What happens after a dream doesn’t go quite as planned? For SamKissajukian, it’s finding another one.
Created and skillfully performed by dynamic Australian talent SamKissajukian, American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25. This cleverly executed production runs 90 minutes with no intermission. Click here for more information and for tickets.
300 Paintings Production Photo
Sam Kissajukian in 300 Paintings.
Photo: Evgenia Eliseeva
300 Paintings carefully balances insight and humor in a zig zag autobiographical and educational journey about making a new start when your initial dream goes awry. Allowing the audience into his captivating methodology and thought patterns, Sam intimately reflects on this time with a step-by-step skewed and spontaneous comic logic that might be farfetched if it wasn’t for his unwavering confidence. Warmly yet dryly tracing out his often outlandish and complex ideas, you will marvel at his resourcefulness as Samreflects upon his choices in the aftermath of his decisions. For example, Sam takes apart the art of doing business through the Museum of Modernia in such an interesting and unpredictable manner that one might wonder why no one has ever thought of that before. As Sam reflects, ‘A manic person will never do something the way you expect them to do it.’
300 Paintings Production Photo
Sam Kissajukian in 300 Paintings.
Photo: Evgenia Eliseeva
Part comedy and part fascinating art exhibition, this personal portrait has a sense of urgency as it tackles art, comedy, business, and mental health with sincerity and self deprecation while keeping the majority of his zany storytelling lighthearted and humorous.
300 Paintings Production Photo
Sam Kissajukian in 300 Paintings.
Photo: Evgenia Eliseeva
300 Paintings also contains a sense of adventure, gusto and discovery as the story unfolds behind these 300 Paintings. As Sam states, ‘No one would ever expect’ and I do think that is a deft description of this entire journey. With a mix of humor and surprise, Sam shows that discovering what you are meant to do is as significant as the journey toward it.
300 Paintings Production Photo
Sam Kissajukian in 300 Paintings.
Photo: Evgenia Eliseeva
American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25. Click here for more information and for tickets.
Sharply yet familiarly written by hit show Smash creator Theresa Rebeck and resourcefully directed by Paula Plum, Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts. The action is not limited to the stage and contains adult language. All tickets are on a pay-what-you can basis and the show runs approximately 90 minutes with no intermission. Click here for more information and for tickets.
Kevin Paquette in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao
Angelica Houston portrayed Eileen Rand, a savvy Broadway producer jilted and betrayed by Jerry. Katherine McPhee as Karen and Megan Hilty as Ivy are competing actresses for the role of Marilyn Monroe in Bombshell, a new Broadway musical where the real drama took place behind the scenes. This is the plot of Smash, a musical TV drama that lasted two seasons, but developed a cult following.
Like Smash, some elements of The Understudy are not meant to be taken seriously. Though some of the core plot points between Smash and The Understudy bears some resemblance, it expands its satirical focus into films, theatre and what makes real art through a newly discovered Broadway work by renowned absurdist writer Kafka. It also contains insightful commentary about creating quality work with meaning and creating less than quality work for profit while infusing inside humor about the nature of theatre. What do audiences actually want?
Kevin Paquette and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao
Symbolically wearing a Bad Brains punk t-shirt and flannel by costume designer Kara McGuinness, some of the play’s funniest and strongest moments come from Kevin Paquette as Harry who is a fed up and a bit of an embittered savant theatre actor performing exacting accents who just happens to be holding out for real art while Cristhian Mancinas-Garcia as Jake is a determined movie star reluctant to do theatre. Both actors are charismatic and humorously egotistical as they realize their roles. Paquette as Harry engages the audience with real gusto commenting on the state of art thinking outside the box while Lauren Elias as harried stage manager Roxanne and the picture of practicality, tries to keep the production rehearsal on track. Paquette, Mancias-Garcia and Elias share rapid fire banter, physical comedy and a few surprises as the show unfolds.
Lauren Elias and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao
It also acts as a love letter to the stage managers of the world and does it well. The play may be called The Understudy, but rocking a legendary Kiss T-shirt, clever, skeptical and sympathetic Elias as Roxanne rises to the challenge attempting to avoid impending theatre disasters while keep it together personally and professionally. No small feat as Emily Bearce’s haunting lighting and Justin Lahue’s impressively gothic projections seem to possess a mind of their own. When these elements work with Gage Baker’s rich sound design, it is all quite the spectacle.
Cristhian Mancinas-Garcia, Kevin Paquette and Lauren Elias in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao
A day at the theatre with The Understudy unveils drama, secrets, romance, and takes its time with a twist ending you may not see coming. A production may come together onstage, but the absurdity of how it gets there is the real story. Thank a stage manager and an understudy today.
Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts. The action is not limited to the stage and contains adult language. All tickets are on a pay-what-you can basis and runs approximately 90 minutes with no intermission. Click here for more information and for tickets.
The future looks bright for Evan Wyler. Fame couldn’t be this easy…could it?
Theater Uncorked’s unconventional satire As Bees in Honey Drown examines art, materialism, sensationalism and celebrity as debut writer Evan Wyler, depicted with wide eyed credulity by Michael Mazzone, dives into an alluring deal that promises fame and fortune, but the price of this ticket could be more than he bargained for.
Effectively directed by David Miller, Theater Uncorked presented Douglas Carter Beane’sAs Bees in Honey Drown for one weekend only at BCA Plaza Box Theatre in Boston, Massachusetts through Sunday, May 18. This darkly satirical production contained adult themes and ran approximately 2 hours with an intermission. Click here for more information and what is next in store for Theater Uncorked.
Sehnaz Dirik and Michael Mazzone in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG
Douglas Carter Beane creates a hard and fast world full of movers and shakers from Wyler’s perspective as he is suddenly thrust into the fame game and uncomfortably participates in an awkward magazine photo shoot with a disdainful London photographer, played to perfection by Benedict Dawn-Cross, alongside Isabel Ginsberg as his humorously apathetic assistant, Amber. However, this preamble is just making room for Sehnaz Dirik as fast talking and polished celebrity agent Alexa Vere de Vere who is about to up the ante on Wyler’s celebrity status.
The cast of Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG
Director David Miller and Leonard Chasse’s rolling set design alludes to the art of observation as cameras and studio lights accompany a raised platform with a crowd backdrop. Some of the furnishings evoke an Andy Warhol and 90s flair which include white sculpted chairs and colorful furnishings. However, what is most prominent is the eye catching orange and white beehive images on the wall. Tim Rose’s awesome sound design combines fitting hits of the 70s and 80s while occasionally alluding to the hum and buzz of the bees.
Michael Mazzone and Sehnaz Dirik in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG
As Honey in Bees Drown is not just a metaphor and is referenced forebodingly a number of times during this production. It lures Wyler in with talk of grandeur and achievement, but be aware of the sting. Dirik’s notable delivery somewhat resembles the comic genius of Absolutely Fabulous as Alexa Vere de Vere, a grandiose PR enigma with a glamorous British accent in sparkling black speaking as if money is no object. Impressionable and hungry for success, Wyler shares some unforeseen moments with Alexa who navigates from hardnosed agent to slick charmer to vulnerable victim in quick succession. Recalling comical quips, quotes and candid monologues about her personal history, Dirik offers quite the layered performance in a wide array of stylish costumes by Anna Silva from furs and pearls to sleek business suits. Manipulative, clever, and often shooting from the hip, Dirik’s Alexa’s rapid fire musings can spin a tale without restraint and it is no accident that Alexa occasionally refers to Wyler as ‘lamb.’ Mazzone also makes no bones about being molded while Dirik takes the reins.
Bradley Belanger and Sehnaz Dirik in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG
With the exception of Mazzone and Dirik, the cast portrays a number of enhanced stereotypes that offer some comic relief. Isabela Ginsberg infuses likability and humor into an array of sarcastic, self important and airy characters inconvenienced by the work that they are doing. Lauren Elias juggles a self absorbed actress, partygoer and socialite breezily.
Bradley Belanger is in his element portraying your best friend and your worst enemy. What makes Belanger’s delivery so intriguing is a shared crazed expression that works for both characters with separate motivations.
Bradley Belanger and Michael Mazzone in Theatre Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG
As Bees in Honey Drown presents an interesting concept and an engaging comedy, but the real kicker lies in its sting. As soon as you think this show is heading in one direction, the production turns the narration on its head. Part character study and part morality play, As Bees in Honey Drown is an actor’s showcase for Dirik luring everyone into her world and begs the question of what constitutes real success and authentic art. Is it creating for the sake of creating or does everything go for the highest bidder?
Theater Uncorked presented Douglas Carter Beane’s As Bees in Honey Drown for one weekend only at BCA Plaza Box Theatre in Boston, Massachusetts through Sunday, May 18. Click here for more information and what is next in store for Theater Uncorked.
Down in Wynwood, Miami, Florida, Mari is in a panic.
On the eve of one of the most important events of her art career, Mari’s gallery Studio 6 has been robbed.
However, those surrounding Mari are not reacting in quite the same way. Uptight, stressed and just about at her wit’s end, Rebekah Rae Robles as Mari is determined to get to the bottom of it and somehow salvage the event. In braids and silky loungewear, Luz Lopez as intern Caro and Daniel Rios, Jr. as Caro’s boyfriend Officer Jaun take note of what is happening, but seem a little more interested in each other.
Rebekah Rae Robles, Daniel Rios Jr. and Luz Lopez in SpeakEasy Stage’s ‘Laughs in Spanish’
Rebekah Rae Robles, Brogan Nelson, Luz Lopez and Daniel Rios Jr. in SpeakEasy Stage’s ‘Laughs in Spanish’
Rebecca Glick’s stylish costumes feature bold colors and vibrant patterns indicative of each character’s personality and especially prevalent of Robles as Mari in a serious gray suit. Alexis Scheer boasts a refreshing script with good pacing, surprising revelations, and a wild dose of complicated family dynamics as well as a comical cast with crackling chemistry. Robles as Mari seems as wound about as tightly as her celebrity, model, and movie star mother Estella is vivacious and carefree. Making quite the grand and unconventional entrance, dramatic, spectacular, and self-centered Paola Ferrer as Estella appears to revel in her role as the adventurous life of the party. Quick thinking, reposed and resourceful, there is much more to Ferrer’s Estella who delivers a standout performance embellished by a poignant and heartfelt monologue later on in the production. Robles and Ferrer share a natural, relatable and yet complicated mother and daughter dynamic as these seeming opposites humorously searching for common ground. Lopez as intern Carol and Rios Jr. as Officer Juan are adorable and genuinely funny as they bicker and flirt attempting to help Mari, but finding themselves in complications of their own.
Paola Ferrer and Rebekah Rae Robles in SpeakEasy Stage’s ‘Laughs in Spanish’ Photo by Nile Scott Studios
With an uplifting Latin-inspired dance soundtrack, Laughs in Spanish boasts a multipurpose split set by Erik D. Diaz featuring an array of tropical greenery with wicker-infused furniture adorned with twinkling lights on one side and a pristine white and mustard colored studio with missing canvases, modern furniture and soft lighting on the other setting a sophisticated yet festive city tone. This split set doubles the laughs as action often occurs simultaneously on both sides, especially in a notable performance by Brogan Nelson as Estella’s giddy and awkward assistant Jenny in a memorable solo piece of silent, physical humor as cast members converse in the other room.
Rebekah Rae Robles and the cast of ‘Laughs in Spanish’ Photo by Nile Scott Studios.
If you are looking for an upbeat, playful, and lighthearted piece of theatre with some interesting twists, modern pop references and a bit of mystery and family dysfunction with Latino flair, SpeakEasy Stage delivers plenty of Laughs in Spanish.
The cast of SpeakEasy Stage’s ‘Laughs in Spanish’ Photo by Nile Scott Studios
Directed exuberantly by Mariela Lopez-Ponce and in honor of National Hispanic Heritage Month, SpeakEasy Stage Company continues Alexis Scheer’s lively comedy Laughs in Spanish continuing live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 12. This quick witted production has strong language and is 90 minutes with no intermission. Click here for more information and for tickets.
There’s a moment in Boutcher Theatre’s Red that brings to mind a scene in the popular film, The Devil Wears Prada where Miranda Priestly is teaching her assistant a harsh yet valuable lesson about fashion. Meryl Streep’s Priestly, who is loosely adapted from real life legendary and longstanding Vogue editor Anna Wintour, is tough and in some scenes intolerable, but her expert eye for fashion cannot be denied, even as she is hurling curt remarks and antagonistic slights. In the scene, Priestly describes Anne Hathaway’s Andi’s blue sweater as not just blue nor lapis or turquoise, but cerulean representing an artistic and particular style of fashion.
During an intense scene in Red which focuses on real life abstract impressionist and tough mentor Mark Rothko, Rothko, portrayed charismatically by Dan Kelly, is teaching his assistant, Chloe Olwell as Ken, about embracing art. After Ken describes Rothko’s painting as red, Rothko urges Ken to ‘think more’ after an impassioned speech in which he suggests infusing magenta, crimson, burgundy, maroon and scarlet! Rothko is rigid, arrogant, and mysterious, but knows art. He urges Ken not to just see a painting, but to feel it, love it, and have it wash over you.
Chloe Olwell and Dan Kelly in Boutcher Theatre’s ‘Red ‘ Photo by Bradley Boutcher
Directed insightfully by Bradley Boutcher, Boutcher Theatre presents John Logan’sRed live and in person continuing at the Peabody Black Box Theatre in Peabody, Massachusetts through September 8. The show delves into some adult themes including trauma. Click here for more information and for tickets.
Photo by Bradley Boutcher
Littered with open art supplies, splattered paint and half done canvases, Boutcher’s red hued scenic design with some pieces from Jessica Algard, creates an authentically sprawling and lived in studio including a cozy couch and a vintage record player playing mostly classical music and occasionally setting the mood within the scene especially notable when the studio is bathed in a haunting blue light. With a mix of formal and paint splotched casual attire, Boutcher’s symbolic costume design with some pieces from Maureen Festa, demonstrates each character’s unique style while also blending into Algard’s scattered and colorful setting.
Red is somewhat of an evolution as Rothko shares his artistic vision with his assistant who admires his work. Rothko candidly shares endless stories on art, literature, and his journey to becoming a successful artist occasionally breaking the fourth wall. He is currently working on an elaborate mural project for a hefty paycheck to be created for a ritzy New York City hotel. Olwell’s Ken is much more than meets the eye when at first attempting to make a good impression wearing professional attire that Rothko barely notices.
Photo by Bradley Boutcher
Smoking real cigarettes, drinking, and on little sleep in a windowless room, Dan Kelly engagingly infuses a mix of pessimism, rueful, and heady enthusiasm into Rothko and Olwell is a thoughtful, practical and a force not to be underestimated. They share a mentor and assistant relationship and at times worthy adversaries, but as subjects become more personal, there is almost a romantic spark to their increasingly incendiary exchanges as both begin to realize the complexity within each other’s artistic minds to unexpected results.
Chloe Olwell and Dan Kelly in Boutcher Theatre’s ‘Red’ Photo by Bradley Boutcher
Logan’s script offers interesting, imaginative and relatable angles in which to appreciate and experience art. At one point, Kelly as Rothko muses, ‘Art is a risky act setting it out in the world.’ What does it really mean to be an artist and what is truly important setting your vision out into the world? The answer may bring new insight into your experience with art as well.
Directed insightfully by Bradley Boutcher, Boutcher Theatre presents John Logan’s Red live and in person continuing at the Peabody Black Box Theatre in Peabody, Massachusetts through September 8. The show delves into some adult themes including trauma. Click here for more information and for tickets.
Medicine and faith and faith versus fear as a pandemic is looming.
These powerful topics should all be more than vaguely familiar in this day and age. However, the most recent pandemic is not when Taylor Mac’sJoy and Pandemic takes place though from its urgent dialogue, it all seems like yesterday.
Directed meditatively by Loretta Greco, The Huntington presents the World Premiere of Taylor Mac’s Joy and Pandemic live and in person as well at Calderwood Pavilion in Boston, Massachusetts through Sunday, May 21. It is also available digitally through June 4. The show is two hours with one 15 minute intermission. Click here for more information and for tickets.
Stacy Fischer, Breezy Leigh, and Ryan Winkles of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.
Joy and Pandemic delves into a number of topics and it is not surprising that this production is running through and beyond Mother’s Day. It has an increasing intensity around the pandemic of 1918 in Philadelphia, but it also focuses on the shaping and influence mothers have on their daughters. What about doubt? What if a mother casts a shadow over what is right and wrong?
Though the show can meander and its formal dialogue is a bit muddled at times, Joy and Pandemic presents some important viewpoints that tip the scales on what is important in times of crisis. It is not preachy and delves into extreme behavior of those who make decisions strictly based on faith who might benefit from a bit more common sense.
Joy and Pandemic is about a passionate, independent and hardworking Christian Science mother and artist named Joy, her new husband Bradford and her excitable, impressionable and eccentric daughter Pilly. They are running a fine arts school for children and plan to have an open house on the same day the town is holding a parade, even through whispers of the Spanish flu to the dismay of Joy’s mother in law Rosemary.
Arnulfo Maldonado’s transformative, layered, and eye opening scenic design is strewn with paintbrushes, framed art work, shelves full of assorted pottery and art books as crown molding and retro wallpaper adorn the walls and brass, vintage chandeliers hang overhead. Just as impressive is the astounding sound effects and presentation of the parade with booms and pops by Fan Zhang and lighting by Jen Schriver. Zhang also effectively rewinds the clock with American Standards by Nat King Cole, Ella Fitzgerald, and Frank Sinatra.
Stacy Fischer and Ryan Winkles of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.
Even while exploring themes like faith, illness, medicine, life, and death, the cast manages to bring some occasional and much needed relatable humor to the production. Marceline Hugot brings gravitas and hardnosed practicality as Joy’s mother in law Rosemary and Ryan Winkles is formidable as Joy’s mysterious husband Bradford. Due to a portion of the show’s clever casting, it is best not to say more except that Stacy Fischer, Ella Dershowitz, and Breezy Leigh fit smoothly into their perspective roles. Joy and Pandemic is not so much about joy itself though it does touch upon it outside its moments of intensity, poignancy, and insightful dialogue. Somewhere along the way lies hope.
Stacy Fischer and Breezy Leigh of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.
The Huntington presents the World Premiere of Taylor Mac’s Joy and Pandemic live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, May 21 and will continue streaming through June 4. Click here for more information and for tickets.
Cutting sarcasm, sardonic wit, and a feigned smile does little to contain Patricia’s smoldering rage lurking just beneath the surface. No question Patricia has every reason to harbor resentment considering what she is going through affects her entire family. As a painter, it is important for Patricia to express her mounting feelings through art, but what if the pain is so deep that not even a canvas can exorcise that anger?
Directed methodically by Melia Bensussan, The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. The show is 85 minutes with no intermission, contains adult themes, and is not appropriate for children. Click here for more information and tickets.
The Art of Burning takes an unconventional look at love and all of its side steps, misunderstandings, and complications. It also delves into betrayal, divorce, survival, and all of the lingering emotions simmering just below the surface. With dark humor that can be disquieting at times, The Art of Burning explores the complexity of human relations including a few of its vast repercussions.
Jane Shaw’s haunting score and Aja M. Jackson’s vivid lighting enriches scenic designer Luciana Stecconi’s paradoxical, gleaming, and seemingly modest scenery set against a striking and evocative frame. Jackson’s lighting is crucial for each inventive scene change while the foreboding score keeps the tension rising throughout the production. Kara Harmon’s bold costume design not only reflects each character’s distinct personality, but plays a pivotal role in the show’s mounting tension.
The Art of Burning is also fueled by a powerful cast highlighted by Adrianne Krstansky’s captivating portrayal of Patricia and Clio Contogenis, who makes an impactful impression as conflicted Beth. Krstansky achieves a delicate balance between a strong and sympathetic woman who, for the most part, is holding her own in spite of her circumstances when she is not taking takes things a bit too far. The complexity of that balance still makes her likable even at her lowest points. Patricia’s sardonic wit and realism is nearly bereft of any boundaries. She seems to have lost her inhibitions long ago somewhere in the turmoil of her discoveries.
Contogenis weaves in some of Krstansky’s biting humor and pensiveness as Patricia’s daughter as she faces her own unique challenges along the way. These issues are handled delicately and with vulnerability. Rom Barkhordar portrays Jason, a character with some misplaced optimism and a certain lack of empathy and yet Barkhordar weaves in a subtle obliviousness that Jason can almost be forgiven for. He has some meaty scenes with Krstansky and Contogenis that would be concerning if they were not so humorous. Mark, portrayed by Michael Kaye, seems to depict the onlooker and voice of reason, but things are much more complicated than they appear. Some sobering aspects of Mark and Charlene’s marriage are incredibly relatable and humorous. Kaye and Laura Latreille as capricious Charlene have a fascinating dynamic onstage. Vivia Font takes a memorable turn as Katya as she wrestles with the weight of her decisions.
Snodgrass’s witty, poignant, and intermittently humorous dialogue makes a strong statement about the state of our contemporary world and exposes some hard realities. The truth is people are all a little lost but even at its bleakest times, love may still find a way through it all.
The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. Click here for more information and tickets.
What is it like to feel stuck due to circumstances beyond your control?
Curated by Gerard van den Broek, each film in the Documentary 12 series including Dancing is an Old Friend, Hilary, Inventory, Looking for Jack, and The Green Line at the New York City Indie Film Festival through June 19 featured people who faced unforeseen obstacles in an attempt to find peace within.
Whether facing trauma, isolation in a pandemic, family brokenness or being caught between one nation and another, these themes invite a feeling of powerlessness until hope is found. This particular collection of documentaries delivered some surprising twists and turns in some profound situations in an attempt to discover where one belongs in the world.
The New York City Indie Film Festival featured a variety of films from shorts to narratives to documentaries curated with common themes. Sleepless Critic had the opportunity to review screenings on music, small businesses, love and connection and much more. Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010. Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series.
Directed by Marta Renzi, Dancing is an Old Friend is written by and stars Leah Barsky and Jennifer Tortorello Walker. It is a relatable account of an amateur ballroom dancer and professional ballet dancer brought together by dance who must find new ways to connect after the pandemic put the world in isolation. They both struggle with this new way of life but are determined to forge ahead together.
During the pandemic, the arts were hit hard. Many professional dancers had to find alternate ways to demonstrate their art and remain in top form until the time came for them to once again take the stage. Dancing is an Old Friend explores the momentum of their daily lives during the pandemic and a chance to examine why they live their lives the way they do and where dance factors into it now and in the future.
‘Dancing is an Old Friend’ Photo credit to New York City Indie Film Festival
What made this film fascinating is not only the captivating athleticism and style of the dancers in action, but comparing each perspective on dance itself and how it demonstrates the bonds of this friendship. This is not a tragic account of being lost during the pandemic, but an intimate and sincere documentary that explores the good and bad in equal measure and the hope that springs forth during this life altering period of time.
What may or may not have happened is a mystery in Hilary.
Hilary Porter, through her own drawings, illustrates a repeated and menacing alien encounter that has left her haunted. Hilary’s harrowing recollection unfolds through her graphic narration and unusual drawings as she shares that she was always thought she was different. Director and producer Mariana Zarpellon offers some insight into who Hilary is and how she has been affected by these encounters and though I was initially intrigued by this film, I was left with more concern for Hilary’s well being than the rationality and content of Hilary’s recollections.
‘Hilary’ Photo credit to New York City Indie Film Festival
Resourcefulness is a defining quality in any artist and nothing less than resourcefulness and love defines the story of Inventory, a documentary directed and produced by Daniella Gitlin, the daughter of sculptor, Michael Gitlin. The film is designed not only to share her father’s relatable journey as a struggling artist, but the unconventional manner in which Michael Gitlin’s legacy is being preserved.
Interwoven into the film are classic American standards such as Someone to Watch over Me, beloved songs from Gitlin’s heritage, and past family photos to create a vintage ambiance and to smoothly rewind the clock to a time before her father’s inventory had accumulated. It is a unique and personal story about how love and family transcends obstacles even under unusual circumstances and how the film’s most extraordinary “inventory” is not just confined to Gitlin’s art.
‘Inventory’ Photo credit to the New York City Indie Film Festival
For anyone who is searching or has searched for a family member, the idea of finding them is met with a plethora of emotions. Sara Zeppilli Freeman captures just that and more in her deeply personal documentary, Looking for Jack. Part of Looking for Jack’s endearing strength is it is shot much like a home movie where it is easy to put oneself in Sara’s shoes. As Sara talks to the camera with a jittery glow, her excitement is palpable at the promise that her life is about to change.
On this special day with Sara wearing a broad smile, one can picture themselves in Sara as she excitedly waits in anticipation and trepidation to meet her father for the first time in 21 years having traveled from Boston to Portugal. No matter the outcome, that moment of time is a monumental experience to be treasured and hopefully not regretted. The pinnacle of the film is that building tension as Sara waits, the camera panning carefully through Sara’s surroundings for that moment of relief.
‘Looking for Jack’ Photo credit to New York City Indie Film Festival
In a land fraught with uncertainty, Yehudit Kahana is no stranger to anxiety and strife for most of her life. Co-written with Sharon Yaish, directed, and produced by Yehudit Kahana herself and set from the early 2000s to today, illuminating documentary The Green Line focuses on Yehudit’s coming of age as she resides in Elon Moreh, a land near the Green Line which borders the Palestine territories and Israel. Since a life changing incident occurred resulting from an innocent child’s game, Yehudit has struggled with the threat of sudden violence, terrorist attacks, and chaos in a place where she doesn’t feel she entirely belongs.
‘The Green Line’ Photo credit to New York City Indie Film Festival
The Green Line delivers a wealth of information on certain incidents in Israel, Palestine, and the Green Line which can be confusing at times, but what is clear was how Yehudit felt in circumstances beyond her control in a harsh and threatening land determined to break free. The Green Line has some lighter and amusing moments with family that not only shed light on Yehudit’s understandably frustrating, strict, and expected traditional place as a female in the world and in the path of the Torah, but also explores how valuable the road less taken can be.
Dancing is an Old Friend, Hilary, Inventory, Looking for Jack and The Green Line were all part of Documentary 12 at the New York City Indie Film Festival which continued through June 19. Click here for more information on this annual festival and its winners.
It is a show unlike anything the Sleepless Critic has ever seen before. Arlekin Players is currently celebrating their 10th anniversary season as they present Marius von Mayenburg’s avant-garde production, ‘The Stone‘ (remount in English) through Sunday, September 29 in Needham, Massachusetts. Click here for more information and tickets. Click here for an interview done last year with director Igor Golyak.
Directed by Igor Golyak, ‘The Stone’ explores the history of a German house before and beyond World War II and its various owners which includes a Jewish family and their ancestors. Quite a few revelations and family secrets are revealed through traumas and triumphs inside this haunting structure.
Viktoriya Kovalenko, Rimma Gluzman and Olga Sokolova in Arlekin Players ‘The Stone’ Photo courtesy of Irina Danilova/Arlekin Players
The Arlekin Players stage is an overwhelming experience told in the theatre round without a bad seat. With vintage lighting by Jeff Adelberg, ‘The Stone’ features very few props and unconventionally arranged set pieces which includes a partially buried piano, a vintage chandelier, and a chair hanging upside down from the ceiling. As characters emerge and exit almost supernaturally from the floor in head-to toe-white with black paint splotches staining their pants, it quickly became clear that this would not be an orthodox production.
Photo courtesy of Irina Danilova/Arlekin Players
With wild white hair, a pair of navigators called the conductors, portrayed with bizarre humor by Jenya Brodskaia and Misha Tyutyunik, are seemingly mad scientists that conduct and calculate time travel. They take the audience through the history of the house before and beyond World War II, one of the most tumultuous times in history. The time travel is a raging, jarring experience with special effects that may have been effective the first couple of times, but starts to distract from the tale as the show moves along.
The characters march strangely and unnaturally, sometimes under a plastic umbrella, an urgent tale with segments between the characters so brief, it is difficult to develop an attachment to them. The cast is stoic for the most part, especially from Mieze, portrayed with a guarded, calculating air by Rimma Gluzman. When Viktoriya Kovalenko as idealistic Heidrun discovers a small box in the house that she believes was her father’s, portrayed with complexity by David Gamarnik as Wolfgang, the moment Heidrun has with her mother Witha, portrayed by Darya Denisova, provides a touching moment in the production.
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I’m sure there is an audience for experimental theatre and the actual tale is powerful, but too unconventional and at times confusing for my taste. It chooses to be different and complex when the story can be told in a straightforward way. It is still art and it’s unforgettable.
Arlekin Players presents ‘The Stone’ through Sunday, September 29 at 368 Hillside Ave in Needham, Massachusetts. Click here for more information and tickets and here for more information on the Igor Golyak Acting Studio.
Flat Earth Theatre’sDelicate Particle Logic by Jennifer Blackmer pays an unforgettable visit into the complex mind of the wife of Noble Peace prize recipient and renowned German chemist Otto Hahn, artist Edith Hahn. Multilayered in its telling with an interactive flair, this intriguing play takes a look back at three distinctive individuals that historically impacted the world during World War II, rooted in its intrinsic connection between art, science, logic, and love.
With sign language interpreters on scene on Oct 13, Flat Earth Theatre’s Delicate Particle Logic continues at the Black Box Theatre in the Mosesian Center for the Arts through Saturday, October 13. The Mosesian Center for the Arts boasts free parking, general admission, and not a bad seat in Black Box’s half moon staging. Click here for more information and tickets.
Boasting recitations of the periodic table and a script with scientific verbiage that must have at times challenged this talented group, Delicate Particle Logic is a dark, emotional, thought-provoking, historical drama as renowned physicist and Otto Hahn’s work partner, Lise Meitner visits Edith Hahn as they recall their part in a significant era in World War II history. With its share of surprising breakthroughs and revelations, it is a multilayered perspective on science, logic, art, and its driving force – love.
From L to R: Thomas Grenon as Otto, Barbara Douglass as Edith and Christine Power as Lise Meitner Photo courtesy of Flat Earth Theatre
With blond braided hair and a voice rich in inquisitive charm, Barbara Douglass as uninspired, complicated artist Edith Hahn is the emotional core of the piece. Douglass reveals her naiveté and warmth with a wide-eyed perspective as Lise and Edith recall the momentous events that ultimately lead to the Atom Bomb. Edith’s bursts of creative energy tying into Christine A Banna’s Projection Design and PJ Strachman’s lighting design work well together to launch some exciting, yet haunting moments. As passionate and she is moody, Douglass’s passionate performance as Edith is a particular highlight.
Christine Power exudes a veiled, cold practicality as physicist and Otto Hahn’s “work wife” Lise Meitner. As serious as she is shrewd, Lise is at times determined beyond reason, but with an emotional attachment to her work that makes her willing to sacrifice everything for it. With a tight bun secured in her hair and a simple dress, she rarely lets herself see beyond the next calculation. As Edith observes, “Lise wants to give herself to science while men want to conquer it.”
Christine Power as Lise and Thomas Grenon as Otto Hahn at work Photo courtesy of Flat Earth Theatre
In a full suit and tweed jacket, Thomas Grenon portrays serious and stern father of nuclear chemistry, Otto Hahn. Grenon skillfully depicts Otto’s enigmatic personality under two contradicting perspectives as an unrelenting, meticulous perfectionist and a smitten, caring husband.
Portraying multiple roles from a scientist to a soldier to a nephew and a few between, chorus members Matt Arnold and Michael Lin slide into each of their roles with easy-to- follow, distinct subtlety.
Directed by Betsy S. Goldman, Delicate Particle Logic by Jennifer Blackmer continues at the Mosesian Center for the Arts, 321 Arsenal Street in Watertown, Massachusetts through Saturday, October 13. Click here for more information and for tickets.
