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REVIEW: Endearing yet complex, The Huntington’s ‘We Had a World’ an exceptional love letter to family

Posted on March 4 by The Sleepless Critic

Award-winning playwright Joshua Harmon brings insight into his multifaceted life with textured humor in We Had a World, Harmon’s deeply personal family memory play inspired by his grandmother.

Will Conard brings warmth and amiability to narrator Joshua Harmon who highlights his indelible bond with his grandmother Renee and the mark and influence she made on his life, even as he has only seen her through rose colored glasses.

Amy Resnick and Will Conard in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Soulfully directed by Keira Fromm, The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15. This wonderful semi-interactive production runs one hour and 40 with no intermission and contains some adult humor. Click here for more information and for tickets.

Will Conard in the Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Joshua Harmon is a brilliant playwright and is no stranger to depicting family dynamics as demonstrated in his fascinating and intricate French and Jewish multi-generational play, Prayer for the French Republic spanning from 1944 to 2016 recently presented at the Huntington in 2022. It’s a family portrait with depth and complication taking place over decades and though it differs in tone, We Had a World also depicts its own intimate family portrait.

A play within a play of sorts, We Had a World focuses on Conard as playwright Joshua Harmon growing up with Eva Kaminsky as his orderly and sensible mother Ellen and Amy Resnick as his adventurous grandmother Renee spanning from the 80s through today. It delves into family drama with wit and humor while exploring missteps, misunderstandings, trauma, abuse, and family secrets.

Will Conard and Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Courtney O’Neill’s stylish and detailed brick trimmed setting acts as several significant places in this family’s life including Renee’s elegant Upper East Side NYC apartment and a posh Parisian hotel room. Parisian love seats, warm lighting and upscale décor are just part of this inviting and multi functional backdrop.

Amy Resnick in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Tyler Micholeau’s meticulous lighting cleverly clicks and darts on each character as if under the limelight to share their unique perspectives. Each cast member is remarkable, but Amy Resnick is marvelous as Renee and a bit of a scene stealer. Regardless of the flaws she has within her family, you still can’t help but revel in her unfiltered personality. Bawdy, unapologetic, adventurous and a bit naughty, Resnick encapsulates Renee who can alleviate almost anything through her charismatic and unfiltered sense of humor. Conard’s agreeable, peacemaking and well meaning Joshua blends well with Renee’s laissez faire rapport which hones a rare curiosity for the world as they learn from one another. Resnick speaks to her grandson like an aspiring adult rather than a child which does not always sit well with Kaminsky’s Ellen. Kaminsky’s Ellen is practical, a tinge jealous and guarded while Renee seems carefree and wild. With stubbornness and lively personalities, Kaminsky and Resnick share a fascinating rapport and together make quite the impression even as they insist they are not alike.

Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

A familiar and believable tight knit family, they undermine and judge one another and are so close, they cannot help but challenge each other as they thrust one another under the microscope. At times casual and humorous and other times unflinching, We Had a World has its share of raw and bitter resentments and family squabbling which has the potential to cut to the quick, but never lets the production become too heavy and serious even during intense times.

The production’s witty dialogue boasts a natural flow and the distinctive way these characters confide in each other and the audience with humor, candidness and ruefulness at times within the same thought makes it one of the best shows I’ve seen this year. Humorous and poignant, it is a show you won’t soon forget.

The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15. 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: Superstition, Marilyn Monroe, dancing and an inevitable bond in Theater Uncorked’s unconventional musical ‘Blood Brothers’

Posted on November 19 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Seizing the day in harmony in North Shore Music Theatre’s ‘Rent’

Posted on September 30 by The Sleepless Critic

Why do things happen the way they do?

Chance meetings and a string of random events bring a group of Bohemian artists together in profound ways as they struggle to survive in NYC. Spanning one year from 1989-1990, North Shore Music Theatre’s Rent reveals a striking and darker interpretation than previous versions I have witnessed. Perhaps it’s a reflection of our troubled times, but its powerful and optimistic message still remains that the best way to cope with suffering is by holding onto each other.

Directed poignantly yet hopefully with sharp choreography by Marcos Santana and vigorous music direction by Robert L. Rucinski, North Shore Music Theatre continued Jonathan Larson’s Pulitzer prize-winning musical Rent live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 28. This rock musical has adult themes and ran two hours and 35 minutes with one 15 minute intermission. Click here for more information and here what is next in North Shore Music Theatre’s season.

The cast of “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Having had phenomenal success as an acclaimed hit musical in the 90s and as one of the longest running shows on Broadway, Rent took the stage around the world and was adapted into a film of the same name in 2005. It recently celebrated its 30^th anniversary since its stage debut and it has been nearly 30 years since its Broadway debut. In 2021, Lin-Manuel Miranda also directed the acclaimed film adaptation of autobiographical musical, Tick Tick Boom, based on Rent creator Jonathan Larson’s life starring Andrew Garfield.

Based on Puccini’s world famous opera, La bohème , Rent is a daring, joyous, raw, and poignant musical about a group of 20-somethings living in New York City during the AIDS epidemic. It explores love, loss, hardships, dreams and realizations all while this group struggles to make the rent.

he cast of “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

A chalkboard graffiti-riddled floor, tattered rafters, scaffolding, glowing Christmas bulbs, street lights and a sporadically-lit and weathered neon sign illuminated by José Santiago’s vibrant lighting is just a portion of Jeffrey D. Kmiec’s industrial-inspired sliding set design depicting Mark and Roger’s East Village loft in Manhattan. Rent truly comes to life through video designer Beth Truax’s cinematic touch and Alex Berg’s bustling sound design.

Like nostalgia of the era displayed in North Shore Music Theatre’s previous production of Grease, Rent showcases its own remnants of 80s and 90s nostalgic flair in combat boots, flannels, pay phones, corded phones, amusing answering machine messages and newspapers.

After a quieter opening scene, Rent hits the ground running with fervor, urgency, and pulsing chorography in its title track. This theatre-in-the-round’s immersive experience featured various incidents of kindness and conflict occurring in several parts of the theatre and this trend continued several more times ranging from humor to frustration in building intensity.

Aaron Alcaraz (Mark Cohen) with the cast “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Driven by powerful and edgy vocals, Rent’s characters are a combination of dreamers and those firmly planted in the present doing whatever it takes to get through everyday life. Aaron Alcarez depicts ambitious and determined Mark, an aspiring documentary filmmaker living with his contemplative and temperamental roommate Roger, portrayed movingly by Austin Turner. Roger is HIV-positive, a recovering drug addict and with guitar in hand, vows to write one amazing song before he passes demonstrated in rising triumph in One Song Glory. However, when Didi Romero as vivacious Mimi shows up at their apartment, life takes an unexpected turn demonstrated in a playful duet and instant chemistry with Turner in Will You Light My Candle and the sincere and tender, I Should Tell You.

Didi Romero as Mimi Marquez in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

In fishnet tights and layered clothing, Romero is daring, charming and bold as free spirit Mimi fueled by Romero’s provocative and soaring vocals Out Tonight, possessing more than a passing resemblance to Idina Menzel who portrayed Mimi in the 2005 film. Robert Garcia approaches complex Angel with a self-assured kindness and less splashy demeanor in Are You Okay while Aaron Arnel Harrington warmly portrays Collins with a distinctive deep baritone.

Isaiah Rose Garcia (Angel Dumott Schunard) and Aaron Arnell Harrington (Tom Collins) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

A jumble of ostentatious ego, stubbornness and high maintenance, Cate Hayman puts gusto in Maureen, especially in a gutsy and unhinged rendition of Over the Moon. Level headed and hardnosed lawyer Joanne, portrayed with powerful vocals and a guttural growl by Kat Rodriguez, rocks in Take me or Leave Me, but one of the best moments of the musical occurs between Alcaraz and Rodriguez in a catchy, chiming and playful harmony in Tango: Maureen.

Kat Rodriguez (Joanne Jefferson) and Aaron Alcaraz (Mark Cohen) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

Grave issues such as homelessness, capitalism, promiscuity and drug addiction are often laid bare in Rent and is partially demonstrated in the bold La Vie Boehme. Romance in this musical makes an impact, but what far exceeds the romance is the incredible harmony and camaraderie this group creates together. Christmas Bells, Happy New Year, and Another Day soar, but nothing quite compares to the musical’s iconic number, Seasons of Love in which the audience shared a moment of stunned silence in awe of the stirring power of that moment.

Aaron Alcaraz (Mark Cohen), Aaron Arnell Harrington (Tom Collins), Austin Turner (Roger Davis), Didi Romero (Mimi Marquez), Cate Hayman (Maureen Johnson), and Kat Rodriguez (Joanne Jefferson) in “Rent” at North Shore Music Theatre thru September 28. Photos © Paul Lyden

North Shore Music Theatre continued Jonathan Larson’s Pulitzer prize-winning musical Rent live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 28. Click here for more information and here for here for what is next in North Shore Music Theatre’s season.

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

Posted on July 23 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: The secret is in the sting in Theater Uncorked’s ‘As Bees in Honey Drown’

Posted on May 22 by The Sleepless Critic

The future looks bright for Evan Wyler. Fame couldn’t be this easy…could it?

Theater Uncorked’s unconventional satire As Bees in Honey Drown examines art, materialism, sensationalism and celebrity as debut writer Evan Wyler, depicted with wide eyed credulity by Michael Mazzone, dives into an alluring deal that promises fame and fortune, but the price of this ticket could be more than he bargained for.

Effectively directed by David Miller, Theater Uncorked presented Douglas Carter Beane’s As Bees in Honey Drown for one weekend only at BCA Plaza Box Theatre in Boston, Massachusetts through Sunday, May 18. This darkly satirical production contained adult themes and ran approximately 2 hours with an intermission. Click here for more information and what is next in store for Theater Uncorked.

Sehnaz Dirik and Michael Mazzone in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

Douglas Carter Beane creates a hard and fast world full of movers and shakers from Wyler’s perspective as he is suddenly thrust into the fame game and uncomfortably participates in an awkward magazine photo shoot with a disdainful London photographer, played to perfection by Benedict Dawn-Cross, alongside Isabel Ginsberg as his humorously apathetic assistant, Amber. However, this preamble is just making room for Sehnaz Dirik as fast talking and polished celebrity agent Alexa Vere de Vere who is about to up the ante on Wyler’s celebrity status.

The cast of Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

Director David Miller and Leonard Chasse’s rolling set design alludes to the art of observation as cameras and studio lights accompany a raised platform with a crowd backdrop. Some of the furnishings evoke an Andy Warhol and 90s flair which include white sculpted chairs and colorful furnishings. However, what is most prominent is the eye catching orange and white beehive images on the wall. Tim Rose’s awesome sound design combines fitting hits of the 70s and 80s while occasionally alluding to the hum and buzz of the bees.

Michael Mazzone and Sehnaz Dirik in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

As Honey in Bees Drown is not just a metaphor and is referenced forebodingly a number of times during this production. It lures Wyler in with talk of grandeur and achievement, but be aware of the sting. Dirik’s notable delivery somewhat resembles the comic genius of Absolutely Fabulous as Alexa Vere de Vere, a grandiose PR enigma with a glamorous British accent in sparkling black speaking as if money is no object. Impressionable and hungry for success, Wyler shares some unforeseen moments with Alexa who navigates from hardnosed agent to slick charmer to vulnerable victim in quick succession. Recalling comical quips, quotes and candid monologues about her personal history, Dirik offers quite the layered performance in a wide array of stylish costumes by Anna Silva from furs and pearls to sleek business suits. Manipulative, clever, and often shooting from the hip, Dirik’s Alexa’s rapid fire musings can spin a tale without restraint and it is no accident that Alexa occasionally refers to Wyler as ‘lamb.’ Mazzone also makes no bones about being molded while Dirik takes the reins.

Bradley Belanger and Sehnaz Dirik in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

With the exception of Mazzone and Dirik, the cast portrays a number of enhanced stereotypes that offer some comic relief. Isabela Ginsberg infuses likability and humor into an array of sarcastic, self important and airy characters inconvenienced by the work that they are doing. Lauren Elias juggles a self absorbed actress, partygoer and socialite breezily.

Bradley Belanger is in his element portraying your best friend and your worst enemy. What makes Belanger’s delivery so intriguing is a shared crazed expression that works for both characters with separate motivations.

Bradley Belanger and Michael Mazzone in Theatre Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

As Bees in Honey Drown presents an interesting concept and an engaging comedy, but the real kicker lies in its sting. As soon as you think this show is heading in one direction, the production turns the narration on its head. Part character study and part morality play, As Bees in Honey Drown is an actor’s showcase for Dirik luring everyone into her world and begs the question of what constitutes real success and authentic art. Is it creating for the sake of creating or does everything go for the highest bidder?

Theater Uncorked presented Douglas Carter Beane’s As Bees in Honey Drown for one weekend only at BCA Plaza Box Theatre in Boston, Massachusetts through Sunday, May 18. Click here for more information and what is next in store for Theater Uncorked.

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: A divine world premiere of ‘The Queen of Versailles’

Posted on August 6, 2024 by The Sleepless Critic

If eternal ambition had a face, it would be Jackie Siegel’s. She chases her dreams like only a queen can.

With music and lyrics by Stephen Schwartz, shrewdly directed by Michael Arden with dynamic choreography by Lauren Yalango-Grant and Christopher “Cree” Grant, The world premiere of The Queen of Versailles continues its pre-Broadway run live and in person at Emerson Colonial Theatre in Boston, Massachusetts through August 25. This impeccably well-timed show grandly opened during the Paris Olympics and runs two hours and 45 minutes including one 20 minute intermission. Click here for more information and for tickets.

Kristin Chenoweth in THE QUEEN OF VERSAILLES. Photo Credit Ken Yotsukura

From its French-inspired royal opening, The Queen of Versailles is a gorgeous sight to behold and it is immediately clear that Emerson Colonial Theatre and this pre-Broadway debut are made for each other. Emerson Colonial Theatre’s architectural design is patterned after elements of Versailles and The Louvre. This elegant baroque-style venue’s meticulously-detailed gold trim, ornate murals, and glittering chandeliers superbly match Dane Laffrey’s multi-layered video and opulent scenic design including its fine crown molding, candelabras and matching gold embellishments.

The Queen of Versailles delves into the love of wealth, excess, and consumption led by a sterling performance by Kristin Chenoweth as the self-proclaimed queen herself, Jaqueline Siegel, or Jackie. Small town New Yorker Jackie has tremendous dreams as well as the determination and ingenuity to make them all come true with a degree in computer engineering. However, things do not go quite as planned, and Jackie is left to think of a new way to achieve her ‘champagne wishes and caviar dreams’ as described by host Robin Leach on the inspiring 80’s TV show, Lifestyles of the Rich and Famous that Jackie watched growing up with her family. Chenoweth’s sunny disposition, rich vocals and sharp comic timing tempers Jackie’s seeming shallowness with irresistible charm to make determined, resourceful, and relentless Jackie an instantly likable lead. Chenoweth’s vocals are just as dynamic and powerful as ever with the hilarious opening number, Because I Can as she embraces and embodies this complex character that prefers her diet coke in a golden chalice.

Kristin Chenoweth as Jackie Siegel in The Queen of Versailles – Credit Matthew Murphy

Though Chenoweth as Jackie and the cast seem to be speaking to the audience, Arden’s clever direction has the audience watching the making of The Queen of Versailles documentary where Jackie and her husband, F. Murray Abraham in an impressive portrayal as David, is in the process of building the biggest house in America patterned after Versailles and located in Orlando, Florida with a budget to the tune of 75 million and a Benihana in the basement. Leading to all this is a fascinating and vastly entertaining story based on Lauren Greenfield’s documentary film of the same name and the real life stories of Jackie and David Siegel. It’s a multilayered rags-to-riches-story….and that is only the beginning.

F. Murray Abraham as David Siegel in The Queen of Versailles – Credit Matthew Murphy

Boasting a brilliant cast, The Queen of Versailles is both socially satirical and genuinely funny while delivering a meaty and heartfelt storyline. Sparkling Chenoweth meets her match in F. Murray Abraham as wildly successful, charismatic and equally ambitious Timeshare King David. A slick and charming businessman, Abraham and Chenoweth rapidly share a likeminded rapport and some powerful scenes. Abraham and the cast humorously perform The Ballad of the Timeshare King with Laffrey’s marvelous video projections, some onstage orchestrations, and Christian Cowan’s notable western-inspired costumes. From meticulously-detailed historical to outrageously fabulous as well as from glitzy to edgy, Cowan’s colorful assortment of standout and distinctive costumes with Cookie Jordan’s embellishing wigs enliven each compelling scene.

Kristin Chenoweth and F. Murray Abraham in The Queen of Versailles – Credit Matthew Murphy

Nina White delivers a memorable performance as Jackie’s introspective daughter Victoria who feels like an outsider in her own home. Jackie has a complicated relationship with Victoria who likes to be called Ricky in spite of being named after the Queen. White’s soaring vocals lift stirring numbers Pretty Always Wins and Book of Random to another level as well as a stunning moment with Chenoweth for In Little Houses. White’s lighthearted duet with Tatum Grace Hopkins as struggling Jonquil for Poor Little Lizard bring some levity to the production’s more serious topics. White and Melody Butiu as a wonderful Sophia share a sweet camaraderie. Hopkins shares the stage with Chenoweth for a phenomenal rendition of I Could Get Used to This.

The Siegel Family in The Queen of Versailles – Credit Matthew Murphy

The supporting cast all have fabulous comic timing with a notable performance by Pablo David Laucerica in multiple roles including a smirking King Louis and as well as Andrew Kober as an over the top pageant host and others.

The Cast of THE QUEEN OF VERSAILLES. Photo Credit Nile Hawver

With gumption, determination, courage, and ambition, Chenoweth as Jackie candidly tells the audience you must thrust yourself onto greatness. Realizing your dream and what is truly important is quite a revelation and what a thrill to embark on this musical journey to chase a dream with the Queen of Versailles herself.

With music and lyrics by Stephen Schwartz, shrewdly directed by Michael Arden and dynamic choreography by Lauren Yalango-Grant and Christopher Cree Grant, The world premiere of The Queen of Versailles continues its pre-Broadway run live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through August 25. Click here for more information and for tickets.

REVIEW: Glitzy ‘Pretty Woman the Musical’ is vivacious fun

Posted on February 29, 2024 by The Sleepless Critic

Based on the hit film adaptation starring breakout star Julia Roberts and then megastar Richard Gere, Pretty Woman put a fairy tale spin on a story about a clever prostitute who charms a rich guy. The film is produced by Disney no less and solidly directed by the late esteemed Garry Marshall. With natural elegance, pitch perfect comic timing, and tangible chemistry with Gere who she went on to star with in other film projects due to their thriving and bankable chemistry, Julia Roberts instantly became America’s Sweetheart at just 21 years old.

A lot of big box office movies adapt into musicals and Garry Marshall is behind Pretty Woman the Musical.

Directed with upbeat choreography by Jerry Mitchell, music by award-winning singer-songwriters Bryan Adams and Jim Vallance, and based on the book by Garry Marshall and J.F. Lawton, Pretty Woman the Musical continues live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 3. Click here for more information and for tickets.

Pretty Woman The Musical – Chase Wolfe and Ellie Baker credit Matthew Murphy for MurphyMade

Featuring Chase Wolfe as Edward and adorable Ellie Baker as Vivian creating their own winning chemistry, Pretty Woman the Musical is a feel good adaptation with some memorable musical numbers and includes the beloved and iconic moments that charged the 1990 romantic comedy classic.

Tall metallic palm trees with Hollywood store signs warmly lit by Kenneth Posner and Philip S. Rosenberg bring glitzy California to life by scenic designers David Rockwell and Christine Peters. The rolling set cleverly transforms from energetic city streets to picturesque elegance as silk drapes adorn a gold embroidered balcony with extravagant detailed furnishings including the film’s iconic black baby grand piano.

Pretty Woman The Musical – Bethany McDonald , Ellie Baker, and Taylor M. Sheppard credit Matthew Murphy for MurphyMade

From colorful street clothes to flowing runway fashion to majestic gowns that include Vivian’s iconic red dress, costume designer Gregg Barnes exacts the splashy nature and 80s vibe of this fantasy fairy tale. Commanded by Lauren Esser’s soaring vocals boasted by a powerful rock growl stepping in for Rae Davenport as Kit, fashion bursts onto the scene in the flashy number Rodeo Drive infused with a guitar-tinged rock n roll vibe oozing in the sophistication of many shoppers’ fondest dreams.

Pretty Woman The Musical – Adam Du Plessis credit Matthew Murphy for MurphyMade

One spectacular performer who does a lot of the heavy lifting is Adam Du Plessis as Happy Man. He not only delivers candid and fun-loving charisma to the neon glow of Hollywood Boulevard for What’s Your Dream, a catchy opening number with a tropic tinge, but watch for Du Plessis to pop up unexpectedly and delightedly in various sequences throughout the production boasting sharp comic wit and dynamic spontaneity. Whether in a colorful Hawaiian shirt under a flowing trench coat or dressed to the nines, Du Plessis has quite the range as Happy Man. He shares an endearing rapport with Connor Kabat depicting Giulio with scene stealing goofy sweetness reminiscent of night elevator operator Patrick Richwood from the film.

Ellie Baker has a lot to live up to and successfully makes the role her own through those signature red curls. Baker infuses a unique and goofier free spirit and effervescence to Vivian more playful than Roberts’s engaging portrayal. Julia Roberts had more of an established elegance in her role, even when she is trying to look tough. Baker has bubbly comic timing and a snigger as charming as her beautiful face. She performs a stirring rendition of This is My Life, created from one of Vivian’s monologues to Edward. She also delivers a heightened and powerful solo for I Can’t Go Back.

In a black suit, maroon tie, and a stubbly beard, Chase Wolfe portrays a more rugged, contemplative, and serious businessman in Edward apart from Richard Gere’s subtle charm. Wolfe offers a separate lightness to the role and shares playful chemistry with Baker particularly for You’re Beautiful. Edward’s character is developed further than in the film, especially during his insightful solo, Freedom which is a nice addition drawn from Edward’s monologue in the film to Vivian.

With thick pink eye shadow, studded black skirt and biker jacket, Lauren Esser’s distinct accent and tough facade as Kit uplifts Luckiest Girl in the World alongside Baker as Vivian and in the bright and catchy number, Never Give Up on a Dream. Kit’s spitfire persona and shoot-from-the hip attitude is a tougher version of Laura San Giocomo’s benchmark performance, but here Kit is a more established character and given a larger arc than in the film. She and Baker share a strong and protective bond evident from Kit’s first scene.

Pretty Woman The Musical – The Company of Pretty Woman The Musical credit Matthew Murphy for MurphyMade

Jason Alexander has said that his opportunity for George from Seinfeld came from Pretty Woman and it was a hard fought battle for him to play the role of Edward’s lawyer and friend, Phillip Stuckey. However, in this version, Mikey Marmann is more of what director Garry Marshall originally had in mind for Stuckey’s intimidating, slimy, and snarky persona and Ellie Barker as Vivian’s updated and more welcoming interactions with him are a little different this time around.

Whether it is Sara Wang’s astounding vocals or even the beautiful rendition of You and I which has an unmistakable Bryan Adams influence, Pretty Woman the Musical is an uplifting musical journey that will please fans of the film or anyone experiencing it for the first time.

Directed with upbeat choreography by Jerry Mitchell, music by award-winning singer-songwriters Bryan Adams and Jim Vallance, and based on the book by Garry Marshall and J.F. Lawton Pretty Woman the Musical continues live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 3. Click here for more information and for tickets.