50s

REVIEW:  A summer not soon forgotten in Central Square Theater’s ‘Summer, 1976’

Posted on by The Sleepless Critic

Some friendships are instant and others form through an inexplicable connection at just the right time. 

The latter is the case for Laura Latreille as free spirited Alice who meets Lee Mikeska Gardner as intellectual Diana through a babysitting co-op with their two daughters.  The daughters become fast friends and these unfulfilled mothers, fascinated with each other, become friends unexpectedly even in the face of their apparent differences. 

Paula Plum’s engaging direction explores friendship, societal expectations and much more in David Auburn’s dramedy, Summer, 1976 which ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30.  This candid two hander production contains adult content and runs 90 minutes with no intermission.  Click here for more information about Central Square Theatre and more on their upcoming production, Yellow Bird Chase.

Laura Latreille and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

Set in Columbus, Ohio during the Summer of 1976, two households sit side by side.  One is a cheerful yellow while the other is composed of sensible brick.  These distinctive houses by set designer Kristin Loeffler reflect two seemingly contrasting mothers’ personalities destined to become friends.

Justin Lahue’s colorful projections with Deb Sullivan’s illuminative lighting offers vibrancy to Kristin Loeffler’s summer set design through fireworks, sunsets, fireflies, clear blue skies and stoner psychedelic imagery.

Summer, 1976 is a reflective piece driven by a unique narrative.  Instead of two women recalling their own memories individually onstage, they share the stage and react to each other’s animated memories conversationally while correcting and playfully ribbing each other along the way.  The narration is a novel approach and it certainly draws on the compelling chemistry between Latreille’s Alice and Gardner’s Diana.  Their joys, heartbreaks, mischievousness and secrets unfold as the other is engulfed in the other’s story. 

Latreille portrays winsome, bold and seemingly carefree married housewife Alice exuberantly who tries not to think too far ahead while Gardner depicts immaculate, studious and practical single mother Diana who is always thinking ahead and encourages Alice to carefully think about her own future.  Occasionally engaging with the audience, Gardner and Latreille challenge each other while exposing one another’s hypocrisies and mutual stubbornness with a clever twist which changes the way you witness this tale.  It’s an important twist and revelation crucial to keeping this style of storytelling fresh.  From migraines to life changing decisions, these two sincerely root each other on and some of the most fulfilling friendships thrive with tough love under the best intentions.

Laura Latreille in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

Taking place during a pivotal and role shifting era for women from the 50s to the 80s, Summer, 1976 insightfully explores these two mothers and their life choices who long to see and understand each other clearly.  It is the kind of familiar camaraderie prevalent in so many important relationships.  I admire the way the production takes a relatable look at friendship and how it evolves throughout the years through a combination of comic and somber moments.  Exploring the joyous and bittersweet, Summer, 1976 delivers a summer not soon forgotten.

Laura Latreille, and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

David Auburn’s dramedy, Summer, 1976 ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30.  This candid two hander production contains adult content and runs 90 minutes with no intermission. Click here for further details and more on their upcoming production, Yellow Bird Chase.

REVIEW: Superstition, Marilyn Monroe, dancing and an inevitable bond in Theater Uncorked’s unconventional musical ‘Blood Brothers’

Posted on by The Sleepless Critic

For Mrs. Johnstone, life went awry  as soon as the dancing stopped.

With ominous direction by Audrey Seraphin, sharply choreographed by Audrey Johnson with Gina Naggar’s musical direction, Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts.  This poignant production is two hours and 50 minutes including one intermission.  Click here for more information and for tickets.

Sehnaz Dirik Lauren Casey and Kate Funderburk and cast in ‘Blood Brothers’ Photo by Gary NG

Two households sit side by side.  One adorned in floral stained glass and expensive trim while the other door stands weathered and chipped with a dated floral arrangement hung from the door by Leonard Chasse.  However, these two households will connect through an inescapable bond that neither household can possibly shake.

Sehnaz Dirik in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Twins separated at birth is a story that has been told before, but this particular tale is introduced as the stuff of legend.  Taking place in Liverpool, England from the 50s through the 80s,  Blood Brothers is a musical about two households separated by social class.  Sehnaz Dirik portrays fanciful and pregnant Mrs. Johnstone whose husband leaves her and their children.  Now, a single mother trying to make ends meet, Mrs. Johnstone works for the wealthy Lyons family as their house keeper while Mrs. Lyons struggles to have children.  When Janet Pohli as petty and unhappy Mrs. Lyons finds out Mrs. Johnstone is expecting twins, a manipulative plan slowly starts to take shape.

Blood Brothers doesn’t seem to fit squarely as a musical and would work just as well as a play.  The show’s unconventional elements deliver a folk pop flair and the story is shared like a cautionary tale as characters sing at odd moments.  Blood Brothers is a well cast production that depicts individuals of all ages with Janet Pohli as a particular standout in a commanding performance behind a meek smile as Mrs. Lyons, a woman who is not to be underestimated.

Janet Pohli and Zach Fuller in Theatre Uncorked ‘Blood Brothers’ Photo by Gary NG

James Honaker interestingly portrays her preoccupied workaholic husband Mr. Lyons who always seems half here and halfway back to work.  It’s fascinating to watch them circle one another, interested in everything around them but each other.

Chris Edwards seamlessly steps into a number of roles which include some nefarious characters that haunt the production, but his main role is that of the mysterious narrator.  Edwards pops up and lurks out of the shadows, especially when the production is about to take a dark turn.  Edwards steps into each of these roles with ease infusing foreboding vocals and haunting reprises.

Dirik also aptly depicts tormented Mrs. Johnstone who is forced to make an impossible choice for the sake of her family and performs the lion’s share of the vocals aside from Edwards.  Dirik expresses vulnerability and melancholy in her resonating vibrato without the malice she has exhibited in previous roles.   

As for these legendary twins, Michael Mazzone as mischievous Mickey and Zack Fuller as shy and straight laced Eddie connect as carefree kids in a tale that spans decades.  Seeming opposites, but share an instant connection like a missing link in impressionable Eddie’s life.  The wide eyed gall in Mickey and his charming family seem to fill a void for this lonely and studious child.  

Bold and fun loving, Lauren Casey shines as lovestruck Linda for Mickey.  Casey’s gleaming smile and gentle  demeanor with a bit of a tough streak is charismatic and charming.  She also shows a great rapport with the rest of the cast and they run around the neighborhood on adventures.

Zach Fuller Michael Mazzone and Lauren Casey in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Blood Brothers covers a great deal of topics including social class inequality, recession, family, and heartbreak while tackling the sins that could come back to haunt you.  The show spans decades and it at times seems long, but has its share of bright and moving moments of two families tied together by fate.

Michael Mazzone and cast in Theater Uncorked ‘Blood Brothers’ Photo credit Gary NG

Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts.  Click here for more information and for tickets.

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

Posted on 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 70th 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 70th 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.

REVIEW:  Nostalgia, strong vocals and electrifying special effects fuel ‘Back to the Future the Musical’

Posted on by The Sleepless Critic

Time is of the essence in Back to the Future the Musical.

Innovatively directed by John Rando with Chris Bailey’s energetic choreography and dynamic Music Direction by Matt Doebler, Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20.  This zippy production runs 2 hours and 40 minutes with one intermission and is currently on national tour.  Some subtle themes and dialogue are toned down to make this musical more family friendly. Click here for more information on their next stop and for tickets.

David Josefberg in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

No one will ever be Michael J. Fox or Christopher Lloyd in these particular roles.  Moreover, I am a firm believer the original film is perfectly cast and a reboot or any other adaptation will never quite live up to the original 1985 hit film.  However, I do think that there are a lot of thrills and fun to be had in some of the extensions from the film such as Back to the Future: The Ride and Back the Future: The Musical which boasts some spectacular and immersive special effects and quick pacing to make this production more like a theatrical thrill ride.

To think Back to the Future was conceived when producer Bob Gale discovered his father’s high school yearbook and wondered if they would have been friends if he and his father attended high school together.  Back to the Future the Musical not only boasts technological and scientific wizardry, but is also a family tale.  Marty, in a likable portrayal infused with some of Fox’s notable inflections by Lucas Hallauer, knows his family is not on the fast track to success as Luke Antony Neville as uncompromising Principal Strickland insultingly blares at Marty into his Matterhorn in Got No Future.

Luke Antony Neville and Lucas Hallauer in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Marty wishes his family were on a different path as Marty’s family is swiftly introduced in Hello-Is Anybody Home?  Hallauer explains, ‘My dad would come in third in a two man race.’  Introverted, anxious and painfully shy, Mike Bindeman captures the awkwardness of Marty’s father George who takes what he gets while trying to avoid confrontations at all costs.  Zan Berube delivers strong vocals and embodies Marty’s mother Lorraine with ease.   

With a memorable laugh, wild facial expressions and threatening presence, Nathaniel Hackmann is well cast as obnoxious and calculating Biff as if the film’s Biff, depicted by Thomas F. Wilson, went back in time for this role.

Nathaniel Hackman, Lucas Hallauer, Mike Bindeman and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

 Some of the cast leans on some of the original cast’s inflections, but David Josefsberg as eccentric Doc Brown, makes the character his own and shares a warm rapport with Lucas Hallauer as Marty reminiscent of the hit film. 

David Josefberg and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Fast talking and excitable, Josefsberg exudes Doc’s wise and unwavering optimism while dreaming of an immense future in the motivational ballad, For the Dreamers as well as in lighter moments in a bit of self aware humor for It Works and the synthetic sounding 21st Century as the stage lights in sparkling, flashy and futuristic costumes when it is not leaning into scientific white lab coats.

This production would have worked just as effectively as a play and does not necessarily need to be a musical, but the cast’s powerful vocals, especially by Cartreze Tucker who is a highlight as optimistic visionary Gordie Wilson in an extended role, work.  Tucker boasts sensational vocals as Gordy Wilson for the inspirational number, Start Somewhere. 

Cartreze Tucker and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Back to the Future The Musical also makes some clever choices that capture the spirit of the film while building on some of the film’s themes such as Doc Brown’s inspirational For the Dreamers and the nostalgic harmony in Cake which is a welcome trip into 50s nostalgia and ironic humor while offering mellifluous harmony.  Other songs such as the cringe My Myopia and Pretty Baby are better left as brief scenes than full songs.  Something about that Boy brings together multiple scenes featuring Berube, Hackmann, and the cast.  Fifties classics such as Johnny B. Goode and Earth Angel recreate classic scenes from the film as well as selections from the film’s iconic soundtrack by Huey Lewis and the News.

Lucas Hallauer and Zan Berube in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The multicolored costumes capture two iconic eras as well as ensembles right out of the 1985 film.  High tops, slouch socks, jean jackets, diner attire, frilly retro patterned dresses, Marty’s orange vest, and Lorraine’s classic pink prom dress are just a sample of this array of distinctive retro apparel.  The fifties and the eighties are defined by certain characteristics, but it does not overpower the film’s universal themes.

Filled with retro pieces and realistic projections, the rolling and rotating sets are impressively detailed from an elaborate tree bursting with fall leaves, Lorraine’s bedroom similar to the hit film and Doc Brown’s house complete with portraits of his legendary mentors and inventors under twinkling stars.

Lucas Hallauer and the DeLorean in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The story is good, but the electrifying special effects are worth the price of the ticket as the real star, the DeLorean, roars to life.   Chris Fisher’s impressive illusion design, Tim Lutkin and Hugh Vanstone’s intricate and futuristic lighting, Finn Ross’s realistic video design, and Gareth Owen’s rumbling sound design unite to create an elaborate time jumping experience that immerses the audience into this compelling journey.

Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20.  The production is also currently on national tour.  Click here for more information on their next stop and for tickets.

REVIEW: Greater Boston Stage Company’s ‘Little Shop of Horrors’ blooms a darker green

Posted on by The Sleepless Critic

This sad little flower shop on Skid Rowe holds a secret.

From John Stone’s playfully ticking sound design to Erik D. Diaz’s fascinating ‘blooming’ set,’ Greater Boston Stage Company makes two things abundantly clear:  Don’t feed the plants and everyone’s life should be narrated by a streetwise Greek chorus.

Directed with comic edge by Ilana Ransom Toeplitz and Chris Shin’s zany chorography, Greater Boston Stage Company continues horror comedy rock sci-fi musical, Little Shop of Horrors live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, June 29.  This production runs approximately two hours with one intermission.  Click here for more information and tickets.

Kayla Shimizu, Stephen Markarian and Bryan Miner in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

Celebrating its 65th anniversary this year, Little Shop of Horrors embarked on quite a journey to become the cult classic it is today.  Originally based on Jack Cullier’s 1932 story Green Thoughts, Little Shop of Horrors was originally a 1960 B movie featuring a then lesser known Jack Nicholson before it was developed into a 1982 stage musical and then a 1986 musical film adaptation featuring Rick Moranis, Bill Murray and John Candy.  The musical also introduced sadistic dentist Orin, portrayed by Steve Martin in the film.

It’s a seemingly simple tale about young love on Skid Rowe in a fledgling flower shop that houses a curious and unique breed of plant.  Some critics have compared it to the daring tone of the cult classic, ‘Rocky Horror Picture Show,’ but Little Shop of Horrors is usually delivered with a more subtle brand of campy charm.

This wild tale is headlined by the sweet and sassy sounds of female Greek chorus trio Chiffon, Crystal, and Ronnette who pop up in the most unexpected places during the production. With few exceptions, the music, with lyrics by award-winning composer Alan Menken, have a catchy, rock n’ roll vibe including tunes that pay tribute to 60s girl groups. 

Becky Bass, Corlandt Barrett and Pearl Scott in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

From casual street garments to flashy glam by Chelsea Kerl, these three dazzling vocalists certainly know how to make an entrance.  Cortlandt Barrett as Chiffon, Becky Bass as Crystal and Pearl Scott as Ronnette are a tough, humorous, and street-smart trio who unveil the real ins and outs of Skid Rowe through harmony, kicking it off with the catchy signature track, Little Shop of Horrors and especially showing off their mellifluous vocals for Skid Rowe (Downtown).

The set of Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

With haunting and ominous illumination by Corey Whittemore, Erik D. Diaz combines creepy and dilapidated featuring vintage brick storefronts, beaten up garbage cans, a weathered Mushnik Florist sign, and an eerie projection screen splashed with blood at center stage.  What Diaz does with the set is vivid, remarkable and transformative right down to its carefully timed shop bell.  Set in the 1960s, Little Shop of Horrors is packed with 50s and 60s references such as I Love Lucy, Howdy Doody, Donna Reed, and Betty Crocker.

The cast of Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

The show has a gift for funny and ironic contrasts with a cast that has increasingly complicated motives.  Wearing black-rimmed glasses, a baseball cap and a sweater vest, William David Kay stepped in for Stephen Markarian offering an earnest portrayal as Seymour, a sympathetic yet conflicted botanist.  Anxious and occasionally clumsy, Kay emphasizes Seymour’s inherent, inescapable loneliness as he struggles to remain forthright and honest as the show progresses.  He shines in the darkly tender number Grow for Me and in his awkward adoration for trusting, insecure and frequently unlucky Audrey, portrayed sweetly with a light accent and plucky charm by Kayla Shimizu.  In a particularly comical moment, Seymour warmly hopes to take Audrey to “a fancy dinner at Howard Johnson’s.”

Photo of Kayla Shimizu, Stephen Markarian* and Bryan Miner* by Nile Scott Studios.

Shimizu’s lovely soprano vocals carry a lullaby or a soulful belt beautifully.  She shares her simple, 50s domestic dreams in a funny and tender rendition of Somewhere That’s Green and with Seymour in a powerful rendition of Suddenly Seymour.

Stephen Markarian* Audrey II and Kayla Shimizu Photo by Nile Scott Studios.

Disheveled and desperate in colorful and busily patterned suits, Bryan Miner is wonderful as worn and frustrated flower shop owner, Mr. Mushnik.  Tightly wound and barely holding onto hope, Miner’s Mushnik is especially clever with William David Kay as Seymour for the manipulative and comical calypso-infused number, Mushnik and Son.  Mushnik may be too smart for his own good.

Audrey II, Stephen Markarian* and Bryan Miner* in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

I’ve seen a few versions of Little Shop of Horrors and this is the edgiest production I have seen.  Jared Troilo works overtime to portray a number of satirical characters that are impressively goofy and fun.  Troilo is next level sinister in a no-holds-barred performance as Orin, a belligerent, gyrating, narcissistic biker dentist punctuated by a berating sneer and a glottal “dull” utterance.  It occasionally crosses the line from darkly funny to disquieting and overdone.

Becky Bass, Pearl Scott, Cortlandt Barrett and Jared Troilo in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

However, the real spectacle is  Audrey II, the sly and soulful plant that changes everything.  Anthony Pires, Jr. boasts versatile and grimly wise vocals as well as a gift for pleading exemplified in the rock number, Feed Me.  Inventively manipulated by Sydney Grant, Audrey II is a comical and extraordinary specimen right down to bright colors and shiny, dangling teeth.  Audrey II is handled in such an innovative, natural, and humorous way, the results are truly captivating.

Audrey II, Kayla Shimizu and Stephen Markarian in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

Greater Boston Stage Company’s Little Shop of Horrors continues live and in person through Sunday, June 29 at the Greater Boston Stage Company in Stoneham, Massachusetts.  Click here for more information, tickets, and for details about the Little Shop of Horrors raffle.

REVIEW:  Summer love is luminous in The Huntington’s ‘The Light in the Piazza’

Posted on by The Sleepless Critic

Summer in Italy brings certain charms, especially when it comes to love punctuated by a brilliant light.

Meaningfully directed by Loretta Greco paired with Daniel Pelzig’s joyous choreography, The Huntington continues heartwarming musical, The Light in the Piazza through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts.  This bilingual production in English and Italian runs two hours and 10 minutes including an intermission.  Click here for more information and for tickets.

Based on Elizabeth Spencer’s 1960s novella of the same name, The Light the Piazza was quickly adapted into a sweeping romantic film in 1962 starring George Hamilton and Olivia de Havilland.  The film offers further details into the plot and answers a few questions left by the musical, but the musical more than makes up for it through Adam Guettel’s riveting Tony award-winning Opera-inspired score and collection of English and Italian songs.  The Light in the Piazza debuted on Broadway in 2005 and was the winner of two Tony Awards including Lead Actress in a Musical.

Sarah-Anne Martinez and Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Set in Florence, Italy in 1953, a mother and daughter embark on an extraordinary vacation through Florence when a surprising incident leads to an encounter with Joshua Grosso as awestruck Fabrizio.  It is quite the meet cute surrounded by Andrew Boyce’s detailed gold and marble architecture and an amiable ensemble.  Yuki Izumihara’s lifelike projections combine with Andrew Boyce’s captivating sliding set design to revel in this beautiful country’s works of art, iconic buildings, church settings and the Italian countryside.  These surroundings are exquisite and yet not overdone as gold frames hang aloft elegant Italian furniture which includes an elaborate bookcase, swaying silk curtains, lacy tablecloths and a vintage rolling gold lap tray.

Much of the musical explores the idea of feeling understood through the heart rather than the head.  Through anguish, joy, humor, protectiveness and passion, this talented cast display stirring and powerful vocals in a remarkable journey while intensely expressing what each of them hold in their hearts.  It is also a musical that explores love of all kinds as faith is put to the test.

Sarah-Anne Martinez is instantly enchanting as exuberant Clara.  Martinez wows with her gorgeous rendition of The Beauty Is and shares immediate and endearing chemistry with Grosso as Fabrizio.  Grosso simply dazzles in his rendition of Il Mondo Era Vuoto.  Martinez’s wide eyed sincerity and Grosso’s benevolent charm blend harmoniously for Say it Somehow, The Beauty Is reprise and Passeggiata, a playful duet between Grosso and Martinez practicing a beloved Italian tradition on a revolving stage.

Joshua Grosso and Sarah-Anne Martinez in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

The cast occasionally confides in the audience as Emily Skinner as Clara’s mother Margaret withholds a secret about Clara.  Skinner evokes the weight of her tormented decisions through her emphatic hesitancy, protectiveness and gentle compassion.  Clara shares a special bond with her mother, but also one that can be strained and conflicted.

Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

William Michaels as Signor Naccarelli and Rebecca Pitcher as Signora Naccarelli share great comic timing (at times sardonic) and are a complicated pair.   Alexander Ross as Fabrizio’s charismatic brother Giuseppe brings lively humor to American Dancing and Rebekah Rae Robles is also impressive as mysterious Franca. 

Greco’s immersive direction applies subtle and comical scenarios alongside the main plot to broaden this enchanting world such as kids playing together, doves flying overhead, a woman selling flowers or discussions among the clergy.  The Light in the Piazza contains some twists and turns while maintaining its optimistic yet underlying seriousness.   

The cast of The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Soaring vocals, a wonderful cast, a splendid Italian setting, and an affecting family tale combine for an incandescent event at the Huntington.

Witness a powerful tale of love, beauty, faith and much more with The Light in the Piazza continuing through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts.  Click here for more information and for tickets.

REVIEW:  Turn up that jukebox for Reagle Music Theatre of Greater Boston’s lively musical comedy ‘All Shook Up’

Posted on by The Sleepless Critic

Meet Chad, a would-be Elvis big on swagger, sideburns and love for the ladies. 

From that electric Jailhouse Rock opening, All Shook Up soaks up the nostalgia and the lighthearted side of the ‘Fabulous ‘50s.’  Adding humor, fun frivolity and amazing choreography, All Shook Up boasts powerful vocals and plenty of love to the beat of Elvis’s greatest hits.  Turn up that jukebox.  It’s time for a ride down memory lane.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.

With exuberant direction by Arthur Gomez, tight and sweeping choreography by Larry Sousa with upbeat music direction by Mindy Cimini, Reagle Music Theatre of Greater Boston presents All Shook Up live and in person at the Robinson Theatre in Waltham, Massachusetts through July 21.  This engaging musical comedy is approximately two hours with one 15 minute intermission and not for young children.  Click here for more information and for tickets.

eagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.JPG

Vibrantly charged in florescent blue and red by Frank Meissner Jr, Reagle Music Theatre of Greater Boston brings the 50’s back to life with Janie Howland’s vintage set design of Main Street USA which includes Sylvia’s Honkey Tonk, Jim’s Service Station, Main Street Museum and appropriately Town Shoes which is a hint for those blue suede shoes.  Each locale plays an integral part in roustabout Chad’s wild journey.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Natalie (Gwynne Wood) . Photo by Robert P.

Boasting a Bye Bye Birdie vibe with Grease energy, All Shook Up looks at a small Midwestern town’s perspective on a summer day in 1955 when Chad, portrayed distinctly by Christopher Lewis, makes an instant impact.  Lewis shakes up Main Street USA for the better while unearthing a guitar-tinged bebop vibe that self righteous and plotting Mayor Matilda, depicted with sharp comedic timing by Janis Hudson in a performance reminiscent of Joan Cusack, is determined to stop.  In cat eye glasses and alongside James Turner the III as suspicious Sheriff Earl, Hudson shines in the fierce and catchy number The Devil in Disguise, humorously posing and barking out orders with zeal and authority. 

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Mayor Matilda (Janis Hudson) and (Christopher Lewis) and Sheriff Earl (James Turner III) Photo by Robert P.

All Shook Up is full of deadpan jokes and clever quips with Elvis song titles and lyrics. When a townsperson points out Chad’s blue suede shoes, Chad casually warns to lay off them.  Part impersonation with the vocal chops to match, Chad embodies the larger than life qualities of Elvis, but takes it one step further making the part his own exemplified in a resonating rendition of I Don’t Want to demonstrating Lewis’s own unique and dynamic range.

A storm of unrequited love and love triangles taken from a mix of Shakespearean comedies, this ‘50s musical comedy infuses a lot of elements into this lively tale and it works.  Christopher Lewis as Chad makes a powerful impression on everyone he meets.  Gwynne Wood as Natalie is the mechanic and is looking for more excitement than this little town can hold.  Wood is endearing as Natalie who is sensible, timid, and resourceful with a powerful belt for One Night with You.  Wood shares some charming chemistry with Jackson Jirard as best friend Dennis who only has eyes for Natalie.  Jirard also shares some amusing scenes with Lewis, Wood, and Alfred-Jean Chavier’s Jim as the voice of reason.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.

 Tader Shipley as vampy blond bombshell Miss Sandra also makes her own impression with a soaring rendition of Let Yourself Go and alongside the cast for a sassy take on Teddy Bear/Hound Dog.

Carolyn Saxon brings sincerity and candidness to Sylvia and shares a varying yet sweet rapport with her daughter, Lorraine, depicted by Amaris Rios and Jean-Alfred Chavier as forthright and apprehensive widow Jim.  Saxon performs a stunning rendition of There’s Always Me.   

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. Sylvia (Carolyn Saxon). Photo by Robert P.

The production also flips the script in more ways than one while staying faithful to the Shakespearean twists.  Rebellious Lorraine and Preston Karp as dutiful Dean share exciting chemistry and their rendition of It’s Now or Never is a delight alongside Sousa’s innovative bus choreography.    

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. Dean (Preston Karp) and Lorraine (Amaris Rios) Photo by Robert P.

C’mon everybody is a classic and vintage showstopper weaving in classic dance moves as Emerald City Theatrical does it again in vintage gleaming colored costumes ranging in plaids, bowling shirts, and gorgeous fit and flair crinoline dresses. 

All Shook Up is bright, catchy and a lot of fun with an inherent message within an array of beloved Elvis hits that might lighten the weight of this world for awhile. 

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Jim (Jean-Alfred Chavier). Photo by Robert P.

With exuberant direction by Arthur Gomez, amazing choreography by Larry Sousa with upbeat music direction by Mindy Cimini, Reagle Music Theatre of Greater Boston presents All Shook Up live and in person at the Robinson Theatre in Waltham, Massachusetts through July 21.  This engaging musical comedy is approximately two hours with one 15 minute intermission.  Click here for more information and for tickets.

REVIEW: Piecing together an elegant puzzle in Greater Boston Stage Company’s crime thriller, ‘Dial M For Murder’

Posted on by The Sleepless Critic

Prior to witnessing this re-imagined working of the Alfred Hitchcock classic, Dial M for Murder, Greater Boston Stage Company cleverly sets the mood with a variety of 50s antique deco rotary phones and other paraphernalia in the lobby before entering the theatre.  To those who have seen this crime thriller before, the phone plays a key role in this cognizant tale of love, blackmail, greed and murder.

Kimberlee Connor in Greater Boston Stage Company’s ‘Dial M for Murder’ Photo by Maggie Hall Photography

Scrupulously directed by Weylin Symes, Greater Boston Stage Company continues Dial M for Murder live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, May 19.  This sleuth-laden production is two hours with a 10 minute intermission. Click here for more information and for tickets.

Kimberlee Connor and Lily Kaufman in Greater Boston Stage Company’s ‘Dial M for Murder’ Photo by Maggie Hall Photography

Like a lot of Alfred Hitchcock thrillers, Dial M for Murder offers strategically placed doses of winking self awareness in its characters as Margot, depicted by Kimberlee Connor and Lily Kaufman as Maxine contemplate and fixate on the nature of a perfect murder.  Right off the bat, what becomes clear is this is no murder mystery. The audience knows whodunit, but the real question is exactly how all will be revealed.  Set in 1950s London, the cast exact British accents beautifully which lends a heightened sophistication to the production thanks to dialect coach Lee Nishri-Howitt.

Kimberlee Hall, Michael Ryan Buckley and Lily Kaufman in Greater Boston Stage Company’s ‘Dial M for Murder’ Photo by Maggie Hall Photography

Dial M for Murder offers a scandalous love triangle as did the 1954 film with a twist.  The love triangle is fully intact but Max is now Maxine depicted by Lily Kaufman who was once a love interest of Michael Ryan Buckley as Tony who is married to Kimberlee Connor’s Margo and Margo was more recently having an affair with Maxine.

Lily Kaufman, Robert D. Murphy and Kimberlee Connor in Greater Boston Stage Company’s ‘Dial M for Murder’ Photo by Maggie Hall Photography

Dial M for Murder embraces the classic noir crime thriller with finesse in sleek and stylish 50s attire by Deirdre Gerrard in red lipped glamour, pearls and upscale attire, especially in Lily Kaufman as Maxine.  Kaufman looks like a glamorous screen starlet from Old Hollywood in smart, button down business suits reminiscent of Rosalind Russell with coiffed hair, clipped accent and poised mannerisms.  Maxine is a struggling writer with a new book out and hopes to sell it through an important interview on the BBC.  Wealthy heiress and housewife Margot is sheltered but not to be underestimated and Michael Ryan Buckley portrays a terrific Tony.  Buckley’s bright, chatty vocals and genteel demeanor is a great façade for smirking and evasive concern.  It’s fascinating to watch Buckley work a room.

Michael Ryan Buckley and Bill Mootos in Greater Boston Stage Company’s ‘Dial M for Murder’ Photo by Maggie Hall Photography

Bill Mootos impressively portrays an elusive character under many names and Robert D. Murphy as Inspector Hubbard is on the case of what happened, how, and why.

Robert D. Murphy, Kimberlee Connor, and Michael Ryan Murphy in Greater Boston Stage Company’s ‘Dial M for Murder’ Photo by Maggie Hall Photography

Dial M for Murder boasts a gorgeous set by Katy Monthei featuring Venetian blinds, long silk curtains, plush white couches, translucent foyer, French doors, and gold accented furniture.  Jeff Adelberg’s sophisticated yet eerie lighting design and the slanted illusion of set dimensions is reminiscent of Hitchcock’s grand visual illusions in his work demonstrated in his psychological thriller films like Vertigo.   Andrew Duncan Will’s compelling sound design is an intricate combination of robust radio feed and well as a vintage and riveting music score.

Katy Monthei’s set Photo by Maggie Hall Photography

The show is a bit of a talkie, but the suspense is always looming and with capable and levelheaded Murphy as shrewd inspector Hubbard, this complex case of conspiracy and cover ups just might get cracked.

Scrupulously directed by Weylin Symes, Greater Boston Stage Company continues Dial M for Murder live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, May 19.  This sleuth-laden production is two hours with a 10 minute intermission. Click here for more information and for tickets.

REVIEW:  Full of flash and dry humor, ‘The Cher Show’ turns back time with empowering style

Posted on by The Sleepless Critic

This musical biopic seems by the numbers until three Chers infuse an original and adventuresome twist.

Much like Cher herself, The Cher Show is a limelight driven, bawdy, and spirited look at Cher’s upbringing and career and how Cherilyn Sarkisian busted out of her shy demeanor to become as she proudly calls ‘a warrior goddess.’ 

Morgan Scott in ‘The Cher Show’ Photo credit Big League Productions

Bathed under dazzling spotlight-soaked florescent lights by Charlie Morrison, Star, depicted with Cher’s pitch perfect dry humor and rich vocals by Morgan Scott, emerges in sequined black donning her signature high heels and risqué style, but she is definitely not alone.  Turning back time is a thrill when two other Chers share the spotlight and help to navigate her life based on all she knows now.

Distinctively directed by Casey Hushion with a mix of slinky and wistful choreography by Antoinette Dipietropolo, Big League Productions presented The Cher Show for a limited time live and in person through Sunday, March 17 at the Boch Center Wang Theatre in Boston, Massachusetts, but it is also on a national tour.  Outside this production, MassArt showcased Cher’s legendary looks.  The production was 2 hours and 20 minutes with one fifteen minute intermission.  Click here for more information and here to see where The Cher Show national tour will next take the stage.

Catherine Ariale, Morgan Scott and Ella Perez in ‘The Cher Show’ Photo credit Big League Productions

Cherilyn was not always one to bathe in the limelight.  As chatty and anxious Babe, depicted with a powerful belt and discomfort in her own skin naiveté by Ella Perez, Cherilyn was often shy and felt like an outsider due to her dyslexia, half Armenian heritage and her dynamic looks.  However, Lucy Werner as Cher’s confident firecracker mother Georgia who was always a source of strength, sage advice and beauty said, ‘The song will make you strong.’  Cher’s unique qualities are actually what set her apart.

Cher fulfills most people’s two fondest wishes through this musical.  Not only can Star turn back time, but accompanied by Ella Perez as Cher or Babe and Catherine Ariale as Cher or Lady, Star can turn to her other selves to revisit her past.  Three Chers that interact, are aware of each other, and support each other is not just a source for a wealth of humorous moments, but it breaks the pesky rules of a classic biopic in a lighthearted and spectacular way.  Perez, Ariale, and Scott have a fascinating bond where anything can happen in a life where Cher was required to grow up fast.

The cast of ‘The Cher Show’ Photo credit to Big League Productions

Kelly James Tigne’s visually spectacular set is an array of glitter and glitz which includes the bright lights of Hollywood and Vegas but also beautifully nostalgic photos of 50s California before Cher sets her sights on stardom and the set develops a more classic sophistication in black and white as Cher’s star power matures.    

Starting out with her own sewing machine, Cher always set her own bold and risqué fashion standard before later joining forces with the legendary visionary and equally daring fashion designer Bob Mackie, who originates the Broadway and tour costumes seen in this musical.  Tyler Pirrung, who depicts a trio of roles in this production, is memorable as Mackie complete with clever quips and a mischievous gleam in his eye, especially during Aint Nobody’s Business.  Magnets are used to accommodate the numerous fashion styles and quick changes throughout the production.  The Cher Show’s costume coordinator Janine Loesch and wig designer Roxanne DeLuna presents all these ostentatious costumes in all of its nostalgic, feathered, and sparkling runway glory.   

Tyler Perrung as Bob Mackie, Ella Perez, Catherine Ariale, Morgan Scott and cast Photo credit Big League Productions

Lorenzo Pugliese is full of magnetic charm and quirky sense of humor as Sonny Bono.  Fast talking with shrewd business sense, Pugliese shares some amazing chemistry with each Cher and one of the best moments of the production is their wonderful rendition of I’ve Got You Babe which was met with cheers from the audience.  He also shines in Little Man and later for All I Ever Need is You.

Ella Perez and Lorenzo Pugliese in ‘The Cher Show’ Photo credit Big League Productions

The Cher Show’s quick pace features a wide array of nostalgic hits over six decades including the catchy harmony of Da Doo Ron Ron, Be My Baby, and The Shoop Shoop Song as well as It’s All or Nothing, a stirring Bang Bang (He Shot Me Down), Believe and Heart of Stone.  Perez, Ariale, and Scott form a powerhouse trio as they recall Song for the Lonely as Perez flaunts a distinctive belt.  The Fosse-inspired The Beat Goes On is a sleek standout as well as sultry chorography featuring Emma Jade Branson of The Dark Lady in candlelight.

Lorenzo Pugliese and Catherine Ariale in ‘The Cher Show’ Photo credit Big League Productions

The Cher Show celebrates her remarkable career and her variety of hits, but is also an honest and frank depiction of her insecurity, challenges, and fears within her failures and triumphs.  No matter what, Cher shows the beat goes on.

Catherine Ariale, Morgan Scott and Ella Perez and cast in ‘The Cher Show’ Photo credit Big League Productions

Distinctively directed by Casey Hushion with a mix of slinky and wistful choreography by Antoinette Dipietropolo, Big League Productions presented The Cher Show for a limited time through Sunday, March 17 at the Boch Center Wang Theater in Boston, Massachusetts, but it is also on a national tour. The production was 2 hours and 20 minutes with one fifteen minute intermission.  Click here for more information and here to see where The Cher Show national tour will next take the stage.

REVIEW:  Theater Uncorked’s ‘Sideman’ grapples with a dream

Posted on by The Sleepless Critic

Nothing comes between a man and his music, but maybe something should.

Directed with a stirring cadence by Russell R. Greene, Theater Uncorked presented Warren Leight’s Sideman for a limited engagement from May 3-7 live and in person at Boston Center for the Arts Plaza Theatre in Boston, Massachusetts.  The show was two hours with one 15 minute intermission and is not for children.  Click here for more information and what is next for Theater Uncorked.

Phil Thompson as Jonsey Leonard Chasse as Al and James Hunt as Ziggy Photo credit to Gary Ng

A ‘sideman’ in jazz terms refers to a member of a jazz or swing orchestra.  The term not only applies to Brad Michael Pickett as trumpet player Gene, but his loyal sidemen which include Leonard Chasse as Al, James Hunt as Ziggy, and an impressive Phil Thompson as troubled Jonesy.  Gene’s band mates demonstrate an easy rapport and an unshakable and stalwart camaraderie as they bond into the wee hours over music, love, and the unstable life of the musician.  Accompanied by Jennifer Shotkin in an invigorating performance as warm and wisecracking waitress Patsy, they seem far more like family to the dismay of the rest of Gene’s actual family.

Jennifer Shotkin as Patsy Photo credit to Gary Ng

From the viewpoint of Ben Gold as Gene’s son Clifford, Sideman is a unique memoir about Clifford’s dysfunctional family that matured him far too early.  It delves into the excitement, seeming glamour, and the alarming upheaval in the pursuit of music that can leave madness for many in its wake.

Sideman offers dark and humorous moments in a jazz style storyline that culminates in intensity as quickly as it mellows.  Delivered with dry wit, some notable deadpan expressions, and occasional despondence by Ben Gold, this ambitious show covers a lot of territory during an over 30 year timeline that rides the height of NYC jazz to its gradual decline.  Short sided and neglectful Gene is more impressed by an unemployment check than an actual job while Clifford’s fast talking, hotheaded, and unraveling mother Terry, a rich and scathing performance by Shana Dirik, would rather let her ambitions and heartaches override her responsibilities.  Brad Michael Pickett as Gene and Shana Dirik as Terry deliver some stunning scenes together that zip between star struck and fed up.   All Clifford wants is a sense of normalcy, but that might be a tall order.

Shana Dirik as Terry and Brad Michael Pickett as Gene Photo credit to Gary Ng

From a distinct black and white Marilyn Monroe poster, neon lights, wood paneled walls, afghan quilts, and authentic vintage furniture, Shana Dirik with lighting designer Erik Fox steeps the viewer into multiple eras with a wealth of retro charm.  Warren Leight’s script delves into the jazz era harkening to epic musical heights from Sinatra at the Copa to Neon Leon to Elvis’s performance on the Ed Sullivan Show driven by Tim Rose’s lively and reflective sound design.

Ben Gold as Clifford Shana Dirik as Terry and Brad Michael Pickett as Gene Photo credit to Gary Ng

Sideman is in many ways a toast to jazz, but is also about family.   To become great requires sacrifice and yet there is something amiss about this band’s journey.  Warren Leight’s characters accomplish a great feat in that most of his characters are still likable even through their selfish and undeniable blind ambition.  Sympathetic and compassionate, Gold’s Clifford is a character worth rooting for as he navigates through this musical journey full of wild predicaments.

Theater Uncorked presented Warren Leight’s Sideman for a limited engagement from May 3-7 live and in person at Boston Center for the Arts Plaza Theatre in Boston, Massachusetts.  Click here for more information and what is next for Theater Uncorked.