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

Posted on March 21 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 May 14 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.

REVIEW: Boston Lyric Opera’s boxing opera ‘Champion’ a triumph in jazz

Posted on May 31, 2022 by The Sleepless Critic

The brutal world of boxing punctuated with the complex harmonies of jazz set to simmering opera? This premise might seem outlandish, but Terence Blanchard’s Champion An Opera in Jazz cleverly weaves these three elements together into an absorbing true story and cautionary tale of a welterweight boxer and a symbolic shoe that gains more significance than anything that takes place in the ring.

Boston Lyric Opera presented ‘Champion An Opera in Jazz’ Photo courtesy of Boston Lyric Opera

Boston Lyric Opera (BLO) presented their final show of the season, Terence Blanchard’s Champion An Opera in Jazz, for one weekend only through Sunday, May 22 at the elegant Emerson Cutler Majestic Theatre in Boston, Massachusetts. It is a shame this captivating production was limited to two exclusive concert-style performances in Boston, but it could not be helped due to COVID. Champion An Opera in Jazz has adult themes with one intermission. Click here for more information about the Boston Lyric Opera, upcoming events, and for details on BLO’s recently announced upcoming season.

Boston Lyric Opera 2022-23 season Photo credit to Boston Lyric Opera

As the chorus took up the boxes in the balcony to produce a resonant, semi-surround sound quality led by Brett Hodgdon, the orchestra warmed up and played onstage for the duration of the performance. With creatively engaging stage direction by Timothy Douglas, the intense drama and interaction within the strong cast far exceeded my expectations as concert versions of a work often focus more on music than plot. In a packed house, Blanchard leaves much to unpack in this show’s more than two hour time frame.

Brian Major as Emile Griffith Photo by David Angus/BLO

This introspective tale explores the complex relationships, trauma, abuse, neglect, and harrowing circumstances in welterweight boxer Emile Griffith’s life. However, what really affected me the most was just as Emilie Griffith discovers who he is and who he wants to become, he endures constant pressure and insistence from others to be the version they see in him. Griffith had the talent and ambition to craft his own vision, but his destiny ultimately takes a detour.

Musically-directed by David Angus, Champion is helmed by an insightful and fierce cast that eloquently evoke Michael Cristofer’s multi-layered libretto. Champion has plenty of heart and heartache, but also has a redemptive quality and joy in life’s smaller victories. Three versions of Emile Griffith portrayed by Brian Major as older Griffith, Markel Reed as younger Griffith, and Jonathan Harris as Little Emile Griffith each deliver a fresh perspective at pivotal points in Griffith’s life. With uplifting and humorous commentary at times to lighten the production’s darker moments, ring announcer Matthew Arnold serves fittingly as a semi-narrator of this work.

MARKEL REED, TERRENCE CHIN-LOY, AND BRIAN MAJOR IN BLO’S 2022 PRODUCTION OF CHAMPION: AN OPERA IN JAZZ Photo by David Angus/BLO

A profound and engaging baritone, Major is heartrending and charismatic as he delves deep into Emile Griffith’s continuing and complex struggles. Griffith has a lot to handle and it is touching to watch his sweet scenes with tenor Jesus Garcia as patient and grounded Luis.

Markel Reed delivers an exceptional portrayal as Young Emile Griffith. Reed’s dynamic vocals blended with the sheer mastery of Griffith’s physical and psychological transformation from a wide-eyed, idealistic, and determined young man to an adult with eyes wide open to his future is a marvel to watch. Jonathan Harris as adorable Little Emile Griffith makes a brief, yet significant mark in this story as well.

Stylishly adorned in a floral dress and matching hat, Tichina Vaughn strikes a delicate balance of playfulness, detachment, and mournfulness as mysterious and headstrong Emelda Griffith. This brilliant mezzo-soprano accomplishes a degree of sympathy for Emelda which is difficult to muster as Emelda struggles with her aching discontent, heartache, and constant need for greener pastures.

TICHINA VAUGHN AND CHABRELLE D. WILLIAMS IN BLO’S 2022 PRODUCTION OF CHAMPION: AN OPERA IN JAZZ Photo by David Angus/BLO

In a crisp blue suit, Wayne Tigges also brings some sympathy to tough-talking Howie Albert who has a skewed vision of Griffith, setting Griffith on an uncertain path. Wayne’s multi-layered, rage-inducing aria of Killer Instinct is prevalent throughout the show and Wayne’s rendition particularly makes it memorable. Tenor Terrance Chin-Loy as Benny ‘Kid’ Paret and soprano Chabrelle D. Williams as Sadie Donastrog Griffith both demonstrate their remarkable range in contrasting dual roles.

It was once difficult to imagine jazz as a boxing opera, but having heard the smooth, unpredictable, thrilling, and moody undertones as the music builds tension and urgency, I cannot imagine Champion An Opera in Jazz any other way. Champion’s unconventional and stirring delivery is just what makes the show’s ubiquitous message ring true.

Champion An Opera in Jazz was Boston Lyric Opera’s final production of the season. Click here for more information about the Boston Lyric Opera, upcoming events, and for details on BLO’s recently announced upcoming season.

REVIEW: TCAN Players’ classic comedy ‘Harvey’ full of imaginative charm

Posted on November 11, 2021 by The Sleepless Critic

We’ve all had that peculiar relative. It might be an odd extended family member that raises a few eyebrows at family gatherings. A sweet and wonderful person that is often misunderstood. In the Dowd family, that person is Elwood P. Dowd, a mix of old fashioned charm, amiability, and humbleness who just so happened to have inherited his mother’s estate. He is a wealthy bachelor that likes to socialize around town and graciously supports his socialite sister and niece. However, Elwood has something that probably no other relative you might know has in common…Elwood claims a large bunny called Harvey is always by his side. Is he crazy?

Now, Harvey is no ordinary bunny. He’s a rather extraordinary figure to anyone around him and he makes an incredible impact in TCAN Players classic comedy, Mary Chase’s Pulitzer Prize-winning Harvey continuing through Sunday, November 14 at TCAN Center for Arts in Natick, Massachusetts. Click here for more information and tickets.

This popular 1944 production was adopted into an Oscar-winning film of the same name starring Jimmy Stewart, steeped in affable charm as Elwood and accomplished Josephine Hull, who nabbed an Oscar for Best Supporting Actress as Veta. TCAN Players’ Harvey boasts a wonderful cast especially from Jo d’Angelo as Veta. D’Angelo perfects Elwood’s dramatic, intense, at times hysterical, but caring socialite sister who certainly goes through quite a lot in the production’s full three acts. She portrays fed up to a tee and her sharp comedic skills have her swinging from collected to sheer panic in an instant. D’Angelo takes on this meaty role so naturally that it is easy to get swallowed up in her unending drama.

Ashley Harmon gleefully portrays conspiratorial and impressionable Myrtle Mae, Veta’s cooped up daughter longing for adventure. Scott Salley has a gift for comedy as seen in previous TCAN productions such as First Things First and he holds his own as he portrays the straight man in this production. As resident psychiatrist Lyman Sanderson, Salley’s smooth, seemingly knowledgeable delivery with a touch of arrogance makes for a number of amusing moments. He has great chemistry with Sylvia Czubarow as beautifully beaming and complex nurse Ruth Kelly who offers a few zingers of her own. David Dooks depicts seemingly level headed and imposing psychiatrist William Chumley with gravitas and some good-natured absurdity, especially in scenes with delightful John Alzapiedi as Elwood. Though the role of Elwood is so clearly made for Jimmy Stewart which brought Stewart an Oscar nomination, Alzapiedi clearly does not lean on the portrayal and makes compassionate and forthright Elwood his own.

Directed with vintage flair by Lisa Astbury, Harvey is set in the present, but from the classic songs bookending the show, the polished set design by Tom Powers, and Donna Cabibbo’s detailed, retro costumes nods to the show’s 1944 setting. Warmly decorated in floral trim and vintage portraits hanging from the Dowd’s library as well as rotary telephones hearken to that era. The costumes are also faithful to the period ranging from women adorned in floral dresses, rabbit furs, and sophisticated hats to men decked out in trench coats, ties, and sharp suits. The set is divided into two sides, the latter a typical doctor’s office.

Harvey delves into some darker places, but never let you forget it is a comedy. Elwood’s lightheartedness seems to diffuse any stressful situation simply by Alzapiedi’s soothing, influential voice and good nature so the show never embarks into disturbing territory. It is an exploration into relatable family dynamics, a touch of greed, and the power of a little faith.

TCAN Players presents Mary Chase’s inventive comedy Harvey live and in person through Sunday, November 14 at TCAN Center for Arts in Natick, Massachusetts. Click here for more information and tickets.

REVIEW: With a double dose of vintage flair, Lyric Stage’s ‘Little Shop of Horrors’ will make audiences thirsty for more

Posted on September 17, 2019 by The Sleepless Critic

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

Tattered, lesser known movie posters such as ‘Mothra,’ ‘Planet of the Vampires,’ and ‘Attack of the Puppet People’ strewn fervently on brick, graffiti-covered walls provide just a hint of the zany, B-movie glory that opens Lyric Stage Company of Boston’s 45^th season with retro sci-fi musical comedy, ‘Little Shop of Horrors’ continuing through Sunday, October 6 at Lyric Stage in Boston, Massachusetts. Click here for more information and tickets.

From the inventive special effects to the fascinating, ‘blooming’ set,’ Lyric Stage makes two things abundantly clear: Don’t feed the plants and everyone’s life should be narrated by a streetwise, Greek chorus.

‘Little Shop of Horrors,’ based on Jack Cullier’s 1932 story Green Thoughts, went on to become a cult classic, featuring actors such as Jack Nicholson, Bill Murray, Rick Moranis, Steve Martin, and John Candy stepping into its various film adaptations. A remake is in the works as it marks its 60^th anniversary in 2020.

It’s a seemingly simple tale about young love on Skid Rowe in a fledgling flower shop that houses a curious, 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’ offers a more subtle brand of campy charm.

Lyric Stage's Little Shop of Horrors Trio

From L to R: Pier Lamia Porter as Chiffon, Carla Martinez as Ronnette, and Lovely Hoffman as Crystal Photo credit to Mark S. Howard/Lyric Stage Company of Boston

Janie E Howland’s vivid, transformative set is remarkable right down to its carefully timed shop bell. Not only does it pay homage to vintage films of its time, but ‘Little Shop of Horrors’ is packed with 50s and 60s references such as ‘I Love Lucy,’ Howdy Doody, Donna Reed, and Betty Crocker.

Before going any further, let’s start with that Greek Chorus. 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. From casual street garments to flashy glam, these three electrifying vocalists certainly know how to make an entrance. Pier Lamia Porter as Chiffon, Lovely Hoffman as Crystal and Carla Martinez 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.

Lyric Stage Little Shop Remo Airaldi Dan Prior Katrina Z Pavao and Jeff Marcus

L to R: Remo Airaldi as Mr. Mushnik, Dan Prior as Seymour, Katrina Z Pavao as Audrey, and Jeff Marcus as a customer Photo credit to Mark S. Howard/Lyric Stage Company of Boston

The show has a gift for funny, ironic contrasts with a cast that has increasingly complicated motives. Wearing black-rimmed glasses, a baseball cap, and fervently wiping his brow, Dan Prior gives real heart to Seymour, a sympathetic, yet conflicted botanist. With an anxious demeanor and a light city accent, Prior 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 and frequently unlucky Audrey, portrayed wonderfully with plucky charm by Katrina Z Pavao. In a particularly comical moment, Seymour hopes to take Audrey to “a fancy dinner at Howard Johnson’s.”

Pavao’s lovely soprano vocals carry a lullaby or a soulful belt with equal skill. 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.

Lyric Stage 'Little Shop of Horrors' Dan Prior as Seymour and Remo Airaldi as Mr Mushnik

Dan Prior as Seymour and Remo Airaldi as Mr. Mushnik Photo credit to Mark S. Howard/Lyric Stage Company of Boston

Disheveled and desperate in an old cardigan, Remo Airaldi takes on the role of frustrated flower shop owner, Mr. Mushnik. Having delivered a deliciously dark comedic turn as Ben in Lyric Stage’s ‘The Little Foxes,’ Airaldi once again delivers a dark and memorable performance. He is especially clever with Dan Prior as Seymour for the manipulative and comical number, Mushnik and Son.

Lyric Stage's 'Little Shop of Horrors' Carla Martinez Pier Lamia Porter Lovely Hoffman and Jeff Marcus

From L to R: Carla Martinez as Ronnette, Pier Lamia Porter as Chiffon, Lovely Hoffman as Crystal, and Jeff Marcus as Orin Photo credit to Mark S. Howard/Lyric Stage Company of Boston

Jeff Marcus brings out his campy, satiric best in several roles including a no-holds-barred performance as Orin, a belligerent, narcissistic biker dentist punctuated with a howling, maniacal laugh. Marcus and Prior are particularly fun to watch, playing well off each other in the number, Now (It’s Just the Gas).

Lyric Stage's 'Little Shop of Horrors' Dan Prior as Seymour and Audrey II

Dan Prior as Seymour and Yewande Odetoyinbo as Audrey II Photo credit to Mark S. Howard/Lyric Stage Company of Boston

However, the real spectacle is Audrey II, the sly, soulful plant that changes everything. With versatile and grimly wise vocals by Yewande Odetoyinbo, inventively manipulated by Tim Hoover, and skillfully designed by Cameron McEachern, Audrey II is a comical, extraordinary specimen right down to her bright colors and shiny, dangling teeth. Audrey II is handled in such an innovative, natural, and majestic way, the results are truly mesmerizing.

Directed and choreographed by Rachel Bertone, Lyric Stage’s ‘Little Shop of Horrors’ continues through October 6 at the Lyric Stage Company of Boston, 140 Clarendon Street in Boston, Massachusetts. Click here for more information and tickets and here for what is coming up during Lyric Stage’s 45^th season.

REVIEW: Lexus Broadway in Boston’s ‘Beautiful: The Carole King Musical’ some kind of wonderful triumph

Posted on February 20, 2019 by The Sleepless Critic

Triumph she does. Carole King, one of the most successful songwriters of the latter part of the 20^th century, had talent from the first time she walked in the studio at age 16. This is not the average biopic where the protagonist has to overcome some sort of terrible tragedy or failure, but a woman on the move from the very start.

Boasting a library of hits before Carole even considers taking the stage to perform her own music, this show brings on the nostalgia of passing generations from the chic retro clothes to the distinctive music style. It is a sweeping musical from a songwriter’s perspective with few low notes and anyway, why not pack a show with hits and a lighter story that just might leave you smiling?

Sarah Bockel as Carole King Photo credit to Lexus Broadway in Boston

Lexus Broadway in Boston concluded Beautiful: The Carole King Musical‘s run on Sunday, February 10. Beautiful: The Carole King Musical recently celebrated five years on Broadway. Click here to see where this captivating show will be next. Click here more on Broadway in Boston’s stellar season.

From the moment Carole makes contact with that baby grand piano for a lively rendition of I Feel the Earth Move, impressive, rolling sets transport her into her Brooklyn home where she first started writing. Portrayed by Elise Vannerson throughout the show, Carole is introspective yet dreamy, seemingly more than ready for her life to take off. Vannerson captures the essence of her ambition, shyness, and tenacity. Her soaring vocals is an impressive tribute to Carole’s trademark voice. Suzanne Grodner portrays Genie Klein, Carole King’s mother, with humorous, cynical sass and sensibility as she cuts Carole a deal.

The Drifters: Darius Delk, Dimitri Joseph Moise, Deon Releford-Lee, and Nathan Andrew Riley Photo credit to Lexus Broadway in Boston

The Shirelles: Harper Miles, DeAnne Stewart, Danielle J. Summons, and Alexis Tidwell Photo credit to Lexus Broadway in Boston

Dominating this tale is some of the most popular music of the 20^th century and Beautiful offers a peek into how some of these songs hit the charts. A rollicking mix of hits including There Goes My Baby and Yakety Yak encompasses the sensational 1650 Broadway Medley as a glittering display of guitars, scripts, music sheets, and sound systems hang in the background. From shimmering gowns to some of the era’s most popular, colorful fashion trends, Allejo Vietti’s costume design blends perfectly with Joyce Chittick’s lively choreography, a compelling spectrum of classic dance moves and crazes of each era. It’s an era so influenced by Carole King’s songwriting and that of her peers.

From Left to right: James Clow as Don Kirshner, Dylan S. Wallach as Gerry Goffin, Sarah Bockel as Carole King, Jacob Heimer as Barry Mann, and Alison Whitehurst as Cythia Weil Photo credit to Lexus Broadway in Boston

Beautiful: The Carole King Musical is full of moments of light humor and endearing chemistry among the cast. With smooth, pliable vocals, Dylan S. Wallach portrays idealistic, sharp, and a bit macho Gerry Goffin. He and Elise Vannerson as Carole have charming chemistry and moments of cute awkwardness. They complement each other and their duets are particularly memorable. Alison Whitehurst as confident and driven Cynthia Weil and Jacob Heimer as hypochondriac Barry Mann make a fascinating comic duo. James Clow is also impressive as warm, inventive, and open minded Don Kirshner, who always knows talent when he sees it.

Click here to see where Beautiful: The Carole King Musical will be next. Lexus Broadway in Boston’s upcoming performances include A Bronx Tale, Hello Dolly, Dear Evan Hanson, as well as the return of The Illusionists, Miss Saigon, Les Miserables. Click here for a closer look at their season and follow them on Facebook and Twitter.

Acclaimed producer Sue Gilad talks Tony nominations, girl power, and heartwarming musical, ‘A Taste of Things to Come’

Posted on April 11, 2018 by The Sleepless Critic

From the award-winning Natasha, Pierre, and the Great Comet of 1812 to Angels in America, renowned theatre producer Suzanne Gilad has an eye for the next big show. Boasting an array of memorable tunes, Sue’s current musical project, A Taste of Things to Come, has been described as Jersey Boys meets Betty Crocker meets the 60s feminist movement. It takes the stage at Chicago’s Broadway Playhouse through April 29.

Photo courtesy of Broadway in Chicago

Sue discusses getting Tony nominations, bringing A Taste of Things to Come to Chicago, and Turtle Wax. Click here for more information and tickets to A Taste of Things to Come.

Sleepless Critic: You are involved in a number of well known projects such as Angels in America, Madame Butterfly, Natasha, Pierre, and the Great Comet of 1812, and upcoming project, The Other Josh Cohen. What first brought you into the theatre world?

Sue Gilad: I was a performer a long time ago and then started doing voice overs, which took me down a completely separate and fun path. A few years ago, a friend created a show and asked me if I would help shape it. I discovered being a producer meant that I could be responsible and still have a life. We get to be creative in terms of what kinds of work we bring to the public to see and hopefully open their minds and hearts. It made sense and there are still relatively few female producers in the business, although that is changing. There is a lot of growth for that.

I would jump Broadway projects as a co-producer and that is what is happening with the recently opened Angels in America. People ask me if they can meet Andrew Garfield who delivers a tremendous and transformative performance in the show. I’ve never seen him like that.

SC: What was it like for you when Natasha, Pierre, and the Great Comet of 1812 got multiple Tony nominations?

SG: It was such a big honor that the show received the most Tony nominations of any show last year. The best part about getting the nominations was The Great Comet was a big creative risk. I don’t think anyone thought it was going to be on Broadway with its tiny stage and cast. When it was at the American Repertory Theatre (A.R.T) in Cambridge, Massachusetts, Diane Paulus wanted to take the show which was in the round and remount it into proscenium theatre. She did to great acclaim and it became an immersive production, unlike anything Broadway has ever seen before.

Libby Servais (Broadway: Wicked, Lysistrata Jones), Cortney Wolfson (Broadway: The Addams Family, Les Miserables) Broadway’s Linedy Genao (On Your Feet! Original Broadway Cast), Marissa Rosen (Off-Broadway’s The Marvelous Wonderettes) Photo courtesy of Broadway in Chicago

SC: A Taste of Things to Come has an all female crew. Was it planned that way?

SG: Dare I say that the women were the most qualified for the job? A Taste of Things to Come, written by Hollye Levin and Debra Barsha, is based on Hollye’s experience of her mom and a part of it tells the story of the life her mom had growing up. Then director Lorin Latarro came onboard when the show debuted at Bucks County Playhouse in Pennsylvania. Everybody loved her and she brings tremendous things to the show.

The show features four women that age from age 25 in 1957 to age 35 in 1967. Everything blows open in the beginning of Act 2 when they are 10 years older and wiser with more opportunities for women and delicious secrets about race, religion, and sexuality which is not something you really talked about in the 1950s. By the 1960s, there was a real space for it. You get to see these women’s journeys during an incredible moment in history.

SC: What was it about A Taste of Things to Come that grabbed your attention?

SG: I saw a rehearsal or reading of this show and loved it. It gave me the opportunity to articulate my gratitude to the generation before me that broke through so many glass ceilings I didn’t even know existed.

Women of that generation either didn’t work or they became teachers and nurses so my generation can become doctors and superintendents. Then my kids’ generation can do whatever they want for work or nothing for work. It’s just extraordinary and gave me a window into the past. I can share it with my mom and, if I wanted to, bring my teenage daughters to it. It’s a celebration of friendship, solidarity, and kind of interestingly timed with the advent of the ‘me too’ and ‘times up’ movement that women in their time also had to take a stance for things that were beyond their comfort zone or what was socially acceptable at the time.

The cast of ‘A Taste of Things to Come’ Photo courtesy of Broadway in Chicago

SC: The New York Times has described A Taste of Things to Come as ‘a recipe for catchy musical theatre.’ Please tell me a little about the music and your favorite songs.

SG: Composer Debra Barsha worked on Jersey Boys on Broadway for ten years so it starts out with the popular tunes of the 1950s. Ten years later, things become a lot groovier and it had a really distinctive 60s sound. My favorite song has been shifting as I get to know it better, but today I love the song, Blessings in Disguise. It’s a testament to the things we think will challenge us which are actually the things that make us stronger and give us unexpected gifts. My other favorite song is In Time, the final song of the show. The entire cast sings it and they look back at what they have been through together as individuals and as a group of friends. The best things happen in time.

SC: What has it been like putting the show together?

Since the show is set in Winnetka, A Taste of Things to Come is making its home in Chicago. It’s been fun listening to the audio discs during previews because of the way the audience giggles with any Winnetka or Chicago reference. We were very lucky to get New York Broadway actresses but we also have an understudy that can swing all four roles. Madison Kauffman is a Chicago native who just graduated from college. She came in for the first day of rehearsal completely off book for all four roles. Her level of excitement and passion is so thrilling.

The cast of ‘A Taste of Things to Come’ Photo courtesy of Broadway in Chicago

SC: What kind of support is the show looking for?

SG: We have a great sponsor based out of Chicago called Turtle Wax. It is in the script because it was wax that men were using in 1957 for their cars. We would be open for Chicago-based companies to sponsor the show because we do have a wonderful, primarily female, well-educated audience.

SC: What is in store for the future of the show?

SG: We have wonderful theatres interested in having the show at their theatre so we might take the show on tour. Then we’re hoping to get it licensed so every school, regional theatre, community, and worldwide theatre can perform it and share the victories of womanhood.

A Taste of Things to Come continues at the Broadway Playhouse in Chicago through April 29. Click here for more information and for tickets. Follow A Taste of Things to Come on Facebook and Twitter.

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