back to the future

REVIEW:  Nostalgia, strong vocals and electrifying special effects fuel ‘Back to the Future the Musical’

Posted on by The Sleepless Critic

Time is of the essence in Back to the Future the Musical.

Innovatively directed by John Rando with Chris Bailey’s energetic choreography and dynamic Music Direction by Matt Doebler, Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20.  This zippy production runs 2 hours and 40 minutes with one intermission and is currently on national tour.  Some subtle themes and dialogue are toned down to make this musical more family friendly. Click here for more information on their next stop and for tickets.

David Josefberg in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

No one will ever be Michael J. Fox or Christopher Lloyd in these particular roles.  Moreover, I am a firm believer the original film is perfectly cast and a reboot or any other adaptation will never quite live up to the original 1985 hit film.  However, I do think that there are a lot of thrills and fun to be had in some of the extensions from the film such as Back to the Future: The Ride and Back the Future: The Musical which boasts some spectacular and immersive special effects and quick pacing to make this production more like a theatrical thrill ride.

To think Back to the Future was conceived when producer Bob Gale discovered his father’s high school yearbook and wondered if they would have been friends if he and his father attended high school together.  Back to the Future the Musical not only boasts technological and scientific wizardry, but is also a family tale.  Marty, in a likable portrayal infused with some of Fox’s notable inflections by Lucas Hallauer, knows his family is not on the fast track to success as Luke Antony Neville as uncompromising Principal Strickland insultingly blares at Marty into his Matterhorn in Got No Future.

Luke Antony Neville and Lucas Hallauer in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Marty wishes his family were on a different path as Marty’s family is swiftly introduced in Hello-Is Anybody Home?  Hallauer explains, ‘My dad would come in third in a two man race.’  Introverted, anxious and painfully shy, Mike Bindeman captures the awkwardness of Marty’s father George who takes what he gets while trying to avoid confrontations at all costs.  Zan Berube delivers strong vocals and embodies Marty’s mother Lorraine with ease.   

With a memorable laugh, wild facial expressions and threatening presence, Nathaniel Hackmann is well cast as obnoxious and calculating Biff as if the film’s Biff, depicted by Thomas F. Wilson, went back in time for this role.

Nathaniel Hackman, Lucas Hallauer, Mike Bindeman and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

 Some of the cast leans on some of the original cast’s inflections, but David Josefsberg as eccentric Doc Brown, makes the character his own and shares a warm rapport with Lucas Hallauer as Marty reminiscent of the hit film. 

David Josefberg and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Fast talking and excitable, Josefsberg exudes Doc’s wise and unwavering optimism while dreaming of an immense future in the motivational ballad, For the Dreamers as well as in lighter moments in a bit of self aware humor for It Works and the synthetic sounding 21st Century as the stage lights in sparkling, flashy and futuristic costumes when it is not leaning into scientific white lab coats.

This production would have worked just as effectively as a play and does not necessarily need to be a musical, but the cast’s powerful vocals, especially by Cartreze Tucker who is a highlight as optimistic visionary Gordie Wilson in an extended role, work.  Tucker boasts sensational vocals as Gordy Wilson for the inspirational number, Start Somewhere. 

Cartreze Tucker and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Back to the Future The Musical also makes some clever choices that capture the spirit of the film while building on some of the film’s themes such as Doc Brown’s inspirational For the Dreamers and the nostalgic harmony in Cake which is a welcome trip into 50s nostalgia and ironic humor while offering mellifluous harmony.  Other songs such as the cringe My Myopia and Pretty Baby are better left as brief scenes than full songs.  Something about that Boy brings together multiple scenes featuring Berube, Hackmann, and the cast.  Fifties classics such as Johnny B. Goode and Earth Angel recreate classic scenes from the film as well as selections from the film’s iconic soundtrack by Huey Lewis and the News.

Lucas Hallauer and Zan Berube in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The multicolored costumes capture two iconic eras as well as ensembles right out of the 1985 film.  High tops, slouch socks, jean jackets, diner attire, frilly retro patterned dresses, Marty’s orange vest, and Lorraine’s classic pink prom dress are just a sample of this array of distinctive retro apparel.  The fifties and the eighties are defined by certain characteristics, but it does not overpower the film’s universal themes.

Filled with retro pieces and realistic projections, the rolling and rotating sets are impressively detailed from an elaborate tree bursting with fall leaves, Lorraine’s bedroom similar to the hit film and Doc Brown’s house complete with portraits of his legendary mentors and inventors under twinkling stars.

Lucas Hallauer and the DeLorean in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The story is good, but the electrifying special effects are worth the price of the ticket as the real star, the DeLorean, roars to life.   Chris Fisher’s impressive illusion design, Tim Lutkin and Hugh Vanstone’s intricate and futuristic lighting, Finn Ross’s realistic video design, and Gareth Owen’s rumbling sound design unite to create an elaborate time jumping experience that immerses the audience into this compelling journey.

Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20.  The production is also currently on national tour.  Click here for more information on their next stop and for tickets.

REVIEW:  Boston Playwrights’ Theatre’s world premiere of Brandon Zang’s ‘Recursion of a Moth’ alongside world premiere of Isabelle Fereshteh Sanatdar Stevens’ ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’

Posted on by The Sleepless Critic

Boston Playwrights’ Theatre recently presented two world premiere productions for BPT’s Spring Rep Festival.  Boasting some common themes, both are fitting companion pieces though one executes their ideas more fluidly than the other.

Both shows are rooted in preventing disaster and end the way they began with new meaning.  While one travels through time while the other roams through a cosmic plane, both shows are motivated through grief, trauma, and discovery while featuring key twists on the journey.  Both believe that changing their present circumstances will lead to better futures, but facing a world that cannot easily bend to their will.

Fear gives way to strength as one travels through space and the other among the stars.

Minou Pourshariati and Danny Bryck in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’s Recursion of a Moth alongside Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts.  Both shows ran approximately 80 minutes with no intermission.  Click here for more information and for BPT’s future events.

REVIEW:  A sky full of stars, transformation and resilience fuel Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn

In a country entrenched in war, two children meet under a mystical fig tree.  One loves to sleep and the other constantly stands watch.  However, their purpose under this tree unveils in significant ways from what they share to what they face.

Directed by Nikta Sabouri, The Fig Tree,  and the Phoenix, and the Desire to Be Reborn  by Isabelle Sanatdar Stevens is a mythological tale about love, grief, courage in the face of danger, war, loss, and unbreakable bonds.  Minou Pourshariati and Danny Bryck are cosmically and supernaturally connected and that connection is explored meaningfully as transformation takes place around them.

Taking place in August 1988 during the Iran-Iraq War, Danny Bryck as Javeed and Minou Pourshariati meet under a fig tree.  Mandana loves to sleep because she can speak to her late brother in her dreams while Javeed is afraid to sleep because he needs to stand guard to keep his family safe.  For these two children whose bravery is ingrained in fear, they seem to become old souls overnight. 

Danny Bryck and Minou Pourshariati in ‘The Fig Tree The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Skillfully taking on dual roles, Pourshariati and Bryck are adorable as children and revel in their roles sharing each other’s fears, prayers, anger and sadness as they struggle for certainty and to understand what is happening around them.  Irresistibly endearing building a unique bond and vowing to change the world they live in and beyond, inquisitive Mandana and virtuous Javeed instill playfulness, imagination, and joy into these complex performances enhanced by bright and affectionate choreography as they share their creativity, energy and boundless imagination amidst the turmoil.  Sporadically mature in thought and innocent in their approach, they squeal, leap and bounce in a stirring bitter sweetness during a serene interlude in a land where things can change at any moment as light and darkness are in constant battle.

Danny Bryck and Minou Pourshariati in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Lighting designer Grant Powicki and scenic design Cleo Brooks work together as twinkling lights, sunshine and glowing lanterns highlight a beautiful tree and wooded residential landscape which is unfurled by a retractable spool.  Shadows give way to surprises and bring to life their shared stories.  Sound designer Arshan Gailus is behind the immersive cosmic and natural harmony of this world.

The production contains a wealth of symbolism enmeshed in stories, objects, conversation and more.  Funny, touching, powerful, and poignant, The Fig Tree,  and the Phoenix, and the Desire to Be Reborn is an affecting and thought provoking journey worth taking.

REVIEW:  Brandon Zang’s The Recursion of a Moth races against time

This is no way to document time. 

Directed thoughtfully by Katie Brook, Boston Playwrights’ Theatre presented Brandon Zang’s sci fi drama The Recursion of a Moth.

It is the 25th century and a couple of time traveling bureaucrats and ex lovers are sent to document time and find a woman named Chrys for undisclosed reasons.  However, what transpires becomes far and away from what their mission entails into a journey rife with complications.

Alexander Holden and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography

Lighting designer Grant Powicki enhances Cleo Brooks’s simple black and white scenic design that colorfully depicts various dimensions and planes throughout the production. Fold out compartments depict a living room and kitchen as cast members change the props between scenes. Aubrey Dube’s radiating and moth-inspired clicking divide each scene while subtle and sparkling special effects drive this quantum leaping story.

Alexander Holden depicts resourceful time traveling bureaucrat Icarus heading to the Denver airport, his mysterious motivations behind a trench coat and glasses.  Jaime José Hernández portrays Mikey, a commitment phobic time bureaucrat dedicated to saving his family and completing their current mission.  However, Icarus has gone rogue with his own agenda to his timeline for good.

Alexander Holden and Jenny S. Lee in ‘The Recursion of A Moth’ Photo by Scornavacca Photography

The Recursion of a Moth explores generational patterns, family, the nature of suffering, and takes some liberties with time travel that becomes a bit too outlandish to be believable even if it would make for a nice story. Holden’s Icarus is obstinate and will stop at nothing to bend time according to his will while Hernández’s reasonable and grounded Mikey cannot help but remind him of time’s known limitations and consequences.  However, Icarus knows far more than he is letting on and longs to change time piece by piece for what may become a better future.

Alexander Holden, Jenny S. Lee and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography

Jenny S. Lee as Chrys, Alexander Holden and Jaime José Hernández all convincingly convey the production’s intensity at the mercy of time.  The moth’s role and recursion theory in this story is particularly fascinating.  Full of twists and quick turns which at times can be confusing, the show may have benefited by a longer runtime for further development of these characters and to give the revelations more breathing room.  The storyline winds into a major plot twist that seems too absurd to be believable even if it makes for a nice story. Recursion of a Moth has its bright spots, but especially under Back to the Future’s Doc Brown’s standards, certain twists would lead to a paradox. 

Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’s Recursion of a Moth alongside the world premiere of Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts. Click here for more information and for Boston Playwrights’ Theatre’s future events.

REVIEW: Magnificent and visually-stunning, Holiday Pops offers flawless holiday cheer

Posted on by The Sleepless Critic

Woven into a wide spectrum of Christmas carols, spiritual hymns, and holiday music capped off with a rousing sing-along, is the stuff that makes the Holiday Pops so appealing each year.  Whether it’s through the excitement of the all volunteer Tanglewood Festival Chorus or maestro Keith Lockhart sharing his own Christmas memories, The Boston Pops adds their own unique, personal flair to each heartfelt performance, making it easy to alleviate the stress of the season and happily embrace what truly matters each year.  In its 21st season, The Holiday Pops at Boston Symphony Hall continues through December 31.   The Boston Pops also offers special presentations of the film, “Back to the Future” with live orchestra and New Year’s Eve led by acclaimed bandleader, Bo Winiker.  Click here for more information and for tickets.

Elegantly adorning the intrinsically-detailed gold balconies are white, twinkling lights and multi-colored bulbs on thick, festive wreaths, just a sampling of the stunning, festive surroundings inside Symphony Hall.  The hall also offers its share of playful, humorous decor including orchestra harps topped off with Santa hats.  During the show, the stage spontaneously came to life with a variety of scenery reflected above the stage, from flickering candles to sweeping, dancing snowflakes.  Holiday Pops also featured a stirring presentation of winter scenes created by visual artist and astronomer Jose Francisco Salgado, PhD.  With a lit sky swirling violet with chiming bells, the presentation’s depiction the Northern lights to the song, The Adoration of the Magi from Three Botticelli Pictures lent a mystical, peaceful tone.

This powerful performance of Holiday Pops offered equal doses of reflective material and lightheartedness, the first half insightful and striking.  A Christmas prelude that included Hark the Harold Angels Sing, kicked off a reflective, wondrous first half woven in with maestro Keith Lockhart’s personal reflections of the holiday season such as a wonderful story about his father.  A lullaby sounding Christmas oratorio, Break Forth O Beauteous Heavenly Light followed by the Hanukkah song, Light One Candle depicted sacrifice, unity, and hope.  Holiday Pops also offered a jubilant calypso of Mary’s Little Boy Child, as the Tanglewood Festival Chorus, dressed splendidly in black and white, playfully swayed to the beat.

Brimming with beloved classic Christmas carols and guest appearances by Santa and more, the second half of Holiday Pops was a vibrant, yuletide spectacle of Christmas cheer.  While old fashioned Christmas bulbs glowed to the beat, The jolly Tanglewood Festival Chorus delivered a string of Christmas waltzes, singalongs, and more including the annual reading of Clement Charke Moore’s Twas The Night Before Christmas by special guest, NBC Boston’s Melody Mendez.  Boston’s delightful, signature versions of Sleigh Ride and the incredible and amusing 12 Days of Christmas were welcome additions to the mix as Santa Claus expertly conducted the rousing Chorus.  Holiday Pops gave a final encore of Let There Be Peace on Earth, as Earth shone overhead, brilliantly conveyed the quiet hope for the upcoming New Year.

The Boston Symphony Orchestra has a tremendous lineup in the New Year!  All performances take place at Boston Symphony Hall, 301 Massachusetts Ave in Boston, Massachusetts. Click here for tickets to any of BSO’s upcoming performances, through SymphonyCharge at 888-266-1200, and at the Symphony Hall Box Office, 301 Massachusetts Ave, Boston, Massachusetts.  Listen to the Holiday Pops at home with “A Boston Pops Christmas: Live from Symphony Hall” album available through ITunes, Amazon, and Amazon MP3.

Accomplished bandleader Bo Winiker talks his return to Symphony Hall for thrilling New Year’s Eve concert

Posted on by The Sleepless Critic

Swing into 2017 once again at Symphony Hall! Brimming with spectacular live entertainment and a full menu of scrumptious cuisine led by returning bandleader Bo Winiker, the New Year looks bright with an elegant evening with Boston Pops New Year’s Eve December 31 at 10 p.m. The doors open at 8:30 p.m. Click here for tickets to this exciting evening and more information.

Accomplished bandleader Bo Winiker talks about preparing to join the Boston Pops for a monumental sixth time, his future plans, and his biggest wish for 2017. Click here for a closer look at Bo’s jazz band, Winiker Music.

Jeanne Denizard: How does it feel to be invited back to Symphony Hall on one of the biggest nights of the year? It must have been a wonderful surprise.

Bo Winiker: In one of his last and greatest speeches, the late Martin Luther King Jr. spoke of having ‘been to the mountaintop.’ To me, standing on stage at Symphony Hall and performing with the finest musicians in the world is making it to the top of that mountain. It was the fulfillment of a lifelong dream. I remember the feeling of walking out on stage for the very first time and being completely overwhelmed with emotion. It is a feeling I will never forget, and I can hardly believe that I was asked back once, let alone for a sixth time. It is an incredible honor.

JD: New Year’s Eve is quickly approaching. Do you feel ready for it? How do you prepare for such a high-profile performance? I know your band is consistently updating your music repertoire.

BW: My son Kim, when asked a similar question, once answered that he was born ready. In a sense, I feel this way now. I have been a professional musician for more than 50 years so I have been preparing for this assignment my entire life. All the hours of practice, rehearsals, and the thousands of performances have given me the confidence to stand on one of the most important musical stages in the world with one of the world’s finest orchestras and still feel as relaxed as if I were playing alone in my own living room. That being said, I do spend a considerable amount of time studying the scores and practicing my solos.

JD: How do you usually spend New Year’s Eve?

BW: Since I was ten years old I have always performed on New Year’s Eve. In fact, I have performed on just about every major holiday my whole life. The idea of staying home on a holiday is impossible to imagine!

JD: How has Winiker Music been this year? What new projects or events coming up?

BW: This has been one of our best years ever. My brother Bill and I measure our success by how many people we make happy. Based on that fact, this has been one of our most successful years yet. We have performed at multiple weddings, quite a few corporate events and fundraisers, and keep up a regular weekly performance at a local Brookline restaurant called ‘Brothers’ in Brookline. This December has been especially busy with holiday parties!

JD: What are your future plans and your biggest wish for 2017?

BW: My plan for the future is to keep swinging on the bandstand and on the golf course for as long as the good Lord will let me!

As for my biggest wishes for 2017, I hope that this year brings me the opportunity to keep making people happy with my music. I try to do good deeds that build up the people around me and make them feel good about themselves. There are so many people in this world who do not think about the impact their actions have on others. I wish more people walked the earth with love in their hearts.

I hope 2017 will allow me to continue learning new music every week, something I have strived to do throughout my entire career. I am always excited by new music, from the Great American Songbook classics to the newest hits from America’s Top 40. I love to follow new artists who are constantly bringing innovation to the industry with unique melodies and rhythms and I listen to everything I hear very closely. Learning and performing this music is the best way for me to connect with younger generations and I love surprising people from the bandstand when I switch from Louis Armstrong to Taylor Swift. It keeps me on my toes and young at heart! I may have been performing for over 50 years, but there is always something new to learn. My work is not done yet!

The Boston Symphony Orchestra has an incredible lineup of live performances coming up including a thrilling presentation of Back to the Future with live music from the Boston Pops on Friday, December 30 and Saturday, December 31. New Year’s Eve with the Boston Pops featuring vocalist Cyndy Gayle and special guest Landau Eugene Murphy Jr. will take place on Saturday, Dec. 31 at Symphony Hall, 301 Massachusetts Avenue in Boston, Massachusetts at 10 p.m. Click here for more information and for tickets.