70s | 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: 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: 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: Fueled by intricate and electrifying dance rhythms, American Repertory Theater’s ‘Diary of a Tap Dancer’ an inspiring and remarkable journey

Posted on December 28, 2024 by The Sleepless Critic

Ayodele Casel has so much to say and masters the best way to say it as a dancer once advised her, “You have all the vocabulary. You just need to speak.”

Ayodele Casel (creator, choreographer, performer) in performance for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

An immediately engaging bilingual tribute to tap dance and much more written and choreographed by acclaimed dance dynamo Ayodele Casel and directed with gusto by Torya Beard, American Repertory Theater (A.R.T.) continues the world premiere of Diary of a Tap Dancer live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Saturday, January 4. The production runs two hours and 30 minutes including one intermission. Click here for more information and for tickets.

Ayodele Casel (creator, choreographer, performer) dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer Photo by Nile Scott Studios and Maggie Hall

Contemplating who tap belongs to, Diary of a Tap Dancer is a genuine, deeply personal and revealing story as Ayodele Casel, a woman of color, explores different eras of her life in two worlds and infusing it into her artistry. Set to symbolic and pulsing dance rhythms, Ayodele shares her story while recognizing other trailblazing dance and tap masters in an emotionally charged journey taking her from the Bronx to Puerto Rico and more. Born in 1975, it makes a powerful and profound statement through her art which includes determination, gumption, and persistence rising from her challenging upbringing to wonders unknown while making unexpected discoveries about herself along the way.

The cast dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer Nile Scott Studios and Maggie Hall

Casel is charismatic, inviting and natural as she searches for her destiny, culture, identity and acceptance sharing her reflections, insecurities, rage, disappointment, pain, humor, and sheer joy for her art infused in each step. Her snappy, exciting and sleek choreography commands the stage as she joins talents Naomi Funaki, Afra Hines, Quynn L. Johnson, Funmi Sofola, Liberty Styles, Annaliese Wilbur, and Ki’Leigh Williams in driving and exhilarating rhythms. Each dancer also effectively steps into various roles as Casel makes connections in this fascinating narrative.

Liberty Styles (performer) and Ayodele Casel (creator, choreographer, performer) in production for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

The star of this show is the dance illuminated with finesse by lighting director Brandon Stirling Baker in brilliant, gleaming and layered spotlight. Camilla Dely’s partially vaudeville-inspired costumes cross the classic with the contemporary featuring bow ties, top hats, suspenders, colorful street wear and billowing skirts.

Musically directed by Nick Wilders, an intimate onstage orchestra produces catchy rhythms composed of various instruments including Bomba drums by Keisel Jiménez Leyva so infectious, I could not help but bop my head to the beat.

Sharath Patel’s distinctive and energetic sound design combines nature and concrete jungle with honking horns, chirping crickets, and barking dogs that hold personal meaning of Casel’s upbringing in the city and Puerto Rico. Projection designer Katherine Freer captivates with transforming scenic projections that span from glowing diary writings that include Easter eggs within the production to stunning island sunsets and starlight to water color skies to graffiti decorated brick city buildings to images of Casel’s inspirations on Tatiana Kahvegian’s meticulously positioned scenic design.

Not only does Casel ruminate on her life, but historically explores the lives of a wide spectrum of inspiring dancers from chorus girls to Ginger Rogers who dedicated numerous hours to their craft facing pain, obstacles, oppression, racism, injustice and competition along the way. Casel’s immense love for the Golden Age of Hollywood to a wide range of music also inspires her incredible love for dance.

The cast dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

Diary of a Tap Dancer takes a relatable look at the dreaming, time, over thinking, worry, endless hours, tenacity, gumption, persistence, sheer grit and determination to dedicate to what you love no matter what which are lessons that transcends tap, but to any ambition.

Make time to see American Repertory Theater’s world premiere of Diary of a Tap Dancer continuing live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Saturday, January 4. The production runs two hours and 30 minutes including one intermission. Click here for more information and for tickets.

REVIEW: Wishing upon a ‘Soft Star’ at Boston Playwrights Theatre

Posted on November 24, 2024 by The Sleepless Critic

Somewhere in Minnesota, two best friends with a complex history each wish on what is deemed a soft star in the sky. What develops over time will test the limits of their friendship and much more.

Contemplatively directed by Bridget Kathleen O’Leary, Boston Playwrights Theatre presents Tina Esper’s supernatural drama Soft Star through Sunday, November 24 part of the Boston Playwrights Theatre’s Fall Rep Festival. This absorbing production runs 85 minutes with no intermission. Click here for more information and for tickets.

The cast of Tina Esper’s ‘Soft Star’ Photo by Amelia Cordischi

Boston Playwrights Theatre’s Fall Rep Festival features two new productions from living authors taking place on one stage and scenic designer Maggie Shivers continues to make distinctive use of the space for these two vastly different productions. With fold out compartments that pose as couches, a barbecue grill and shelves, cast members transform the set and props between scenes from a beachside setting to a completely new landscape. Zachary Connell’s starlit and warm lighting adds an ethereal quality to the production featuring lanterns and luminous creatures boosted by Kai Bolman’s mystical sound design. Set within the span of the 70’s and 80s, E. Rosser’s colorful costumes depicts fashion trends of the time such as baby doll dresses, keds sneakers, and Henley shirts.

Annika Bolton and Mairéad O’Neill in Tina Esper’s ‘Soft Star’ Photo by Amelia Cordischi

A complex drama of jealousy, isolation, insecurity, secrets and longing, Soft Star is poignant and wistful as Jane and Belle search for a sense of belonging as they contemplate about the direction their lives have taken. There is a real sense of uncertainty from these individuals as the show progresses. Annika Bolton as Jane, Jesse Kodama as Dick, Mairéad O’Neill as Belle and Kamran Bina as Mitch make up a tightly woven group that also share building tension and passive aggressiveness, especially among Dick and Mitch who are best friends working together as well as a palpable chemistry between Mitch and Jane.

What is wonderfully fascinating about Soft Star is how best friends Annika Bolton as Jane and Mairéad O’Neill as Belle’s connection and priorities mature and evolve over time. From two coming of age girls to established women, Esper’s script explores the transforming interests of these individuals and at the same time, depicts how some reflections on their lives never change.

Annika Bolton in Tina Esper’s ‘Soft Star’ Photo by Amelia Cordischi

With an elements of magic and mysticism, Soft Star is an intriguing and imaginative drama fueled by Esper’s layered script which unfolds from a straightforward narrative to how life becomes immensely complicated through circumstances and when other emotions take hold. Emotions that linger and ripen even as people mature exasperated by a wish.

Boston Playwrights Theatre presents Tina Esper’s supernatural drama Soft Star through Sunday, November 24 part of the Boston Playwrights Theatre’s Fall Rep Festival. The show runs 85 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Umbrella Stage Company gets up close and personal with ‘Network’

Posted on October 29, 2024 by The Sleepless Critic

How far will anyone go for ratings?

It’s a mad world and UBS is here for it.

With compelling direction by Ashley Kelly Tata, adapted for the stage by Lee Hall and based on Paddy Chayefsky’s Academy Award-winning screenplay, The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3. This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes. Click here for more information and for tickets.

Set in September of 1975, UBS is a struggling television station drowning in the ratings. Tensions are sky high as executives scramble to save it. As a result, world weary veteran newsman and widower Howard Beale, a metamorphic portrayal by Bill Mootos, has been forced to retire after 25 years dedicating his whole life to his work. In an act of desperation, Beale makes a shocking decision that impacts everyone around him.

Bill Mootos stars as Howard Beale in ‘Network’ Photo by Jim Sabitus

Steeped in nostalgic glory, Network seamlessly rewinds the clock to a time where television was the world’s primary source for news, information, and entertainment. From three piece suits to wrap dresses to Barrymore collars, costume designer Nancy Leary captures the essence of the 70s while Afsoon Pajoufar’s duel level retro studio set features vintage studio equipment, a line of wall clocks keeping track of various time zones all over the world and a multitasking wooden desk.

The cast of ‘Network’ Photo by Jim Sabitus

The towering UBS logo printed across SeifAllah Salotto-Cristobal’s projection screen can be distracting at times, but symbolically portrays the media’s monstrous influence on the world over anything else. Not only does it provide a window into nostalgic television but an intimate account into the characters’ reactions as if the camera is always rolling. Featuring flashes of famous 70s commercials to searing headlines to classic TV shows like Laverne and Shirley, Salotto-Cristobal’s montages are overwhelming, rapid and impactful. Even the television test signal can be unsettling. Aubrey Dube’s audio design bring to life some particularly intense moments as well as satirical humor demonstrated in David Bowie’s meticulously placed Fame during a pivotal scene in the production.

Blythe de Oliveira Foster as Diane and Bill Mootos as Howard Beale in ‘Network’ Photo by Jim Sabitus

Having worked through the Golden Age of Television, Howard Beale has seen the trends change into a darker tomorrow. Mootos craftily transforms as alcoholic newsman turned influencer Howard Beale. From a professional newsman straightening his tie, Mootos captures the derailment methodically from weary to anguish and everything in between struggling to learn what is really important.

Workaholic Diane, ferociously portrayed by Blythe de Oliveira Foster, is a laser focused executive voracious for success and ratings that she flagrantly talks of immorality like she is ordering a drink at a bar. Justifying unimaginable things hungry to accomplish her goals, Foster as Diane brings gall, gumption and a dark humor to her greediness that make her fascinating in her audacity. Foster delivers some thought provoking scenes with Barlow Adamson who is impressive as tough yet rational Max and one of the few sympathetic voices of reason in this production. Will McGarrahan also makes a lasting impression as menacing Arthur Jensen.

Jennifer Bubriski as Sheila and Blythe de Oliveira Foster as Diane in ‘Network’ Photo by Jim

Network is a cleverly executed and gripping production that becomes so immersive that it may encourage you to contemplate whether anything has changed today or worsened especially in this digital age. Network’s lighting is almost glaringly bright during show time and shadows take over behind the scenes depicting a darker reality. Tata’s direction is invasive and revealingly up close and personal to expose the nature of many of the production’s themes including corporate greed, corruption, sensationalism, consumerism, scandal, violence and fame. It is a barrage of ideas that are peeled away bit by bit and what is unveiled is both fascinating, alarming and not so unfamiliar before it reaches its shocking conclusion. When has it all gone too far?

Bill Mootos is “Mad as hell” and he’s “not going to take it anymore” as Howard Beale in a new stage adaptation of the 1976 classic film, ‘Network’ Photo by Jim Sabitus

The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3. This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes. Click here for more information and for tickets.

REVIEW: Well suited for the holiday season, The Huntington’s ‘The Heart Sellers’ a true Friendsgiving

Posted on December 12, 2023 by The Sleepless Critic

For some, the holidays can be the most wonderful time of the year and for others, the loneliest. What good fortune to find someone to make the holidays brighter.

Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’s The Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.

Judy Song, Jenna Agbayani; photo by T Charles Erickson

It seems like destiny that Luna and Jane should meet. On Thanksgiving Day 1973, imaginative Korean chatterbox Luna, exuberantly portrayed with an infectious smile by Jenna Agbayani, invites quiet Filipino Jane, depicted with reserved and humorous wit by Judy Song, to her apartment shortly after meeting that day. Not only do they happen to be wearing the same colorful coat from Kmart, but they also see a familiarity in each other that they cannot quite place.

Agbayani as Luna warmly exclaims, ‘We have nothing so it is not a mess!’ Scenic and costume designer Junghyun Georgia Lee’s modest one bedroom studio apartment impressively rewinds the clock to the 70s featuring wood paneling, a burnt orange couch, retro wallpaper and dated appliances. The apartment has quite a realistic and detailed appearance right down to the dingy surface on the sliding glass doors. Lee’s retro costumes add cheerful splashes of color to the setting.

Jenna Agbayani, Judy Song; photo by T Charles Erickson

This dynamite duo has crackling and good humored chemistry that make the show a treat. It is not only in what they say, but the way they communicate without words. Agbayani and Song exhibit sharp physical comic timing in an overwhelmed glance, awkward mannerisms, and relatable reactions to the other’s way of life. Song as Jane is exceedingly polite and timid, but her expressions often give away what she really thinks.

Both are immigrant housewives who have never heard of Thanksgiving before and it is endearing to watch them share a genuine interest in each other’s stories, dreams, memories, how they are adjusting to life away from home, and in their fervent attempts to celebrate together.

With more than a generous helping of heart and humor, The Heart Sellers also comes with a great deal of realizations and reflections questioning where these two women belong in their new world during a pivotal time. They are important questions still addressed today.

The Heartsellers stands as a lively, wonderful and worthy visit centered on friendship. Bring a friend, a date, or a loved one because this is one story meant to be shared.

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

Posted on May 14, 2023 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: Greater Boston Stage Company’s well-timed ‘Incident at Our Lady of Perpetual Help’ a comical trip down memory lane

Posted on March 14, 2022 by The Sleepless Critic

Greater Boston Stage Company chose the perfect time to debut Incident at Our Lady of Perpetual Help. Nestled right through St. Patrick’s Day during Lent (for Catholics), this engaging family comedy delves into the lives of the quirky lower middle class Irish-Catholic O’Shea family during a chaotic and pivotal week in their lives in the 1970s. It’s a memory play…with a few amusing twists.

From L to R: Vin Vega as Becky, Maureen Keiller as Theresa “Terri” Carmichael, Amy Barker as Jo O’Shea, and Autumn Blazon-Brown as Linda O’Shea Photo courtesy of Greater Boston Stage Company

A semi-autobiographical play written by Katie Forgette and directed by Weylin Symes, Greater Boston Stage Company presents Incident at Our Lady of Perpetual Help virtually and at Greater Boston Stage Company in Stoneham, Massachusetts through March 20. The show is 1 hour and 45 minutes with intermission and recommended for children ages 13 and up. Click here for more information and tickets.

It is fascinating how memories work when they are retold, recalled, and recollected. A fuzzy little detail here and a little change there may make a big difference. Some of the production’s characters are a bit over the top, but so was the 70s. Every detail of this show rewinds the clock to a simpler time before the internet, cell phones, and other technological distractions took over. Deirdre Gerrard pulls together a wonderfully nostalgic and mismatched array of 70s attire from corduroy to bold patterns to star-studded bellbottoms.

From L to R: Vin Vega as Becky, Autumn Blazon-Brown as Linda, Amy Barker as Jo O’Shea, and Maureen Keiller as Theresa “Terri” Carmichael Photo courtesy of Greater Boston Stage Company

Incident at Our Lady of Perpetual Help is full of candidness, warmth, and quick pacing much due to the cast’s authentic and believable chemistry as a relatable, flawed, and dysfunctional family. Tempers flare, judgments are passed often, and the O’Shea family is set in their routines within a meticulously-detailed and functioning wood paneled kitchen plucked straight out of the 70s. From an afghan blanket on a chair to knickknacks on shelves to photos and notes smattered on a corkboard to greenery gathering in a kitchen window, set designer Shelley Barish’s remarkable blast from the past kitchen lies in the details.

A bossy grandmother, a cheapskate father that works too hard, an exhausted but nurturing mother, a shoot-from-the-hip aunt, and an impressionable daughter all vie for the spotlight breaking the 4^th wall and well aware they are in the play. It flows more like a slice-of-life documentary with most characters eager to speak to the “camera.”

Vin Vega as Becky and Autumn Blazon-Brown as Linda O’Shea Photo courtesy of Greater Boston Stage Company

At the center of this play is somewhat reliable narrator Autumn Blazon-Brown as adorably spunky women’s-lib teenager Linda O’Shea. Smart yet adventurous, Blazon-Brown shows charming charisma as Linda who, in a moment of frustration, is obnoxious to her impressionable sister Becky to the chagrin of those around her including intimidating Fr. Lovett portrayed with self-righteous glee by Barlow Adamson. Chaos ensues.

Amy Barker as Jo O’Shea and Autumn Blazon-Brown as Linda O’Shea Photo courtesy of Greater Boston Stage Company

Adamson is an apt comedian with a wealth of opportunities to show off his dynamic skills during this production. Vin Vega portrays film-obsessed and imaginative Becky who seems the most sensible among this amiable cast and often along for the ride within the O’Shea high jinx. Amy Barker portrays a relatable every mom as exhausted but nurturing matriarch Jo O’Shea, but Maureen Keiller, a familiar face having delivered solid past performances in Boston such as in Between Riverside and Crazy, Admissions and The Women, is a gem as Theresa “Terri” Carmichael. Wisecracking, bold, and often blunt, Keiller shows under Terri’s complicated and tough façade is a loneliness and vulnerability with a fierce loyalty to her family. A better aunt you will never find.

Greater Boston Stage Company presents Incident at Our Lady of Perpetual Help virtually and at Greater Boston Stage Company in Stoneham, Massachusetts through March 20. The show is 1 hour and 45 minutes with intermission and recommended for children ages 13 and up. Click here for more information and tickets.

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

Posted on March 6, 2022 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.

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.’

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.