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REVIEW: ‘Hadestown’ a soulful and eternally hopeful journey

Posted on April 26, 2024 by The Sleepless Critic

In Hadestown, there is nothing quite like a song.

Though I’m not normally a fan of mythology, Hadestown has a universal appeal as a soulful journey through faith and love with idealistic expectations and earnestness of what could be. A dream awakened of a love not tethered to a world of capitalism and poverty. Pure and untarnished was Orpheus and Eurydice.

Will Mann, Amaya Braganza, J. Antonio Rodriguez and Company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Directed intuitively by Rachel Chavkin with pulsing and dynamic choreography by David Neumann and stirring music, lyrics and book by Anaïs Mitchell, Tony award-winning Hadestown continues at the Boch Center Wang Theatre in Boston, Massachusetts live and in person through Sunday, April 28. The production is two hours and 30 minutes including one intermission. Click here for more information and tickets and here for its next stop on its national tour.

Will Mann and company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Set in a New Orleans-style depression era with a steam punk vibe and fueled by Bradley King’s brilliant lighting, Hadestown explores a mystical world of gods, men, and the social divide of the haves and have nots. This world is dark in more ways than one, but King’s amazing lighting dances like the characters onstage through spotlights to glowing lanterns to strobe lights to illuminating headlights – fierce, occasionally harsh, luminous and lively. Accented with a wrought iron balcony, etchings and green walls, scenic designer Rachel Hauck infuses classic New Orleans finesse with hidden tunnels and functioning railroad whistle. A sparkling black umbrella is just a hint of the unique, Victorian, steam punk-inspired costumes by Michael Krass steeped in mostly black and white that emphasize vibrant bursts of color featuring pinstripes, metal, and leather.

J. Antonio Rodriguez and company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

With a haunting horn and fiddle-infused soundtrack that blends folk, blues, and New Orleans-style jazz delivered by an intimate onstage band, Hadestown boasts a plethora of edgy, powerful and distinctive vocals unique to each character. Chant and Way Down Hadestown are especially catchy and inventive tracks in a unique collection of pops, clicks, and layered harmonies.

Will Mann in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Narrator, advisor, and consoler Will Mann affably portrays Hermes with self aware warmth and an interactive hint of wistfulness skillfully drawing the audience into this multilayered tale. With soaring vocals and an exuberant yet tough exterior, Amaya Braganza glows as wanderer Eurydice. Sporting blue hair, ripped stockings, and black boots, Braganza as Eurydice is vibrant and helplessly taken by naïve, romantic, humble, and spontaneous musician Orpheus, depicted with endearing charm by J. Antonio Rodriguez. Together they perform a soothing and vulnerable rendition All I’ve Ever Known. High tenor Rodriguez has an angelic falsetto hitting notes that seem otherworldly for Doubt Comes In.

J. Antonio Rodriguez and Amaya Braganza in ‘Hadestown’ North American Tour 2023. Photo by T Charles Erickson

With a rock star swagger and strut, Matthew Patrick Quinn breaths into Hades a rich and authoritative baritone and scene stealing wit behind thin dark shades. He wields the atmosphere driven by coal, capitalism, and soulless innovation especially prevalent in Quinn’s rendition of Why We Build a Wall. With electric blue eye shadow and a lustrous lime dress with florals, Lana Gordon is striking as Persephone with fervent vocals to match. Gordon performs a memorable duet with Quinn for How Long and navigates Our Lady of the Underground with a remarkable belt.

Lana Gordon and company in ‘Hadestown’ North American Tour 2023. Photo by T Charles Erickson

Marla Louissaint, Lizzie Markson, Hannah Schreer depict three mesmerizing and elusive Fates. They personify the conscience, the doubt, the fear, and the creeping proclamation of humanity’s shortcomings in a trio of chiming harmony. Burning into the psyche, their ascending vocal prowess is emphasized in an impressive and partially acapella rendition of Nothing Changes, soaring When the Chips are Down and in their role in Hadestown’s signature number Wait for Me.

J. Antonio Rodriguez, Marla Louissaint, Lizzie Markson and Hannah Schreer in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Hadestown reflects the shortcomings of being human while the pettiness of the gods weighs in the balance of everyone’s fates culminating into a gripping finale. Eternally hopeful, Hadestown is a profound journey definitely worth the trip.

REVIEW: Joy and grief co-exist in Anthony Rapp’s moving ‘Without You’

Posted on April 12, 2024 by The Sleepless Critic

Author Nancy Berns once reflected, ‘There is freedom in knowing you can carry joy and grief together.’

Joy and grief coexist in Without You, a one man production performed by award-winning actor and singer Anthony Rapp. Known for his performance in the Pulitzer prize-winning musical Rent, Rapp weaves together a deeply personal portrait of the story behind the hit musical, his experiences as an actor, and the love and losses in his life. Featuring a mix of original music and beloved songs from Rent and based on Rapp’s 2006 memoir Without You: A Memoir of Love, Loss and the Musical Rent, Without You is a moving production for those who have seen Rent, but it is not necessary to see Rent in order to appreciate this production. It might encourage you to see it for the first time or revisit it after the production is over.

Seasons of Love

Directed conscientiously by Stephen Maler with insightful Music Direction by Daniel A. Weiss, ATG Colonial presents Anthony Rapp’s one man musical show Without You live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, April 14 and is also touring. This production is 90 without an intermission. Click here for more information and for tickets and here for the production’s tour schedule.

Anthony Rapp’s ‘Without You’ Photo by Russ Rowland

Rapp is contemplative of what he has been through privately and professionally with a variety of personal nuances to make it his own. With authentic scrapbook style flair by light and scene designer Eric Southern, a projected brick wall boasts a variety of Rapp’s taped newspaper clippings, vintage playbills, and weathered New York City landmark photographs, Rapp’s apartment, and even an touching handwritten note. The resplendent multicolor lighting and ambiance seem inspired by Rent itself. The production has a casual 90’s vibe with Rapp in a flannel shirt and sneakers by Angela Vesco and Rapp sets his own props during the production.

Having had phenomenal success as an acclaimed hit musical in the 90s that became one of the longest running shows on Broadway and gone one to be performed around the world as well as a film adaptation of the same name that also starred Anthony Rapp in 2005, it is amazing to think that Rent is closing in on its 30^th anniversary since Rapp’s first Rent audition. Rent is a daring, joyous, raw, and poignant musical about a group of 20-somethings living in New York City. It explores love, loss, hardships, dreams and realizations all while this group struggles to make the rent.

Anthony Rapp is speaking from personal experience as a struggling actor in New York City who worked at Starbucks to make ends meet as he embarked on auditions. Rapp’s mother encouraged his singing more than his acting recalling Rapp’s childhood roles as Snoopy and Oliver. With an innovative onstage band, Rapp tells an engaging and inspiring account recalling the invaluable friendships he made along the way including a beautiful event called the Peasant Feast. Rapp sings Seasons of Love wistfully, talks of his affinity for La Vie Bohème, hopeful Another Day, and a sweet rendition of Without You as well as the endearing original Carry Me Home, and the darkly quirky Wild Bill.

Having lost my father recently, Without You genuinely captures the sting and elusive solace of grief while Rapp immerses himself in mimicking the voice and mannerisms of each significant character in his heartfelt story including his mother, Rent creator Jonathan Larson and music director Michael Greif. Rapp’s warm, humorous, and spirited inflections were especially memorable in a stunning moment with Cy coaxing Rapp that the only way out is through.

REVIEW: ‘Driving in Circles’ a winding and resilient concert journey at Boston Playwrights’ Theatre

Posted on April 3, 2024 by The Sleepless Critic

Now here is something refreshingly different.

Directed with energizing flair by Sam Plattus, innovative sound design by Gage Baker and cleverly written and performed by Jay Eddy, Boston Playwrights’ Theatre presents Driving in Circles live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Saturday, April 6. This new, deeply personal concert-style work is 100 minutes with no intermission. Click here for more information and for tickets.

Jordan Palmer Zach Fontanez and Jay Eddy in Driving in Circles Photo credit to Scornavacca Photography

Infusing storytelling, relatable humor, and a fascinating blend of hard hitting and uplifting original music, Everett-born Jay Eddy as Jill/Bill is a witty individual who has faced a daunting set of physical and emotional challenges at a young age. Eddy is raw, honest, funny, and self deprecating tackling trauma at its core as well as the aftershocks of these events demonstrated in a catchy opening number that explains how to survive an earthquake. Eddy counts backwards in time at the prevalent ages in which Eddy endured these hardships.

Jay Eddy on guitar in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Scenic designer Danielle DelaFuente with set construction by Carly Stegall has fittingly set up a highway rest stop with a dart board, colorful vintage license plates and vinyl records. A hanging pink bathrobe is just one of the significant Easter eggs shown on Eddy’s reflective journey. Wearing red eye shadow and white boots, Jay Eddy, keyboardist Jordan Palmer, and guitarist Zach Fontanez sport similar blue uniforms by costume designer Eric Tran as they perform on a staged road while lighting designer Kevin Fulton sets an atmospheric vibe including twinkling lights and multicolored linear array lights that illumine each performer’s space.

Jay Eddy sharing a humorous weather report in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Driving in Circles is essentially an emotionally-charged concert road trip through a variety of beautiful and traumatic events that have shaped Eddy’s life. It is powerful, sad, and disturbing at times, but is also hopeful, charming and lighthearted on this unpredictable road to healing. This is not lighthearted fare and the material is a bit too serious to be considered standup, but Eddy’s enthusiasm and interactive style is relatable, warm, sincere, and funny. Sharing home movies creatively projected by Maria Servellón, Eddy is not limited to the stage and engages the audience in a compelling manner that makes you feel a part of her journey brimming with detours, twists and turns on past road trips and misadventures that include destinations such as Seattle, Nashville, Vermont and Maine. Driving in Circles contains plenty of local references and Eddy shares a compelling and relatable tale getting lost on the road in what should have been a simple trip to the dentist.

Jay Eddy in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Eddy’s original electronic music is performed on the spot as lead vocals in a three piece band. Eddy is a master on the audio board expertly delivering vocals and sound effects while keyboardist Jordan Palmer and guitarist Zach Fontanez enhance this dynamic blend of lively songs. Eddy is a powerful, edgy and expressive singer and it is amazing to listen to it navigated through the audio board, but Eddy’s bare vocals are also incredibly affective. Shrill Woman, Time Traveler, Another Day, the soothing You’ll Feel Better with Fontanez delivering a notable guitar solo, uplifting The Dog Days of Summertime and hopeful The World is Ending Anyway are just a few highlights.

Jay Eddy in ‘Driving in Circles’ Photo Credit Scornavacca Photography

A perceptive work with plenty of heart, Driving in Circles is a powerful and original work about resilience and hope even through harrowing events. Eddy demonstrates music’s healing power through art as well as the music that helped Eddy cope from artists such as Simon and Garfunkel and Tom Petty. After all, Driving in Circles can still lead to beautiful destinations.

Jordan Palmer, Jay Eddy, and Zach Fontanez in ‘Driving in Circles’ Photo credit to Scornavacca Photography

REVIEW: Celebrity Series of Boston brought vintage effervescence to Boston with renowned touring group Paul Taylor Dance Company

Posted on April 24, 2023 by The Sleepless Critic

Forget those troubles and get happy with the lively, comedic, and exciting Paul Taylor Dance Company.

Infusing classical, big band, and swing with a modern twist, The Paul Taylor Dance Company zealously delivered comedy, athleticism, romance, drama as well as some reflective moments wrapped in vibrant costumes by Marc Eric and Santo Loquasto with Donald Martiny’s exuberant set design.

Celebrity Series of Boston presented renowned national touring group, Paul Taylor Dance Company for a limited engagement from April 14-16 live and in person at the Boch Center Shubert Theatre. The show was two hours including two intermissions. Click here to see where Paul Taylor Dance Company will perform next and here for a look into Celebrity Series of Boston’s upcoming events.

Somewhere in the Middle by Amy Hall Garner Madelyn Ho w L-R Devon Louis Lee Duveneck Austin Kelly John Harnage Photo by Ron Thiele

Bright colors gleam over a black landscape as Count Basie’s booming, horn-infused rhythms measure carefree spins and leaps in Somewhere in the Middle. Effervescent and gleeful in bursting lime, coral, teal, and mustard by Mark Eric, Madelyn Ho, Lee Duveneck, Devon Lewis, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, and Austin Kelly delivered childlike wonder and an uplifting glow tumbling in somersaults and breezy lifts to heart thumping rhythms by Sarah Vaughan, Count Basie, Duke Ellington, and Bill Evans. This joyful, upbeat spectacle, with captivating choreography by Amy Hall Garner, was only outdone by the subtle and spontaneous moments prevalent throughout the production. A cheerful shout, an impulsive wave, a kiss on the cheek, a snap of the fingers, or a swift tap on the shoulder brought unique distinction to the performances, making it all the more thrilling.

Brandenburgs Full Cast photo by Ron Thiele

Brandenburgs, featuring music by Bach and his Brandenberg concertos, is an athletic, sophisticated, and romantic foray into classical ballet. Featuring piano and fiddle-laden rhythms, dancers John Harnage, Eran Bugge, Madelyn Ho, Lee Duveneck, Alex Clayton, Devon Louis, Maria Ambrose, Shawn Lesniak, and Jake Vincent strut and promenade across the floor in regal stances which are at times, untamed, open, but always seamless by Paul Taylor. Devon Lewis and Maria Ambrose deliver a romantic and moving Pas de deux which is the first of two reflective pieces within this production.

Somewhere in the Middle by Amy Hall Garner Maria Ambrose Devon Louis Photo by Ron Thiele

Brandenburgs is a vigorous, rich, and robust performance that continues this compelling celebration, the second in a three part production. Adorned in gold trimmed and flowing garments in various shades of green, the group’s impressive linear and synchronized movements depict elegance and grace ending their dance as it began.

The Paul Taylor Company saved the best for last with Company B, a salute to the famous Andrew Sisters. Featuring the full cast that includes Christina Lynch Markham, Madelyn Ho, Kristin Draucker, Lee Duveneck, Alex Clayton, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, Devon Louis, Jake Vincent, Jessica Ferretti, and Austin Kelly, the ten song tribute features enough liveliness and humor to lift anyone’s spirits. Accessorized with flowers and simply dressed in flowing skirts and pants, white shirts, and accented red belts faithful to the late 30s and early 40s, Paul Taylor’s timely choreography infuses some popular dances of the era including the jitterbug, swing, the twist, and the polka in a mix of spontaneity, poignant reflections, and comic wit.

One of the many highlights included a humorous spin to the Andrews’ upbeat and horn-infused rhythms of Oh Johnny, Oh Johnny Oh! Featuring Lee Duveneck as a skipping Johnny in horned rimmed glasses and a gleeful smile, it is an unconventional, carefree and refreshing swing number about a guy who unwittingly attracts all the girls. As the Andrew Sisters’ frank vocals state ‘You’re Not Handsome, it’s true’ the catchy song boasts more than its share of amusing, spontaneous, and sweet moments.

Company B Lee Duveneck w cast Photo by Ron Thiele

Rum and Coca Cola features the art of the gaze as the tables are turned with Madelyn Ho under the captive eye of a spellbound group of men. In a flowing, red trimmed skirt, Madelyn’s hip shaking, and high kicks as she flirtatious fans herself knock the boys off their feet.

Though the production is mostly spirited and joyous, Company B does make references to the poignancy of wartime with I Can Dream, Can I featuring Christina Lynch Markham’s beautiful solo dance recalling a faraway soldier. The urgent Joseph! Joseph! depicts women, uncertain of the future, pleading to build a future with their boyfriends before they are shipped off to war. Maria Ambrose and Devon Louis reunite for another duet for There will Never Be Another You, a bittersweet and symbolic number as memories of men pass by in haunting shadow by Jennifer Tipton.

Paul Taylor Dance Company had a limited engagement in Boston, but they are still touring. Click here to see where the Paul Taylor Dance Company will perform next and here for more of Celebrity Series of Boston’s dynamic, upcoming performances this season.

REVIEW: The Huntington’s bold and savory comedy, ‘Clyde’s’ serves up the works

Posted on April 19, 2023 by The Sleepless Critic

Talk about mouthwatering fare.

Don’t arrive to Clyde’s hungry as Lynn Nottage’s illustrative script is not only a feast for the senses, but Clyde’s is where the sandwich is undeniably king in every sense of the word. For a group of enigmatic employees struggling to get out from under a scant Pennsylvania trucker stop, the sandwich is the key to all things great. However, with a tyrannical boss at the helm, Clyde has plenty to say over whom or what reigns supreme.

Harold Surratt as Montrellous and April Nixon as Clyde in Lynn Nottage’s Tony award nominated play Clyde’s Photo by Kevin Berne

Directed intuitively by Taylor Reynolds, The Huntington, in a co-production with Berkeley Repertory Theatre, presents captivating, Pulitzer Prize-winning and Tony award-nominated dramedy Clyde’s through Sunday, April 23 live and in person at the Huntington Theatre in Boston, Massachusetts. The show is one hundred minutes with no intermission. Click here for more information and for tickets.

Clyde’s is a fascinating, no holds barred yet comedic look into the hectic lives of Clyde’s employees and the mysterious reasons why they are there. Nottage’s sterling script balances the heartache of home life and arduous work when the cards are stacked with the dream of pursuing perfection.

Louis Reyes Mcwilliams as Jason and Cyndii Johnson as Letitia in Lynn Nottage’s Tony Award nominated play, ‘Clyde’s’ Photo by Kevin Berne

The cast does an amazing job collaboratively building surprising comedic moments within a show rife with tension and serious themes. Harold Surratt epitomizes wise and discerning Montrellous as he poetically describes the art of the sandwich with ‘intangible grace and aromas’ and deems artichokes as ‘grace notes.’ Surratt, unconventional in multicolored and kaleidoscopic garments, portrays amiable Montrellous as the calm within a fiery storm. Surratt’s warm smile and soothing vocals can charm almost anyone into discovering the joy in life’s simplicity. Wesley Guimaraes as sous-chef Rafael share some of that optimism and grace striving to achieve the peace that Montrellous seemingly exudes. Guimaraes shares some refreshing, playful, and flirtatious scenes with Cyndii Johnson as Letitia on prep. Their remarkable chemistry is a highlight of the production. Johnson enthusiastically captures the outspoken, fast talking, and sympathetic Letitia who is both caring yet not to be trifled with while Louis Reyes McWilliams searingly portrays guarded Jason, building his own tension with every careful move.

Cyndii Johnson as Letitia and Wesley Guimarães as Rafael in Lynn Nottage’s Tony award- nominated play ‘Clyde’s’ Photo by Muriel Steinke

However, the prime source of unease can be found in Clyde, a force to be reckoned with depicted glacially by April Nixon. From Montrellous’s unique ensembles to Leticia’s exuberant headscarves, costume designer Karen Perry creates incredible and vampy ensembles that exude Nixon’s egotistical, booming, and militaristic Clyde. Tiger prints, multicolored, scalloped sleeves, sparkling pumps, and astounding incandescent wigs by Megan Ellis help bring out Nixon’s spicy Clyde in and out of the kitchen. Nixon’s gusto is evident from the very first scene, channeling the kitchen’s mood under Clyde’s manicured fingertips.

April Nixon as Clyde and Harold Surratt as Montrellous in Lynn Nottage’s Tony award-nominated play ‘Clyde’s’ Photo by Kevin Berne

Aubrey Dube’s catchy and upbeat sound design fuel this bustling and rustic kitchen designed by Wilson Chin. Plants, boom box, storage boxes, utensils, silver gleaming fridge, grill, Tupperware, and to go boxes are reminiscent of the authentic clutter out of The Bear or Kitchen Nightmares. The flashy and vibrant monument sign, fueled by lighting designer Amith Chandrashaker, work spectacularly with the show’s memorable score and its fast paced setting.

As Montrellous muses, ‘over complication obscures the truth’ so take a trip to Clyde’s for a bold and powerfully- charged dramedy where aspiration is never off the menu.

The Huntington, in a co-production with Berkeley Repertory Theatre, presents captivating, Pulitzer Prize-winning and Tony award-nominated comedy Clyde’s through Sunday, April 23 live and in person at the Huntington Theatre in Boston, Massachusetts. The show is one hundred minutes with no intermission. Click here for more information and for tickets.

REVIEW: One con deserves another as South Shore Theatre Works continues with lively ‘Chicago the Musical’

Posted on April 19, 2019 by The Sleepless Critic

With the recent premiere of the highly-anticipated FX biographical miniseries, Fosse/Verdon about the sizzling creative and romantic partnership between legendary filmmaker and choreographer Bob Fosse (Sam Rockwell) and spectacular Broadway dancer Gwen Verdon (Michelle Williams), it seems Fosse and Verdon’s influence is still everywhere. So, it is not surprising that South Shore Theatre Works (SSTW) is taking on what SSTW’s Executive Director and President Richard Bento called, “a dream production of mine to direct,” Chicago the Musical continuing through Saturday, April 20 at Abigail Adams Middle School in Weymouth, MA. This show is not for young audiences. Click here for more information and tickets.

One of Fosse’s most popular creations was a dark satire dealing with corruption and murder during the Jazz age called Chicago the Musical. This Tony award-winning production continues to thrill audiences as one of the longest running Broadway musicals and its most recent 2002 film adaptation was the 2002 Academy award-winning film starring Renee Zellwegger (Roxie), Catherine Zeta-Jones (Velma) and Richard Gere (Billy Flynn) garnered a few Academy Awards.

The cast of ‘Chicago the Musical’ Photo by Annabella Valle/South Shore Theatre Works

How has Chicago the Musical earned its longevity? The proof is in its clever, satirical storytelling that isn’t afraid to occasionally shock, its sizzling choreography, memorable characters, catchy music, and its frank, timeless message about humanity. With an impressive, semi-interactive fifteen-piece orchestra led by conductor Doug Gerber that elevates the action onstage plus additional songs not featured in its most recent film adaptation, this darkly humorous production is off to a good start.

With a modest set featuring vintage theatre lights that illuminate the stage, director Richard Bento keeps this production in classic Fosse form dressing his dancers in black. The close-knit, tight choreography by co-choreographers Richard Bento and Amy Valle Wallace includes some dance crazes of the Jazz Age that make for some visual sizzle. Though the classic number Cell Block Tango needs a bit more snarl, clever Razzle Dazzle boasts some sleek staging.

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Headlining this colorful cast is Stephanie Wallace as desperate, hot tempered and fast-living Roxie Hart. With a great scowl and energetically navigating Roxie’s myriad of emotions, it is easy to see how Wallace relishes this character. She is never better than during her natural and engaging signature song, Roxie Hart.

Jaclyn Cleary lends a mix of sharp sophistication and mayhem to Velma Kelly, a former dancer turned criminal. Her wild, light eyes reveal a smugness and unsteadiness that will keep you guessing her next move. Having seen Chicago the Musical quite a few times, I admire Jaclyn Cleary’s sleek vocals and not so by-the-numbers rendition of All That Jazz. She and Matron Mama Morton, portrayed charismatically by Hanna Ford, have great chemistry. They are two sides of the same coin in their rendition of Class.

Staring down her glasses with an ironically sophisticated air is Hannah Ford as Matron Mama Morton. With a belt that certainly packs a punch, her rendition of When You’re Good to Mama clearly shows she knows how to pull some strings and depicts Mama in a different and refreshing way.

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Wielding a cane, Aaron Stolicker masterfully navigates the cast and the audience as suave, shrewd, and debonair Billy Flynn, sharply dressed in a black tuxedo. He’s full on smirking charm in the number, All I Care About is Love and quite the storyteller in his rendition of They Both Reached for the Gun, a complex, energetic number with strong choreography. J. Merlo adds some humor and some serious pipes as journalist Mary Sunshine.

South Shore Theatre Works continues Chicago the Musical through Saturday, April 20 at Abigail Adams Middle School, 89 Middle Street in Weymouth, MA. Click here fore more information, tickets, and how to support South Shore Theatre Works, an organization that recently celebrated its third anniversary. Click here for more information about South Shore Theatre Works and its Executive Director and President, Richard Bento.

REVIEW: Engrossing and unpredictable, Hub Theatre’s ‘The Clearing’ a fierce and resonating historical drama

Posted on April 14, 2019 by The Sleepless Critic

After venturing to the second star to the right in Hub Theatre’s rollicking Peter Pan musical prequel in Peter and the Starcatcher, Hub Theatre Company of Boston kicked off its seventh season with a fierce and romantic historical drama exploring the aftermath of war and the cost of justice in Helen Edmunson’s The Clearing continuing through Saturday, April 20 at First Church Boston in Boston, Massachusetts. Tickets are available at a pay-what-you-can basis. The show contains mature themes. Click here for more information.

Photo courtesy of Hub Theatre Company of Boston

Engrossing and unpredictable, The Clearing reaches deep into the motives of loyalty and questions the very nature of what is right. Taking place during 17^th century Ireland after the Nine Year’s War and directed by Daniel Bourque, The Clearing is a beautiful, forbidden love story in the thick of a tense, tumultuous landscape and a transformative piece addressing issues that resonate in today’s culture.

The Clearing has a small cast and First Church Boston’s intimate setting, without a bad seat, makes it easy to immerse yourself into this compelling fictional tale set in historical times. The Clearing’s set by Cassie Chapados has a natural, romantic flair, embellished by flowering trees, lamplight, and an open ceiling. From lace to frill to gold, Erica Desautels and Nancy Ishara’s detailed, coordinated costumes capture the atmosphere of its time while Ian Conway’s impressive sound design helps to maintain the show’s intensity.

Not knowing much about the production prior to entering the theater made the show that much more enjoyable, but should mention the great chemistry between the cast. Brashani Reece portrays Madeleine Preston, a wide-eyed and bubbly spitfire. Reece as Madeleine is charismatic, stubborn, and charming, who often cannot see past her own heart. She shares endearing, playful chemistry with Matthew Zahnzinger as naïve and adoring Robert. With smiling eyes, Zahnzinger portrays Robert with mix of smugness and gentility and the two of them together make for some of the show’s best moments. Although The Clearing is not a musical, Reece’s lovely rendition of an Irish lullaby makes for a sweet moment.

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Lily Steven depicts Killaine Farrell, Madeleine’s quiet and humble companion. With a far off gaze and a shy smile, Steven as Killaine draws sympathy in her painful selflessness, always longing to live in the past. She and Reece have a sisterly connection.

Jeff Gill delivers a chilling, commanding performance as Sir Charles Sturman. With beady, wrathful eyes, his righteous and brutal practicality is only weakened by an irksome ailment. Although the entire cast is strong, his domineering presence will keep you transfixed. Robin Abrahams depicts world-weary Susaneh, her dry humor makes for a few needed laughs in this mostly serious production.

Although Helen Edmunson’s The Clearing could have been heavy handed as it addresses issues such as culture clash and the lingering resentment of post-war politics, but director Daniel Bourque’s delicate balance achieves a fascinating and enlightening day at the theatre.

Hub Theatre Company of Boston presents Tony-nominated historical drama The Clearing through Saturday, April 20 at First Church Boston, 66 Marlborough Street in Boston, Massachusetts. Click here for more information and follow Hub Theatre Company on Facebook for further updates.

Acclaimed producer Sue Gilad talks Tony nominations, girl power, and heartwarming musical, ‘A Taste of Things to Come’

Posted on April 11, 2018 by The Sleepless Critic

From the award-winning Natasha, Pierre, and the Great Comet of 1812 to Angels in America, renowned theatre producer Suzanne Gilad has an eye for the next big show. Boasting an array of memorable tunes, Sue’s current musical project, A Taste of Things to Come, has been described as Jersey Boys meets Betty Crocker meets the 60s feminist movement. It takes the stage at Chicago’s Broadway Playhouse through April 29.

Photo courtesy of Broadway in Chicago

Sue discusses getting Tony nominations, bringing A Taste of Things to Come to Chicago, and Turtle Wax. Click here for more information and tickets to A Taste of Things to Come.

Sleepless Critic: You are involved in a number of well known projects such as Angels in America, Madame Butterfly, Natasha, Pierre, and the Great Comet of 1812, and upcoming project, The Other Josh Cohen. What first brought you into the theatre world?

Sue Gilad: I was a performer a long time ago and then started doing voice overs, which took me down a completely separate and fun path. A few years ago, a friend created a show and asked me if I would help shape it. I discovered being a producer meant that I could be responsible and still have a life. We get to be creative in terms of what kinds of work we bring to the public to see and hopefully open their minds and hearts. It made sense and there are still relatively few female producers in the business, although that is changing. There is a lot of growth for that.

I would jump Broadway projects as a co-producer and that is what is happening with the recently opened Angels in America. People ask me if they can meet Andrew Garfield who delivers a tremendous and transformative performance in the show. I’ve never seen him like that.

SC: What was it like for you when Natasha, Pierre, and the Great Comet of 1812 got multiple Tony nominations?

SG: It was such a big honor that the show received the most Tony nominations of any show last year. The best part about getting the nominations was The Great Comet was a big creative risk. I don’t think anyone thought it was going to be on Broadway with its tiny stage and cast. When it was at the American Repertory Theatre (A.R.T) in Cambridge, Massachusetts, Diane Paulus wanted to take the show which was in the round and remount it into proscenium theatre. She did to great acclaim and it became an immersive production, unlike anything Broadway has ever seen before.

Libby Servais (Broadway: Wicked, Lysistrata Jones), Cortney Wolfson (Broadway: The Addams Family, Les Miserables) Broadway’s Linedy Genao (On Your Feet! Original Broadway Cast), Marissa Rosen (Off-Broadway’s The Marvelous Wonderettes) Photo courtesy of Broadway in Chicago

SC: A Taste of Things to Come has an all female crew. Was it planned that way?

SG: Dare I say that the women were the most qualified for the job? A Taste of Things to Come, written by Hollye Levin and Debra Barsha, is based on Hollye’s experience of her mom and a part of it tells the story of the life her mom had growing up. Then director Lorin Latarro came onboard when the show debuted at Bucks County Playhouse in Pennsylvania. Everybody loved her and she brings tremendous things to the show.

The show features four women that age from age 25 in 1957 to age 35 in 1967. Everything blows open in the beginning of Act 2 when they are 10 years older and wiser with more opportunities for women and delicious secrets about race, religion, and sexuality which is not something you really talked about in the 1950s. By the 1960s, there was a real space for it. You get to see these women’s journeys during an incredible moment in history.

SC: What was it about A Taste of Things to Come that grabbed your attention?

SG: I saw a rehearsal or reading of this show and loved it. It gave me the opportunity to articulate my gratitude to the generation before me that broke through so many glass ceilings I didn’t even know existed.

Women of that generation either didn’t work or they became teachers and nurses so my generation can become doctors and superintendents. Then my kids’ generation can do whatever they want for work or nothing for work. It’s just extraordinary and gave me a window into the past. I can share it with my mom and, if I wanted to, bring my teenage daughters to it. It’s a celebration of friendship, solidarity, and kind of interestingly timed with the advent of the ‘me too’ and ‘times up’ movement that women in their time also had to take a stance for things that were beyond their comfort zone or what was socially acceptable at the time.

The cast of ‘A Taste of Things to Come’ Photo courtesy of Broadway in Chicago

SC: The New York Times has described A Taste of Things to Come as ‘a recipe for catchy musical theatre.’ Please tell me a little about the music and your favorite songs.

SG: Composer Debra Barsha worked on Jersey Boys on Broadway for ten years so it starts out with the popular tunes of the 1950s. Ten years later, things become a lot groovier and it had a really distinctive 60s sound. My favorite song has been shifting as I get to know it better, but today I love the song, Blessings in Disguise. It’s a testament to the things we think will challenge us which are actually the things that make us stronger and give us unexpected gifts. My other favorite song is In Time, the final song of the show. The entire cast sings it and they look back at what they have been through together as individuals and as a group of friends. The best things happen in time.

SC: What has it been like putting the show together?

Since the show is set in Winnetka, A Taste of Things to Come is making its home in Chicago. It’s been fun listening to the audio discs during previews because of the way the audience giggles with any Winnetka or Chicago reference. We were very lucky to get New York Broadway actresses but we also have an understudy that can swing all four roles. Madison Kauffman is a Chicago native who just graduated from college. She came in for the first day of rehearsal completely off book for all four roles. Her level of excitement and passion is so thrilling.

The cast of ‘A Taste of Things to Come’ Photo courtesy of Broadway in Chicago

SC: What kind of support is the show looking for?

SG: We have a great sponsor based out of Chicago called Turtle Wax. It is in the script because it was wax that men were using in 1957 for their cars. We would be open for Chicago-based companies to sponsor the show because we do have a wonderful, primarily female, well-educated audience.

SC: What is in store for the future of the show?

SG: We have wonderful theatres interested in having the show at their theatre so we might take the show on tour. Then we’re hoping to get it licensed so every school, regional theatre, community, and worldwide theatre can perform it and share the victories of womanhood.

A Taste of Things to Come continues at the Broadway Playhouse in Chicago through April 29. Click here for more information and for tickets. Follow A Taste of Things to Come on Facebook and Twitter.

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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.