‘Tall and straight my mother taught me. This is how we dance.’
Flourishing Celtic landscapes, glimmering international city sidewalks, star studded cosmic atmospheres, and mystical seaside sunsets as well as a journey frolicking through roaring fire, threatening lightening, and changing seasons are just a few of the spectacular settings that unfold through driving rhythms while integrating other forms of captivating dance along the way. Accompanied by a partial onstage orchestra, Riverdance is as innovate and imaginative as ever marking three decades of sparkling toe tapping zeal and ethereal vocals with memorably dramatic flair.
The cast of Riverdance
Audaciously directed by John McColgan and composed by Bill Whelan, Riverdance 30th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country. The show is approximately two hours including one intermission. Click here for more information and for tickets.
Riverdance, Fergus Fitzpatrick
Whether battling the elements or showing off their skillful steps, Fergus Kirkpatrick and Olivia Nachtigal are among the leads in this enthusiastic and daring dance troupe as drummer Mark Alfred, fiddler Haley Richardson, saxophonist Emma McPhilemy, and Cathal Croke on Uilleann Pipes with Michael O’Gorman’s immersive sound design combine to deliver a mix of modern and traditional Irish works through Ireland and beyond.
Riverdance, Dervish
Whether performing solo or playfully challenging other band members and the dancers, these harmonious instrumentalists set the varying tone from serene ballads to rhythmic beats. Richly narrated with Celtic history and poetry as angelic vocals lift, Riverdance has a unique way of building excitement through razor sharp Ceili formations and urgent melodies. Adorned regally in silvery tiaras, detailed velvet flowing dresses, tailored shirts vests and tights by Joan Bergin, the dancers exude confidence exacted in heads held high and the militant precision of their movements gathering in rows, circles and two hand reels.
Riverdance Countess Cathleen with lead dancer Maggie Darlington
In Firedance, Rosio Dusmet commands the stage swirling in a shimmering red gown as fire surrounds her and the flames progressively turn blue to a driving beat. Adventurous, freeing and empowering, Dusmet’s amazing performance is equal parts grace, athleticism, and charisma flowing through the scene.
Alan Farquharson’s fantastical and compelling set design with innovative motion graphics by Cosmo AV and Andrew Voller’s stellar lighting in scrupulous perfection enhance tappers Darmesh Patel and Kenji Igus who perform to rollicking rhythms in street clothes with Fergus Kirkpatrick showing off their skills under the bright city lights. In Trading Taps, they all demonstrate fantastic footwork with charm and exuberance to rousing applause and stands as a particular highlight of this production.
Riverdance, Amy Mae Dolan and Will Bryant
Through a variety of dynamic rhythms, Riverdance’s 30th Anniversary: The New Generation is a whimsical, thrilling and visually splendid journey steeped in Celtic charm while integrating other forms of dance that keeps it refreshing and imaginative. Having seen it for the first time and watching it with someone who has witnessed it since Riverdance began, it remains a joyous and impressive experience for the whole family.
The cast of Riverdance
Riverdance 30th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country. The show is approximately two hours including one intermission. Click here for more information and for tickets.
Tensions run high when three tightly bonded but very different sisters join together to care for their ailing parents. However, one sister’s harrowing secret will change everything.
With stirring direction by David Mendizábal, The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27. This bilingual production contains strong language, adult content and runs 1 hour and 45 minutes with no intermission. Though the production is mostly delivered in English, you may enjoy it more thoroughly if you are familiar with Spanish. Click here for more information and for tickets.
Left to right: Evelyn Howe, Jessica Pimentel, Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin
Set in Puerto Rico in 2019, Tanya Orellana’s impressive scenic design unveils a seemingly functional house complete with a laundry room, yard, and a towering mango tree hovering over a portion of the house. An eclectic mix of dishes and items scattered in the kitchen and stacked on built in shelves create a natural, lived in atmosphere with a dated fridge and latticed wooden embellishments. This is just a portion of this extraordinary cement house that details subtle signs of mold and wear and tear on the family home. The house rotates from scene to scene unveiling the action in each room.
Left to right: Jessica Pimentel, Susanna Guzmán in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin
Jake Rodriguez creates an effective and occasionally immersive sound design most notably when a storm knocks the power out. The flash and crash blended with Cha See’s flickering bulbs, illuminating candles and startling lightning makes for a wild event. Alexandra Buschman-Román and Jason Stamberger’s mystical original music amplifies the production’s mercurial changes in mood from foreboding and suspenseful to catchy and lighthearted with music compositions infusing dance genres such as bomba and flamenco.
Left to right: Jessica Pimentel in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin
Jessica Pimentel as organized loan officer Ismelda, Yesenia Iglesias as married and family oriented middle sister Yinoelle, and Evelyn Howe as activist professor Wicha know their roles when it comes to their parents. While Ismelda lives with her parents, Yinoelle and Wisha assist where they can when they come to visit. Zoë Sundra costumes reflects each character’s individuality through sharp and stylish costumes in vibrant patterns and tropical designs from sharp pant suits to colorful crocs to denim and athleisure.
Left to right: Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin
Not only does this trio share their joys, sorrows, and annoyances, but their snappy sibling rapport occasionally inspires harsh comments and resentment that cut deep and to the quick. It is as if they are so tightly bonded that they can’t help but occasionally step over the line. José Ramón Rosario portrays their ailing and temperamental father Papi who had a stroke and is bedridden dealing with other medical issues. With startling outbursts, Rosario exudes an implied dominance as Papi and even as he sits in his wheelchair, he commands immediate attention ringing a bell for any and all of his needs. Susanna Guzman depicts instantly likeable, headstrong and realist Mami who has been battling cancer. Ismelda is evidently overwhelmed, overwrought but dedicated tending to their parents and while her two siblings are helpful, Papi prefers Ismelda to handle things. With slumped shoulders and tightly wound tendencies, Pimentel exemplifies Ismelda’s anxiety, the weight of her worries and the pressure to do right by her family.
Left to right: Jessica Pimentel, Susanna Guzmán in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin
Don’t Eat the Mangos delves into many dark places including abuse, trauma, PTSD, and fanaticism. It approaches tough subjects with dark humor that can provide relief and some of it is just heartbreaking. It also offers some very funny and relatable family humor exploring cultural traditions, complications and challenges growing up in this Puerto Rican family. It has many tense moments, but its heartwarming connection between the sisters is among the production’s brightest spots. This is especially evident in a moment when the three sisters are trying to piece together a song from their childhood. The scene is brought together in a beautifully organic way and reflects the true nature of the lifelong bond between these siblings.
Left to right: Evelyn Howe, Jessica Pimentel, Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin
The production also delivers more than a few stunning revelations. Susanna Guzman as Mami and José Ramón Rosario as Papi also hold their own in an escalating, powerful and alarming scene. Guzman’s Mami may be ailing, but she is a force to be reckoned with.
The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27. Click here for more information and for tickets.
It is on a Sunday that Jade A. Guerra as Iniabasi arrives to New York from Nigeria to reunite with family she has not seen in many years. However with a misunderstanding from the start, reconnecting will prove to more of a challenge than anyone could have imagined.
Profoundly directed by Tasia A. Jones, Central Square Theater with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia‘s Her Portmanteau, the fourth production in the Ufot’s nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Central Square Theater in Cambridge, Massachusetts through Saturday, April 20. This intense bilingual production in English and Ibibio runs 90 minutes with no intermission. It is fascinating to see how these families progress over these nine plays, but you can witness and enjoy one without having seen the others. Click here for more information and for tickets.
Victoria Kanyike and Jade A. Guerra in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography
Scenic designer Shelley Barish emphasizes family with an Ufot personal touch displaying framed family photos and gold embellishments around Adiaha’s New York City apartment in January 2014. Having seen Ufot’s second production The Grove, it was wonderful to see the progression in the Ufot Family from the earlier production in 2009 evident in the set such as Kimberley’s portraits lying by the door. This stylish apartment is enlivened with splashes of vibrant color in the kitchen and living room as well as gold ropes surrounding it as if symbolically anchoring it in place. Arshan Gailus’s urgent and at times roaring scenic design emphasizes the family’s building tension, making their surroundings occasionally overwhelming. However, the family silences are more deafening that any outside activity. Enclosed in this city apartment, the past is bound to come out.
Jade A Guerra and Patrice Jean-Baptiste in Central Square and Front Porch Arts ‘s Collective ‘Her Portmanteau’ Photo by Maggie Hall Photography
Her Portmanteau continues to build Udofia’s rich characters in each piece and from the moment Jade A. Guerra as serious and direct Iniabasi appears, though she is in the same room as her mother and half sister, they seem continents away. At first, you wonder if this is due to a language barrier or something more. Iniabasi is as short, awkward and defensive as Lorraine Victoria Kanyike as Adiaha is thoughtful, chatty and earnest in making Iniabasi comfortable. Kanyike and Guerra share some notably humorous moments as they struggle to understand each other sharing quips and slights comparing their contrasting upbringing. With an occasional nervous chuckle, Kanyike’s Adiaha exhibits anxious and yet it is interesting to witness charisma and confidence in Adiaha who has clearly come into her own while Patrice Jean-Baptiste depicts Abasiama, their loving yet complicated mother.
Victoria Kanyike and Patrice Jean-Baptiste in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography
Family tension and strain is palpable right from the start and it is intriguing to watch this impressive cast try to break it in a mix of humorous, intense, and painfully relatable moments. Jean-Baptiste exhibits a carefully executed mix of excitement, curiosity and apprehension as she searches for avenues of reconnection while still dealing with her own struggles and trauma with quiet and harrowing strength. Patricia Jean-Baptiste and Guerra share stirringly complex scenes in their strained conversations and Udofia’s moving dialogue. Rooted in love, anger, brokenness and resentment, they misunderstand each other in vast and impactful ways searching to a sense of belonging speaking from different worlds and yearning for middle ground.
Patrice Jean-Baptiste and Lorraine Victoria Kanyike in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography
Her Portmanteau is a remarkably moving chapter about family. It contains struggles and conflict as well as surprising and heartwarming discoveries that were simply wonderful to watch unfold.
Central Square Theatre with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia ‘s Her Portmanteau live and in person at Central Square Theatre in Cambridge, Massachusetts through Saturday, April 20. Click here for more information and for tickets.
Anne Bogart establishes an immensely creative way to establish this carousel, but this one is enclosed behind a steel cage.
Under Anne Bogart’s symbolic direction, Shura Baryshnikov’s blend of sweeping and playful ballet-inspired choreography and beautifully conducted by David Angus, Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts. The action is not limited to the stage and runs 2 hours and 50 minutes with one intermission. Click here for more information and for tickets. It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.
Edward Nelson as Billy and Brandie Sutton as Julie in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
Based on the 1909 Hungarian play Liliom, Rodgers and Hammerstein’s Carousel has stood the test of time as a classic musical with themes that have resonated with audiences and adapted in a number of ways over its 80 year history. It debuted right here on Boston’s Colonial Theatre stage for its pre-Broadway run on March 27, 1945 and Gordon MacRae and Shirley Jones starred in its 1956 critically-acclaimed film adaptation. It has also been revived onstage a number of times over the years, but its most acclaimed stage revival occurred in 1994. This dark and provocative depiction won multiple Tony Awards including Best Revival of a Musical, Best Choreography, Best Scenic Design, Best Musical Direction and a Best Actress win for Audra McDonald as Carrie Pepperidge.
However, I am most fond of it because I was part of a traditional college production as Mrs. Mullin. Dressed in a thick fur coat, leather maroon skirt and fishnet stockings, Boston Lyric Opera’s Sarah Heltzel holds her own as widow and carousel owner Mrs. Mullin. Streetwise, lovelorn and more than a little manipulative, Heltzel puts up a tough front that can barely conceal her true feelings for Edward Nelson as complicated and charismatic carousel barker Billy Bigelow.
Set in coastal Maine, Carousel tackles what has been considered controversial themes when it was released in 1945. Its portrayal of domestic violence, generational trauma and family pressures are some of the darker issues of this musical, but strength, faith, support and community stand just as tall in this production.
Olivia Moon dances at a celebration in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
Earon Chew Nealey and Haydee Zelideth collaborate to showcase wildly modern and vibrant wigs and shimmering costumes which include carousel workers dressed from a glimmering butterfly to elaborate horses. The script features a few subtle changes, but mostly sticks to the essence of the traditional production 80 years ago. Minor changes can make a big difference such as Jamie Barton’s rendition of When You Walk through a Storm instead of ‘hold your head up high,’ as Nettie’s building vocals advises ‘Keep your head up high.’ However, terms such as ‘scallywag,’ ‘riff raff,’ ‘pollywog’ and ideas such as mill workers having to be back for curfew in a boarding house sounds somewhat awkward within the contemporary glow of the production.
Carrie (Anya Matanovič) and Julie (Brandie Sutton) share a moment in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
Sara Brown’s mostly barebones set features a multipurpose wooden platform, winding staircase and a rustic wooden set with beach grass, a plant is fittingly and symbolically capable of weathering any storms or conditions. Brian H Scott’s multicolor lighting embellish these exuberant costumes, the rippling coastline, and its intense moments punctuated by an animated lit halo illuminated above the cast serving various purposes throughout the production.
Anya Matanovič as Carrie and Omar Najmi as Enoch in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
The orchestra swells and the cast delivers soaring harmonies and rich and flawless vocals. In denim cut off shorts, sparkling stockings and boots, soprano Brandie Sutton depicts mysterious Julie Jordan and in pink hair and an exuberant fuchsia tutu, soprano Anya Matanovic bursts with joy as Carrie Pepperidge. Cool and collected Julie with dreamy and transparent Carrie is the envy of all friendships. These are two strongly bonded women and their compelling and excitable camaraderie unfailingly lift each other up, look out for and support each other in every victory and heartache.
Edward Nelson as Billy Bigelow charms the crowd in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
In a black beard and orange suspenders, tenor Omar Najmi portrays staunchly traditional, practical yet big dreamer Enoch Snow. If you think Carrie has dreams, Enoch’s are bigger. Enoch is confident of his strengths and Matanovic’s Carrie clearly adores him. They embark on some sweet moments and humorously curious misunderstandings.
Boston Lyric Opera’s 80th anniversary production of CAROUSEL. Photo by Nile Scott Studios
In a white cowboy hat, black leather vest, tattered black jeans and multicolor hooded sweatshirt, baritone Edward Nelson strikes a chord in a powerful performance as prideful, defensive and contemplative Billy Bigelow. Nelson not only masters the inflection and intensity of the character especially in a humorous and stirring transformation for Soliloquy, but also captures Billy’s conflicted and anxious demeanor. Nelson shares some of that conflict with mysterious Sutton in a touching rendition of If I Loved You which isn’t love at first sight, but gently unfolds through song as the ensemble looks on. They are a consistent presence as stage hands making blossoms fall, workers and community members who are never far away.
Abigail Marie Curran (as Louise) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
In a flowing black skirt and tied blouse, Abigail Marie Curran as misguided Louise is luminous expressing liveliness, longing, and loneliness in each delicate, athletic and dynamic step. In fatigues and work boots, baritone Markel Reed delivers some comical moments in slick and tricky Jigger who does little to conceal his shady motivations, especially during Blow High, Blow Low.
Markel Reed (as Jigger Craigin) and Edward Nelson (as Billy Bigelow) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
In a billowing polka dot skirt and vibrant purple hair, mezzo soprano Jaime Barton is inviting as nurturing, wise and discerning Nettie. Barton is as playful in June is Busting out All Over and This was a real Nice Clambake as Rodgers and Hammerstein’s appetizing lyrics burst forth in succulent glory. When You Walk through a Storm is a masterpiece and Barton delivers it tenderly.
Nettie (Jamie Barton) and the townspeople post-clambake in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
It was a remarkable experience to revisit this beloved musical and Bogart’s latest vision does little to affect the show’s inherent story or the timeless message of hope and resilience in the darkest of times.
Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts. Click here for more information and for tickets. It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.
It’s a shock that will take you out of your world.
Then reality sets in.
With stirring direction by Taibi Magar and musically directed by Alex Bechtel, American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Communal, meaningful and creative, this interactive theater in the round experience runs approximately one hour and 40 minutes with no intermission. It contains strong language and adult themes. Click here for more information and for tickets.
It explores the news everyone dreads. Finding out you are sick.
Witnessing its 41st performance, this intimate cast depicts a number of characters in different scenarios while occasionally engaging the audience in a casual atmosphere. It time jumps from the 12th century to the present day while addressing the calendar date the performance takes place and is dedicated to the sick, healthcare workers and caregivers by blending themes about relationships, sickness, mortality, and grief through acting, song and sing-along utilizing improvisation along the way.
Robi Hager in A.R.T.’s world-premiere production of Night Side Songs.
Credit: Nile Scott Studios.
Night Side Songs immerses itself into uncomfortable and harrowing territory with patches of hope and beauty that will either be fascinating and draw you in and never let go or hope it’s all over soon. It may not be for everyone, especially if you are squeamish about certain aspects of illness but have no choice but to get through it. Much like being sick can be.
Mary Testa in A.R.T.’s world-premiere production of Night Side Songs.
Produced in Credit: Nile Scott Studios
This warm and dedicated group showcases a number of scenarios, but the main storyline centers around Yasmine who discovers she has cancer at 41 years old in Worcester, Massachusetts. Brooke Ishibashi delivers a raw and heartrending performance as Yasmine who must navigate her life in an entirely different way in an attempt to get well while facing obstacles in her path. Mary Testa offers wit and self deprecating humor as Yasmine’s well meaning but overbearing and anxious mother Desiree who assures Yasmine that they come from a family of miracles. Isibashi shares some endearing moments with Jonathan Raviv as warm and nurturing Frank.
Brooke Ishibashi and Jonathan Raviv embrace in A.R.T.’s world-premiere
production of Night Side Songs. Credit: Nile Scott Studios.
Each performer delivers affecting and inviting vocals and their solo performances are the most memorable. The onstage musicians also interact with the performers and audience and the songs by The Lazours are an eclectic variety ranging from catchy to cathartic to ballads. Some of the highlights in the therapeutic sing-along include Let’s Go Walking, Into the Sky and the poignant Will You Let me Know.
Jordan Dobson in A.R.T.’s world-premiere production of Night Side Songs.
Credit: Nile Scott Studios.
Night Side Songs approaches this handful of tales with dark humor, absurdity, science and realism peppered with relatable scenarios. It can be uneven in tone at times. How can anyone not relate to overwhelming and unexpected medical bills and drug side effects, but a song showcasing how people inaccurately make assumptions how someone gets sick in The Reason comes off more condescending than sincere and funny. Illness is filled with fear and uncertainly. People just don’t know what to say.
Jonathan Raviv in A.R.T.’s world-premiere production of Night Side Songs.
Credit: Nile Scott Studios.
Part unconventional love story and part tragedy, Night Side Songs expresses appreciation for the little things in life and relies more on camaraderie and community than faith and optimism while traveling to some grim places. It is informative offering coping methods with the unexpected and it is important to have a show like this to bring support and solidarity in times like these, but however I was moved, I was still left uncomfortable.
American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Click here for more information and for tickets.
Singin’ in the Rain’sDonald O’Connor as Cosmo uttered this classic line from the beloved 1952 film which has been inspiring theatres for generations. Greater Boston Stage Company’s The Play that Goes Wrong shows that rain and sleet are just a tip of the iceberg in a laundry list of all that can go wrong and you’ll be sure to delight in witnessing many of them here.
No matter what, the show must go on.
Buckle up for a bumpy ride courtesy of the Cornley Polytechnic Drama Society as they deliver an unconventional whodunit production that has Paul Melendy as an inspector engraving crime scene notes into a flower pot not to mention a dog missing somewhere on the premises! If this all seems preposterous, that is just a glimpse into the inspired laughs at Haversham Manor in The Play That Goes Wrong.
The cast of Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography
Methodically directed by Tyler Rosati, Greater Boston Stage Company continues The Play That Goes Wrong by Henry Lewis, Jonathan Sayer, and Henry Shields continuing at Greater Boston Stage Company in Stoneham, Massachusetts through Saturday, April 19. This semi-interactive production is not limited to the stage and runs approximately two hours with one intermission. Click here for more information and tickets.
The Play That Goes Wrong is a British farce that first hit the London Stage in 2012 before it went on to make its way around the globe. This award-winning whodunit play-within-a-play became so popular that it bore BBC’s The Goes Wrong Show lasting two seasons including holiday specials.
Liam Grimaldi and Paul Melendy in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography
After some interactive, pre-show comedic antics by Ceit Zweil as resolute stagehand Annie, Paul Melendy as Cornley’s warm yet befuddled director Chris sets the stage for what this enthusiastic and determined acting troupe has in store for its audience. What makes The Play That Goes Wrong particularly entertaining is just how well timed the cast must collaboratively be in order to make this type of auspicious theater.
Ceit Zweil and Sarah Morin in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography
From an unpredictable corpse portrayed stealthily by Stewart Evan Smith to the various degrees of hysterics demonstrated by Sarah Gazdowicz and Ceit Zweli as well as various cast members’ feigned composure under fire, The Play That Goes Wrong runs the gamut from missed cues to an utterly sinking ship. Zweli as stagehand Annie and Jeff Mahoney as baffled yet undeterred Duran Duran fan sound man Trevor are wonderful as they take the heat at times for guffaws from subtle to catastrophic in a perplexed malaise.
Mark Linehan, Ceit Zweil and Paul Melendy in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography
With a sophisticated air adorned in an elegant and cascading dress, Gazdowicz as Sandra flails and flaunts with poise and urgency determined to portray Florence. She shares some frivolous moments with Liam Grimaldi who is occasionally overexaggerated as bad actor Max. Sarah Morin as Denise demonstrates propriety and shrewdness in her deadpan delivery of occasionally tongue tied Butler Perkins while Mark Linehan delivers wit and gravitas as Robert who contributes to the clever sight gags and a wealth of hilarious improvising.
Liam Grimaldi and Paul Melendy in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography
Costume designer E. Rosser captures the madcap essence of the British, upper crust atmosphere from various patterns and mismatched plaids to dapper three piece suits including a signature Inspector trench coat while Peter Colao and Danielle Ibrahim’s innovative and extraordinary set design brings in as many laughs as the cast’s humorous antics. Accompanied by James Cannon’s cryptic and humorously misguided sound design and Katie Whittemore’s standout and suspenseful lighting, Haversham Manor’s elegant bookcase, classic wooden grandfather clock, brick fireplace, a functioning elevator, velvet sofa and second floor study all seem to have a life of their own in this delightful show.
Ceit Zweil, Sarah Gazdowicz, Paul Melendy and Mark Linehan in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography
Though a few of the running gags can go on a bit too long, The Play that Goes Wrong is a fun way to let loose and enjoy a lighthearted production where flustered cheeks become the norm and to find out just how far this entertaining group will go to for an uproarious good time.
Paul Melendy and Mark Linehan in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography
Greater Boston Stage Company presents The Play That Goes Wrong by Henry Lewis, Jonathan Sayer, and Henry Shields continuing through April 19 at Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information and tickets.
Witness impassioned lovers and the loved overwhelmed.
Directed shrewdly by Loretta Greco, this is the language of love in Pierre Carlet de Chamblain de Marivaux’s French romantic farce, The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This whimsical tale runs two hours and 15 minutes with one intermission and Joanna Strapp stepped in for Marianna Bassham as Léonide for this performance. This production is also available to stream. Click here for more information and for tickets.
The cast of The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
The Triumph of Love waxes poetic about love and then some in this elaborate love story that contains as many declarations of love as lighthearted comedy. Though The Triumph of Love was written in 1732, it contains insightful ideas, humor, and a classic storyline that connected with its era just as effectively as it does a contemporary audience in delightful ways.
If love is a battlefield, Alison Altman as confident, passionate, and outspoken Léonide is a commander. In a layered and juicy love story, Princess Léonide pursues naïve and sheltered Agis, portrayed nobly by Robert Kellogg, who is sequestered in Hermocrate’s country retreat. However, in order to get close enough to Agis, Altman and Avanthika Srinivansan as her humorous maid Corine must disguise themselves as men and execute a delicate, devious, absurd and yet brilliant scheme to win her true love by using all the wiles she knows how.
Left to right: Allison Altman, Rob B. Kellogg in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
Junghyun Georgia Lee’s serene scenic design boasts a lovely garden landscape embellished with lemon trees, florals, vine covered walls, and a stone bench while Fan Zhang intertwines classical and contemporary French flair to Zhang’s original music and sound design. The painted skyline fades from turquoise to pastels to aquamarine through Christopher Akerlind’s romantic lighting expressing the progression of the day. Lee also demonstrates 18th century French fashion beautifully in elegant silk gowns with petticoats, fingerless gloves, colorful cravats, refined vests and boots as well as finely detailed frock coats with gold embellishments and multicolor garments.
Left to right: Marianna Bassham, Allison Altman, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
Led by Alison Altman as Princess Léonide whose complex character is somewhat of an antihero, The Triumph of Love champions a remarkable cast and Marivaux’s script offers each character an opportunity to shine during the production. Occasionally addressing the audience, Altman’s relentlessly determined Léonide has some earmarks of both hero and villain. She is conscious of her power to influence and manipulate while pulling the strings of each character for love’s sake. Resisting her charms is near impossible and Altman masters this multidimensional character with finesse though you may be occasionally torn about her decisions.
Left to right: Marianna Bassham, Nael Nacer in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
Altman’s Léonideshares enchanting chemistry with nearly everyone, but her brief encounters with Kellogg as Agis are sweet and splendid. They are adorable together and it’s easy to root for this pair. The plot thickens pretty quickly and most of this lighthearted farce is not meant to be taken seriously.
Strapp as Léontine and Nael Nacer as Hermocrate portray virtuous and staunchly reasonable siblings who have shut out the world with their nephew Agis to pursue the intellectual life. The entire cast delivers sharp comic timing and while Vincent Randazzo as Harlequin get his share of laughs, Strapp and Nacer’s moments of exasperation, panic and self aware humor is first rate as exemplified in one instance where Nacer looks around and softly wonders, ‘Why am I standing here?’ With realizations so innocent and captivating, it won’t take you long to love them both.
Left to right: Patrick Kerr, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
Statements such as ‘God forbid there should be love in that house’ and ‘Perhaps if I could be hilarious for awhile, I could amuse myself to death’ are just a couple of the hilarious quips uttered by Vincent Randazzo as Harlequin, Hermocrate’s valet. Rambunctious and mischievous, Randazzo’s frank delivery and gossipy nature are only outdone by his comical facial expressions. With Patrick Kerr as practical gardener and straight man Dimas, they make a wonderfully humorous duo.
Madcap and absorbing, bring love to the front lines with The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This production is also available to stream. Click here for more information and for tickets.
Boston Playwrights’ Theatre recently presented two world premiere productions for BPT’s Spring Rep Festival. Boasting some common themes, both are fitting companion pieces though one executes their ideas more fluidly than the other.
Both shows are rooted in preventing disaster and end the way they began with new meaning. While one travels through time while the other roams through a cosmic plane, both shows are motivated through grief, trauma, and discovery while featuring key twists on the journey. Both believe that changing their present circumstances will lead to better futures, but facing a world that cannot easily bend to their will.
Fear gives way to strength as one travels through space and the other among the stars.
Minou Pourshariati and Danny Bryck in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography
Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’sRecursion of a Moth alongside Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts. Both shows ran approximately 80 minutes with no intermission. Click here for more information and for BPT’s future events.
REVIEW: A sky full of stars, transformation and resilience fuel Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn
In a country entrenched in war, two children meet under a mystical fig tree. One loves to sleep and the other constantly stands watch. However, their purpose under this tree unveils in significant ways from what they share to what they face.
Directed by Nikta Sabouri, The Fig Tree, and the Phoenix, and the Desire to Be Reborn by Isabelle Sanatdar Stevens is a mythological tale about love, grief, courage in the face of danger, war, loss, and unbreakable bonds. Minou Pourshariati and Danny Bryck are cosmically and supernaturally connected and that connection is explored meaningfully as transformation takes place around them.
Taking place in August 1988 during the Iran-Iraq War, Danny Bryck as Javeed and Minou Pourshariati meet under a fig tree. Mandana loves to sleep because she can speak to her late brother in her dreams while Javeed is afraid to sleep because he needs to stand guard to keep his family safe. For these two children whose bravery is ingrained in fear, they seem to become old souls overnight.
Danny Bryck and Minou Pourshariati in ‘The Fig Tree The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography
Skillfully taking on dual roles, Pourshariati and Bryck are adorable as children and revel in their roles sharing each other’s fears, prayers, anger and sadness as they struggle for certainty and to understand what is happening around them. Irresistibly endearing building a unique bond and vowing to change the world they live in and beyond, inquisitive Mandana and virtuous Javeed instill playfulness, imagination, and joy into these complex performances enhanced by bright and affectionate choreography as they share their creativity, energy and boundless imagination amidst the turmoil. Sporadically mature in thought and innocent in their approach, they squeal, leap and bounce in a stirring bitter sweetness during a serene interlude in a land where things can change at any moment as light and darkness are in constant battle.
Danny Bryck and Minou Pourshariati in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography
Lighting designer Grant Powicki and scenic design Cleo Brooks work together as twinkling lights, sunshine and glowing lanterns highlight a beautiful tree and wooded residential landscape which is unfurled by a retractable spool. Shadows give way to surprises and bring to life their shared stories. Sound designer Arshan Gailus is behind the immersive cosmic and natural harmony of this world.
The production contains a wealth of symbolism enmeshed in stories, objects, conversation and more. Funny, touching, powerful, and poignant, The Fig Tree, and the Phoenix, and the Desire to Be Reborn is an affecting and thought provoking journey worth taking.
REVIEW: Brandon Zang’s The Recursion of a Moth races against time
It is the 25th century and a couple of time traveling bureaucrats and ex lovers are sent to document time and find a woman named Chrys for undisclosed reasons. However, what transpires becomes far and away from what their mission entails into a journey rife with complications.
Alexander Holden and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography
Lighting designer Grant Powicki enhances Cleo Brooks’s simple black and white scenic design that colorfully depicts various dimensions and planes throughout the production. Fold out compartments depict a living room and kitchen as cast members change the props between scenes. Aubrey Dube’s radiating and moth-inspired clicking divide each scene while subtle and sparkling special effects drive this quantum leaping story.
Alexander Holden depicts resourceful time traveling bureaucrat Icarus heading to the Denver airport, his mysterious motivations behind a trench coat and glasses. Jaime José Hernández portrays Mikey, a commitment phobic time bureaucrat dedicated to saving his family and completing their current mission. However, Icarus has gone rogue with his own agenda to his timeline for good.
Alexander Holden and Jenny S. Lee in ‘The Recursion of A Moth’ Photo by Scornavacca Photography
The Recursion of a Moth explores generational patterns, family, the nature of suffering, and takes some liberties with time travel that becomes a bit too outlandish to be believable even if it would make for a nice story. Holden’s Icarus is obstinate and will stop at nothing to bend time according to his will whileHernández’s reasonable and grounded Mikey cannot help but remind him of time’s known limitations and consequences. However, Icarus knows far more than he is letting on and longs to change time piece by piece for what may become a better future.
Alexander Holden, Jenny S. Lee and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography
Jenny S. Lee as Chrys, Alexander Holden and Jaime José Hernández all convincingly convey the production’s intensity at the mercy of time. The moth’s role and recursion theory in this story is particularly fascinating. Full of twists and quick turns which at times can be confusing, the show may have benefited by a longer runtime for further development of these characters and to give the revelations more breathing room. The storyline winds into a major plot twist that seems too absurd to be believable even if it makes for a nice story. Recursion of a Moth has its bright spots, but especially under Back to the Future’s Doc Brown’s standards, certain twists would lead to a paradox.
Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’s Recursion of a Moth alongside the world premiere of Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts. Click here for more information and for Boston Playwrights’ Theatre’s future events.
Dinner with a friend or a long lost and former long time mentor can have its moments.
However, when it’s co-written by multitalented comic, character, and voiceover actor Wallace Shawn and actor, director and playwright André Gregory, it becomes an intriguing venture into the power of theatre.
Harbor Stage Company presents an original adaptation of My Dinner with André live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, March 30. This production is 90 minutes with no intermission. Click here for more information and for tickets.
Jonathan Fielding and Robert Knopf in Harbor Stage Company’s ‘My Dinner with André ‘ Photo by Joe Kenehan
The “inconceivable” villain Vizzini in film classic The Princess Bride, the voice of Rex the dinosaur in the Toy Story series, and Young Sheldon’s eccentric physics mentor are just a few of Wallace Shawn’s most popular roles. Though My Dinner With André was created before these later successes, this critically acclaimed 1981 indie film starring Shawn and Gregory in the title roles gained its own cult following, especially among theatre lovers. Wallace’s voice and presence is always distinctive and the writing in this piece offers glimpses of that intellectual charm, wit and humor in little moments of life’s realizations and nuances. However, it should be noted that these two characters are not necessarily patterned after this co-writing duo, even if they are named after them.
Harbor Stage Company received special permission from Wallace Shawn and André Gregory to adapt this film to the stage for the first time in the United States and it translates beautifully. It transforms it into theatre within a theatre experience and this adaptation is so naturally done, that it is hard to imagine that Dinner with André was not originally a stage production.
Set in a stylish corner booth enhanced by John Malinowski’s soft and atmospheric lighting, Evan Farley elegantly creates an authentic upscale restaurant ambiance. Framed reflective mirrors above the colorful booth and fine details of the embossed crown molding complete this inviting set design as classical music including Satie’s Gymnopédieplays gently in the background.
Jonathan Fielding portrays anxious out of work actor Wallace who is dreading having dinner at a fancy French restaurant in New York City with Robert Knopf as André, mainly because Wallace is not sure what to expect. What transpires is a sophisticated three course meal that dives deep into life’s mysterious meaning, city life, the art of theatre, the artists’ past experiences, and philosophizes about what is truly important as the next adventurous course is served. Their exchanges on humans and robots seem timeless as if this production was written yesterday.
Robin Bloodworth, Jonathan Fielding and Robert Knopf in Harbor Stage Company’s ‘My Dinner with André ‘ Photo by Joe Kenehan
My Dinner with André makes thought provoking observations on theatre and how it applies to and reflects reality and the conversation often veers into an unexpected direction which could come off as awkward had not been for the skilled instincts of these two actors and their observance and self aware comic timing. Gregory tells outlandish stories about his life experiences and experiments and how it relates to theatre. Wallace seems a little more guarded and the bemused look on Fielding’s face as Andre’s stories get more bizarre perhaps reflects the audience’s amazement among those anticipating a twist.
While Fielding’s Wallace is frank and forthright with a casual charisma as he engages the audience, Knopf’s charisma lies in his intimate and confiding demeanor with Fielding and warm exchanges with Robin Bloodworth as the attentive waiter. André seems more of an adventurer in search for greater meaning while Wallace is contented in the little things. Knopf can certainly hold an audience in his deep and animated exchanges with Fielding and their good natured debating is always done with mutual respect.
Cut out all the noise and have dinner with André, especially if you love theatre. My Dinner with André blends insightful banter, witty dialogue and subtle humor into a memorable reunion among friends.
Harbor Stage Company presents an original adaptation of My Dinner with André live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, March 30. This production is 90 minutes with no intermission. Click here for more information and for tickets.
A blanket and balloon have never held greater meaning under Georgia’s magnolia trees and endless sunshine.
Taking place nearly 50 years after the Civil War in 1913, Max Chernin depicts Leo Frank, a quiet and disciplined Jewish Brooklynite who is working hard to build a life in Georgia with his Southern wife Lucille, portrayed by Talia Suskauer, when one harrowing night changes everything. Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime.
Max Chernin (center) and company in the National Tour of PARADE, photo by Joan Marcus
It is particularly significant that Parade is on tour in Boston due to Massachusetts’ foundational roots including its Cradle of Liberty nickname, but also timely because Parade’s Boston run occurs through Purim, a Jewish festival rooted in the Book of Esther celebrating a historic Jewish triumph over oppression.
This captivating musical is based on a gripping true story and evokes a wide range of emotions. Like a parade, it spectacularly unfolds with an opening drum roll of The Red Hills of Home boasting gorgeous harmonies, splendor and Michael Arden’s acclaimed and seamless direction as well as Dane Laffrey’s moving and sweeping scenic design.
Adorned in vivid bunting as lights descend from the ceiling, Dane Laffrey’s elaborate and rolling set transforms from a wide open field into a wooden courtroom blending Sven Ortel’s descriptive projection design of dramatic and documentary-style elements revealing historical photos of the real people, places and newspaper headlines as crucial dates trace the events of the story. Billowing clouds and colorful landscapes stand out vividly between the black and white footage. Susan Hilferty and Mark Koss impressively capture the essence of the era in pastels, frills, smocks, three piece suits, newsboy caps, parasols, and brimmed hats.
The National Touring Company of PARADE, photo by Joan Marcus
Having seen Jason Robert Brown’sThe Last Five Years, Brown has a gift for articulating a vast range of complex emotions and glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and from rueful to optimistic. The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought provoking.
Max Chernin and company in the National Tour of PARADE, photo by Joan Marcus
Featuring a large and stellar cast of approximately 30 people with many of them portraying more than one role, I was blown away hearing the depth and resonance of this particular array of amazing and occasionally a cappella vocals under Charlie Alterman’s magnificent music direction. Chernin’s vocals have a unique beauty as he embodies Leo’s stark loneliness and deft humor in How Can I Call this Home. With gravitas and sincerity, Chernin is excellent as Leo as he shares his thoughts in melodious vocals and quiet candor especially during his remarkable ballad, It’s Hard to Speak my Heart. He has elevating chemistry with Talia Suskauer as spirited and resourceful Lucille and they create powerful harmony for the lively and optimistic duet It’s Not Over Yet and a stunning rendition of All the Wasted Time.
Talia Suskauer and Max Chernin in the National Tour of PARADE, photo by Joan Marcus
Jack Roden is mesmerizing as Frankie Epps, especially during a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmonies to foreboding of a boy maturing in an instant. Roden and Olivia Goosman as exuberant Mary Phagan share some endearing scenes for the catchy The Picture Show.
Olivia Goosman, Jack Roden and company in the National Tour of PARADE, photo by Joan Marcus
Griffin Binnicker shines as charismatic yet contentious Tom Watson as he leads the urgent Hammer of Justice and Michael Tacconi is notable as scandal thirsty reporter Brett Craig desperate to revive his career in the darkly playful hymnal Real Big News.
The National Touring Company of PARADE, photo by Joan Marcus
Parade’s layered and stirring choreography is demonstrated in the hypnotic turn and parallels of The Factory Girls to the mischievous spring of Pretty Music with impressive Chris Shyer as slick Governor Slaton jubilantly spinning ladies across the dance floor. Another highlight is the clanking rhythms and chilling choreography of Feel the Rain Fall with Ramone Nelson’s commanding vocals as mysterious Jim Conley and the telling and satirical number Where will you Stand when the Flood Comes.
Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE, photo by Joan Marcus
Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking. A haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of storytelling that is sure to stay with you long after the production is over.
Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus
The national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23. Click here for more information and for tickets.
