60s | The Sleepless Critic

REVIEW: Risking it all in Sullivan Rep’s wry and reflective ‘Merrily we Roll Along’

Posted on June 25 by The Sleepless Critic

How the tables turn for this group of dreamers.

A devoted trio of friends set out to follow their ambitions, but the smell of success may not be all it’s cracked up to be.

With lively direction and choreography by Dan Sullivan and witty musical direction by Jenny Tsai, Sullivan Rep continues Merrily We Roll Along live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, June 27. This time jumping, theatre in the round musical runs two hours and 40 minutes including one intermission. Click here for more information and for tickets.

Carly Evans, Sean Donnelly, and Dan Sullivan in Sullivan Rep’s ‘Merrily We Roll Along’ Photo by Kenly Murray

Following the staggering 14 Tony award-nominations for Sondheim’s musical Company in 1970, Stephen Sondheim reunited with George Furth and Harold Prince for the 1981 musical Merrily We Roll Along. Merrily We Roll Along could very well be Company’s cousin in its similarity in tone, shared themes and its non-linear storyline. Also, Marianne Elliot directed the Broadway musical revivals that went on to win a Tony in 2021 for Company starring Katrina Lenk and featuring Patti Lupone and in 2023 for Merrily We Roll Along starring Jonathan Groff and Daniel Radcliffe.

Both musicals also have in common a conflicted man who makes a variety of decisions which creates some complicated outcomes while his tight knit group of friends stand by to support him, especially as this man starts to lose sight of what is truly important.

Ryan DuBray’s flashing multicolor spotlights form what seems like a disco style time traveling machine surrounding the stage and projections on the wall alternate from the progression of time to rewinding the clock throughout the musical.

DuBray’s era-inspired set along with costumer JeanMarie LaPointe work together to create distinct portraits of various eras from 1959 to 1976. From Post World War II to the disco era to the black and white Andy Warhol era, bold and eye catching colored wardrobes include flowing silk dresses and jumpsuits, polyester leisure suits, plaids, florals, sequins and fringe to depict the hard partying “movers and shakers.” Cast members bring assorted retro props to set up each scene.

Merrily We Roll Along focuses on Sean Donnelly as Franklin Shepard who is thriving from the success of his new musical. He is married to Katie Clark as resentful and consummate performer Gussie, but there is a lot more to their story than meets the eye. Clark establishes and “gussies up” this complicated character well and it is interesting to watch the unmistakable parallels between Clark’s Gussie and Donnelly’s Franklin.

Justin Boudreau, Katie Clark and cast in Sullivan Rep’s ‘Merrily We Roll Along’ Photo by Kenly Murray

As far as the trio of friends, Franklin has a complicated bond with Carly Evans as increasingly unreserved and steadfast Mary Flynn and Daniel Forest Sullivan as Franklin’s business partner Charley Kringas. Evans, Sullivan and Donnelly all share a bond that only old friends can even as it frays at the edges. They demonstrate some wonderful moments in the daydreaming number, Bobbie & Jackie & Jack and warm camaraderie for It’s a Hit and Old Friends.

The musical may start out cynical and seemingly shallow, but becomes more robust as the tale unfolds. A particular highlight is Daniel Forest Sullivan as Charley expressing wry sarcasm and mounting frustration with a tinkling piano and a wink to Fosse for the catchy and rapid fire number, Franklin Shepard, Inc. Carly Evans as Mary offers a heartfelt rendition of Like It Was and Meghan Rose shines as down to earth and reasonable Beth from her very first scene for Not a Day Goes By. Along with Justin Boudreau as ambitious producer Joe, the group form bright harmonies for Opening Doors. Amanda Atkinson and Scott Berozi notably share clever comedic quips as a pair of news anchors.

Sondheim is known for his complex harmonies as well as rapid fire and thickly descriptive lyrics and this musical is no exception. This cast dominates this challenging musical style, but some of the lyrics can get a little lost in acoustics of the venue, so try to sit as close as you can to the stage. The venue also can get a little warm so dress accordingly.

Merrily We Roll Along is an engaging cautionary tale that cleverly carves out fascinating patterns and parallels to focus on the pressures of fame, the fragility of friendship and the risks one takes to follow that dream. As upbeat and funny as it is cynical, it reflects on the realities of this pivotal era and brings to light what is truly important.

Sullivan Rep continues Merrily We Roll Along live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, June 27. Click here for more information and for tickets.

REVIEW: The Umbrella Stage Company delivers a bright and uplifting ‘Hairspray’

Posted on May 15 by The Sleepless Critic

If only we can all possess Tracy Turnblad’s unwavering optimism and enjoy this much dancing everyday in our own lives, the world may be a little happier.

‘I’ll eat some breakfast and change the world’ is just one of the self-assured declarations that Nora Sullivan makes as tenacious during Good Morning Baltimore while dreaming about dancing on television in 1962 Maryland. Sullivan was also Tracy in Sullivan Rep’s Hairspray last year.

With glowing, innovative and multi-color television screens and a sparkling curtain in the background, The Umbrella Stage Company lights up The Corny Collins Show’s vinyl record dance floor with catchy beats and a spirited groove in Hairspray: The Broadway Musical, an upbeat 60s romantic musical comedy sure to brighten anyone’s spirits.

The cast of HAIRSPRAY, feat. Lisa Kate Joyce* as Amber Von Tussle, Joshua LaPierre as Corny Collins, and Nick Corsi as Link Larkin Photo by Jim Sabitus *indicates a member of AEA

Boasting exuberant direction and choreography by Najee A. Brown and Jordan Oczkowski’s uplifting music direction, Umbrella Stage Company Hairspray: The Broadway Musical live and in person at the Umbrella Arts Center in Concord, Massachusetts through Sunday, May 17. This engaging musical comedy delivers bold comical innuendos and runs approximately two hours with one intermission. Click here for more information and for tickets.

Featuring a large and lively cast, Hairspray has always been an upbeat satire which infuses important messages about body positivity, bullying and racism with a hopeful and bubbly lead that believes anything is possible. I had a marvelous time and could not help bopping my head several times to the musical’s joyous beat. Hairspray picks up right away in constant motion as scenes unfold simultaneously on Cameron McEachern’s dual level set. For example, Good Morning Baltimore unfolds with infectious rhythms and clever staging as Maggie Cavanaugh as Tracy’s best friend Penny and Tracy pour over an authentic retro television set alongside what they are seeing on the screen.

The cast of HAIRSPRAY, feat. Christian David* as Seaweed J. Stubbs in HAIRSPRAY at The Umbrella Arts Center in Concord, MA. Photo by Jim Sabitus.
*indicates a member of AEA

Big and fluffy standout wigs by Cara Guappone tower over vivid 60s costumes in flowing crinoline with colorful patterns including polka dots, florals, plaids and shimmering gold lamé by Emerald City Theatricals.

Another highlight is demonstrated in Big Doll House which elevates the comedy and the chemistry between the actors and teen rebellion takes charge as Cavanaugh’s Penny, Lisa Kate Joyce as Amber Von Tussle and Sullivan’s Tracy sound off in vivid intricate lighting by SeifAllah Salotto-Cristobal and sparkling harmony for Mama I’m a Big Girl Now.

Nick Corsi and Nora Sullivan in HAIRSPRAY at The Umbrella Arts Center in Concord, MA. Photo by Jim Sabitus.

Tracy dreams of performing on Baltimore’s teen dance TV show The Corny Collins Show and winning the heart of Link Larkin, a council member and heartthrob singer exhibiting the dreamy excitability of falling in love with Brown’s 360 degree choreography in I Can Hear the Bells. Sullivan’s jovial performance exudes charm and an imaginative turn of phrase as Tracy’s pretty vocals expel spontaneous shrieks and endearing chuckles during various parts of the production.

Sullivan’s Tracy gets into ambitious teen high jinks and Maggie Cavanaugh as best friend Penny is gleefully along for the ride. Boasting hints of Elvis croons and inflections, Nick Corsi portrays heartthrob Link with a mix of openness and charisma while sharing some amusing scenes with Tracy especially for the endearing ballad, It Takes Two. Christian David is easygoing and suave delivering smooth and distinctive vocals as Seaweed J Stubbs, especially for the catchy number Run and Tell That. With a broad and winsome smile, Joshua Lapierre as Corny Collins certainly lives up to Corny’s name and is shows off his sharp comedic chops while cutting a rug in Nicest Kids in Town.

Aimee Doherty, Lisa Kate Joyce and the cast of HAIRSPRAY at The Umbrella Arts Center in Concord, MA. Photo by Jim Sabitus.

Brutal, poised and snarky, villainy lives in Aimee Doherty who revels in her role as Velma Von Tussle bathed in ruthless red lighting. Lisa Kate Joyce as Velma’s coiffed and obnoxious daughter Amber Von Tussle is an appropriate mini-me striding onstage with a flashy smile. The duo makes an impressively egotistical, calculating, manipulative and often unhinged pair. Only second to an array of comical tantrums bellowed on a staircase, Joyce is brashly pitch perfect when she exclaims, ‘What happened to the bland and spineless guy I fell in love with?’ Joyce also delivers sharp comedic timing and over the top vocals for Cooties.

Robert Saoud infuses dry humor and a dazzled smile as Tracy’s once aspiring designer mother Edna and Chip Phillips lovably depict Tracy’s plucky and optimistic inventor father Wilbur for a humorous rendition of You’re Timeless to Me.

Robert Saoud* and Nora Sullivan as Edna and Tracy Turnblad and cast in HAIRSPRAY at The Umbrella Arts Center.
Photo by Jim Sabitus.
*indicates a member of AEA

Whether delivering the playful and bluesy Big Blonde and Beautiful or a moving rendition of I Know Where I’ve Been, Barbara Pierre offers frank, unflappable and soaring vocals as Motormouth Maybelle. Whether depicting a principal at the end of his proverbial rope, a wild bailiff, gym teacher, a camera shy advertiser or taking control of a TV shoot, Nick Miller and Meryl Galaid manage to make each of their multiple roles amusingly memorable.

Nora Sullivan and the full cast of in HAIRSPRAY at The Umbrella Arts Center in Concord, MA. Photo by Jim Sabitus.

No time but now to see Hairspray: The Broadway Musical continuing live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, May 17. Click here for more information and for tickets.

REVIEW: ‘The Outsiders’ musical sure does shine

Posted on April 8 by The Sleepless Critic

Tulsa, Oklahoma is divided by the-haves and have-nots in 1967 and that divide is capable of causing a confrontation at the drop of a hat.

The drive-in and literature provide a means of escape for Pony Boy, a 14 year-old Greaser often surrounded by teenage gang violence. As young as he is, he may be the only one who is asking why.

The cast of ‘The Outsiders’ musical national tour Photo by Matthew Murphy of MurphyMade

Directed meaningfully by Dayna Taymor with Justin Levine’s powerful music direction and Rick and Jeff Kuperman’s slick and athletic choreography, Lexus Broadway in Boston continues the national tour of The Outsiders musical at Citizens Opera House through Sunday, April 12. This coming of age musical’s action is not limited to the stage and runs 2 hours and 30 minutes with one intermission. Click here for more information and for tickets and here for the next stop on The Outsiders Musical national tour.

The Outsiders was originally a 1967 novel by S.E. Hinton. The author oversaw every aspect of the popular 1983 Francis Ford Coppola film adaptation of the same name featuring what was then a promising group of actors that went on to make their own iconic mark in the world. The film became a popular cult classic with a dynamite cast starring Thomas C. Howell as Pony Boy, Patrick Swayze as Darrell, Ralph Macchio as Johnny, Matt Dillon as Dallas, Rob Lowe as Soda Pop, Emilio Estevez as Two-Bit, Leif Garrett as Bob and Diane Lane as Sherri “Cheri” Valance. It also first premiered as a stage play in 1990.

The Greasers Photo by Matthew Murphy of MurphyMade

From its building opening folk-rock number Tulsa ’67, The Outsiders musical hits the ground running and it is as thrilling as it is introspective. Nolan White is an immediately compelling narrator as poetic, sensitive, naïve and bookish Pony Boy. Pony Boy spends his days escaping the chaos and Tulsa’s gang violence through 60s film icons such as James Dean and Paul Newman, but it is only a matter of time before the violence around him catches up to him.

The national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of Matthew Murphy of MurphyMade

Smoke rises over Projection designer Hana S. Kim’s and Sceneographer Tatiana Kehvehgian’s weathered and strategically placed multi-level industrial set. Peppered with vintage props that effectively rewind the clock such as a teal antenna television, functional Cadillacs that growl to life and a vintage metal-framed wooden table, the surrounding set pieces are brilliantly navigated by the cast into alternating positions, especially grease, wooden planks and cinderblocks which take part in the Kupermans’ slick and athletic choreography. Grainy film montages creatively and impressively illustrate the stage in unexpected places combined with Brian MacDevitt’s lighting heightening the show’s innate intensity through windswept shadows, flashlights, headlights and a dazzling sunrise.

The Socs of the national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of MurphyMade

Outstanding harmonies within Great Expectations, I Could Talk to You All Night, Grease Got a Hold, Run Run Brother and Throwing in the Towel, and Stay Gold is just a few of the mellifluous numbers in this guitar-tinged folk and roots rock score. The Outsiders tackle privilege, bullying, gang and domestic violence, grief and loss. It also delves into brotherhood, family, friendship and more prevalently, yearning to be understood and the dream of a better life.

The captivating cast share natural camaraderie amongst the two gangs punctuated by the performances of Tyler Jordan Wesley as wildly unpredictable Dallas and Travis Roy Rogers as reliable Darrell. Wesley hits all the right notes with Little Brother while Darrell’s resentment, self righteousness, worries and distress are encapsulated in the numbers Runs in the Family and Soda’s Letter.

The national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of MurphyMade

Life can change on a dime and the mesmerizing manner in which they are presented are one of the greatest aspects of this amazing musical as well as how beautifully this musical brings out Hinson’s work about innocence and struggle in a remarkably new, unique and fitting manner.

This musical sure does shine.

Lexus Broadway in Boston continues the national tour of The Outsiders musical at Citizens Opera House in Boston, Massachusetts through Sunday, April 12. Click here for more information and for tickets and here for the next stop on The Outsiders Musical national tour.

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

Posted on December 10 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.

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: North Shore Music Theatre’s ‘The Cher Show’ turns back time radiating with empowering style

Posted on October 29 by The Sleepless Critic

This musical biopic seems by the numbers until three Chers materialize to infuse a clever and adventuresome twist.

Much like Cher herself, The Cher Show is a spotlight driven, bawdy, and spirited look at Cher’s upbringing and career and how Cherilyn Sarkisian overcame her shy demeanor to become what she proudly proclaims ‘a warrior goddess.’

Bathed in dazzling, spotlight-soaked flair and a marvelous rising and bejeweled spinning stage by Jack Mehler, Star, depicted with Cher’s absorbing dry humor and distinct husky contralto vocals by Sara Gettelfinger, emerges in sequined black donning 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 navigate her life based on all she knows now.

The cast of THE CHER SHOW in the Tony Award-Winning costumes designed by Bob Mackie playing at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

With Kevin P. Hill’s vibrant direction and an array of slinky and dynamic choreography by Sara Andreas, North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts. The theatre-in-the-round production runs 2 hours and 45 minutes with one twenty minute intermission, the action is not limited to the stage and contains some adult themes. Click here for more information and tickets.

Angie Schworer as (Georgia Holt) and Madeline Hudelson (Babe) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Cherilyn was not always one to bathe in the limelight and at nearly 80 years old, she has quite the story to tell. As chatty and anxious Babe, depicted with mellifluous vocals and fretful naiveté by Madeline Hudelson, Cherilyn often felt like an outsider due to her dyslexia, half-Armenian heritage and unconventional looks. Hudelson’s confidence appears only in bursts as self consciousness takes over. However, Angie Schworer, fabulous as Cher’s confident firecracker mother Georgia, is a constant source of strength, sage advice and beauty. Georgia advises, ‘The song will make you strong.’ To anyone who loves music, no truer words were ever spoken.

Charissa Hogeland (Lady) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden

In feathers and sequins, Schworer also makes a grand cameo as a legendary celebrity that will not be revealed here. Andrew Tufano also delivers a memorable performance as Rob Camilleti.

Cher fulfills most people’s two fondest wishes in this musical. Not only can Gettelfinger’s Star turn back time, but accompanied by Hudelson as Babe and Charissa Hogeland as Lady, Star can turn to her other selves to revisit her past. A trio of Chers who interact, are aware of each other, and support each other do not just provide a wealth of comedic and heartfelt moments, but breaks the pesky rules of a classic biopic in an inspired and spectacular way. Gettelfinger, Hogeland, and Hudelson share an admirable bond where anything can happen which comes in handy as Cher was required to grow up fast in this sink-or-swim industry.

Brenton Cosier (Gregg Allman) with Sheila Jones in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Mehler’s glitzy and sequin-fringed set displays an immersive array of projections which includes 60s petal-inspired illustrations, Vegas pizzazz, an opulent mansion, Broadway theatre, and western flair enhanced by chandeliers and authentic Sonny and Cher logos.

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 controversially-daring fashion designer Bob Mackie, who originates the Broadway and tour costumes seen in this musical. Dan Fenaughty, who depicts a trio of roles in this production, is memorable as Mackie complete with clever quips and a mischievous gleam, especially during Ain’t Nobody’s Business. Magnets are used to accommodate the numerous fashion styles and quick changes throughout the production. The Cher Show’s costume coordinator Rebecca Glick and wig and hair designer Rachel Padula-Shuflet presents these ostentatious costumes in all of its nostalgic, feathered, and sparkling runway glory.

Dan Fenaughty (Bob Mackie), Charissa Hogeland (Lady) and Ben Broughton (Sid the Censor) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Frankie Marasa 5^th is in on the joke as good humored Sonny Bono at first with self deprecating charm, a gradual magnetic charisma and a quirky sense of humor. Fast talking with shrewd business sense, Marasa 5th shares endearing yet complicated chemistry and half of an impressive deadpan comedic duo with each Cher. One of the best moments of the musical is with Hudelson’s Babe and their powerful rendition of I’ve Got You Babe which was met with a roar from the audience. He also shines in Little Man and later for All I Ever Need is You.

Frankie Marasa 5th (Sonny Bono) and Charissa Hogeland (Lady) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

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 poignant Bang Bang (He Shot Me Down), Believe and Heart of Stone. Gettelfinger, Hogeland, and Hudelson form a powerhouse trio as they recall Song for the Lonely. However, Gettelfinger truly shines with soaring vocals for The Way of Love. The drum-infused and Fosse-inspired The Beat Goes On is also a sleek standout as well as the sultry and athletic chorography featuring Milena Comeau in The Dark Lady.

Madeline Hudelson (Babe) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

You don’t have to be a fan of Cher to appreciate her journey. The Cher Show lightheartedly celebrates her remarkable career and variety of hits, but is also an honest and frank depiction of her insecurities, challenges, and fears within her failures and triumphs. Through it all, Cher’s strength relentlessly shines through as the beat goes on.

North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts. Click here for more information and tickets.

REVIEW: Shadow Play in Actors’ Shakespeare Project’s ‘Macbeth’

Posted on October 26 by The Sleepless Critic

The white coats are not to be trusted.

Ominously directed by Christopher V. Edwards and boasting MacKenzie Adamick’s searing sound design, Actors’ Shakespeare Project continues William Shakespeare’s Macbeth live and in person at the Dorothy and Charles Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, October 26. This classic production is not limited to the stage, is semi-interactive, and runs approximately two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Omar Robinson and Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth.’ Photo by @benjaminrosephotography

Set during the dire 1960s Cold War, this is a production built in shadows playing on the walls, materializing from hidden corners and creeping along the stage. With an alarming array of red glare and sparks, Elmer Martinez’s eerie lighting design not only enhances Adamick’s affecting sound design, but embellishes Macbeth’s menacing plot focusing on a Scottish general named Macbeth, portrayed with charismatic cunning by Omar Robinson, who is enticed by power when he is told he is destined to be king. Alongside Brooke Hardman who impressively depicts traumatized, bitter and ruthless Lady Macbeth with a fiery vengeance, this dangerously ambitious duo set out to fulfill their seeming destiny. What make Robinson and Hardman’s joint performances stand out is in the love and the inner turmoil Robinson as Macbeth and Hardman as Lady Macbeth share in the soft and crumbling moments that manages to elicit a consistent element of sympathy during their mounting struggles.

Claire Mitchell, Amanda Esmie Reynolds, and Jade Guerra in Actors’ Shakespeare Project’s ‘Macbeth’ Photo Photo by @benjaminrosephotography

In Marissa Wolf’s mix of elegant and edgy retro-style uniforms, costumes and wigs, Jade Guerra, Amanda Esmie Reynolds, and Claire Mitchell form a diabolical trio who administer various forms of agony rather than casting spells. They participate in their own form of dark treachery in collective actions that manipulate various characters. They are gleeful and petty as psychedelic and harrowing projections by Sue Rees emphasize their psychological and hallucinogenic hold on others. Bold, darkly funny, and chilling, the weird sisters are unsettling whether they are quietly observing, swarming a character or plotting their next move.

Many cast members aptly depict dual roles and Mitchell and Reynolds alongside Chingwe Padraig Sullivan also make a dangerous impact during the production.

Jesse Hinson, Omar Robinson, and Dennis Trainor Jr. in Actors’ Shakespeare Project’s ‘Macbeth’ Photo by @benjaminrosephotography

Jesse Hinson portrays a dual role warmly as Macbeth’s right hand man Banquo and as an enigmatic doctor sporadically appearing during the production. It is easy to see the easy camaraderie between Hinson and Robinson as they consult and confide in each other.

Actors’ Shakespeare Project always had a talent for articulating Shakespeare’s dialogue with precise authenticity and a contemporary edge. With Actors’ Shakespeare Project’s Romeo and Juliet, the expressive nature and the contemporary veil over the dialogue worked well and had a natural flow.

However, this Macbeth doesn’t land as well leaving little to interpretation during a brief tangent that spells out and struggles to connect an array of cultural references during a distracting Porter scene. In the middle of the Cold War, this tangent yanks me out of the illusion and breaks the fourth wall which made it difficult to reconnect to the action after this contemporary detour.

Shakespeare’s Macbeth is an incredibly powerful tale and stands as a classic for a reason. It has stood the test of time with a gripping plot, resonating lessons and impactful moments potent enough to allow its content and rising shadows speak for themselves.

Jesse Hinson and Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth’ Photo by @benjaminrosephotography

Actors’ Shakespeare Project continues William Shakespeare’s Macbeth live and in person at the Dorothy and Charles Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, October 26. Click here for more information and for tickets.

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

Posted on June 25, 2025 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 65^th 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: Not too late to see Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’

Posted on June 18, 2025 by The Sleepless Critic

When it comes to music, Carol King triumphs.

Carole King, one of the most successful songwriters of the latter part of the 20^th century, hits the ground running after showcasing her songwriting talent for the first time walking into 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.

Olivia Palmer and Shad Hanley in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’ Photo credit Robert Pascucci

Showcasing a library of hits before Carole even considers performing her own songs, Beautiful 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?

With uplifting direction and chorography by Deanna Dys, Reagle Music Theatre of Greater Boston kicks off their 56^th summer season with Beautiful: The Carole King Musical through Sunday, June 22 live and in person at the Robinson Theatre in Waltham, Massachusetts. Beautiful: The Carole King Musical runs 2 hours and 30 minutes with one intermission. Click here for more information and for tickets.

Just moments after Olivia Palmer as Carole makes contact with that baby grand piano for a ruminating rendition of So Far Away, Scenic designer Derek McLane’s detailed rolling, dual level sets framed by a latticed gold border transports Carole Klein into her Brooklyn home where she first started writing. Franklin Meissner Jr.’s energetic lighting often works with Mindy Cimini’s lively Music Direction to the beat ranging from infectious pop to rock to romantic ballads. Dys makes the most of Reagle’s space using split scenes divided by a piano as performances take place anywhere on the stage.

The cast of Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carol King Musical Photo credit Robert Pascucci

Portrayed by Olivia Palmer throughout the show, Carole is introspective yet dreamy while seemingly more than ready for her life to take off. Palmer captures the essence of Carole’s ambition, shyness, anxiousness, tenacity, self deprecating demeanor, and brilliance having skipped two grades in school. Her resonant vocals are an impressive tribute to Carole’s full trademark voice. With a thick Brooklyn accent, cynical sass and sensibility, Jennifer Bubriski is amusing as Genie Klein, Carole King’s mother, who cuts a deal with Carole in order for Carole to pursue her dreams.

Dominating this musical journey is some of the most popular music of the 20^th century and at times, it can feel like a showcase of the music of the era more than Carole’s story. It just goes to show just how deeply influenced the music scene was by Carole King’s songwriting and that of her peers.

The Shirelles in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carol King Musical’ Photo credit Robert Pascucci

Beautiful offers a peek into how some of these classic songs hit the charts. Some of the standout harmonies include Noah Colvin, Brandon Howard, Kenny Lee, and Martinez Napoleon as The Drifters delivering a refreshing mellifluous rendition of On Broadway and The Drifters with Shad Hanely as Gerry Goffin for a soulful Up on the Roof. Palmer and the ensemble also perform a unique and riveting rendition of Chains. A rollicking mix of hits including There Goes My Baby, Splish Splash 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.

Shad Hanley, Olivia Palmer, Harley Seger and Luke Hawkins in Reagle Music Theatre of Greater Boston’s ‘Beautiful The Carole King Musical’ Photo credit Robert Pascucci

From shimmering gowns to some of the era’s most popular and colorful fashion trends, Allejo Vietti’s costume design dazzles with Deanna Dys’s lively choreography which infuses some of the dance moves and crazes of each era.

Beautiful: The Carole King Musical is full of moments of light humor and endearing chemistry among the cast. With smooth and euphonious vocals, Shad Hanley portrays idealistic, intense, and flirtatious Gerry Goffin. Hanley and Olivia Palmer as Carole share some sparks even though Carole never feels deserving of such attention and Hanley’s portrayal as Gerry delivers intensity in both his brightest and darkest, most restless moments. They complement each other and their duet, Take Good Care of My Baby is particularly sweet.

Shad Hanley, Olivia Palmer, Harley Seger, Luke Hawkins and Jim Sorensen in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’ Photo credit Robert Pascucci

With soaring vocals, Harley Seger as confident, independent, supportive yet driven Cynthia Weil and Luke Hawkins as hypochondriac Barry Mann make an engaging comic duo. Hawkins performs a raw and remarkable rendition of We’ve Got to Get Out of This Place. Jim Sorensen is also impressive as seemingly hardnosed, inventive, yet open minded Don Kirshner, who always knows talent when he sees it.

Reagle Music Theatre of Greater Boston kicks off their 56^th summer season with Beautiful: The Carole King Musical‘s through Sunday, June 22 live and in person at the Robinson Theatre in Waltham, Massachusetts. Click here for more information and for tickets.

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

Posted on June 3, 2025 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: No stopping this beat in Sullivan Rep’s vibrant and uplifting ‘Hairspray’

Posted on February 28, 2025 by The Sleepless Critic

If only we can all have Tracy Turnblad’s unwavering optimism and this much dancing in my own life.

‘I’ll eat some breakfast and change the world’ is just one of the confident lyrics that Nora Sullivan as tenacious Tracy declares in Good Morning Baltimore while dreaming about dancing on television in 1962 Maryland.

Nora Sullivan as Tracy in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

With a glowing chandelier above, Sullivan Rep kicks off its second season fittingly lighting up an American Legion dance floor with scattered colorful platforms and an energetic groove in Hairspray, an upbeat romantic musical comedy that just might lift anyone’s spirits.

With exuberant direction and choreography by Dan Sullivan as well as creative music direction by Jenny Tsai, Sullivan Rep continues Hairspray live and in person at the American Legion in Newton, Massachusetts through Saturday, March 1. This theatre in the round production is approximately two hours with one intermission. Click here for more information and for tickets.

Featuring a large and lively cast, Hairspray has always been an upbeat production while infusing important messages about body positivity, bullying and racism boasting a hopeful and bubbly lead that believes anything is possible. What I enjoyed most about this particular production of Hairspray is its vibrancy and constant motion demonstrated while scenes unfold simultaneously on colorful platforms as dancers spin, turn and flow in DW’s vivid and elegant costumes into each changing scene. For example, Good Morning Baltimore depicts Tracy’s world with infectious rhythms and clever staging as Eve Harrison as Tracy’s best friend Penny and Tracy pour over an authentic retro television set surrounded by what they are seeing on the screen. Not only is the audience treated to the action onstage, but to Tracy and Penny’s reactions to what they are witnessing.

Jack Magan as Link Larkin and Nora Sullivan as Tracy in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Another highlight is demonstrated in Big Doll House which infuses tap and portable and intersecting bars that elevate the comedy and the chemistry between the actors and as hula hoops spin, teen rebellion takes charge as Eve Harrison, Emily Lambert as Amber Von Tussle and Sullivan sound off on their own individual microphones for Mama I’m a Big Girl Now.

Kevin Hanley as Corny Collins and cast in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Tracy dreams of performing on Baltimore’s teen dance TV show The Corny Collins Show and winning the heart of Link Larkin, a council member and heartthrob performer on the show as Tracy demonstrates in the love struck and beautifully staged I Can Hear the Bells. Sullivan exudes charm and an imaginative turn of phrase as Tracy in a jovial performance with pretty vocals that expel spontaneous and comical shrieks of teen excitement during various parts of the production. Eve Harrison as Penny and Sullivan’s Tracy share a fun loving rapport in exciting teen high jinks. Jack Magan depicts heartthrob Link with smiling eyes and a mix of openness and charisma sharing some amusing scenes with Tracy. Marell Perry is cool and collected delivering smooth and distinctive vocals as Seaweed J Stubbs, especially for the catchy number Run and Tell That. Kevin Hanley is disarming as classically handsome Corny Collins for its title track while Katie Van Clark as Velma Von Tussle and Emily Lambert as Amber Von Tussle make for an impressive egotistical, calculating, manipulative and at times a bit unhinged mother daughter team out to win. One of Lambert’s funniest moments was when she shouted, ‘What happened to the bland and spineless guy I fell in love with?’ and boasts sharp vocals in the number Cooties.

Jack Magan as Link Larkin in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Tim Lawson revels in his role as Tracy’s once aspiring designer mother Edna and Kai Chao is delightful as Tracy’s inventor father Wilbur during a sweet rendition of You’re Timeless to Me.

Lizzy Pierre Saint as Little Inez and Hanifa as Motormouth Maybelle in Sullivan Rep’s ‘Hairspray’

Whether delivering the playful and bluesy Big Blonde and Beautiful or a moving rendition of I Know Where I’ve Been, Hanifa offers passion, charisma, and stylish vocals as Motormouth Maybelle. Whether portraying a principal at the end of his proverbial rope, a wild bailiff or taking control of a TV shoot, Anthony Rinaldi manages to make each of his roles amusingly memorable.

The Dynamites of Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Get up and see Hairspray continuing live and in person at the American Legion in Newton, Massachusetts through Saturday, March 1. Click here for more information and for tickets.