent Sky is fascinating, but its scientific and factual focus at times curtails some of its emotional depth. Jenny S. Lee as determined Henrietta and Kandyce Whittingham as Henrietta’s devoted and forthright sister Margaret share a heartwarming bond and Whittingham is often maternal towards Henrietta as she relentlessly pursues her dreams. It also has a unique element of music and dance delivered by Whittingham’s eloquent musical versatility that turns up in significant and unexpected places.

Max Jackson and Jenny S. Lee in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Max Jackson as dubious Peter Shaw shares jittery and charming chemistry with Lee and it is captivating to see Henrietta not only rise to challenge Peter’s intellectual prowess but Peter’s approach as a bundle of nervous energy to Lee’s direct and sensible delivery. Lee Mikeska Gardner brings excellent bravado and frequent frank comical moments as Williamina Fleming and Erica Cruz Hernández is bold yet nurturing as American astronomer activist Annie Cannon. Alongside Lee’s Henrietta, they form a dynamite and fiercely loyal trio ahead of their time and prove that when great minds come together, the sky’s the limit.

Lee Mikeska Gardner, Jenny S. Lee and Erica Cruz Hernández in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

An educational and unconventional work exploring the pursuit of discovery, Lauren Gunderson’s Silent Sky is not without its twists and turns as Henrietta Leavitt is one to root for as she relentlessly embarks on an inspirational journey to be remembered in the pursuit of light.

With illuminative direction by Sarah Shin, Central Square Theatre kicks off its new season with Lauren Gunderson’s Silent Sky continuing live and in person through Sunday, October 5 at Central Square Theatre in Cambridge, MA. This celestial and biographical production is a Catalyst Collaborative@MIT Production and runs approximately two hours and 15 minutes including one intermission. Click here for more information and for tickets.

REVIEW: Seizing the day in harmony in North Shore Music Theatre’s ‘Rent’

Posted on September 30 by The Sleepless Critic

Why do things happen the way they do?

Chance meetings and a string of random events bring a group of Bohemian artists together in profound ways as they struggle to survive in NYC. Spanning one year from 1989-1990, North Shore Music Theatre’s Rent reveals a striking and darker interpretation than previous versions I have witnessed. Perhaps it’s a reflection of our troubled times, but its powerful and optimistic message still remains that the best way to cope with suffering is by holding onto each other.

Directed poignantly yet hopefully with sharp choreography by Marcos Santana and vigorous music direction by Robert L. Rucinski, North Shore Music Theatre continued Jonathan Larson’s Pulitzer prize-winning musical Rent live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 28. This rock musical has adult themes and ran two hours and 35 minutes with one 15 minute intermission. Click here for more information and here what is next in North Shore Music Theatre’s season.

The cast of “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Having had phenomenal success as an acclaimed hit musical in the 90s and as one of the longest running shows on Broadway, Rent took the stage around the world and was adapted into a film of the same name in 2005. It recently celebrated its 30^th anniversary since its stage debut and it has been nearly 30 years since its Broadway debut. In 2021, Lin-Manuel Miranda also directed the acclaimed film adaptation of autobiographical musical, Tick Tick Boom, based on Rent creator Jonathan Larson’s life starring Andrew Garfield.

Based on Puccini’s world famous opera, La bohème , Rent is a daring, joyous, raw, and poignant musical about a group of 20-somethings living in New York City during the AIDS epidemic. It explores love, loss, hardships, dreams and realizations all while this group struggles to make the rent.

he cast of “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

A chalkboard graffiti-riddled floor, tattered rafters, scaffolding, glowing Christmas bulbs, street lights and a sporadically-lit and weathered neon sign illuminated by José Santiago’s vibrant lighting is just a portion of Jeffrey D. Kmiec’s industrial-inspired sliding set design depicting Mark and Roger’s East Village loft in Manhattan. Rent truly comes to life through video designer Beth Truax’s cinematic touch and Alex Berg’s bustling sound design.

Like nostalgia of the era displayed in North Shore Music Theatre’s previous production of Grease, Rent showcases its own remnants of 80s and 90s nostalgic flair in combat boots, flannels, pay phones, corded phones, amusing answering machine messages and newspapers.

After a quieter opening scene, Rent hits the ground running with fervor, urgency, and pulsing chorography in its title track. This theatre-in-the-round’s immersive experience featured various incidents of kindness and conflict occurring in several parts of the theatre and this trend continued several more times ranging from humor to frustration in building intensity.

Aaron Alcaraz (Mark Cohen) with the cast “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Driven by powerful and edgy vocals, Rent’s characters are a combination of dreamers and those firmly planted in the present doing whatever it takes to get through everyday life. Aaron Alcarez depicts ambitious and determined Mark, an aspiring documentary filmmaker living with his contemplative and temperamental roommate Roger, portrayed movingly by Austin Turner. Roger is HIV-positive, a recovering drug addict and with guitar in hand, vows to write one amazing song before he passes demonstrated in rising triumph in One Song Glory. However, when Didi Romero as vivacious Mimi shows up at their apartment, life takes an unexpected turn demonstrated in a playful duet and instant chemistry with Turner in Will You Light My Candle and the sincere and tender, I Should Tell You.

Didi Romero as Mimi Marquez in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

In fishnet tights and layered clothing, Romero is daring, charming and bold as free spirit Mimi fueled by Romero’s provocative and soaring vocals Out Tonight, possessing more than a passing resemblance to Idina Menzel who portrayed Mimi in the 2005 film. Robert Garcia approaches complex Angel with a self-assured kindness and less splashy demeanor in Are You Okay while Aaron Arnel Harrington warmly portrays Collins with a distinctive deep baritone.

Isaiah Rose Garcia (Angel Dumott Schunard) and Aaron Arnell Harrington (Tom Collins) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

A jumble of ostentatious ego, stubbornness and high maintenance, Cate Hayman puts gusto in Maureen, especially in a gutsy and unhinged rendition of Over the Moon. Level headed and hardnosed lawyer Joanne, portrayed with powerful vocals and a guttural growl by Kat Rodriguez, rocks in Take me or Leave Me, but one of the best moments of the musical occurs between Alcaraz and Rodriguez in a catchy, chiming and playful harmony in Tango: Maureen.

Kat Rodriguez (Joanne Jefferson) and Aaron Alcaraz (Mark Cohen) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Grave issues such as homelessness, capitalism, promiscuity and drug addiction are often laid bare in Rent and is partially demonstrated in the bold La Vie Boehme. Romance in this musical makes an impact, but what far exceeds the romance is the incredible harmony and camaraderie this group creates together. Christmas Bells, Happy New Year, and Another Day soar, but nothing quite compares to the musical’s iconic number, Seasons of Love in which the audience shared a moment of stunned silence in awe of the stirring power of that moment.

Aaron Alcaraz (Mark Cohen), Aaron Arnell Harrington (Tom Collins), Austin Turner (Roger Davis), Didi Romero (Mimi Marquez), Cate Hayman (Maureen Johnson), and Kat Rodriguez (Joanne Jefferson) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

North Shore Music Theatre continued Jonathan Larson’s Pulitzer prize-winning musical Rent live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 28. Click here for more information and here for here for what is next in North Shore Music Theatre’s season.

REVIEW: Wild antics and bonding in Greater Boston Stage Company’s lighthearted ‘Featherbaby’

Posted on September 28 by The Sleepless Critic

Who knew a unique tale about a puzzle loving couple and a foul mouthed exotic parrot would not only be mischievously funny but also tug at the heartstrings?

Get to know Featherbaby.

With lively direction by Weylin Symes, Greater Boston Stage Company continues the co-world premiere of David Templeton’s comedy, Featherbaby live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, September 28. This amusing production contains some explicit language and runs approximately one hour and 40 minutes with one intermission. Click here for more information and for tickets.

Liv Dumaine, Paul Melendy and Gabriel Graetz in Greater Boston Stage Company’s ‘Featherbaby’ Photo by Nile Scott Studios

It was easy for me to see the appeal of Featherbaby, especially since my first pet was a parakeet and we shared an unbreakable bond. While my parakeet lived for 10 years, a yellow naped Amazon parrot like Featherbaby lives 20 to 30 years in the wild and up to 80 years in Angie’s cozy apartment living off what Melendy’s Featherbaby refers to as treats or “num-nums.” It also shows a parrot can enjoy a rich and extended life with love and many adventures that may exceed the parrot’s owner given the parrot’s long life expectancy.

Set designer Katy Monthei cleverly depicts Featherbaby’s two kingdoms dividing the stage between Angie’s furnished apartment including a colorful carpet and the greenery of the Amazon Rainforest with Featherbaby’s perch center stage as a hot pink wicker throne. Puzzle pieces and images of pop culture references are subtly scattered on this richly detailed set’s surface illuminated by Matt Cost’s cheerful and multicolored neon lit imagery. Mackenzie Adamick’s pop and rock-inspired sound design lends to some of this comedy’s most hilarious moments.

Paul Melendy in Greater Boston Stage Company’s ‘Featherbaby’ by Nile Scott Studios

I did not know much about the story going into this comedy and found myself enjoying its significant twists and turns as they unfolded and I’m sure you will too. Liv Dumaine offers a certain mysterious air as Featherbaby’s puzzle-loving intellectual and somewhat flighty pet parent, Angie. Coy and curious, Angie shares some sweetly scholarly chemistry with Gabriel Graetz as level headed and inquisitive yet sensitive Mason and is a doting pet parent to Paul Melendy as vain and attention-craving Featherbaby. However, Featherbaby and Mason have a more adversarial relationship and it is quite the sight to see.

Paul Melendy in Greater Boston Stage Company’s ‘Featherbaby’ Photo by Nile Scott Studios

Symes seems to leave plenty of room for improvisation as Paul Melendy as Featherbaby impressively spreads his wings. Plumes “burst” in Melendy’s textured and shiny suit coat enhanced by a vibrant yellow silk shirt and tie and an orange feather creatively designed by Deirdre Gerrard. Melendy has a gift for facial features and exacting this bird’s mannerisms is believable and wonderfully comical. In a role that could be anticipated as over the top or grating, Melendy is intense and vocal, but also offers a nuanced performance which includes precise mannerisms of this complicated and intense parrot through exacting darting eyes, head bobbing, weaving, pacing, swaying, veiled aggression and in the gentle lean for a head rub. Seemingly part stand up, improvisation and storyteller, narrator Melendy proves engaging, charming, charismatic and endearing as Featherbaby while occasionally being more than a bit naughty sharing Featherbaby’s history, insecurities and an unexpected new journey.

Gabriel Graetz, Paul Melendy and Liv Dumaine in Greater Boston Stage Company’s ‘Featherbaby’ Photo by Nile Scott Studios

As much as this quirky comedy is funny and lighthearted, it also boasts its share of stirring moments among this trio who all share appealing chemistry. You’ll laugh and at times be unexpectedly moved. In a life divided between the feathered and the unfeathered in Featherbaby’s terms, Featherbaby delivers a few profound life lessons along the way which is quite a feat coming from a bird.

Greater Boston Stage Company continues the co-world premiere of David Templeton’s comedy, Featherbaby live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, September 28. Click here for more information and for tickets.

REVIEW: Gloucester Stage Company’s ‘Ms. Holmes and Ms. Watson – Apt 2B’ a puzzling comedy

Posted on September 27 by The Sleepless Critic

Sherlock has always had its passing comical moments.

Though considered a mystery-crime drama, Sherlock Holmes has delved into quirky territory featuring an eccentric lead in Sherlock Homes and his various idiosyncrasies. Holmes is a deductive and egocentric genius who considers emotion irrelevant and crosses paths with Dr. Watson who is reasonable, but also carries emotional weight in various situations. They are both brilliant in their own way and together, a force to be reckoned with.

Gloucester Stage Company’s production of Ms. Holmes & Ms. Watson – Apt. 2B, by playwright Kate Hamill in Gloucester, MA. The production is directed by Rebecca Bradshaw, and stars Erin O’Sullivan and Ms. Sherlock Holmes; Breezy Leigh as Dr. Joan Watson; Stephen Shore as Inspector Lestrade, Elliot Monk, and Others; and Grace Experience as Irene Adler, Mrs. Hudson, and Others. © 2025 Shawn G. Henry • 978-590-4869 GSC-250903-Holmes+Watson_351

Directed by Rebecca Bradshaw, Gloucester Stage Company continues Kate Hamill’s comedic murder mystery spoof Ms. Holmes and Ms. Watson – Apt 2b live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, September 27. This wild production features adult humor and is a lengthy two hours and 15 minutes with a 15 minute intermission. Click here for more information and for tickets.

Based on numerous stories and four novels by Sir Author Conan Doyle, the legend of Sherlock Holmes has been adapted many times which includes satire and parodies, but this classic tale tends to be at its best through its thrilling, haunting and suspenseful moments as the mystery unfolds. That is when I think Ms. Holmes and Ms. Watson – Apt 2B is also at its best.

Set in London in the spring of 2021, Stephen Shore performs multiple roles including a chilling Narrator. As Shore’s face illuminates in an eerie glow while Shore’s charismatic and elegant vocals start to reveal the tale, I was excited for what was in store. Shore is a talented and charismatic presence standing out in this production.

However, even with its scattered suspenseful moments, this production is mostly a quirky pop cultured peppered comedy where freelance detective Sherlock meets Dr. Watson in the contemporary world to solve a mystery.

Kristin Loeffler’s sliding set boasts that classic Sherlock fireplace with twin bookcases, skeleton and wooden doors illuminated by Deb Sullivan’s evocative and ghastly red lighting as well as Julian Crocamo’s ticking and classical sound design.

I appreciated the dynamic between Breezy Leigh as excitable and frank New Yorker Ms. Watson who seems firmly planted in the contemporary world while aside from new age meditation and vaping, Eryn O’Sullivan’s Sherlock seems in every other way from the past rebuffing technology and relying solely on the mind and the written word for everything. O’Sullivan brings an over the top cryptically calm detachment, frequent disdain and pretension while Dr. Watson is so excitable and squeamish, it became difficult to believe that Ms. Watson was ever a level headed doctor.

The production delivers major characters from the classic Sherlock novels featuring some enviable costume selections by Chelsea Kerl, especially displayed in Grace Experience’s red velvet suit and fabulous bejeweled shoes. Portraying multiple roles, Grace Experience zings from a peculiar cockney-accented housekeeper to a bold and clever seductress while having a great time in each swift transformation.

However, I still longed for more thrills and less clutter. Ms. Holmes and Ms. Watson Apt. 2b feature a murder mystery, but comedy is king in this production and among so many comedic distractions, it became difficult to get invested in the mystery. While it has some self aware humor and creative silliness in a certain train scene, it seems to meander too often without striking a real balance between humor and suspense. As a fan of Kate Hamill’s great work most recently in The Odyssey and Austen’s Emma, I was just longing for something more.

Gloucester Stage Company continues Kate Hamill’s comedic murder mystery Ms. Holmes and Ms. Watson – Apt 2b live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, September 27. Click here for more information and for tickets.

REVIEW: An exhilarating journey awaits as American Repertory Theater presents ‘The 7 Fingers: Passengers’

Posted on September 14 by The Sleepless Critic

Some moments will bring joy to your heart and others will launch your heart in your throat. Prepare to be amazed by the 7 Fingers.

The Montreal-based 7 Fingers contemporary circus troupe was founded in 2002, but this is the first time I witnessed their distinctive artistry as they trace a cohesive connection about travel to life and time within the perpetual motion of a train. We are all passengers on this transformative journey as tales, rhythms, and creativity unites onstage.

Members of the Passengers company in performance. Credit: Grace Gershenfeld

Eloquently written, directed and choreographed by Shana Carroll, American Repertory Theater (A.R.T.) continues The 7 Fingers: Passengers live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Friday, September 26. This thrilling production runs 90 minutes with no intermission. Click here for more information and for tickets.

Amanda Orozco, of the Passengers company, in performance. Credit: Grace Gershenfeld.

Whether it’s to escape, to return home, to make a new start or to navigate back to a familiar place, everyone travels with hope and expectation for what the future holds. However, this production is about the motivation and journey and not necessarily the destination. Through leaps, bounds, acrobatics, and always with creative and audacious flair, the 7 Fingers depict a group of agile and graceful travelers that maneuver to compelling original music from piano-infused lullabies to soulful beats to guitar-infused tango and echoing fiddle folk rhythms memorably composed by Colin Gagné with lyrics by Shana Carroll. Far from a silent performance, Passengers unveils this insightful journey in poetry, song and the spoken word through storytelling while sharing reflections, dreams, and aspirations as Johnny Ranger’s dynamic projection, Colin Gagné with Jérôme Guilleaume’s absorbing sound design and Éric Champoux’s vivid lighting are as animated and lively as the performers onstage.

Suitcases, textured chairs, gliding luggage carts and a split flap departure board are just a portion of Ana Cappelluto’s rolling scenic design enhanced by Johnny Ranger’s surreal projections ranging from lush watercolor illustrations to layered cinematic landscapes that enhance the production’s consistent motion while allowing the dazzling feats to take center stage.

Composed of Victor Crépin, Eduardo De Azevedo Grillo, Isabella Diaz, Marie-Christine Fournier, Téo Le Baut, Amanda Orozeco, Michael Patterson, Basile Pucek, Santiago Rivera and Méliejade Tremblay-Bouchard, the 7 Fingers show off their various talents with agility, power and ease demonstrating feats that range from playful, elegant, and mischievous to daring, intense and suspenseful. In Camille Thibault-Bédard’s loose, freeing and flowing casual and classic outdoor apparel, they also bring to light the amount of sheer trust, connection, and chemistry involved in every carry, leap, toss, and intimate climb with no net between the members of this international circus troupe. The athletic beauty, the durability, grace and precision in each movement and stroke is spellbinding whether dangling in mid-air in aerial silk, flying across the stage or grounded within a comedic piece. While I preferred the more daring stunts, each piece brought a dynamic range of emotions within its gripping 90 minutes including heartbreak, longing, loss and liberating joy. Within all its thrilling components, playfulness and wonder, the 7 Fingers also offers resonating depth and thought- provoking nuances about life and the magnitude of time in each inquisitive lyric, comic scenario, and precise step.

Grab a ticket to this amusing and exhilarating journey you won’t soon forget.

Passengers Production Photo Members of the cast of Passengers in performance. Photo: Lucille Audoineau-Maire

American Repertory Theater (A.R.T.) continues The 7 Fingers: Passengers live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Friday, September 26. Click here for more information and for tickets.

REVIEW: Emerald City Theatrical highlights blond ambition in frothy, feel good and inspiring ‘Legally Blonde: The Musical’

Posted on September 4 by The Sleepless Critic

Harvard doesn’t know what it’s in for in Legally Blonde the Musical.

Blending Allana Turcotte’s upbeat direction and energetic and athletic choreography with Richard Marchetti’s lively music direction, Emerald City Theatrical presented Legally Blonde the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts. This exuberant musical was greeted by an enthusiastic audience and ran two hours and twenty minutes with one intermission. Parking was a little tricky, so allow some extra time when attending this theatre. Click here for more information and here to see what Emerald City Theatrical is working on this season.

Michelle Moran and her sorority sister in Emerald City Theatrical’s ‘Legally Blonde the Musical’ Photo by Jesse Barnett

Elle Woods, a high school sorority student, thinks her future is set until she realizes things are not quite what they seem. In order to win back her ex-boyfriend, Elle is determined to attend Harvard Law School.

This is the fundamental premise of the 2001 movie, Legally Blonde, which is on the verge of celebrating its 25^th anniversary of the film’s release. Starring Reese Witherspoon, this box office success inspired a sequel, award-winning Legally Blonde: the Musical and a prequel series currently in the works. Although Reese Witherspoon portrays inspirational Elle Woods with humor and heart, this romantic comedy has its share of superficial, silly and over the top moments which can be a lighthearted distraction from the film’s themes.

However, with book by Heather Hach, music and lyrics by Laurence O’Keefe and Nell Benjamin, Legally Blonde: the Musical’s cast recording hatches out some of cast’s psyche and motivations while still maintaining its frothy and comic charm. While everything seems to be made into a musical these days, Emerald City Theatrical presents Legally Blonde: the Musical as a well paced production which expands and elaborates on the film’s themes while further resonating its inherent message.

Nathan Corbett and Michelle Moran in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Musical numbers such as Serious and Chip on My Shoulder offer greater insight and further dimension into Michelle Moran as Elle Woods that is only touched upon in the film. For example, in a beautiful and humorous duet called Serious between Elle and Nathan Corbett as Warner, both share they want different things. Corbett manages to make Warner at first sympathetic and well intentioned under his parents’ unrelenting pressure which offers this character a bit more perspective and both have compelling comic timing. Moran also shares some endearing scenes with Max Connor as handsome, earnest and hardworking Emmett and their duet Chip on My Shoulder is one of the musical’s greatest highlights.

Michelle Moran and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Michelle Moran portrays Elle as more introspective than excitable while delivering her share of sparkling wit. With strong vocals and distinctive laugh, Moran navigates her change of scenery from California to Harvard with a flourish even under the pressure to fit in.

Michelle Moran, Olivia Lancellotta and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

From cheerful ensembles to colorful school uniforms to classic three piece suits, Emerald City Theatrical, known for its extraordinary costumes, navigates from dazzling to stately in bright and bold colors before later presenting a classic and darker color scheme in browns and grays. The rolling set features multicolored floral arrangements, a layered pink backdrop with gold accents, white pillars and crown molding that even highlight sparkles in the tablecloth to contrast Harvard’s confined monochrome dark wood paneling and red brick accents.

Grace Graham as Paulette in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Delores Salamurovic as Serena, Abby Turchon as Margot and Carina Lopes as Pilar make a squealing yet contemplative Greek chorus as Elle ventures into Harvard’s new and challenging territory with the bright and optimistic number, Positive. Acting as a cheering squad for Elle while offering a mix of wise and misguided advice, this wild and humorous trio lightens some of the show’s more serious moments.

While Norwell-born Jennifer Coolidge personified the character of Paulette, Grace Graham wisely does not imitate Coolidge while making outspoken and candid hairdresser Paulette her own in unique Emerald City ensembles that stand out in ripped jeans, denim boots and mismatched flair. With some sharp physical comic timing, a light city accent and a vocal growl, Graham makes quite an impression whether in Ireland’s Celtic swagger or in the flirtatious Bend and Snap alongside Moran.

Grace Graham, Michelle Moran, Olivia Lancellotta, Abbie Burchard and cast in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett

Jim Braunstein boasts gravitas and commanding vocals as Professor Callahan and clearly relishes the role. In a beige and brown suit, his wry and egoistical demeanor is immediately evident in a commanding Blood in the Water. Olivia Lancellotta also depicts cold disdain well as Vivienne and it is fascinating to watch her interact with Moran’s dreamy and optimistic Elle.

Emerald City Theatrical Jim Braunstein Michelle Moran and cast in class in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett

From the giddy Omigod You Guys to uplifting So Much Better to Find My Way, Legally Blonde: the Musical is a show not to be taken too seriously until it gradually starts to take itself seriously. Some of the giddiness can be a lot and a few of the characters never go beyond the surface, but there is an inspirational sincerity underneath that could encourage anyone to reach for the stars.

Emerald City Theatrical presented Legally Blonde: the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts. Click here for more information and here to see what Emerald City Theatrical is working on this season.

REVIEW: North Shore Music Theatre’s ‘Grease’ hits a solid groove and then some

Posted on August 22 by The Sleepless Critic

As North Shore Music Theatre’s The Wizard of Oz took audiences inside a powerful tornado, this Grease takes place inside a multicolored lit jukebox.

Ambitiously directed with smooth choreography by Kevin P. Hill and lively music direction by Milton Granger, North Shore Music Theatre continues its 70^th season with the hit musical, Grease live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 24. This upbeat musical has some adult language and runs approximately two hours with one intermission. Click here for more information and for tickets.

Hank Santos (Kenickie) with Jeremiah Garcia (Roger), Nick Cortazzo (Danny Zuko), and Jayson Brown (Doody) in “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

Director Kevin P. Hill creates a few cleverly presented magic changes in perspective that brings major themes of this musical heightened meaning. Don’t expect to see a retread of the hit 1978 film or the stage musical, but a balance of both while staying true to the show’s themes with a few surprises along the way. Themes like bullying, adolescence, peer pressure and fitting in take center stage and are as relevant as any of the musical’s love stories.

Caroline Siegrist (Sandy Dumbrowski) and Nick Cortazzo (Danny Zuko) in “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

From oversized vinyl records to famous 50s dance moves including the hand jive to classic cartoons to a cherry red convertible to an epic floor featuring a gleaming tapestry of images including Marlboro cigarettes, lipstick, and vintage roadsters, Grease offers plenty of warm 50s nostalgia using Alex Berg’s polished sound design with scenic and lighting designer Jack Mehler. A peek into Mehler’s illumination includes a starlit floor and sparkling vinyl records. Costume coordinator Rebecca Glick also helms a trip down memory lane in the T-Birds and Pink Ladies jackets right out of the film, pastel gingham skirts and frilly crinoline gowns, silks, and colorful vintage Rydell High school uniforms.

The cast of “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

Taking place in the late 50s and featuring an array of hit songs including Summer Nights, Greased Lightnin, Look at Me, I’m Sandra Dee, and We Go Together, Grease focuses on Caroline Siegrist as new Rydell High School student Sandy. Little does Sandy know that Nick Cortazzo as ladies man Danny in which they shared a fleeting summer romance, also attends the same school.

This well cast musical resembles their classic 1978 film counterparts and features songs that do not appear in the film in its entirety. Taking a cue from Stockard Channing in a short pixie cut and deep clipped vocals, Bailey Reese Greemon shares that frank, intimidating and guarded indifference as Betty Rizzo. The bullying seems more extreme and the T-Birds are depicted as macho juvenile delinquents albeit with plenty of comic relief touched upon in Hank Santos as Kenickie’s slick number, Greased Lightnin. Caroline Siegrist is a sweet Sandy with silvery soprano vocals that give off Olivia Newton-John vibes while Nick Cortazzo portrays Danny as a ladies’ man with comic zing. Hopelessly Devoted to You, a song written by the late great Olivia Newton-John for the Grease film, is perfection within Siegrist’s longing vocals.

Caroline Siegrist as Sandy Dumbrowski in “Grease” at North Shore Music Theatre thru August 24, 2025, 2025. Photo©Paul Lyden

Brittany Zeinstra steps more into the spotlight as Marty, a glamorous and flirty romantic and resourceful pen pal. Her path to romance is examined in her coy number, Freddy My Love and Jeremiah Garcia as Roger and Sunayna Smith as Jan share a goofy yet humorous duet in Mooning boasting compelling harmony.

In a vision of silver and white, Beauty School Drop Out, featuring dynamite vocals by Avionce Hoyles as Teen Angel, is lighthearted, comical and one of the best numbers of the production. However, Kathy St. George is a scene stealer as English teacher Miss Lynch. A skilled and avid dancer, expect the unexpected from spitfire Kathy St. George who is delightful, especially during the number, Born to Hand Jive.

Avionce Hoyles (Teen Angel) with Lily Kaufmann (Frenchy) and the cast of “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

North Shore Music Theatre’s Grease remains slick and cool while still offering something new to this classic hit musical. North Shore Music Theatre continues its 70^th season with the hit musical, Grease live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 24. Click here for more information and for tickets.