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REVIEW: The Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

Posted on November 20, 2023 by The Sleepless Critic

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton. Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history. Very likely taking place at the historic Old South Meeting House which is also celebrating its 300^th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard.

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis, Phillis in Boston offers a unique and heartfelt perspective of this courageous woman. In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries. Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it. Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae. S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream. Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley. Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest. With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

REVIEW: In Company Theatre’s ‘Misery,’ fandom takes a dark turn

Posted on October 19, 2023 by The Sleepless Critic

Think of something so exciting and beloved to you that it may even teeter beyond reason.

To Annie Wilkes, a particular book series by Paul Sheldon is so real to her and brings immense joy to her lonely existence. That is until she encounters that author face to face.

Sharply directed by Michael Hammond on the eve of Stephen King’s 50^th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.

Company Theatre presents ‘Misery’ Carol Laing Stearns as Annie Wilkes and Joe Siriani as Paul Sheldon Photo by Zoe Bradford

Fear not.

Misery is written by Stephen King, but is much more of a psychological thriller than horror, with only a few squeamish exceptions.

King’s well known books such as The Shining, Carrie, Pet Cemetery, Salem’s Lot and It are tales that might conjure up a nightmare or two, but Misery rides much more on tension than gore. It also could stand as a personal account for King. Though the book takes place in snowy Colorado, director Michael Hammond wisely added a more personal touch by moving the production to fellow New England state Maine where several of King’s novels are set and where King himself resides. Oh, and Misery is also about an author and his number one fan.

Aside from being a horror mastermind, King is an intuitive observer of the dark recesses of the human condition which is one of the keys to his long term success. It is wonderfully evident in The Body (King’s novella that became the film, Stand by Me), The Shawshank Redemption, The Green Mile, and Hearts in Atlantis. Misery does not address supernatural or mythical monsters, but is a cautionary tale of obsession, loneliness, isolation and infamy while also delving into two characters tied together by literature deep in the woods of Silver Creek, Maine.

Company Theatre presents ‘Misery’ with Joe Siriani as Paul Sheldon Photo by Zoe Bradford

Misery is also popular as the acclaimed film that shot first time leading actress Kathy Bates to stardom and to her first Academy Award in 1990. Famous novelist Paul Sheldon, portrayed by James Caan, gets into a car crash in a snow storm. Former nurse Annie Wilkes, portrayed by Kathy Bates, rescues him and takes him to her remote cabin to recover. Buster, depicted by Richard Farnsworth, is investigating Paul Sheldon’s mysterious disappearance.

A trio of pivotal actors drives this intense and mysterious tale led by Carol Laing Stearns as Annie Wilkes. King drew inspiration from a real person for Wilkes and Stearns makes confiding, matronly, condescending and delusional Annie Wilkes her own, though Stearns’s drawl and some inflections resemble Bates’s depiction. Stearns delivers a chilling performance as she partakes in psychological gymnastics with Joe Siriani as famed author Paul Sheldon. The two have potent adversarial chemistry and though tough guy James Caan was known for his powerful and fierce acting roles, Joe Siriani depicts Paul Sheldon as a more sympathetic, self effacing, yet moody character. A particular highlight is Stearns and Siriani’s darkly humorous depiction of Sheldon’s agonizing writing process which surely drew on King’s own experiences and Stearns’s quick thinking in handling a technical issue. Peter S. Adams amplifies the production’s dire tension as suspicious, yet affable Buster who pops in from time to time.

The Company Theatre presents ‘Misery’ with Carol Laing Stearns as Annie WIlkes and John Stamos as Barkley

With weathered floral wallpaper, a large wooden cross, vintage candelabra, and dark floor paneling, set designer Ryan Barrow reflects Wilkes’s fondness for the past in a detailed, rustic, dilapidated and functional remote cabin with complete front porch surrounded by evergreen trees. Scattered about the cabin are Easter eggs from the book and film including a couple of pig statues in the dining room and bedroom. Dean Palmer Jr’s dynamic lighting demonstrates not only extreme weather conditions and the passage of time through a secluded window, but a creepy foreboding subtly lurking throughout the production. Sally Ashton Forrest’s darkly humorous sound design is peppered with vintage classic tunes that articulate each scene and along with Cathy Torrey’s regional costume design including plaids and boots and realistic makeup, these elements complete the stark isolation prevalent in the deep woods of Maine.

As a book lover, writer, and someone who has loved something that teeters beyond reason, Stephen King’s Misery is a suspenseful and dark tale of what happens when that love goes awry.

Sharply directed by Michael Hammond on the eve of Stephen King’s 50^th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.

REVIEW: Hosted by Jordan Rich, renowned Broadcast Hall of Fame recipient, author, veteran, and Boston radio legend Ron Della Chiesa celebrated his 85th birthday with a marvelous bash

Posted on March 1, 2023 by The Sleepless Critic

Ron Della Chiesa still spends his life doing the very thing that he loves best. When he is not sharing his extensive music knowledge on the air on Strictly Sinatra and Music America Sundays on Easy 99.1 FM or announcing for the Boston Symphony Orchestra or for Tanglewood under a warm summer sun, one of his biggest loves is opera. A frequent visitor to the MET, Ron’s father was an opera singer and Ron could passionately talk about opera from Giacomo Puccini to Marcello Giordani, two opera dynamos who are also the names of Ron and his wife Joyce’s beloved cats. Ron knows so much about opera that during the night of his 85^th birthday, he shared a little known fact about a famous opera singer and how the Phantom of the Opera musical really got its roots.

Raffaels in Hingham, MA Photo by Louise Lori Patricia

To the swinging sounds of Rico Barr and his Jump and Jive Band and hosted by Jordan Rich, Ron Della Chiesa’s 85^th birthday took place to a full house at Raffaels in Hingham, Massachusetts on Friday, February 17, the night before his real birthday.

Host Jordan Rich and Ron Della Chiesa Photo by Louise Lori Patricia

It seemed not so long ago that Ron was turning 70 and didn’t feel a bit like it. Still happily working in Broadcasting at 85, he still makes guest appearances to talk about Broadcast history, his popular book with bestselling author Erica Ferencik called Radio My Way and will be quick to tell anyone what still makes him fond of radio after all these years. Always good natured and positive, the theme of his birthday bash was ‘The Best is Yet to Come,’ not only named after a Sinatra song but the personal slogan of his amazing life.

Surprise appearance by Cha-Chi Loprete Photo by Jeanne Denizard

Tenor Matthew D i Battista sang the National Anthem to open this special evening. With guests invited to dress in red, people took to the dance floor to swing to an extensive list of American Standards performed by Rico’s band. The elegant evening even included a couple of songs Ron sang from Sinatra’s classic tunes.

Tenor Matthew DiBattista sings the National Anthem From L to R Ron Della Chisa Matthew DiBattista and Jordan-Rich Photo credit to Louise Lori Patricia

Music Director for the Boston Symphony Orchestra Andris Nelsons, renowned Boston Pops conductor Keith Lockhart, and popular jazz musicians Bo and Bill Winiker were among the special guests that sent their birthday wishes via phone. Popular DJ and close friend Cha-Chi Loprete surprised Ron with his presence. Born in Quincy, MA, Quincy Mayor Koch proclaimed February 18 as Ron Della Chiesa Day among many of Ron’s generous gifts. The evening also included birthday cake, cocktails, table seating, and countless guests reminiscing with Ron about his blessed life. Ron called it a magical evening he won’t soon forget!

Birthday slideshow produced by Christopher Desprez

Visit Strictly Sinatra and Music-America’s Facebook fan page for more photos of this celebrated evening. Ron’s Della Chiesa’s Strictly Sinatra and Music America offer occasional dance parties at Raffaels in Hingham, Massachusetts. The next event will be Ron Della Chiesa Strictly Sinatra Tribute Dance on November 3. Email musicnotnoise@aol.com, visit musicnotnoise.com or call Executive Producer Paul Schlosberg at 617-633-5100. To learn more about Ron, click here and listen to him on Easy 99.1 FM on Sunday night on Music America and Strictly Sinatra. Be sure to check out his memoir Radio My Way by Ron Della Chiesa and Erica Ferencik.

REVIEW: Accompanied by A Far Cry, NPR’s Rob Kapilow made an enthusiastic return to Boston with an American classic for Celebrity Series of Boston’s ‘What Makes it Great’ series

Posted on February 13, 2023 by The Sleepless Critic

Though NPR’s famous composer, conductor, author, and music commentator Rob Kapilow has unveiled quite a few eye catching music details over the years with Celebrity Series of Boston from Swing to Broadway to carols and much more, perhaps the most interesting takeaway from Aaron Copland’s classical music composition Appalachian Spring is that it is not about Appalachia nor is it about spring.

Making his return to NEC’s golden and gleaming Jordan Hall in person for the first time in front of an audience since the pandemic, NPR’s Rob Kapilow covered some fascinating music territory in What Makes it Great? with Rob Kapilow and a Far Cry Inventing America Part 2 Copland’s Appalachian Spring: An American Voice for Classical Music on Sunday, February 5 at Jordan Hall in Boston, Massachusetts. The show ran for 120 minutes with a 15 minute intermission. Click here for more information on Rob, here for more on A Far Cry, and here for more information about Celebrity Series of Boston.

Kapilow guided the audience through Aaron Copland’s Appalachian Spring with greater technical zeal and an interactive approach than he has in some of his past performances. Part teacher, humorist, and historian, Rob Kapilow has been performing the What Makes It Great series for approximately 15 years, expertly uncovering a new way to connect to a vast array of music and encouraging the listener to experience this music in an entirely new way from technical composition to its emotional impact.

As beautiful and fanciful as Appalachian Spring sounds, it is neither about Appalachia nor spring and was entirely imagined by Copland who was a Jewish immigrant from Brooklyn. What is so wondrous about this 40s piece is how Copland creates this imaginary and extraordinary world, a piece which was originally called House of Victory, and how it has been historically associated with America over the years. Kapilow uses a bit of a different approach for this particular work by expounding on the technical and mechanical side of the piece and inviting the audience to actively participate in the song’s musical patterns and rhythms. Appalachian Spring is also associated with lyrics and it is a based on the Shaker melody, Simple Gifts, and Rob spends a wealth of time on the mechanics of the piece and how it ties together. It is a method that would thrill classical music fans, music enthusiasts, and musicians alike. He even exposes the subtle intricacies of Copland’s inherent confidence, style, and how to identify it in Copland’s other works.

Grammy-nominated Chamber Orchestra A Far Cry Photo courtesy of A Far Cry

Adorned in suits, ties, and gowns, Grammy nominated and self-conducted chamber orchestra A Far Cry worked seamlessly with Kapilow as he broke down each aspect of the piece, a feat not easy to do with Kapilow’s specific stops and starts. A Far Cry has made its way around the world since they started in 2007 and what sets this orchestra apart from others is the open communication between each musician. A Far Cry reflected just how important it is to remain in sync with the group, especially since they must connect without a conductor. Their camaraderie and chemistry as they play is compelling to witness as they direct each other with each note.

Copland’s Appalachian Spring has a unique zest, playfulness and peppy thrill of nature through harp and chime as well as calm with a western tinge as Rob explains its historical significance and just why the piece is so enjoyable through each note’s placement, rest, and orchestration.

Appalachian Spring was a childhood favorite for Kapilow’s which was perfectly clear through his personal and humorous anecdotes and the natural and engaging enthusiasm he exhibited throughout the production. Rob is always teaching something new to even some of the most trained and learned music enthusiasts. It was easy to see he has missed the live audience and judging from the audience’s resounding applause and standing ovation, they have missed him too.

Celebrity Series of Boston continues its digital and in person season which includes Jason Moran and the Big Bandwagon on February 17, Dreamers Circus on February 24, Aoife Donovan on March 17, and David Sedaris on April 2, and the return of Alvin Ailey on May 4. Click here to see Sleepless Critic’s past review of Dreamers Circus. Click here to see the full list of Celebrity Series of Boston’s upcoming events.

REVIEW: Merrimack Repertory Theatre’s insightful ‘Erma Bombeck: At Wit’s End’ will delight more than the domestic housewife

Posted on March 6, 2022 by The Sleepless Critic

At long last, it is here and I can’t help being thrilled.

When Merrimack Repertory Theatre (MRT) first announced that Erma Bombeck: At Wit’s End would be part of MRT’s upcoming season, my heart leapt. Having taken great joy in reading Bombeck’s comical works such as The Grass is Always Greener over the Septic Tank and If Life is a Bowl of Cherries, What Am I Doing in the Pits, I had high expectations for this production that ended up being delayed a few times due to Covid.

Karen MacDonald in ‘Erma Bombeck: At Wit’s End’ Photo credit to Megpix/Meghan Moore

Sponsored in part by WBUR and intuitively directed by Terry Berliner, Merrimack Repertory Theatre presents Erma Bombeck: At Wit’s End virtually and live in-person at the Merrimack Repertory Theatre in Lowell, MA through March 13. The show is just over one hour with no intermission. Click here for more information and tickets.

Erma Bombeck’s column about life as a housewife made her a household name. She became the most distributed column in America and it is easy to see why. Before I ever grasped the concept of being a housewife, I loved reading Erma Bombeck. As an adult and still not a housewife, I still revel in her sharp and timeless humor. She never misses a beat relating to women everywhere and though her advice dates back as early as the 60s, most of it remains relevant today.

Dan Zimmerman’s intriguing multi-level and colorful set is a relic of a 1960’s house equipped with period kitchen cabinets, dated upholstery, an old phone, and retro household appliances. Joel Shier’s lighting is subtly appealing alongside Scott Stauffer’s charming and well-timed sound effects. Though MacDonald is only present onstage, a supporting cast can be heard that lends to the pacing and a larger sense of realism to the production.

In classic pearls and a blue floral dress, Karen MacDonald as Erma looks the quintessential housewife as she takes the audience from 1962 through 1996. Bombeck longed to be a foreign correspondent and instead became a suburban housewife residing in Cherrywood Acres in Dayton, Ohio. She quipped, ‘I blazed a trail all the way from the laundry room to the sink.’

Allison and Margaret Engel’s screenplay is chock full of clever anecdotes and MacDonald’s warm and inviting presence gradually feels like visiting with an old friend. The quick, peppy, and semi-interactive screenplay is peppered with Bombeck’s astute observations as she shares her remarkable journey to becoming a writer, her zany family life, and gathering her sense of self over the years.

Much like Julia Child of the same generation, Bombeck is self-deprecating in her imperfections and prides herself on honesty. MacDonald slips into Bombeck’s natural and relatable tone comfortably brimming with advice, but never in a ‘know-it-all’ sort of way. A few of her marvelous observational gems include ‘Why take pride in cooking when they don’t take pride in eating?’ or ‘My idea of housework is to sweep the room with a glance’ or ‘What doesn’t kill you now, comes back a few days later to try again.’

That last piece of advice also resonates with the darker side of Bombeck’s humor. Surprisingly, Erma Bombeck had her share of haters and struggles. However, she proves herself a source of strength and fortitude. Even her most serious reflections and recollections are met with a jovial and contemplative quip. Though the production is considered mostly lighthearted, MacDonald as Erma manages to find humor in pain which is a rare quality indeed.

Merrimack Repertory Theatre presents Erma Bombeck’s ‘At Wit’s End’ virtually and live in-person at the Merrimack Repertory Theatre in Lowell, MA through March 13. Click here for more information and tickets.

REVIEW: Merrimack Repertory Theatre’s quintessentially local ‘A Woman of the World’ fascinating and full of surprises

Posted on May 23, 2021 by The Sleepless Critic

Scandalous secrets unfold and things are not what they seem in Merrimack Repertory Theatre’s (MRT) quintessentially local and fascinating production of A Woman of the World by Rebecca Gilman streaming on demand through Sunday, May 30. Partnering with the Emily Dickinson Museum and directed cleverly by Courtney Sale, this one-woman show led by Massachusetts native Denise Cormier lights up the stage with natural charisma as enigmatic lecturer and historical figure Mabel Loomis Todd. She claims to bring insight into the real life of the late, renowned poet Emily Dickinson, but what she unveils is so much more.

It was wonderful to see another production from MRT filmed onstage. A Woman of the World also offers plenty of local references such as Harvard, MIT, the New England Conservatory, Boston, Amherst and the surrounding areas. The show contains some hinted adult themes. Click here for more information and for tickets.

Denise Cormier in MRT’s ‘A Woman of the World.’ Photo: Kathy Wittman/Merrimack Repertory Theatre

Scenic designer Bill Clarke and Original Music/Sound Designer David Remedios seamlessly combine the inviting comforts of home with the sights and sounds of a serene Maine setting. However, don’t let the serenity of this island home fool you. Mabel gears up for a quiet storm as the sound of the wind and crickets fill the air.

From welcoming to haunting, Carolina Ortiz Herrera’s soft, dynamic lighting not only transforms each mood in an instant, but does more so with Cormier. At first Denise Cormier as Mabel seems a lively, well-to-do speaker with well coiffed blond hair, but as the show progresses, the subtle lighting reveal tinges of gray.

Though it is a one-woman show, other “cast members” such as Mabel’s daughter Millicent is addressed offstage. Delivering a multi-layered performance, Mabel’s charm to win over her audience first comes off as egotistical, but gradually becomes earnestness and she soon seems like an old friend. Nothing short of a captivating showman, a warm and inviting presence, but the guarded moments intertwined in her storytelling is the stuff that keeps you hooked and her drifting reflections are when the show truly hits its stride. Having had a stroke, Mabel is also somewhat an unreliable narrator in more ways than one.

The show tackles relatable issues on feminism and Cormier as Mabel may make you root for her one moment and against her the next. However, she’s a survivor and an enigma ahead of her time.

Merrimack Repertory Theatre’s production of A Woman of the World by Rebecca Gilman is streaming on demand through Sunday, May 30. Following the production is a short interview between director Courtney Sale and Denise Cormier on the inspiration behind the show. Click here for more information, tickets, and for more about the Merrimack’s Repertory Theatre’s season.