addiction

REVIEW:  Central Square Theater elegantly streamlines heart and innovation with ‘Machine Learning’

Posted on by The Sleepless Critic

Jorge is in distress.  Maybe Arnold can help.

Directed beautifully by Gabriel Vega Weissman, Central Square Theatre in partnership with Teatro Chelsea and a Catalyst Collaborative@MIT production continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, February 25.  The show is 100 minutes with no intermission and contains some Spanish dialogue.  Click here for more information and for tickets.

Armando Rivera in ‘Machine Learning’ Photo by Nile Scott Studios

Caring for a loved one is challenging in itself, but a loved one with a terrible illness battling addiction is that much more daunting.  Frustrated yet determined computer scientist Jorge, empathetically portrayed by Armando Rivera, shares a complex history and relationship with his proud, stubborn, and sympathetic Columbian father Gabriel, depicted with machismo yet stalwart likability by Alberto Rubio.  Rubio as Gabriel hones an authentic depiction of the nature of addiction in an ailing man.   In order to care for his ailing father who is battling liver cancer, Jorge establishes an AI digital application and nurse named ‘Arnold’, voiced brilliantly by Matthew Zahnzinger, which might not only possibly make both their lives easier, but an entity that stubborn Gabriel just might listen to.

Jorge Alberto Rubio as Gabriel Photo by Nile Scott Studios

Each of these lovable characters is virtuous in their own way and their desire to seek the best in the other is what truly makes them remarkable.  Young Jorge, depicted precociously and humorously by Xavier Rosario, is a scene stealer in his sweet and difficult moments with his father particularly demonstrated in an escalating battle over a game.  Rosario tries his father’s patience with unflinching honesty and their experiences shape the relationship later demonstrated by Rivera as Jorge and Rubio as Gabriel.  Zahnzinger as Arnold is an inquisitive and unintentionally funny logical entity that develops a seemingly caring and convincing rapport with Rivera and Rubio that can affectively blur the lines between AI and humanity, but Mendoza’s insightful script cleverly navigates this line of thinking through Arnold’s programming and deduction.

Xavier Rosario and Jorge Alberto Rubio Photo by Nile Scott Studios

Sugandha Gopal portrays sensible and focused Anita, Jorge’s encouraging and astute professor and mentor.  Anita and Jorge share an admirable mutual respect and Gopal shines when she perceptively challenges Jorge on the most difficult things that Jorge needs to face about himself.  Gopal as Anita has confidence in Jorge, but knows the best thing for Jorge is compassionate yet constructive criticism for Jorge’s difficult mission to help his father and to become a better computer scientist.

Sugandha Gopal and Armando Rivera Photo by Nile Scott Studios

What makes Machine Learning fascinating is not only the terrific state of the art sound design by David Remedios with sound engineer Kai Bohlman,  Amanda Fallon’s animated lighting, and Janie E Howland’s innovative fold out and compartmentalized set boasting rich graphics and impressive coding by Projection Designer SeifAllah Salotto-Cristobal, but the care instilled in Arnold’s every calculation in an attempt to deliver Gabriel better care than Jorge believes he could ever possibly deliver on his own.  It is the compassion and resolve put into every detail despite the fraught history Jorge has with Gabriel and their inherent and relatable flaws.  Through all of this seeming perfection is the delicate imperfection that truly resonates. 

Jorge Alberto Rubio and Xavier Rosario Photo by Nile Scott Studios

Though the production delves into the science of AI and the characters are encompassed by calculations and functionality, not for one moment does this production ever feel robotic.  If anything, Machine Learning is a moving production that brings out the ties that bind between a father and son in all of its illuminating calculations.

Central Square Theatre in partnership with Teatro Chelsea and MIT continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theatre in Cambridge, Massachusetts through Sunday, February 25.  The show is 100 minutes with no intermission and contains some Spanish dialogue.  Click here for more information and for tickets.

REVIEW: Image Theater’s ‘Lost Cellphone Weekend’ puts an amusing noir spin on a familiar addiction

Posted on by The Sleepless Critic

Existing without a cell phone is a tricky business.  However, unplugging for a weekend shouldn’t be impossible.

However, it is for many people.  There are those who have their whole lives tied up on their phone from bank accounts to personal history while others have an unshakable habit of constantly finding comfort in that tiny screen.  A cellular phone is the scientific term, but is it really such a stretch that is referred to as a cell phone?  People can be confined to its gaze.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Steve Gilbane’s Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10.  The show is 100 minutes with no intermission.  Click here for more information and for tickets.

Ken Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Projections operator John Cipolaro provides the clean and modern set which includes a busy office, bedroom and street while implementing a few carefully placed set pieces such a multitasking bar cabinet, tables, and chairs.  Sound operator Mike Flynn sets the tone with a lively and suspenseful score while Music Director Ian Chin directs an intimate onstage orchestra for the dynamic soundtrack.

Ken Meehan, Casey Moore, and Diane Milesky Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Based loosely on The Lost Weekend starring Ray Milland and part metadrama, Lost Cell Phone Weekend takes on a vintage noir vibe, but also stands as a light and humorous cautionary tale that focuses on ad executive Don and his girlfriend Helen who embark on a weekend away to a Vermont Bed and Breakfast.  Unbeknownst to Don, Helen intends to have a wireless weekend without a cell phone in sight.  You bet antics ensue and discoveries are made about this little weekend that no one could have expected.

Ken Meehan as Don Birnham, who may resemble the famous other Don from Mad Men, delivers a charismatic blend of old school charm and quick comedic timing embellished by Gilbane’s quip-laden script.  Meehan’s fast talking sentimentality over a cell phone is over the top and yet curiously relatable.  Wild eyes in a suit, Meehan prowls about the area under a suave façade zeroed in on the one thing that will keep him Connected, which is a particularly catchy number.   Diane Milesky Meehan as Don’s romantic and sensible fiancée hopes this little getaway will rekindle their relationship.  They share some fun chemistry, especially knowing that Ken and Diane are married to each other in real life.  Diane goes wonderfully rogue as she articulates her feelings with the playful ballad, Look at Me.

Phil Thompson and David Hansen in ‘Lost Cell Phone Weekend’ Photo by Britton Boughner

Phil Thompson is a natural as tough and candid bartender Nat.  Tall and lanky with a mix of subtle intimidation and mischievousness bearing a passing resemblance to Clint Eastwood, Thompson as Nat creates a doomed path for the haunting number, The Downfall of Man.

Casey Moore and David Hansen take on a few roles, but Moore is noteworthy as phone whiz Gloria in a red dress and Hansen as a mysterious and silly stranger claiming to be a very busy person.  The cast later puts things into skewed perspective on this resonating topic with the striking number, A Little Poison.

The cast of ‘Lost Cellphone Weekend’ Photo by Christian De Rezendes

Lost Cellphone Weekend is an amusing and light musical comedy experience with vintage flair that comments on that pesky little cell phone habit but beware!  It may challenge you to discover this big beautiful world and those dear to you more often.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10.  The show is 100 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  SpeakEasy Stage Company’s searing and immersive ‘People, Places & Things’ makes an indelible impact

Posted on by The Sleepless Critic

Nina is in a nightmare.

Perhaps rock bottom is an unimaginable state until you learn how much further you can sink. People, Places & Things is a jarring and astounding portrait of a spiraling woman who must face that this nightmare she’s in can be stopped.

Masterfully directed  by David R. Gammons, SpeakEasy Stage Company presents Duncan Macmillan’s People, Places, & Things live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 5.  This show contains mature themes.  Click here for more information and tickets.

People, Places, and Things is immediately gripping as it thrusts the audience into Nina’s (or whatever she calls herself at the moment) apparent breakdown onstage.  Nina, brilliantly depicted by Marianna Bassham, is a struggling actress who has more than just forgotten her lines during a pivotal moment in a sophisticated play.  The harried and frantic nature of Nina’s life emanates from the stage and you are engulfed in the deep chasm of an addict.

Kadahj Bennett and Marianna Bassham in People, Places & Things. Photo by Nile Scott Studios.

While People, Places & Things has its share of harrowing moments, it is not without its doses of dark humor. It is a realistic depiction of an addict’s complex journey with its own share of twists, turns, and shocking revelations.  Bassham is enigmatic and at times dreadfully unlikable in the way a guarded person who thinks they have all the answers might be.  Her sporadic tics, vacant expression, shaking, low talking, and absent pauses are shocking yet enthralling to witness.  Bassham’s disillusionment of the world gives the impression that she feels she is not in the chaos of her circumstances, but standing outside of them in her own judgment.  With alarm, rage, and confusion flickering in her eyes, Bassham is absolutely riveting.

Adrianne Krstansky and Marianna Bassham in People, Places & Things. Photo by Anabel Rios Photography.

 The show depicts a mix of lucid moments and unhinged visions manifested in part by the efforts of Jeff Adelberg’s transient lighting varying from creepy to downright alarming. Whether it is to demonstrate time freezing, time progression or revealing trauma with occasional strobe lights, Adelberg captures the striking and vivid chaos within and outside this woman.

Marianna Bassham and the cast of People, Places & Things. Photo by Nile Scott Studios.

Jeff Petersen’s open staging is a bold and clever choice where nothing is hidden from the front of the stage right through to what seems like dressing rooms.  This quick-paced production makes some swift transitions meticulously done with purpose and meaning.  The transparency lends a great deal to the piece as each character struggles with what they are hiding.

Marianna Bassham and Nael Nacer in People, Places & Things. Photo by Nile Scott Studios.

 The dynamic cast includes members that take on dual or even multiple roles that are vastly different throughout the production. Kadahj Bennett’s direct, compassionate, and occasionally amusing turn as Foster is as harsh on Bassham as he has probably been on himself.  Bennett, Bassam, and barely stable and complicated Nael Nacer as Mark share some significant and transcending moments as their outlooks on life make for some compelling dialogue.   Nacer and Bassham also share some intriguing chemistry.  At one point, Naser refers to Bassam as a ‘human hand grenade.’  Adrienne Krstansky and John Kuntz make some brilliant transitions in their multiple roles and it is easy to become invested in each of these unpredictable characters.

Nael Nacer, John Kuntz, and Marianna Bassham in People, Places & Things. Photo by Nile Scott Studios.

SpeakEasy Stage Company presents Duncan Macmillan’s People, Places, & Things live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 5.  This show contains mature themes.  Click here for more information, tickets, and upcoming productions.