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Director Igor Golyak discusses the shocking and comical show, ‘Dead Man’s Diary: A Theatrical Novel’

Posted on March 13, 2018 by The Sleepless Critic

Taking a rich, multidimensional look at love and the theatre, the Arlekin Players proudly presents Mikhail Bulgakov’s Dead Man’s Diary: A Theatrical Novel for two weekends from Saturday, March 17 through Sunday, April 1 at Paramount Center in Boston, Massachusetts. Shocking and comical, Dead Man’s Diary: A Theatrical Novel is written in Russian and performed by Russian actors with English audio translation, but was created in Needham, Massachusetts. Click here for more information and for tickets.

Director Igor Golyak of ‘Dead Man’s Diary’ Photo courtesy of Igor Golyak Acting Studio

Dead Man’s Diary’s director and head of Igor Golyak Acting Studio, Igor Golyak, discusses this shocking and comical show’s fascinating background, developing the show’s unique style, and what it means to be successful.

Sleepless Critic: What is it about this show that made you decide to take on this piece?

Igor Golyak: I fell in love with the novel, a prose piece by Mikhail Bulgakov, which was not published until after his death as it was considered offensive to Stanislavsky and the Moscow Art Theatre. I wanted to adapt this unfinished novel for the stage because I saw it not only as satire on theatre, but as a vow of love to the theatre. Through this production, we wanted to express the conflicts and illusions around realizing oneself in the theatre through Bulgakov life’s work.

‘Dead Man’s Diary: A Theatrical Novel’ Photo courtesy of the Arlekin Players

SC: Arlekin Players is behind this production and they studied under the Igor Golyak Acting Studio. Please tell me about your studio and teaching philosophy. How can people join the Arlekin Players?

IG: Right now, I mostly cast my students because we develop our own theatre vocabulary during the training period. This takes some time. It is a big advantage as I know the capabilities of the actors and how to challenge them. What’s most important in the theatre is the atmosphere of mutual respect and appreciation in the training and rehearsal process. I aim to create this with the approach I take. People can join the company by applying, coming to rehearsals, and possibly doing some scenes with company members. Ultimately, if we mutually agree that the relationship can move forward, they join the company. We have a family-type atmosphere in our theatre just like in life. People get to know each other and some join the family.

SC: This diary is written by a scorned lover. How would you describe how the show depicts love or the lack thereof?

IG: I am not sure if there is a better way to express the love for the theatre than through Bulgakov’s words.

The main character, Maksudov says:

‘I returned to the theater which had now become as necessary to me as morphine to an addict.” and “But more important was my love for the Independent Theatre; I was now pinned to it like a beetle to a piece of cork…’

SC: The show offers a new perspective on theatre and is at times shocking. It also can be a bit haunting and bleak. How did you develop the style of this show?

IG: Each style of theatre for me is born out of the text, and the world of the author.

The main character says:

‘I started noticing that something colorful was emerging from the white pages.

The vision was not just a flat picture, but something three-dimensional. As if peering into a little box, I could see the light gleaming and the figures from my novel moving about. Oh, what a fascinating game it was to observe these characters moving about the little room.’

Using this text, we decided to create a box that all the characters live in, and with them, Maksudov, the main character. What kind of box should it be? Since the play depicts the Moscow Art Theatre in the 1920s, we decided that the shape of the walls of this box should depict the famous portrait foyer of the Moscow Art Theatre with portraits of the great artists of the time constantly staring at the author and characters inside the box. We then decided that the audience members should portray these portraits, and thus, we have the audience seated around the box, in which characters come alive. They are looking though their individual windows or portraits as if in a foyer of the legendary theatre. Maksudov therefore, is forever stuck like Prometheus in the ‘magical box’ or the ‘portrait foyer’ that he loves more than anything in the world.

A scene from Dead Man’s Diary: A Theatrical Novel Photo courtesy of Arlekin Players

SC: This show also features its share of absurd comedy as well.

IG: Correct. In Maksudov’s eyes, the actors in the theatre hire him to write a play are from a different, exotic, and fascinating world. It’s as if they are superhuman. The absurdity comes from the heightened level of passion of the characters and their incredible self-delusions, which at times are absurdly vulnerable and poetic, and at times absurdly cruel and self-absorbed. We recognize the faults of the human soul looking through Maskudov’s eyes as if though a looking glass, where the faults become exaggerated and ultimately comical.

SC: It describes not only theatre, but the writer’s journey and touches upon what it really means to be successful. What are your views on success?

IG: My view of success is having a group of artists, a team of sorts, which is united and inspired by each other to produce a specific piece of text. As a result, they are able to touch the souls of people in the audience. When this happens, I feel truly successful.

SC: What do you like most about this show and what is the best reason someone should attend?

IG: I think the acting, directing, set design, music composition, and collaborative imagination all work together to give this piece an unusual style. We are excited to bring what we believe is a unique contribution to the Boston Theatre Scene. Also, the piece was written in Russian and is performed by Russian actors but was adapted and created here. We are a local company making new work for the last 9 years. We have already had 20 performances of Dead Man’s Diary. For those who have seen and loved it, it has grown even more over time. See the show and you will not leave untouched.

Click here for more information and for tickets to Dead Man’s Diary: A Theatrical Novel from Saturday, March 17 through Sunday, April 1 at the Paramount Theatre in Boston, Massachusetts. Follow the Arlekin Players on Facebook and Twitter.

Peter Josephson discusses the apocalypse, The Simpsons, and more as theatre KAPOW debuts ‘Mr. Burns, a Post-Electric Play’

Posted on February 27, 2018 by The Sleepless Critic

Making its debut in New Hampshire, Mr. Burns, a Post-Electric Play, written by Anne Washburn, is a powerful, wildly funny musical that may offer a whole new perspective on the beloved, long-running television series, The Simpsons, all while staying true to its characters. Directed by Matt Cahoon, theatre KAPOW proudly presents Mr. Burns, a Post-Electric Play for one weekend only Friday, March 2 through Sunday, March 4 at Pinkerton Academy in Derry, New Hampshire. Click here for more information and for tickets.

Award-winning actor and Saint Anselm College Politics Professor Peter Josephson shares details about working with theatre KAPOW, the fascination behind The Simpsons, and becoming Homer.

Sleepless Critic: You work as a Professor of Politics, but you are also a director, you train and teach acting workshops, and have won quite a few New Hampshire Awards for your art. It’s safe to say theatre is your other love.

Peter Josephson: That’s true. I performed quite a lot in school and in my 20s, but left when I went to graduate school. For almost 20 years, I didn’t perform and got back into it again almost 10 years ago. Since I was very rusty, I sought out training and still train as well as teach. It’s been terrific to get back to it over the last decade.

SC: What is it like to perform with theatre KAPOW again? I understand you have taken the stage with them a few times.

PJ: Quite a few times and I find it valuable to go to other groups. I have friends there and learn a lot from them. I hope I bring something to them, but theatre KAPOW is home base for me in terms of performance. Since my first show in 2010, I’ve typically done 2 or 3 theatre KAPOW shows a year and help lead their trainings.

Matt and Carey are wonderful human beings and have built a theatre company that is always looking for the next exploration, the next way of learning how theatre works, and what we can do with it. Matt curates the season so we are not just doing a series of shows. We have an idea of how shows connect and build on one another. Last year, we did our first musical and Mr. Burns is our second.

Theatre Kapow Burns_promo_Feb2018_by_Lomanno_0007_print

Nicole Viau, Emily Karel, and Rich Hurley in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno

SC: Mr. Burns, a Post-Electric Play is a unique opportunity to do that. The Simpsons have been part of the pop culture landscape for decades and have made commentary on politics, entertainment, science, and current events. What do you think draws people to the Simpsons and as a professor of politics, do you think the Simpsons are insightful?

PJ: When The Simpsons first started, a lot of controversy surrounded the show because it seemed to snub its nose at family values and traditional morality. Some scholars take it very seriously as a contemporary text of America. I have had colleagues at other schools write about it and find it as a way to talk to students about serious concerns in contemporary politics. People wouldn’t watch it if the show weren’t crazy and funny. It helps them see more clearly what is going on in their own lives.

SC: Lately, The Simpsons have predicted a number of things that have come to fruition.

PJ: Unfortunately, that’s true. Hopefully the plot of the play doesn’t come true.

SC: Mr. Burns, a Post-Electric Play has many layers to it. It’s about surviving an apocalypse and using stories from The Simpsons as a means for survival.

Matt and Carey brought the script to me last spring and I was really struck by how funny it was. It’s scary, shocking and underneath all of that, it’s an interesting story about how people use culture to work through their problems and how ideas of sacred truths develop culturally. It’s fascinating and I think Anne Washburn and the actors she worked with when she was writing the script are brilliant.

Theatre Kapow Burns_promo_Feb2018_by_Lomanno_0066_print

Rachael Chapin Longo, Rich Hurley, Nicole Viau, and Emily Karel in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno.

SC: You play dual roles as Gibson and Homer. Setting up a cartoon onstage and portraying a cartoon must have been a new kind of challenge.

PJ: Yes, it’s kind of weird and crazy. I would expect just about everybody in the audience knows who Homer is and I’m supposed to do that in some way, which isn’t really possible. I had to find a central trait about Homer, express that, and remind the audience who the character is. I play Homer in Act 3 and he is put into a different, darker environment. His response to that is what one would expect Homer’s response to be and that is everything is going to be wonderful.

SC: Mr. Burns is Homer’s adversary.

PJ: Yes, Rich plays Mr. Burns in Act 3 and Washburn’s script has taken the cartoon character, identified his corruption, and made that part the most essential thing. I would guess that if a Simpsons fan sees the show and then watches The Simpsons on television, they are going to see Mr. Burns in a different way.

In the second act, two actresses debate about what we do when we perform a play and whether the primary purpose is entertainment or to express some deeper meaning. I think Washburn’s script accomplishes both. Having worked on this play and going back and watching The Simpsons, I don’t look at Mr. Burns the same way anymore because I am aware of what Washburn saw in him and he’s deeper than I thought.

SC: Bringing the cartoon to life onstage is its own challenge. Some of the masks for the show are amazing.

Yes, they are wonderful. We’ll be using masks in late June for an original show we are working on. It’s an interesting acting challenge. The masks’ design elements are goofy crazy and I think we have really captured the cartoon-ish quality of the characters and the challenge is to take that quality and put it into actual living human beings.

Theatre Kapow Burns_promo_Feb2018_by_Lomanno_0012_print

Rachael Chapin Longo, Rich Hurley, and Emily Karel in theatre KAPOW’s production of Mr. Burns, a post-electric play by Anne Washburn, March 2 – 4, 2018. http://www.tkapow.com. Photo by Matthew Lomanno.

SC: Regarding the musical element of the show, I understand it features popular songs from the last ten years.

PJ: Lady Gaga, Britney Spears, Eminem, and Ricky Martin show up as well as some Gilbert and Sullivan. There are three acts and in the second act, we’re following a traveling theatre troupe and part of the show features a commercial jingle that we sing and part of the show features six or seven pop hits the audience might remember from a time when we had electricity. Act three is all singing in a peculiar operetta that is funny, crazy, and frightening.

SC: What do you think is the best reason people will enjoy Mr. Burns, a Post-Electric Play?

PJ: I think audiences will attach themselves to it because it speaks to something we are all looking for in wildly entertaining ways. It invites the audience in and makes them part of what is happening. I’m confident the show will resonate deeply with the audience and keep them laughing.

Click here for more information and for tickets as theatre KAPOW presents Mr. Burns, a Post-Electric Play from Friday, March 2 through Sunday, March 4 at Shepard Auditorium at Pinkerton Academy in Derry, NH. Follow theatre KAPOW on Facebook and Twitter for upcoming events and more.

A beloved, annual musical tradition, Reagle Music Theatre of Greater Boston presents ‘ChristmasTime’

Posted on November 25, 2017 by The Sleepless Critic

Photo courtesy of Reagle Music Theatre of Greater Boston

The Nativity Photo courtesy of Reagle Music Theatre of Greater Boston

Raggedy Ann Photo courtesy of Reagle Music Theatre of Greater Boston

Carolers Photo courtesy of Reagle Music Theatre of Greater Boston

Teddy Bears Ballet Photo courtesy of Reagle Music Theatre of Greater Boston

Adorned in brightly lit snowflakes, sparkling, emerald Christmas trees and wreaths around the Robinson Theatre stage and festively lined with wooden embroidered angels, Reagle Music Theatre of Greater Boston brings back their masterful, musical theatrical production of ChristmasTime for two weekends from Friday, December 2 through Sunday, December 10. Click here for more information.

With an enormous cast of nearly 200 consisting of adults and children from Massachusetts representing two dozen regional towns, ChristmasTime is a musical revue accompanied by a live orchestra. The sets and costumes are adorned with festive flair and audiences will witness classic family favorites come to life such as ‘Teddy Bears Ballet’ Radio City Music Hall’s ‘The Parade of the Wooden Soldiers,’ and ‘The Living Nativity’ as well as captivating dance performances. The show blossoms into a sweet dedication to the Christmas season.

This annual celebration has a strong following, so purchase tickets now. Each show will be held at Reagle Music Theatre, 617 Lexington Street in Waltham, Massachusetts on Saturdays and Sundays December 2, 3, 9, and 10 at noon and 4 p.m. One Friday evening performance will be held on December 8 at 7 p.m.

‘Night Fever: An Evening of the Bee Gees’ January 14 Photo courtesy of Reagle Music Theatre of Greater Boston

Reagle Music Theatre of Greater Boston will kick off the New Year with Night Fever: An Evening With the Bee Gees for one day only on Sunday, January 14 at 2 p.m. Click here for more information and tickets or call 781-891-5600. Tickets are also available at the theatre box office and Reagle gift cards make a great present for the holidays. Make Christmastime a family holiday tradition. Follow Reagle Music Theatre of Greater Boston on Twitter and Facebook for all their upcoming events.

NYC actress, writer, and filmmaker Stephanie Iscovitz talks film career and managing annual ‘New York New Works Theatre Festival’ in October

Posted on September 27, 2017 by The Sleepless Critic

NYC actress, writer, filmmaker, and casting assistant Stephanie Iscovitz is no stranger to a competitive festival, having been on the winning end and a participant. She is taking her expertise to a whole new level running the upcoming New York New Works Theatre Festival, kicking off Tuesday, October 3 and continuing through Saturday, Oct. 21 at New York City’s Duke Theatre with the final gala on Monday, Nov. 6 at Theatre 80.

With a wide spectrum of diverse, carefully chosen theatre productions from hundreds of submissions and created by Gene Fisch, Jr., the New York New Works Theatre Festival is a give back project to help the arts community. It’s an exciting, annual event as award-winning representatives from Broadway and beyond judge the next generation’s promising talent. Click here for the full theatre schedule, tickets, and here for panelist information.

Stephanie Iscovitz delves into her journey as a film festival participant, what to expect at the New York New Works Theatre Festival, and the message she hopes to convey through her work. Click here for more on Stephanie and her upcoming projects.

Sleepless Critic: Starting October 3, you are leading the management team at the New York New Works Theatre Festival.

Stephanie Iscovitz: Yes, I’m managing the New York New Works Theater Showcase and am very passionate about including as many powerful, female and diverse voices as possible.

The New York New Works Theatre Showcase is a theatre competition that provides aspiring writers the opportunity to present their work in a top tier theatre while being mentored by a group of Broadway, television producers, and industry leaders. The distinguished panelists are Broadway producers, Tony Award-winners, Emmy Award-winners, or industry executives that volunteer their time to help aspiring writers. Performances take place in the 199-seat Duke Theatre on 42nd and Broadway from Tuesday, October 3 through Saturday, October 21 with the final gala on Monday, November 6.

I’m eager to take all the wonderful parts of my film festival experience while bringing some great new ideas to the New York New Works Theatre Showcase. As an actor and writer, I know what kind of opportunities I would benefit from and am humbled and excited to provide that for the participants in this year’s showcase.

SC: You bring a broad range of experience to the New York New Works Theatre Festival, including your training at the T. Schreiber Studio and Theatre, a studio that features Edward Norton, Peter Sarsgaard, and Maria Bello, just a few of their renowned alumni. What was that experience like for you?

SI: With only eleven students in the conservatory, it was an extraordinary, life-changing experience. When you’re part of an intense, raw, and emotionally-challenging program like that, the people you experience it with become your family. I still study there as part of their on-going scene study program continually challenged with roles I’m afraid to do. I was most recently working on a character affected with brain damage.

T. Schreiber Studio and Theatre graduate Stephanie Iscovitz T. Schreiber Photo Credit: T. Schreiber Studio & Theatre

SC: What do you think is the most important thing that T. Schreiber has taught you as an actress, filmmaker, writer, and producer?

SI: Terry Schreiber notoriously says that you must give yourself the permission to let yourself happen, which has become my mantra. The first couple of short films I made as an actor, writer, and producer had potential, but they weren’t great. However, I wouldn’t be where I am today or learned as much as I did had I not made those short films, which I consider beautiful stepping stones. Give yourself permission to fall flat on your face and be patient with yourself on this creative journey because in this business, it’s more about the journey than the destination.

SC: Having attended a number of festivals in your career, you have firsthand experience participating in what can be incredibly competitive festivals. What was your first film festival you attended?

SI: The first film festival I got into was for my first film, Ladies Night, presented at a great festival I return to annually, the 2014 Big Apple Film Festival. It’s a comedy held in a karaoke bar and I’ve learned a lot after that first film, like avoid writing a film where music rights are imperative. To my surprise, it was very well received and screened alongside Jerry Stiller in the festival program. I had no idea what I was doing at the festival and was so nervous during the Q&A I could feel my shortness of breath while I was speaking. It’s a comforting thought that no one really knows what they’re doing and just trying to do the best they can with what they’ve got.

Big Apple Film Festival with Jerry Stiller

2014 Big Apple Film Festival – Stephanie won for her first film, which screened along Jerry Stiller. It was a comedy called ‘Ladies Night’ Photo Credit: Stephanie Iscovitz

SC: Recently, you went to Long Beach Island for a film festival not long ago. What is it like for you to attend a festival where your production is featured?

SI: Lighthouse International was the best film festival I’ve attended. Each year, the festival champions a selection of new, often unrecognized films from the US and around the world to compete in the festival and for audience award categories, which screen alongside award-winning spotlight films from Sundance, Cannes, SXSW, Toronto and Tribeca. I saw pre-released films and met other NYC filmmakers, sparking collaboration for future projects.

After the screenings, there were Q&A’s with the filmmakers. We had our world premiere of Bruce Loves You where the shorts programmer, Chip Parham, ran a stellar screening. It was wonderful to have a captive audience interested in knowing more about our film making process and about of course, Bruce the ghost.

'Bruce Loves You' cast at Lighthouse International film fest

‘Bruce Loves You’ team at the 2017 Lighthouse International Film Festival Photo courtesy of Darin Quan

SC: As you attend these festivals, do you feel like you get better at the process or is every festival different? What was it like to win at the festival?

SI: Every festival is different. We’ve started to call it ‘Game of Festivals’ where you win or die and 99% of the time you die. It’s all so subjective and such a gamble, depending upon who’s watching your submission if your submission was actually watched, at what time of day, and what the viewer’s own personal values and tastes are. When you are actually accepted out of thousands of submissions, it feels like a real lottery win.

I met one of my closest friends and collaborators at a film festival where our film, Catslaughter had been rejected. After speaking with her, it turned out we had the same exact film except hers was about a sweater and ours was about a cat. She had submitted early and was already accepted when we submitted late. Timing is everything. A rejection doesn’t necessarily mean your film was bad. There are a number of factors involved and in this case, they had already programmed a similar film. However, it turned out to be a huge blessing because she and I clicked creatively and have gone on to work together on multiple projects.

Filmmaker Cinder Chou at 2016 Big Apple Film Festival Photo courtesy of Stephanie Iscovitz

SC: What is the message that you hope to deliver through your work?

SI: I really want to drive social change through storytelling and that begins with representation on film, particularly through the female lens and experience. I hope to enlighten while helping audiences feel a little less alone.

Tickets are still available to this year’s New York New Works Theatre Festival. Click here for more information and tickets. New York New Works Theatre Festival is also on Facebook, Instagram, and Twitter. Click here for more on Stephanie Iscovitz and her upcoming projects.

Stephanie Iscovitz’s new project Photo courtesy of Rutledge Customs

An avid fan of all things Disney, Sarah Kelly discusses being cast as Disney princess Ariel in Company Theatre’s ‘The Little Mermaid’

Posted on July 20, 2017 by The Sleepless Critic

To Sarah Kelly, award-winning Company Theatre actress, Plymouth State University student, and ardent fan of anything Disney, becoming a Disney princess is another dream come true. Sarah spent last summer on the Company Theatre stage as sunny Elle Woods in the frothy musical, Legally Blonde the Musical, calling it the best summer of her life. She spends this summer under the sea as Disney Princess Ariel in Company Theatre’s production of Disney’s The Little Mermaid from July 28 to August 20 at The Company Theatre in Norwell, Massachusetts. Whether portraying California fashionista turned Harvard law student or a love struck, fish out of water fork enthusiast, what Sarah shares with all of them is her ceaseless optimism.

Sarah Kelly as Ariel Photo courtesy of Zoe Bradford/Company Theatre

Sarah Kelly as Ariel and Chet R. Davino as Eric Photo courtesy of Zoe Bradford/Company Theatre

Sarah Kelly as Ariel and Colin SanGiacomo under the sea Photo courtesy of Zoe Bradford/Company Theatre

Sarah Kelly talks about her returning to the Company Theatre, her new sidekicks, future plans, and her unconventional audition. Click here for further information and for tickets to Disney’s The Little Mermaid.

Sleepless Critic: You seem to fit right into your role of Ariel in The Little Mermaid just a smoothly as you did as Elle in Company Theatre’s Legally Blonde last summer, a role you won an award for. What it was like to win for your first lead role?

Sarah Kelly: Whenever I talk about being a part of Legally Blonde with Company Theatre, I always say it was the gift that kept on giving. It gave me the opportunity to experience leading a show as Elle Woods, work with some of the most incredible and genuine people I’ve ever met, and yes, so blessed to receive ‘Best Actress in a Musical’ from Broadway World Boston. Receiving this award was an absolute cherry on top of the best summer of my life because I didn’t expect to be nominated at all. To be considered was prize enough and winning is one of the most amazing things that has ever happened to me. That official validation meant so much to me.

SC: What interested you in returning to the Company Theatre as Ariel this summer?

SK: Last year in our interview for Legally Blonde, I talked about how Company Theatre’s family vibe and atmosphere immediately stole my heart. I saw a couple of different shows that were put up this past school year. When I returned, I was welcomed back with open arms and felt so at home again. Company Theatre is so much fun and I treasure each day. When I heard they were doing The Little Mermaid, I had to audition because it’s one of my favorite Disney movies and I adore Alan Menken’s work.

SC: How was the audition process for Ariel different from last year’s and how did you prepare?

SK: My audition was extremely different for this role because I did a video audition as opposed to last year where I attended the actual audition at Company Theatre. Unfortunately, I was away at school and auditions for Plymouth State University’s fall season were the exact same days as The Little Mermaid’s auditions and callbacks. It’s easier to show your truest colors at an “in person” audition. Showing what you have as a human being that will make that character you’re trying for special and real is the most important part of an audition. However, I did my best, memorized the sides that were sent to me, and the song I was asked to sing for my callback. I guess it really paid off.

Colin SanGiacomo as Flounder with cast Photo courtesy of Zoe Bradford/Company Theatre

SC: It sure did. Rather than Bruiser from Legally Blonde, you now have a couple of new sidekicks in Flounder and Sebastian. Please tell me what it is like to work on a Disney musical. Is this your first one? The Company Theatre recently completed The Lion King Jr earlier this year.

SK: Yes, unfortunately, I wasn’t able to see their production of The Lion King Jr, but I heard wonderful things and saw some of the gorgeous costumes. Aside from playing Kaa the Snake in The Jungle Book Jr in fourth grade, this is my first Disney show and I am living for it. I grew up purely on Disney movies and music, so to be a part of this kind of process and play a Disney princess is a dream come true. The show is so bright, alive, and magical and the direction this specific production is going does the show itself absolute justice.

SC: I’m sure it must feel a little different to work with a cast who are playing animated characters and creatures. Such a beautiful set!

SK: Yes, we have some of the most passionate humans working on this show. The ever so dedicated James Valentin works extremely hard alongside our own personal superman, Ryan Barrow, who is also known as the hot UPS guy from Legally Blonde last summer. They go above and beyond creating, building, and painting sets. Ryan is one of the many Disney fan girls in our little family and literally will not sleep until everything is perfect. So many talented hands are helping to interpret the movie’s magic and that magic is right onstage. It’s so beautiful. I don’t know how they do it because these two guys are also a part of the cast. I can’t forget the spectacular Bri Plummer, who brings her unique costume designs to life perfectly.

Colin SanGiacomo as Flounder, James Valentin as Grimsby, and Sarah Kelly as Ariel Photo courtesy of Zoe Bradford/Company Theatre

Our absolutely brilliant choreographer, Sally Forrest, has such an incredible vision for this show that people need to see to really understand. She wants the audience to believe they are watching the original Disney movie and trains us to think and be animated characters, which is a lot of fun. The extremely specific motivation and movement direction she gives creates this beautiful and nostalgic picture both children and parents are going to be mesmerized by.

Ronald Vorce as Ursula Photo courtesy of Zoe Bradford/Company Theatre

SC: Have there been any surprises in portraying Ariel? Unexpected challenges? It’s such a fun role.

SK: Ariel is so much fun to portray. I don’t support all of her life choices considering she gives up her gift of a voice for a legs and a man, but that doesn’t mean she’s not a blast to play on stage. She’s sweet, spunky, lovely, and lively. A challenge that I knew I was bound to run into with her is letting Elle from Legally Blonde pop in and out. With Elle, I had much more liberty in character choices and playing up my ‘Sarah-isms.’ Ariel is such an iconic animated figure, not to mention princess, so I really wanted to bring her to life in an organic way while staying true to the original cartoon.

Company Theatre Ariel's Royal Princess Celebration

Photo courtesy of Zoe Bradford/Company Theatre

SC: You’ll be a part of the Company Theatre fundraiser, Ariel’s Royal Princess Celebration on Saturday, August 5 in full Disney princess mode. I’m sure that will be exciting for you.

SK: I’m very excited to be a part of the Princess Celebration! I love working with kids as a day job. Even when I was in the Hingham Parade on July 4, seeing those beautiful little faces looking up at me like I was an actual Disney princess, made me want it to last forever. I look forward to creating some real magic for the kids right here in Norwell on August 5.

Company Theatre 'The Little Mermaid' Hingham Parade

Sarah Kelly as Ariel with Flounder at the Hingham Parade on Independence Day

SC: What are your future plans? Do you have new acting projects in the works after this?

SK: My university is putting on Merrily We Roll Along this fall and I was cast as ‘Gussie.’ I’m looking forward to it. I love a good Sondheim show and I’m portraying a super awful character, but also fun and flirty. Gussie is definitely on the crazy side, which is always a blast! It’s also directed by one of my favorite people, Beth Daily, and assistant directed by my best friend, Val Umbro, a dynamic duo for sure. I’m also grateful to be assistant directing The Trial with Paul Mroczka in the fall. It’ll be such a great challenge and growing experience for me.

Click here to learn more about Ariel’s Royal Princess Celebration fundraiser on August 5. Click here or call the box office at 781-871-2787 for tickets to Company Theatre’s production of Disney’s The Little Mermaid from Friday, July 28 through Sunday, August 20 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Follow Company Theatre on Facebook, Twitter, and Instagram for updates and more.

NYC actress, writer, and filmmaker Stephanie Iscovitz talks finding home, making it big, and her latest projects, including ‘Bruce Loves You’

Posted on July 10, 2017 by The Sleepless Critic

From a southern city to the Big Apple, actress, writer, filmmaker, producer, casting assistant, and T. Schreiber Studio and Theatre graduate Stephanie Iscovitz learned it takes a quick study to make it in the big city. Working on a variety of diverse projects, Stephanie continues to inspire and entertain through her unique storytelling. She will run the New York New Works Theatre Festival this October. Click here for more information on entering the festival and further details. Submit for free by August 15.

Film submissions are free through August 15. Festival with Broadway panel takes place in October. Photo courtesy of New York New Works Theatre Festival

Stephanie talks about finding home, her current project, her most challenging and rewarding experiences as a woman in film, and who she would love to work with in the future.

Sleepless Critic: You are from Ft. Lauderdale, Florida, but you decided to pursue your career in NYC. What do you love most about the city and what ultimately inspired you to stay?

Stephanie Iscovitz: I knew I wanted to move to New York when I was 12. Oprah calls them ‘Ah-ha!’ moments. I visited the city with my family and it wasn’t the bright lights or tall buildings that enticed me, but truly the first time I felt home. I felt connected to the city unlike anything else. Nine years after moving here, I still love the energy, the urgency, the constant inspiration, and creativity.

T. Schreiber Studio and Theatre graduate Stephanie Iscovitz with class of 2011 Photo Credit: T. Schreiber Studio & Theatre

SC: You have delved into a wealth of projects as an actress working in New York City, always with enthusiasm for the next project. Please tell me what it was like when you first arrived.

SI: I really had to get it together when I first arrived because the competition is too fierce. I awakened to the reality of what it actually takes to be an actor and to stay afloat in the industry. Coming from Florida, I thought I would audition, book this role, and be rich and famous before I’m 30. It’s so hard. So many steps on the ladder and hoops you have to jump through to succeed and as a woman, a glass ceiling. You have to be somewhat naive to get into the business and then an ultimate bad-ass to stay in it. The first time I felt like I got it right was an audition for a role portraying a very complex, troubled stand-up comedian. I never felt more alive and was still reeling from the audition when the producer followed me out of the room and thanked me for my work, which never happens. I didn’t book it, which is a lesson that talent sometimes has nothing to do with who gets the job.

SC: You have delved into a variety of female driven projects. What has most surprised you working on these productions?

SI: What surprised me most was the real, systemic issues preventing women from rising through the ranks. Women graduate from film school at 50 percent, the same rate that men do, so there are no lack of trained, qualified, and willing female directors. Women are held to a much higher standard than men before they are considered qualified. There are countless examples of male directors who were snatched up by the studio after having only directed a very small micro-budget film and literally handed the opportunity of taking on a multi-million dollar studio movie. That kind of risk has almost never been taken on by a female director. I was never aware of these greater challenges until I got into the business which is why it’s imperative to have these conversations about the revolution of women in film.

SC: Of the various jobs you do, what has been most challenging and rewarding for you?

SI: Though every role has its own set of challenges and triumphs, the most rewarding is being able to collaborate with other independent female filmmakers to create something that grows organically. I’ve learned that the film you shoot will be different than the film you write and the film you edit will be different than the film you shot. It’s movie magic to nurture this idea with a team you respect, admire, and have a final product you never could have created on your own. Each learning experience gives me the confidence to guide me through to the next project.

2014 Big Apple Film Festival – Stephanie won for her first film, which was screened alongside Jerry Stiller. It was a comedy called ‘Ladies Night’ Photo Credit: Stephanie Iscovitz

SC: You have taken on thrillers, dramas, comedy, and other genres in your work. Just a couple of the comedies you are a part of is OK, Cupid and the web series, Third Wheel. I understand Third Wheel is doing well and was nominated for an award.

SI: I enjoy all genres and hope to continue to create a diverse body of work. As an actor, I tend to play darker, troubled characters but also have extensive improv experience having completed The People’s Improv training program. I was on two indie improv teams performing in comedy clubs throughout the city for a few years and loved it. Improv is a reminder to stay in the moment and inspires a ‘yes, and’ attitude for life. It’s where I met my close friends Sarah and Darin who are part of the Third Wheel team. On Third Wheel, Sarah plays the lead character, ‘Lu’ and Darin directed, shot, edited and scored the entire project. We were nominated for Best Ensemble at the NYC WebFest. Third Wheel got distribution through SeekaTV, a streaming platform for the independent filmmaker. See the complete first season here.

Stephanie Iscovitz in her latest film, ‘Bruce Loves You’ Photo Credit: Darin Quan

SC: Tell me about your latest film, Bruce Loves You.

SI: I reconnected with Sarah and Darin after Third Wheel to film Bruce Loves You. Chris Roberti of HBO’s High Maintenance and Comedy Central’s Broad City is Bruce, a charismatic and handsome ghost in a complicated relationship with a young woman who happens to be alive. When he begins to compliment her roommate’s speaking voice, it becomes clear he is not a one-woman ghost. I portray the roommate. The inspiration behind Bruce focuses on improbable or ridiculous stories and how they can help alleviate the inevitable problems of time and money in film production. A blender was also always breaking down, so this story was a natural expression of all those elements in a true ‘indie’ spirit. See the trailer here.

‘Bruce Loves You’ team at the 2017 Lighthouse International Film Festival Photo courtesy of Darin Quan

SC: You also work for the Donna Grossman Casting Agency. How did you get involved in that line of work?

SI: I am so grateful I got the job through my best friend. Every actor should have an opportunity to work in a casting office. You learn nothing is personal and the best person for the job doesn’t always get it for reasons beyond anyone’s control. Once we were casting for a luxury eye-wear company and the model they wanted to book had a small cut on her finger and lost the job even though it would have been healed and completely unnoticeable by the shoot date. Another time we were casting a commercial and booked an actress in her mid-40s. The client changed their mind and wanted the role to be for an 80 year-old actress. So even after booking it, that actress didn’t get it. You’re not in it ‘til you’re in it.

SC: Please tell me about projects you are currently working on and who you would like to work with in the future.

SI: I’ve been working on a virtual reality (VR) project in narrative form for the past year. VR experiences have an unprecedented potential to elicit empathy, which makes it perfect for a story I’m exploring about unconventional love and “otherness.” It’s the first time I’m focusing more on myself and creating a role that showcases my acting range instead of a more ensemble piece where all my friends have equal screen time.

Right now I’m dying to work with Ana Lily Amirpour. Her debut feature, A Girl Walks Home Alone at Night, is a huge inspiration for my VR project. She also spoke at the Nevada Women’s Film Festival in March where my film, The Man with the Western Hat, was accepted. I admire her work and she offered some real insight into navigating this industry. Her sophomore feature, The Bad Batch was just released June 23rd. I hope our paths cross one day.

The Academy of the Company Theatre Teen Conservatory presents the dark comedy, ‘Heathers the Musical’

Posted on June 27, 2017 by The Sleepless Critic

What does it take to be popular? Long before Glinda sang about it in the hit musical, Wicked, or queen bee Regina George and the Plastics ruled the school in the satirical teen comedy film, Mean Girls, the Heathers dominated Westerberg High in the dark cult comedy film, Heathers. Heathers takes a bitingly funny and satirical look at teen life and all the drama that comes with it. Directed by Steve Shannon with musical direction by Melissa Carubia with the Academy of the Company Theatre’s summer workshop program, The Academy of the Company Theatre Teen Conservatory proudly presents Heathers the Musical (High School Edition) on Thursday, July 13 and Friday, July 14 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts at 7 p.m. This show contains mature themes. Click here for tickets and here for more information on the Academy of the Company Theatre.

Heathers the Musical is based on the 1988 film adaptation that stars Winona Ryder, Shannen Doherty, and Christian Slater. A television adaptation is also currently in development. Taking a look at the ruthless side of high school, clever Veronica Sawyer finds her way into the Heathers, Westerberg High’s ultimate, cruel clique, just as she encounters mysterious new boy at school, J.D. In a wild scheme, Veronica plans to show the world life is so much more than popularity.

Performances for the Academy of the Company Theatre’s Teen Conservatory of Heathers the Musical (High School Edition) take place at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts on July 13 and 14 at 7 p.m. Click here for tickets or call the box office at 781-871-2787. Click here for more on the Company Theatre and its extensive upcoming productions like Disney’s The Little Mermaid and follow them on Facebook, Twitter, and Instagram.

Amanda Pekoe of NYC’s The Pekoe Group, shares her Tony Awards predictions and sheer love of theatre

Posted on June 4, 2017 by The Sleepless Critic

LCT Young Angels Party Corey Gosselin, Ryan Meitzler, Jessica Ferreira, Jenny Dorso, Briana Lynch, Mara Roberts, and Amanda Pekoe Photo courtesy of Amanda Pekoe/The Pekoe Group

Christopher Lueck and Amanda Pekoe at the Obie Awards 2017 Photo courtesy of Amanda Pekoe/The Pekoe Group

League of Professional Women Big Mingle Briana Lynch, Jenny Dorso, Maria Mangiameli, and Amanda Pekoe Photo courtesy of Amanda Pekoe/The Pekoe Group

‘In and Of Itself’ Opening Night Jessica Ferreira, Jenny Dorso, Amanda Pekoe, and Christopher Lueck Photo courtesy of Amanda Pekoe/The Pekoe Group

The 71st annual Tony Awards, hosted by Academy Award, Golden Globe, and Tony award-winning actor and singer Kevin Spacey, are coming up on Sunday, June 11 and will be broadcast live at Radio City Music Hall in NYC and on CBS at 8 p.m. It is always an honor to speak to Amanda Pekoe, founder of NYC’s The Pekoe Group, about her thriving business and her sheer love for all things theatre.

Each year, Amanda offers her Tony predictions for theatre’s biggest night! Click here for more on the nominees and here for further information on the Pekoe Group.

Another shot of Amanda Pekoe, Christopher Lueck, and the Pekoe Group at the Tony Awards/Photo courtesy of Amanda Pekoe/The Pekoe Group

Sleepless Critic: It’s a very exciting time for The Pekoe Group and your team. The Pekoe Group recently celebrated its eighth anniversary. How are you feeling about year eight?

Amanda Pekoe: I’m really excited about our team and the high level of work we are doing. Our digital department has expanded and we’re seeing huge ticket sales results from our digital campaigns. We also won an award this year for the poster design for the Off-Broadway musical, The View UpStairs.

SC: Congratulations! It’s an especially busy time leading up to the Tonys every year. Please tell me how the Tonys impact your business.

AP: Awards season is such a busy and magical time of year. I love when shows and artists are recognized for their tremendous work and talent. This year is particularly exciting because there are so many new musicals and different points of view being expressed in the writing on stage. I’m very grateful to continue to be a part of the social conversation.

SC: The 71st annual Tony Awards, hosted by award-winning actor and singer Kevin Spacey, will be held on Sunday, June 11. This is a special year as the Tony Awards is returning to its traditional venue, Radio City Music Hall. It was at the Beacon Theatre last year. It must be nice that it has returned to its roots.

AP: I am looking forward to it being back at Radio City Music Hall. It’s such a large and beautiful venue, and so many people get to actually be in the theatre for the awards.

SC: Kevin Spacey is a wonderful and unexpected choice to host. He is not only an award-winning actor, but has proven to be a song and dance man many times over. It is surprising that this is his first time hosting.

AP: I think Kevin Spacey will have a great time hosting the Tony Awards. I’ve never met him in person but I think he’s so talented. I love him in House of Cards!

SC: It is wonderful to have an insider at the Tony Awards each year and you’ve been predicting the winners for about five years now. Groundhog Day the Musical, Come from Away, Dear Evan Hansen, and Natasha, Pierre, and the Great Comet of 1812 are the nominees for Best Musical. What nominated show do you think stands out to win this year?

AP: All four of these shows are so terrific and so terrifically different from one another. It’s been such a well-rounded season of new musicals and they all offer something very special. I think Come from Away and Dear Evan Hansen are neck-in-neck, but I’m rooting for Dear Evan Hansen. I think the music is incredible and the story is extremely relatable for anyone who has ever felt like they’ve been on the outside looking in and not being seen. I know I sometimes do.

SC: Best Play nominees include Indecent, A Doll’s House Part 2, Oslo, and Sweat. Which ones do you think will prevail?

AP: The plays are tough because they are all so good. Sweat is a Pulitzer-Prize winner! Of all the shows, I think my favorite would have to be Oslo. I thought it was one of the most well-written plays I have watched this season and the topic was fascinating. The play’s rhythm moved so well and featured tremendous performances.

SC: Denis Arndt for Heisenberg, Chris Cooper for A Doll’s House Part 2, Corey Hawkins for John Guare’s Six Degrees of Separation, Kevin Kline for Present Laughter, and Jefferson Mays for Oslo are all up for Best Actor in a Play. Cate Blanchett for The Present, Sally Field for The Glass Menagerie, and Jennifer Ehle for Oslo, Laura Linney for Lillian Hellman’s The Little Foxes, and Laurie Metcalf for A Doll’s House Part 2 are up for Best Actress in a Play. Who do you think are the big standouts?

AP: These actors and actresses are all so great in these roles. My personal favorites have been from the great and hilarious show, Present Laughter‘s Kevin Kline and Jefferson Mays in Oslo. As for the actresses, Laurie Metcalf in A Doll’s House Part 2 and Jennifer Ehle in Oslo.

SC: The nominees for Best Actor in a Musical are Christian Borle for Falsettos, Josh Groban for Natasha, Pierre, and the Great Comet of 1812, Andy Karl for Groundhog Day the Musical, Ben Platt for Dear Evan Hansen, and David Hyde Pierce for Hello, Dolly! Best actress nominees in a musical include Denee Benton for Natasha, Pierre, and the Great Comet of 1812, Christine Ebersole for War Paint, Patti Lupone for War Paint, Eva Noblezada for Miss Saigon, and Bette Midler for Hello, Dolly! Patti Lupone and Bette Midler in the same category! Who do you think will win?

AP: I’m in love with Ben Platt in Dear Evan Hansen. At every performance, he barely leaves the stage and sings his heart out. As for the actresses, it’s really hard for me to say. Patti LuPone and Christine Ebersole are forces of nature in War Paint and Bette Midler, well, there are no words. These are three greatest of the greatest performers all gracing the Broadway stage in the same season and how awesome is that! I think Denee Benton and Eva Noblezada are both so talented and very strong singers. This really is a tossup. The category features some of the most gifted actresses and all of their performances are stunning. I wish they could all win together.

SC: What is The Pekoe Group’s specialty and what goals do you have for The Pekoe Group’s future? I’ve noticed you often offer marketing advice to those who follow you on social media.

AP: Our specialty is working with experienced producers, finding new audiences, and new ways to talk to traditional audiences. Click here to check out our blog for marketing tips and pointers.

Besides our work, Christopher Lueck and I have been co-teaching a marketing class for CUNY Baruch College’s Masters Program in Arts Administration and that’s been really fulfilling.

Looking ahead, we hope to connect even more new audiences to theatre productions they’ll love.

SC: What is the best or easiest way a business can contact the Pekoe Group?

AP: Reach out to us on facebook or twitter: @ThePekoeGroup

REVIEW: Hingham Civic Music Theatre’s compelling musical, ‘Oklahoma’ a stompin’ good time

Posted on April 27, 2017 by The Sleepless Critic

From the first few angelic notes from one of Oklahoma’s most popular songs, Oh What a Beautiful Morning sung a capella by Jack Cappadona as charismatic Curly, it is easy to see that Hingham Civic Music Theatre’s (HCMT) spring musical is something special. Celebrating its 75^th anniversary, Hingham Civic Music Theatre’s Oklahoma! combines elegant costuming, an impressive, distinctive cast, and an interactive set that makes the audience settle into its own home on the range. With its wealth of historical references weaved into Rodgers and Hammerstein’s classic soundtrack capturing the spirit of the time, it is no wonder that Oklahoma! won the Pulitzer Prize for musical composition in 1944 and remains relevant today. Hingham Civic Music Theatre delivers the show’s joyous zest for life, comedy, and, make no mistake, dark moments with zing and suspense.

HCMT Oklahoma Peddler and the Territory Boys

Michael Andre as Ali Hakim and the cast of ‘Oklahoma’ Photo courtesy of Eileen McIntyre/HCMT

Directed by Nathan Fogg and musically directed by Sandee Brayton with choreography by Tara Morrison, Hingham Civic Music Theatre offers two remaining performances of Rodgers and Hammerstein’s musical, Oklahoma! on Saturday, April 29 and a Sunday matinee on April 30 at the Sanborn Auditorium in Hingham, Massachusetts. Click here for more information and for tickets. Tickets are also available at the door.

Based on Lynn Riggs’ play, Green Grow the Lilacs, an interactive, colorful, and rustic set rewinds the clock to the Oklahoma Indian Territory at the turn of the century, equipped with softly flickering lanterns, vintage photos, bales of hay, colorful blossoms, lush greenery, and interactive props hanging on the walls. In this particular production, the lighting is its own character, effectively setting the mood from a soft, rising sun to a nightmarish hue.

The splendid costumes, by Kathryn Ridder, are meticulously-detailed from gold embroidered shirts, brightly-colored satin costumes to delicate, richly-designed dresses with thick bows and petticoats. Whether it is a cow scarf adorning an outfit or a carefully matched wicker hat, those details wonderfully capture the authenticity of the time.

Ruggedly dressed in suede chaps over khaki pants with a button down shirt and cowboy boots, Jack Cappadona portrays Curly McLain with an imaginative streak and a confident and at times, a mischievous smile. Whether engaging C.J. Hawes as Laurey in a whimsical carriage ride during the playful song, The Surrey with the Fringe on the Top or musing about life in Oh What a Beautiful Morning, with silvery vocals, Jack slides right into the role as Curly with a natural charm. With curly red hair and green striped overalls, C.J. Hawes portrays sassy, levelheaded Laurey with great comedic timing and sardonic wit. Jack as Curly and C.J. as Laurey are enchanting together and their soaring vocals make beautiful harmony.

Jack Cappadona as Curly and C.J. Hawes as Laurey Photo courtesy of Eileen McIntyre/HCMT

With thick curly hair, bright eyes, and a deep drawl, Rylan Vachon portrays Will as fun loving, somewhat hotheaded, and spontaneous. Will’s rendition of the song, Kansas City, has never been more fun with lively vocals and slick choreography as The Territory Boys stomp, slide, and perform various stunts. The entire cast captures the distinct spirit of Oklahoma! in all its stomping, sweeping joy.

Rylan Vachon as Will Parker and Jess Phaneuf as Ado Annie Photo courtesy of HCMT

Jess Phaneuf as Ado Annie brings a wild-eyed vivaciousness to the role. She seems to know how to take command of any room she is in one way or another with a wink and a grin. Her interaction with any cast member is fascinating and her comic timing is infallible. Her chemistry with both Will and Michael Andre as bewildered peddler Ali Hakim, have their own distinct charm. Michael Andre as Ali Hakim does a great job of balancing a dynamic character with comedy and cleverness.

Jess Phaneuf as Ado Annie and Michael Andree as Ali Hakim Photo courtesy of Eileen McIntyre/HCMT

Athan Mantalos portrays disheveled, hired hand Jud with a slow burn and deep, compelling, operatic- sounding baritone. Athan masters this role in the quiet moments, adding tension and making his character that much more mysterious. His scenes with Curly are especially powerful and their vocals have seamless harmony.

Athan Matalos as Jud Fry and Jack Cappadona as Curly Photo Courtesy of Eileen McIntyre/HCMT

With spectacles and a high collared dress, Kate Fitzpatrick brings sensibility and a bit of sarcasm to the role of Aunt Eller, who is much wiser than she lets on. Emily Gouillart as Gertie Cummings is a great deal of awkward fun with an unmistakable laugh.

Hingham Civic Music Theatre’s Oklahoma! offers its share of romance, comedy, and plenty of uproarious moments, but dark moments as well. Rodgers and Hammerstein wrote their second musical, Carousel, shortly after Oklahoma’s success and both shows share some of the same themes. Hingham Civic Music Theatre delicately weaves in the themes of loneliness, temptation, and violence effectively, balancing this timeless tale.

Hingham Civic Music Theatre offers two remaining performances of Rodgers and Hammerstein’s musical, Oklahoma! on Saturday, April 29 and a Sunday matinee on April 30 at the Sanborn Auditorium in Hingham, Massachusetts. Click here for more information and for tickets. Tickets are also available at the door. Be sure to follow Hingham Civic Music Theatre on Facebook and click here to learn how to support HCMT’s upcoming productions.

Company Theatre proudly presents the uplifting musical comedy, ‘Sister Act the Musical’

Posted on March 14, 2017 by The Sleepless Critic

With an incredible lineup of catchy, uplifting songs by Academy award-winning composer Alan Menken, Company Theatre proudly presents the hilarious musical comedy, Sister Act the Musical from Friday, March 17 through Sunday, April 9 at the Company Theatre in Norwell, Massachusetts. Based on the 1992 smash hit film starring Whoopi Goldberg, Sister Act the Musical is a humorous, inspiring story about loyalty, friendship, and discovering what is really important. Click here for more information and for tickets.

Set in Philadelphia, lounge singer Deloris Van Cartier finds herself in a terrible predicament and needs protection. She finds it in a convent with a group of dutiful nuns led by rigid Mother Superior, but she has never felt more out of place until the power of music steps in. Featuring a cast that will bring audiences joyfully to their feet, see Sister Act the Musical from Friday, March 17 through Sunday, March 19 then Wednesdays through Sundays through April 9.

‘Sister Act the Musical’ cast Photo courtesy of Michelle McGrath/Company Theatre

Sister Act the Musical is part of Company Theatre’s stellar 2017 season which includes Disney’s The Little Mermaid with an adult cast this summer. Auditions will be held on May 3. Click here for audition details.

Company Theatre MermaidAuditions-300x174

Company Theatre presents Disney’s ‘The Little Mermaid’ this summer. Courtesy of the Company Theatre

Other highlights of the season include the psychological thriller, Lizzie Borden in October and the holiday family musical comedy, Company for the Holidays in December. All performances take place at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Get discount tickets on Family & Friends Fridays. Click here, call the box office at 781-871-2787 for tickets or email sally@companytheatre.com for more information. Follow the Company Theatre on Facebook.