60s

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:  Toting brilliant performances, Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf?’ a twisty, no holds barred stunner

Posted on by The Sleepless Critic

George and Martha are unhappy.

As they say, nothing good happens after 2 a.m.  In the early morning hours in 1961, George and Martha arrive home from a faculty party, but their evening is far from over.  Theater UnCorked offered an up close and personal peek into the brewing chaos of their living room as astonishing events begin to unfold on the grounds of this small New England college.

Nimbly directed by Ben Delatizky, Theater UnCorked presented Edward Albee’s Tony and Pulitzer Prize-winning drama Who’s Afraid of Virginia Woolf for one weekend only from December 6-10 live and in person at the BCA Plaza Black Box Theatre in Boston, Massachusetts.  This show is divided in three parts, is a meaty 2 hours and 30 minutes with two intermissions, and is appropriate for mature audiences.  Click here more information and for more on Theater UnCorked’s upcoming performances.

The cast of Theater UnCorked’s ‘Whos Afraid of Virginia Woolf’ Photo Credit: Gary Ng

Who’s Afraid of Virginia Woolf was also famously adapted into a 1966 Academy Award-winning motion picture starring powerhouse couple Elizabeth Taylor and Richard Burton as well as Sandy Dennis and George Segal.  While all four actors were nominated for Academy Awards, only Taylor and Dennis won for Best Actress and Best Supporting Actress.

The show opens with Martha dramatically recalling one famous Bette Davis quote, but another Bette Davis quote, ‘Fasten your seatbelts!  It’s going to be a bumpy night!’ might be more accurate.  Her husband, George is not amused.

Each member of this small cast depicts their characters with searing finesse.  Edward Albee’s renowned and controversial script adds a darkly comedic tone to these multifaceted characters and the events that follow.  At times, the show is sympathetically funny and at others, one cannot help but laugh nervously at the growing tension.  This moving, complex, and raw production successfully hinges on Albee’s meticulous pacing and critical chemistry between each of these dynamic characters.

Brooks Reeves as George and Shana Dirik as Martha in Theater Uncorked’s ‘Who’s Afraid of Virginia Woolf’ Photo credit: Leonard Chasse

Without a bad seat in this intimate theatre, the audience was nearly immersed in the action onstage. Mike Mcteague’s horn-infused sound design maintains a foreboding tension and melancholy between each scene while Sehnaz (Shana) Dirik’s scholarly and sophisticated retro set and props include a wet bar, large bookcases, globe, couch and dark wooded vintage style end tables with ashtrays seemingly right out of the 60s.  Popular albums of the era and turntable are on display and a particularly notable Sinatra album, My Way is cheekily front and center. Even the doorbell has a vintage and nostalgic chime.   From darkly bold to flowered pastels, Richard Itczak’s multicolor costume design accentuates each character’s unfolding disposition.

The 60’s set of Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf’ Photo Credit Gary Ng
The 60’s set of Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf’ Photo Credit Gary Ng

Who’s Afraid of Virginia Woolf is lengthy, but anything but boring.   These are highly intelligent and substantial individuals who share cerebral conversations, each with a veiled agenda.  With a condescending cackle, Sehnaz (Shana) Dirik portrays vivacious but worn Martha.  Dirik has remarkable chemistry with her perceptive and calculating Associate Professor husband, George, depicted by Brooks Reeves.  Reeves has a talent for bringing to life complicated characters with a dark underbelly and he and Martha teeter from malevolent to bickering to seeming adoration at the drop of a hat.  Brooks and Dirik deliver powerhouse performances because Albee’s script invites no less.  The physicality, the endurance, and the sheer energy that it takes to capture these characters can be exhausting and yet, Brooks and Dirik are more than up to the challenge.  At one point, Reeves and Dirik are so invested in the sheer magnitude of this twisty production that one cannot help but be moved by the tracks of Reeves’s tears and Dirik’s wild yearning.

Brooks Reeves as George Shana Dirik as Martha Anthony Rinaldi as Nick and Brooke Casanova as Honey in Theater Uncorked’s ‘Whos Afraid of Virginia Woolf’ Photo credit: Gary Ng

Anthony Rinaldi portrays affable department professor Nick while Brooke Casanova depicts naïve Honey, a polite married couple from the Midwest.  Both comically reflect what the audience might be thinking at first and at one point, Casanova as Honey is literally clutching her pearls.  They make an amiable and fascinating pair as their motivations gradually come to light in unexpected ways. 

Brooks Reeves as George and Shana Dirik as Martha in Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf?’ Photo Credit Leonard Chasse

Who’s Afraid of Virginia Woolf has many layers and one cannot think of how dangerous it can be to know someone all too well.  George and Martha have been together for 23 years and they know exactly which button to push for what they want.  Some marriages do not always have the other’s best interest at heart and this coupling for the ages.

Nimbly directed by Ben Delatizky, Theater UnCorked presented Edward Albee’s Tony and Pulitzer Prize-winning drama Who’s Afraid of Virginia Woolf for one weekend only from December 6-10 live and in person at the BCA Plaza Black Box Theatre in Boston, Massachusetts.  This show is divided in three parts, is a meaty 2 hours and 30 minutes with two intermissions, and is appropriate for mature audiences.  Click here more information and for more on Theater UnCorked’s upcoming performances.

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.

REVIEW:  Company Theatre’s rock musical ‘Hair’ a meaningful trip

Posted on by The Sleepless Critic

Before cell phones, the internet, and alternate forms of digital communication invited people to text and talk on a computer screen as an alternative to seeing someone in person, Hair highlights the value of in person camaraderie, especially when things seem to be falling apart.  Set in war torn 1968 and focusing on a tribe of hippies that could possibly be drafted, emotionally and physically holding onto each other helps them cope in a world gone mad.

Company Theatre’s ‘Hair’ Shane Cunniff-of Quincy and Gilbert Dabaddy of Rockland Photo courtesy of Zoe Bradford/Company Theatre

Directed astutely by Zoe Bradford with bold musical direction by Robert McDonough, Company Theatre continues the 1960’s rock musical Hair through August 21 live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts.  This show has mature themes and not appropriate for children.  Click here for more information and for tickets.

What is so prevalent in Company Theatre’s production of Hair is the natural camaraderie between cast members tackling a work that requires the cast to engage so closely and without reservations.  Hair is at times an immersive experience with some interaction with the audience and cast members occasionally marching down the aisles.   An entire cast warmly together onstage is uplifting albeit still a tad bit strange to witness.  It provides an escape from the world today with social distancing still not quite a thing of the past.

Company Theatre’s ‘Hair’ Julia Violet of Hanover Janaysia Gethers of Weymouth Elizabeth Nunnery of Hanover Shane Cunniff of Quincy and Tim Bevens of Hingham Photo courtesy of Zoe Bradford/Company Theatre.jpeg

Though the musical took place almost 55 years ago, there are clearly some parallels with contemporary society.  In a world with increasing protests, questions on gender, environmental concerns, women’s lib, the realities of war, racism, social injustice and societal division, Hair addresses many of these issues through song, humor, activism, and somberness.  It also features some silly and sometimes unnecessary content, but the intrinsic nature of its most popular songs give it a poignancy and relevance that the musical isn’t always given enough credit for.

Hair takes place, as the famous song proclaims, in the Age of Aquarius where one is destined for either greatness or madness.  With all the turmoil in the world, Hair seems to be embracing a bit of both. From Aquarius to Easy to Be Hard to Good Morning Starshine to Let the Sunshine In to its memorable title track, Hair delivers an energetic and steady stream of versatile music almost from beginning to end. 

Company-Theatre-Hair-Peter-Kirby-of-Norwell portrays Claude and Julia Violet of Norwell as Sheila the protest leader Photo courtesy of Zoe Bradford/Company Theatre

Not only does this young cast have strong vocals, but they also fit naturally into this era having done meticulous research with Bradford on the time period.  Some historical footage is sporadically shared during the production.  Charismatic Nolan Donato as Berger, the Tribe’s outspoken leader, is an engaging storyteller for the catchy song Donna.  Fun-loving Peter Kirby as mysterious Claude delivers a humorous rendition of Manchester, England, but Claude’s inner turmoil is what truly brings out Kirby’s dynamic performance.  Kirby also shines with the Tribe for I’ve Got Life.  Julia Violet is wonderful as the free spirited Sheila and offers a moving rendition of Easy to Be Hard.  Wearing slick 60s sunglasses, Jeff John-Phillipe as Hud candidly leads the Tribe in an affecting Colored Spade and later alone for Abie, Baby.  Shawn Verrier gets a lot of laughs as historical and controversial Margaret Mead.

The-Company-Theatre’s ‘Hair’ Jeff Jean Phillipe as Hud Peter Kirby as Claude and Shawn Verrier as Margaret Mead Photo courtesy of Zoe Bradford/Company Theatre

Love triangles are rampant and depicted quite humorously featuring Julia Violet as Sheila, Olivia Valianti, Emma Bergman, Amelia Kirshon, and Cate Healey in I Believe Love.  He’s in love with her and she’s in love with him and he’s in love with someone else.  Sally Aston Forrest’s funky and flowing choreography is at its best for the psychedelic Walking in Space enhanced by Dean Palmer Jr’s florescent lighting.

From beads to fringe to bell bottoms to slick 60s sunglasses to multi-pattered and flowing garments, costume designer Hannah Schuurman with set designer Ryan Barrow creates that groovy 60’s vibe featuring an embellished 60s theme truck, beaded passageways, and oriental rugs lining the stage.

Company Theatre’s rock musical Hair shows an era where people are anxious about the future and wondering where their destiny lies.  It does not stray too far from today’s struggles, but peace, love, and happiness are not a thing of the past.  Depicted by this young cast in a powerful, emotionally-charged rendition of Let the Sunshine In, perhaps the most important thing is holding onto each other.

Company Theatre’s ‘Hair’ Berger leader of the Tribe portrayed by Nolan Donato of Scituate and Sheila the protest leader portrayed by Julia Violet of Norwell Photo courtesy of Zoe Bradford/Company Theatre.jpeg

Company Theatre continues the 1960’s rock musical Hair through August 21 live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts.  This show has mature themes and not appropriate for children.  Click here for more information and for tickets.

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

Posted on 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:  Merrimack Repertory Theatre’s insightful ‘Erma Bombeck: At Wit’s End’ will delight more than the domestic housewife

Posted on by The Sleepless Critic

At long last, it is here and I can’t help being thrilled.

When Merrimack Repertory Theatre (MRT) first announced that Erma Bombeck: At Wit’s End would be part of MRT’s upcoming season, my heart leapt.  Having taken great joy in reading Bombeck’s comical works such as The Grass is Always Greener over the Septic Tank and If Life is a Bowl of Cherries, What Am I Doing in the Pits, I had high expectations for this production that ended up being delayed a few times due to Covid. 

Karen MacDonald in ‘Erma Bombeck: At Wit’s End’ Photo credit to Megpix/Meghan Moore

Sponsored in part by WBUR and intuitively directed by Terry Berliner, Merrimack Repertory Theatre presents Erma Bombeck: At Wit’s End virtually and live in-person at the Merrimack Repertory Theatre in Lowell, MA through March 13. The show is just over one hour with no intermission.  Click here for more information and tickets.

Erma Bombeck’s column about life as a housewife made her a household name.  She became the most distributed column in America and it is easy to see why.  Before I ever grasped the concept of being a housewife, I loved reading Erma Bombeck.  As an adult and still not a housewife, I still revel in her sharp and timeless humor.  She never misses a beat relating to women everywhere and though her advice dates back as early as the 60s, most of it remains relevant today.

Dan Zimmerman’s intriguing multi-level and colorful set is a relic of a 1960’s house equipped with period kitchen cabinets, dated upholstery, an old phone, and retro household appliances.  Joel Shier’s lighting is subtly appealing alongside Scott Stauffer’s charming and well-timed sound effects.  Though MacDonald is only present onstage, a supporting cast can be heard that lends to the pacing and a larger sense of realism to the production.

Karen MacDonald in ‘Erma Bombeck: At Wit’s End’ Photo credit to Megpix/Meghan Moore

In classic pearls and a blue floral dress, Karen MacDonald as Erma looks the quintessential housewife as she takes the audience from 1962 through 1996.  Bombeck longed to be a foreign correspondent and instead became a suburban housewife residing in Cherrywood Acres in Dayton, Ohio.  She quipped, ‘I blazed a trail all the way from the laundry room to the sink.’ 

Allison and Margaret Engel’s screenplay is chock full of clever anecdotes and MacDonald’s warm and inviting presence gradually feels like visiting with an old friend.  The quick, peppy, and semi-interactive screenplay is peppered with Bombeck’s astute observations as she shares her remarkable journey to becoming a writer, her zany family life, and gathering her sense of self over the years.   

Much like Julia Child of the same generation, Bombeck is self-deprecating in her imperfections and prides herself on honesty.  MacDonald slips into Bombeck’s natural and relatable tone comfortably brimming with advice, but never in a ‘know-it-all’ sort of way.   A few of her marvelous observational gems include ‘Why take pride in cooking when they don’t take pride in eating?’ or ‘My idea of housework is to sweep the room with a glance’ or ‘What doesn’t kill you now, comes back a few days later to try again.’

Karen MacDonald in ‘Erma Bombeck: At Wit’s End’ Photo credit to Megpix/Meghan Moore

That last piece of advice also resonates with the darker side of Bombeck’s humor.  Surprisingly, Erma Bombeck had her share of haters and struggles.  However, she proves herself a source of strength and fortitude.  Even her most serious reflections and recollections are met with a jovial and contemplative quip.  Though the production is considered mostly lighthearted, MacDonald as Erma manages to find humor in pain which is a rare quality indeed.       

Merrimack Repertory Theatre presents Erma Bombeck’s ‘At Wit’s End’ virtually and live in-person at the Merrimack Repertory Theatre in Lowell, MA through March 13.  Click here for more information and tickets.

REVIEW: Juggling is more than an act in TCAN’s madcap British comedy, ‘One Man, Two Guvnors’

Posted on by The Sleepless Critic

One man seems to have his work cut out for him.

The last time TCAN Players delved into a comedy seeped in mistaken identities, a twist-filled plot, and a wealth of physical humor was for romantic farce, First Things First.  In TCAN’s One Man, Two Guvnors, things get wilder, semi-interactive, and injected with unmistakable British flair.

Directed insightfully by Kevin Groppe, TCAN Players present the 60s madcap British comedy, One Man Two Guvnors by Richard Bean through Sunday, November 17 at The Center for the Arts in Natick, Massachusetts.  This show contains adult humor and innuendo not suitable for kids.  Click here for more information and for tickets.

TCAN Players One Man Two Guvnors dance scene

A 60s dance party Photo courtesy of TCAN Players

A quirky romp defined by British humor, TCAN’s One Man Two Guvnors was derived from the 1743 Italian comedy, A Servant and Two Masters.  Actor, comedian, and television host James Corden also won a Tony Award for his role as fumbling and scheming Francis.  Set in 1963 Brighton and featuring popular Beatles songs that enhance the plot, Francis, a meaty, comedic role portrayed by Nicholas Magray, stumbles upon an opportunity to serve two bosses and potentially reap twice the profit.  However, he is in for a lot more than he bargained for.

TCAN Players One Man Two Guvnors Nicholas Magrey as Francis

Nicholas Magrey as Francis Photo courtesy of TCAN Players

Peter Watson and Tom Powers’s sliding, transforming set manages to combine elements from the Italian comedy and British adaptation by demonstrating a retro feel from colorful, double diamond walls flanked with British flags and a portrait of the queen while two popular characters from Italian comedy look on.  Dustin Todd Rennells skillfully combines a smorgasbord of 60s designs featuring colorful ties, florals, and plaids faithful to that celebrated era in Britain while reflecting each character’s distinctive style.

With mystery, romance, and more than its fair share of silliness, One Man Two Guvnors is fueled by a dynamic cast who will do just about anything for a laugh as they take on a wealth of improvisation and timely, physical humor.  It’s a madcap, jazzy, feel-good sort of show that does not consistently stay with the plot, but not to worry, Francis will redirect the audience momentarily.

The one man that leads this comedic charge is Nicholas Magrey’s turn as Francis, a calculating, advantageous, and constantly hungry individual who not only juggles his veritable tasks onstage, but also acts as a part time narrator.  It is easy to see James Corden in this role, but Magrey’s performance is no imitation.  With lively blue eyes and sharp comic timing, Magrey rises to the occasion at every erratic turn.

One Man Two Guvnors Sonya Richards as Pauline and Robert Slotnick as Alan

Sonya Richards as Pauline an Robert Slotnick as Alan Photo courtesy of TCAN Players

Just a few highlights from the cast include hilarious pair Sonya Richards as dim-witted and spoiled Pauline and Robert Slotnick as aspiring actor Alan.  Slotnick’s over dramatic Alan embraces every exaggerated pose to the hilt and it is equally amusing to watch Sonya as ditzy Pauline who takes a moment longer to catch on.

TCAN Players AJ Masiello as Alfie and Nicholas Magrey as Francis

AJ Masiello as Alfie and Nicholas Magrey as Francis Photo courtesy of TCAN Players

Quinton Kappel goes to great comedic lengths as stern yet sensitive Stanley, one of Francis’s bosses.  A.J. Masiello also goes above and beyond in his role as elderly trainee Alfie.  Kappel as Stanley and Magrey as Francis have a few humorous scenes as they trade places depicting the straight man in each scene.   Danielle Wehner shows off her comedic chops with a couple of roles that will not be revealed here.  Kim MacCormack is wonderful as flirtatious and cheeky Dolly, swaggering across the stage with a knowing smile.

Give it a go and have a good laugh with TCAN Players production of One Man Two Guvnors continuing through Sunday, November 17 at the Center for the Arts in Natick, 14 Summer Street in Natick, Massachusetts.  Click here for more information, tickets, and upcoming productions.

 

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

Posted on 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 45th 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 60th 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 45th season.

REVIEW: Hingham Civic Music Theatre’s ‘Sweet Charity’ has fun, laughs, and the right moves

Posted on by The Sleepless Critic

She’s just a girl in love with love.  Swipe right for the Tony award-winning, romantic musical dramedy instilled with a dose of cynicism, Sweet Charity.  Unforeseen high jinks and adventures find Charity as she makes her way through what can be a harsh reality.  Before Julia Roberts stepped onto the L.A. streets in the popular film, Pretty Woman, Charity wondered Central Park.  Both have a heart of gold.

With music by Cy Coleman, lyrics by Dorothy Fields, book by Neil Simon, and directed by Nathan Fogg, Hingham Civic Music Theatre (HCMT) continues Sweet Charity through Sunday, May 5 at the Sanborn Auditorium in Hingham, Massachusetts.  This show is for mature audiences and not for young children.  Click here for more information and tickets.

HCMT's 'Sweet Charity' - tap dance

Emilee Leahy as Charity Photo courtesy of Hingham Civic Music Theatre

Sweet Charity is one of those rare opportunities to witness a collaboration featuring theatrical icons playwright Neil Simon and director and choreographer Bob Fosse.  Oh yes, and Fosse’s then wife, muse, and dance dynamo Gwen Verdon starred in the musical’s stage debut in the 60s.

Bob Fosse and Gwen Verdon’s influence is still as lively as ever as FX continues Fosse/Verdon, a biographical miniseries starring Sam Rockwell as Bob Fosse and Michelle Williams as Gwen Verdon.  Coincidentally, Fosse/Verdon also covers in part the making of Sweet Charity.  Fosse Fever has certainly been evident on the South Shore of Massachusetts as two adaptations of Chicago recently took the stage in close succession.

Perhaps it’s the Neil Simon influence, but Sweet Charity seems to tread on the lighter side of Fosse’s popular works.  It has its edgy moments and not for everyone, but Sweet Charity depends much more on humor than darkness.  Though Pretty Woman might be a beloved, yet formulaic tale, Sweet Charity is less predictable and not a by-the-numbers romantic comedy.  The costumes, by Kathryn Ridder and company, are fitted and flashy and the dialogue is snappy and at times, charming.  At one point, Emilee Leahy as Charity sings, “You’re so strong, you have muscles you don’t need.”

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After portraying resourceful criminal Velma Kelly in Massasoit Theatre Company’s production of Chicago,  Emilee Leahy delivers a breezier performance as coy yet sweet, aware and yet sometimes naïve, hopeful and pensive Charity Hope Valentine.  Charity can be a poor judge of character, but Leahy’s Charity proves to be worth rooting for.  She has a pliable vocal range and is certainly light on her feet as she slips into a spontaneous tap routine featuring the famous number, If They Could See Me Now, decked out with a signature Fosse top hat and cane.

Speaking of dance, Sweet Charity offers an array of Fosse-inspired dance sequences, tinged with retro flair.  Choreographer Samantha-Brior Jones, Music Director Sandee Brayton, and Dance Captain Mary Donahue turn up the heat with sharp and distinctive choreography as the Fan-dango Ballroom dancers perform a fierce, steamy, and hip shaking Hey Big Spender.  The sweeping, sophisticated, 60s-inspired Rich Man’s Frug featuring Pompeii Club dancers in all-black has a classic vibe to it while Rhythm of Life is an outrageous, seemingly spiritual journey.

HCMT Sweet Charity - The girls

Kristen Annese as Nickie and Pompeii Club dancers Photo courtesy of Hingham Civic Music Theatre

The characters that Charity encounter seem a bit melodramatic, showing it doesn’t take itself too seriously.  With great New York accents, Kristen Annese as Nickie and Lindsay Warwick as Helene are a plucky, street smart comedy duo.  Their rendition of Baby Dream Your Dream has a lot of reassuring sass and they share playful, if at times mildly-snarky camaraderie with Charity.

Leah Shiels as Ursula and Rob Buckel-Gillis as Vittorio make an exotic celebrity pair, decked out in shimmering attire.   Buckel-Gillis delivers a beautiful rendition of Too Many Tomorrows.  Tony Light is comical as Oscar, a panicked claustrophobic.   Shirtless and in suspenders, Rylan Vachon delivers a wildly energetic, off-the-wall performance as zany preacher Daddy Brubeck.  Mike Warner as Herman also delivers some laughs, but keep an eye on his T-shirts.  Trust me.

Hingham Civic Music Theatre offers two remaining performances of Sweet Charity on Saturday, May 4 and a Sunday matinee on May 5 at the Sanborn Auditorium in Hingham Town Hall, 210 Central Street in Hingham, Massachusetts.  Click here for more information and for tickets.  Tickets are also available at the door.  Be sure to follow Hingham Civic Music Theatre on Facebook and click here to learn how to support HCMT’s upcoming productions.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

REVIEW: Presented by Celebrity Series of Boston, Mark Morris Dance Group’s ‘Pepperland’ a psychedelic, humorous, and visually-compelling Beatles tribute

Posted on by The Sleepless Critic

It was a packed house and a long line outside of the Boch Shubert Theatre in Boston on a cold Sunday afternoon on February 10 to witness Mark Morris Dance Group’s Pepperland, a humorous and visually-captivating tribute to the 50th anniversary of the Beatles lauded album, Sgt Peppers Lonely Hearts Club Band.  Having made its debut in Liverpool in May 2017, Celebrity Series of Boston presented this distinct musical celebration for three performances only from February 8-10.  The show was approximately an hour with no intermission.  Click here to see where Pepperland will be next,  here for more information about the Celebrity Series of Boston and their upcoming performances, and here for more on the Mark Morris Dance Group.

From depicting the Beatles rampant popularity to a psychedelic journey to enlightenment to the lonely journey of finding love, Mark Morris Dance Group offered a fresh take of this beloved Beatles album through Ethan Iverson’s  original compositions.  Often instrumental, Pepperland is partially sung and narrated, highlighting some of the Beatles most popular and insightful lyrics.

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‘Pepperland’ performance in Seattle. Images by Mat Hayward/Celebrity Series of Boston

Renowned costume designer Elizabeth Kurtzman’s brilliant color schemes such as mesmerizing black and white checkered suits and kaleidoscopic pleated dresses seamlessly blend with the crystallized multi-color backdrop, thanks to set designer Johan Henckens and lighting designer Nick Kolin.  This mix created an alluring flair.

Within these original orchestrations lie hints of some of the Beatles most popular songs.  A particular highlight was the song, Magna Carta, where dancers bring some of the celebrities featured on the album cover, Sgt Peppers Lonely Hearts Club Band to life, like Marilyn Monroe and Laurel and Hardy, just by their signature poses.  Mark Morris Dance Group performed a nostalgic version of With a Little Help from my Friends, punctuated by peace signs and a simple, yet memorable wave.

Pepper land dress rehearsal and press night. Images by Gareth Jones

Pepper land dress rehearsal and press night in Liverpool. Images by Gareth Jones/Celebrity Series of Boston

The dancers’ somewhat trippy and complicated moves personify the essence of the album while also providing a new vision.  Dancing in brightly colored socks, they performed a blend of classic and contemporary moves as they bent into a complex slant and defied gravity as they leaned back into each other.  In bright, bold colors, they formed clever dance combinations spinning in pairs, purposefully out of sync.

Their interpretive, ensemble dance of A Day in the Life was another particular standout, telling their own tale.  Couples flourished and dancers were lifted through the crowd.  Also weaved into the songs were energetic dance moves reminiscent of the era.  During the song, Within You Without You, dancers lapsed into moments of loneliness as the Beatles reflected, “We were talking about the space between us all and the people who hold thousands behind us all.”

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‘Pepperland’ performance in Seattle Images by Mat Hayward/Celebrity Series of Boston

Book ending the show was the iconic title track, Sgt Peppers Lonely Hearts Club Band.  The psychedelic, signature beat punctuated by a captivating and unique march kicked off and ended a journey that featured moments of joy, beauty, and individuality as they paid tribute to one of the most brilliant bands of all time.

Click here to see where Pepperland will be next.  Celebrity Series of Boston offers a dynamic roster featuring the annual Stave Sessions, Alvin Ailey American Dance Theatre, What Makes it Great with NPR’s Rob Kapilow, and much more.  Click here for more information and for tickets. Tickets can also be obtained at the Celebrity Series of Boston’s box office.  Follow Celebrity Series of Boston on Facebook, Twitter, and Instagram.