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REVIEW: True North and Exiled Theatre’s ‘M. Refractions from an Evil Act’

Posted on 1 Day Ago by The Sleepless Critic

A man disoriented on the floor and a door seemingly with a mind of its own.

A sophisticated Parisian hotel holds a lot more than secrets in James Wilkinson’s M: Refractions from an Evil Act. Is this place escape or a trap?

With unpredictable direction by Joe Juknievich, Exiled Theatre recently presented the world premiere of mystery thriller drama, M: Refractions from an Evil Act live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Sunday, August 9. This bilingual production in French and English contained some adult themes and was part of Boston University’s Boston Playwrights’ Theatre’s Incubator productions. It ran 2 hours with a 15 minute intermission. Click here for more information.

Peter Tone and Julia Hertzberg in ‘M: Refractions from an Evil Act’ Photo credit: Morganna Becker

With a classic soundtrack that added a vintage flair, M. Refractions from an Evil Act is an intriguing production that does a lot in its two hour run time. It reaches into a realm of possibilities such as time travel, paranormal activity, possession, loneliness, guilt, and grief when a mysterious woman claims an intruder was in her hotel room. However, when her claims, sordid history and circumstances for being in Paris suspiciously change on a dime, she becomes a person of interest that cannot be trusted.

Julia Hertzberg and Peter Tone in ‘M: Refractions from an Evil Act’ Photo credit: Morganna Becker

Glamorously dressed in a blue romper with a coordinated scarf, Julia Hertzberg as seemingly self-centered “M” is one moment lonely, the next sharing her grim thoughts and then overwhelmed, disoriented and frustrated at her ordeal wishing to drown her sorrows. However, this is no ordinary hotel and the people around her have secrets of their own.

Out of the characters presented, Peter Tone is the most likable as a Hotel Clerk. Tone is instantly accommodating, genuinely concerned and a sincere listener with good chemistry with Hertzberg’s M while Sydney Grant as brisk, determined, genteel and no nonsense Jolene is laser focused on cleanliness and order. Grant as Jolene and Hertzberg as M share an intense dynamic while M’s relationship with Tim Hoover as Lone is a striking puzzle. As soon as things start to become clearer, more and more questions arise.

Tim Hoover and Peter Tone in ‘M: Refractions from an Evil Act’ Photo credit: Morganna Becker.

Producer and costume designer Laura Crook Waxdal delivers chic Parisian style in attire which includes coat and tails, a classic French maid uniform and tailored suit with a brimmed hat. Nick Duffy’s flickering lighting design lends to the production’s suspense and enlivens Joe Juknievich’s foreboding set depicting a historic hotel room with wooden furnishings.

M does not know and is not interested in learning French and much of the production is in French without translation perhaps to put the audience in M’s shoes. For those who understand French, you are in the right place. However, it does make this already complex show more difficult to follow.

Sydney Grant and Julia Hertzberg in ‘M: Refractions from an Evil Act’ Photo credit: Morganna Becker

This production was inspired by the playwright’s bizarre three-day Parisian weekend and I wish I knew more about that experience. Though this thrilling production boasts a lineup of compelling characters while delivering a chilling vibe somewhere between Twilight Zone and Hitchcock with a cryptic sense of humor, it also spends a lot of time deciding the direction of its narrative. This work in progress touches on a lot of themes presented seemingly out of sequence yet does not fully commit to them. There’s loss, crime, revenge, special effects and even some mind tricks and while I love a good mystery and appreciate the concept, so many elements are left to interpretation which becomes confusing and frustrating. The show offers so many possibilities, but leaves more questions than answers.

Exiled Theatre recently presented the world premiere mystery thriller drama, M: Refractions from an Evil Act live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, August 9. Click here for more information.

REVIEW: Commonwealth Shakespeare Company vividly envisions a spirited ‘A Midsummer Night’s Dream’ on Boston Common

Posted on 14 Days Ago by The Sleepless Critic

Summer love is alive and well in vivid color on Boston Common.

Featuring a strong cast of renowned local performers and vocalists, Commonwealth Shakespeare Company captures the look and vibrant color of love in William Shakespeare’s classic A Midsummer Night’s Dream.

With intricate direction by Steven Maler, Commonwealth Shakespeare Company rings in their thirtieth season with William Shakespeare’s classic comedy A Midsummer Night’s Dream for free live and in person through Sunday, August 9 on the Common in Boston, Massachusetts. Though Amy Rubin’s set is partially likened to a children’s playground, this night production is not for children. The action is not limited to the stage, boasts valuable captions and runs 2 hours and 40 minutes with an intermission. I witnessed the production on CSC’s ASL night on August 2. Click here for more information and reservations.

De’Lon Grant* (Theseus) and Nora Eschenheimer* (Hippolyta). Photo Credit: Nile Scott Studios.

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays. It is everything but tragic and can be interpreted in a variety of ways featuring magic, mischief, romantic comedy, music, action and much more.

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text while infusing improvisation and pop culture references along the way. Part play within a play, part fantasy, and part comedy, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to desire to true love to romantic comedy gone awry due to some mystical love potions. Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines translate seamlessly into a wide variety of contemporary scenarios.

Nora Eschenheimer* (Titania) and The Company of A Midsummer Night’s Dream. Photo Credit: Nile Scott Studios.

A Midsummer Night’s Dream is also the source of some of Shakespeare’s most famous reflections on love such as ‘True love does not see with the eyes, but the mind’ and ‘The course of true love never did run smooth.’ Scenic designer Amy Rubin also emblazons Shakespeare’s immortal words about mortals and fools into the very fabric of the production’s multi-tiered and industrial scaffold set. Rubin certainly provides the wow factor in a heart shaped and layered set which is a cross between a playground and a night club complete with slide and ball pit as a glimmering disco ball hangs overhead. Maximo Grano de Oro illuminates this wild landscape with active and multicolored glee as the flashing lighting pursues the actors to the beat of the production’s contemporary music. Costumers Brooke Stanton and Rachel Padula-Shufelt mix glimmering Athenian-inspired costumes with 80s and steam punk flair. The ensembles range from refined and upscale in achromatic classic suits to splashy, florescent, glimmering, tinsel and feathered club wear which includes fringe jackets, cowboy boots, ornamental robes, fingerless studded gloves and bejeweled gold caps. The constantly playful and bold neon fairies seem pulled right out of a 80s night club in glowing ethereal wings and combat boots. Sound designer Ted Kearnan brings a contemporary vibe with a mix of original and popular upbeat rhythms built for comic relief as well as setting the scene.

Nick Cearley as Puck in Commonwealth Shakespeare Company’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, roguish and often lighthearted, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and compelling characters often hysterically determined to fight for what they want and will do whatever it takes for a laugh demonstrated by Paul Melendy as slick and bombastic Nick Bottom from exacting accents to integrating a well placed Shrek reference. Putting on a lovely Romanian accent, thick beaded necklace and large red glasses while wielding a ridiculous plastic sword, Karen MacDonald is delightfully unrecognizable as resourceful and charismatic Quince among a group of madcap and dedicated mechanicals including Brooks Reeves as a knitting Robin Starveling who offer more than their fair share of silly humor and bright ideas before the final curtain.

Brooks Reeves (Robin Starveling), Michael Broadhurst* (Francis Flute), Paul Melendy* (Nick Bottom), Karen MacDonald* (Petra Quince), Alex Leondedis (Snug), and John Kuntz* (Snout). Photo Credit: Nile Scott Studios.

Some of this robust cast takes on dual roles which impressively shows off their range. Jaime José Hernández as love struck Lysander shares jubilant adoration and endearing chemistry with Meghan Carey as sweet Hermia, but also has a chance to explore another side of this character. In spiked hair and glimmering Athenian gear, Nick Cearley keeps the mischief flowing as prankster Puck conspiring with De’Lon Grant who adds gravitas to Theseus and Oberon for a string of seemingly harmless pranks.

De’Lon Grant* (Oberon) and Nick Cearley* (Puck). Photo Credit: Nile Scott Studios

Nora Eschenheimer takes on dual roles as sophisticated Hippolyta as well as commanding and seductive Titania. Carey is charming as headstrong Hermia while Annika Burley is comically relentless as crazy in love and wildly frustrated Helena going to arduous lengths to get what she wants. Burley’s Helena shares impetuous moments with Hernández as Lysander and Jack Greenberg as impulsive Demetrius navigated by carefully timed choreography. Another highlight shows off Burely and Carey’s sharp comic wit during another confrontation when love goes awry.

Annika Burley (Helena) with Jaime José Hernández* (Lysander) and Jack Greenberg*(Demetrius). Photo Credit: Nile Scott Studios.

Though the production can be a bit lengthy, Commonwealth Shakespeare Company’s A Midsummer Night’s Dream is a fun way to spend a summer evening under the stars. This vivacious production continues live and in person through Sunday, August 9 on the Boston Common. Click here for more information and reservations.

REVIEW: Retail therapy takes on new meaning in Hub Theatre Company of Boston’s lighthearted comedy ‘Buyer and Cellar’

Posted on 21 Days Ago by The Sleepless Critic

“Well, hello gorgeous.”

What does an unemployed and rather desperate actor and a wealthy multi-talented celebrity have in common?

They share a kit kat bar and a dream.

Exploring the psyche of the have and have nots, Jonathan Tolins’s fictional one man comedy, Buyer and Cellar brings to light the weighty and wild world of excess on the journey of discovering what is truly important.

Victor L. Shopov in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo credit Lauren Elias

With lighthearted direction by Daniel Bourque, Hub Theatre Company of Boston continues Buyer and Cellar live and in person at Club Café in Boston, Massachusetts through Saturday, August 1. The action is not limited to the stage and runs approximately 100 minutes with no intermission. Pay-what-you-can tickets are available. The production occasionally contains adult and unfiltered language. Purchase a drink during this show and Club Café offers a full menu. Click here for more information and for tickets.

Victor L, Shopov in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo by Lauren Elias

Buyer and Cellar is a fictional tale, but is based on real life aspects of Barbara Streisand’s life drawn from Streisand’s book, My Passion for Design which sits on a lighted pedestal. Streisand’s book offers insight into her legacy and the story behind building her dream home. While the show revolves around Barbara Streisand, you do not necessarily need to be a fan to appreciate this production.

From Funny Girl to Yentl, sound designer Gage Baker weaves inflections of Streisand’s most memorable film theme songs into the playful and whimsical sound design. Under a sparkling disco ball, Club Café always offers a little extra in its vibrant space and Justin Lahue takes full advantage of that space through the tiered set and surrounding projections scattered throughout Club Café’s back room. A variety of projections include some of Streisand’s most coveted and iconic ensembles, store fronts, book racks and a peek into the architecture from the book. Two vintage wardrobe stands ostentatiously adorned and topped off with a pink feather boa situated side by side for colorful ambiance and a sophisticated chair and ottoman is a wink to Barbara’s style.

One of the most fascinating aspects and the center of this production is that Barbara Streisand built a shopping mall in the cellar of her Malibu mansion in the late 2000s.

Yes, really. It’s mindboggling to think Streisand has that many possessions and all the more intriguing are the eccentric stories behind them. With a wealth of pop culture references and self aware humor, Victor L. Shopov amicably portrays down-on-his-luck California actor Alex More who has had just about enough working for Disneyland and is looking for his big break. Central Casting arranges a bizarre new opportunity in which Alex is tapped by gravelly throated estate manager Sharon to become the shopping mall’s very first employee. Confusion, havoc, mystery and even monotony ensue on the job before Alex is face-to-face with Streisand herself.

Shopov is a candid and engaging storyteller infusing animated and eccentric voices emphasizing various mannerisms and avoiding impressions. He perfects a mix of imaginative and real life voices with flair including a humorous and exacting take on Barbara delicately sampling a morsel of food with her incomparably long nails. Navigating between awestruck, sarcastic, earnest and dubious, Shopov’s Alex takes this amusing and outrageous journey through Streisand’s wonderland through panic and in stride. However, nothing beats Shopov’s hilarious talent for narrating and delivering commentary on one particular film that won’t be revealed here.

Victor L. Shopov and Barbara in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo by Lauren Elias

Buyer and Cellar is a funny tale about another side of a legend. One may long to be rich. However, not everything is what is seems, even for someone who seems to have it all.

Hub Theatre Company of Boston continues Buyer and Cellar live and in person at Club Café in Boston, Massachusetts through Saturday, August 1. Click here for more information and for tickets.

REVIEW: Things more than go bump in the night in gripping ‘Paranormal Activity’

Posted on 27 Days Ago by The Sleepless Critic

Full Disclosure: I saw Paranormal Activity Live on Stage alone.

Not necessarily a fan of horror with few exceptions, my interests lean more towards thought-provoking science fiction or a psychological thriller. I was hesitant as I arrived at Emerson Colonial Theatre facing a black curtain, but left riveted by the production’s depth, intensity, and a truly remarkable cast.

Paranormal Activity can be chilling, but is also rooted squarely in the human condition with a great deal of darkly relatable humor and lots of twists and turns. It lured me in and never let go.

Superbly directed by Felix Barrett, Levi Halloway’s Paranormal Activity Live on Stage continues its pre-Broadway run through Thursday, July 30 at Emerson Colonial Theatre in Boston, Massachusetts. For the squeamish, this intense and immersive production is not gory. It does contain explicit language, some dark themes and runs two hours and 20 minutes with one intermission. Click here for more information and for tickets.

Cher Álvarez and Travis A. Knight in Paranormal Activity. Photo by Teresa Castracane Photography.

Metal, alternative and hard rock 90s music from musicians such as Soundgarden revs up the audience before the production begins. Paranormal Activity Live on Stage is considered a new story from the original film which inspired six sequels. A seventh film sequel has an anticipated 2027 release date. The original film latched onto the clunky, grainy and less polished amateur film style of The Blair Witch Project which enjoyed great success at the time.

However, the stage production greatly improves on the film predecessor in multiple ways. The film has a grainy home video quality, but this production is all encompassing and in vibrant color. Having witnessed the original film, the Paranormal Activity play is more effective, allowing the audience to experience multiple scenarios at once led with sterling timing by lighting designer Anna Watson. Scenic and costume designer Fly Davis crafts an elaborate and functional dual level house which includes five detailed and sophisticated rooms featuring a modern kitchen, hanging plants and a smart flat screen television. Illusion designer Chris Fisher, the illusionist behind Harry Potter and the Cursed Child on Broadway, creates plenty of riveting moments that will have you fully invested in what will happen next.

Cher Álvarez in Paranormal Activity. Photo by Kyle Flubacker.

Contributing to the production’s unfettered tension, Gareth Fry’s mesmerizing sound design ranges from a steely and hollow hum to sudden rings to what can be likened to a deafening and reverberating wind tunnel.

This engaging cast is so in sync and polished that they will make you almost forget you are watching a horror stage play. Cher Álvarez as Lou Singer and Travis A. Knight as James Singer are incredibly charming as a newly married couple who have just moved into a house in London. Playful with a dynamic sense of humor, Álvarez and Knight demonstrate a heartwarming and genuine connection as they embrace and warmly support each other.

Shannon Cochran is impressive as James’s religious and pushy southern mother who only wants what is best for her son and Eva Kaminsky is captivating as an eerie and insightful famous podcaster Etheline Cotgrave.

Paranormal Activity boasts many darkly funny moments while also delving into serious issues such as depression, trauma, secrets, marital challenges, spiritual warfare and much more with a wealth of unpredictable twists and turns. At one point, this fully invested audience (including me) was at the edge of our seats rooting on the characters and united in the action. Although I came alone to the production, I did not feel alone with this intense and excited crowd.

Isn’t that what live theatre is all about?

Levi Halloway’s Paranormal Activity Live on Stage continues its pre-Broadway run live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Thursday, July 30. Click here for more information and for tickets.

REVIEW: Stakes are high in Dan Hunter’s intense and enigmatic ‘Black Cat’

Posted on July 13 by The Sleepless Critic

A woman paralyzed by fear. What is haunting her?

Dan Hunter creates an intriguing mystery about family, memory, sickness, secrets and science within a trio of skilled neuroscientists in ‘Black Cat.’ It keeps you guessing who is telling the truth until the very end.

Directed insightfully by Steven Bogart and produced by Hathalee Higgs, Hunter Higgs LLC presented Dan Hunter’s mystery drama ‘Black Cat’ as an Incubator and Visiting production live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Sunday, June 28. The production ran approximately 90 minutes with no intermission. Click here for more information.

Boston University’s Boston Playwrights’ Theatre provided a perfect setting for this production which took place inside a university neuroscience laboratory in the near future of November 2026. Cristina Todesco’s detailed and commercial dual level set design featured realistic lab workspaces with a white board strewn with calculations, brimming file cabinets, a wooden staircase connecting each floor and an impressive kitchenette off the second floor. Zachary Connell’s mercurial and multipurpose lighting with Aubrey Dube’s screeching and foreboding piano-infused sound design augments the fluctuating intensity of each scene.

The set of Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Christopher James Webb as Dr. Gideon Wells states, “In science, you need vision, money and time.” When University research grants and funds for Parkinson’s disease are running out, time is of the essence to find a way to move forward, especially after Wells claims to have made a startling discovery. Black Cat featured a trio of skilled scientists seemingly striving for the well being of the lab and the university. Yet, other motivations soon come to light. As each character confronts one another, a number of pieces fall into place.

Liz Eng and Christopher James Webb in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Adrienne Krstansky delivers a layered performance as anxious and witty Dr. Clare Eccles who has just learned she has won the Hall of Fame for her research. She is the head of the department and yet has been guarded, moody and holes herself in her office. Krstansky has previously demonstrated her ample skills in a memorable performance of Gloucester Stage Company’s The Glass Menagerie and it is wonderful to see her again. Krstanky strikes a convincing poker face as she attempts to keeps her fears and escalating state at bay.

The cast of Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Christopher James Webb roars as complicated neuroscientist Dr. Gideon Wells. Webb steers this meaty character with finesse from avid listener to domineering, conceited, condescending and cagey. Both Wells and Eccles are wildly intelligent and share a long history. It is fascinating to see how they bicker, compete, reminisce and get under one another’s skin.

Christopher James Webb and Liz Eng in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Thickening the plot is Liz Eng as clever, determined and ambitious post doctoral neuroscientist Chai Lin Anderson caught in the middle of Wells and Eccles which forces her to make her own difficult choices. Anderson’s encounters with Wells and Eccles range from nurturing to threatening and Eng levelheadedly handles herself with diplomacy. She carefully and cleverly hedges her bets between Wells and Eccles while navigating her own enigmatic motivations behind the scenes.

Liz Eng and Adrianne Krstanky in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Boasting a mix of drama and dry humor, Black Cat deftly creates a number of suspicions and illusions as this trio in crisis endures the fears of what the future holds for them. Black Cat is also a snapshot into memory, the inaccessible causes of dementia and Parkinson’s disease which affect so many, and raises a number of questions in which some purposefully go unanswered. It is a production that will leave you still pondering these three compelling characters long after the show is over.

Directed insightfully by Steven Bogart and produced by Hathalee Higgs, Hunter Higgs LLC presented Dan Hunter’s mystery drama ‘Black Cat’ as part of the live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Sunday, June 28. Click here for more information.

REVIEW: Featuring a superb comedic pair, chaos ensues with boundless creativity in Arlekin’s exceptional ‘Delirium’

Posted on June 30 by The Sleepless Critic

“If it’s not the pandemic,” Chulpan Khamatova as Her sadly reflects, “It’s war.”

Set in contemporary war-torn Russia, two very different battles are occurring in and outside this small apartment.

A bubbling aquarium with a single roaming fish sits front and center and plays an important role in this extraordinary piece of brilliant comedy set in a world of chaos. From the first few moments with Andrey Burkovskiy as Him who makes even single handedly entering an apartment entertaining, I knew I was about to see something extraordinarily special.

Andrey Burkovskiy and Chulpan Khamatova (and a fish!) in Arlekin’s ‘Delirium’ Photo by Olga Maturana

Masterfully adapted from Romanian-French playwright Eugène Ionesco‘s Frenzy for Two and directed by Igor Golak, the Elliot Norton award-winning Arlekin Players continue their world premiere of absurdist play, Delirium live and in person for a limited time at the Calderwood Pavilion in Boston, Massachusetts through Thursday, July 2. This semi-interactive one act production runs approximately 80 minutes with no intermission. The action is not limited to the stage. Click here for more information and for tickets.

Burkovskiy demonstrated his vast talents for visual comedy and slapstick humor in small doses in Arlekin’s previous award-winning The Dybbuk, but here Burkovskiy really gets to show off his deadpan comedic skills alongside critically-acclaimed Russian actress Chulpan Khamatova as Her.

Andrey Burkovskiy and Chulpan Khamatova in Arlekin’s ‘Delirium Photo by Olga Maturana

From a polka dot dance floor to streaming spotlights to flashes of sudden darkness, lighting designer Jeff Adelberg and inventive sound designer Denis Zabiyaka work together seamlessly navigating sound effects and the spontaneous underlying intensity of this production. Jan Pappelbaum’s dual level industrial set with metallic columns and scaffolding hold a variety of meticulously placed multi-purpose props including mattresses, a parasol and a scratched mirror to help illustrate their longtime relationship which is not without its ebbs and flows inside this small apartment. In purple tights, sparkling black heels, a leopard patterned fur coat and a sequin dress, Khamatova rocks her distinct ensemble thanks to chic costumer Sasha Ageeva. Burkovskiy complements Khamatova beautifully in a black tuxedo adorned with large purple flower in the lapel.

Delivering energetic performances with sporadic doses of self aware humor and razor sharp comedic timing, Burkovskiy and Khamatova are a suburb comedic match. Khamatova is capricious, thoughtful, flirtatious and fiery while Burkovskiy is a romantic yet practical gentleman. They bicker, belittle, and lament yet their petty arguments are wildly eccentric and creative showcasing an absurdly passionate and wild bond. Never on the same page until it counts. They are also witty, playful, chaotic, imaginative, endearing funny and feed off each other so well that it is easy to forget they are in the throes of war just outside their makeshift window. I could watch them all day.

“The world is upside down,” Khamatova muses and much like this quick witted production, things change on a dime.

Delirium is as unpredictable and funny as it is stirring and startling. I was incredibly moved by the boundless creativity, the complicated emotions, and the timely significance of this entire production. It’s definitely worth it.

Take time to see the world premiere of Arlekin’s absurdist play, Delirium live and in person for a limited time at the Calderwood Pavilion in Boston, Massachusetts through Thursday, July 2. Click here for more information and for tickets.

REVIEW: A profound portrait of discovery and overcoming in Arts Emerson and Front Porch Arts Collective’s ‘In Old Age’

Posted on June 27 by The Sleepless Critic

“I’m living big inside the right now.” Abasiama enthusiastically exclaims.

Abasiama has come a long way in the seven plays so far in the UFOT Family Cycle and we have now arrived at the penultimate production, In Old Age. As with each of the previous productions, it is never without its surprises.

Profoundly directed by Dawn M. Simmons, Arts Emerson continues Front Porch Arts Collective’s world premiere of Mfoniso Udofia‘s In Old Age, the eighth production in the Ufot’s nine-play family cycle which explores three Ufot Nigerian-American family generations, live and in person at Emerson Paramount Center in Boston, Massachusetts through Sunday, June 28. This groundbreaking two hander bilingual and family friendly production in English and Ibibio runs 1 hour and 45 minutes with no intermission. Having seen Ufot’s second production The Grove, the fourth production of Her Portmanteau, and the fifth production of Kufre and Quay, it was wonderful to see the progression in the Ufot Family, but you can witness and enjoy one without having seen the others. Click here for more information and for tickets.

Abasiama (Ebony Marshall-Oliver) in the Front Porch Arts Collective’s production of IN OLD AGE. PHOTO by Nile Scott Studio

Ever wise and humorous, Ebony Marshall-Oliver is lovely as Abasiama Bassey who has now found herself a widow. Her husband passes away prior to the events of In Old Age and proclaims, “She has no man and she needs no man.” However, Abasiama is flabbergasted to learn that her daughter hires Marvin Bell as Azell Abernathy to renovate the family home as a surprise. Toyoima encourages Abasiama to let Azell know how he can help, but that proves to be more complicated than it seems.

Marvin Bell as Azell Abernathy in the Front Porch Arts Collective production of IN OLD AGE. PHOTO Nile Scott Studios

Infused with a UFot personal touch, scenic designer Jeffrey Peterson emphasizes roots and foundation in Abasiama’s longtime family home in Worcester, Massachusetts. Boasting an impressive towering wood frame and brick backdrop, this house is set on foundational brick blocks featuring remnants of past productions including a gold grandfather clock and an old wood burning stove. Costumer Chloe Moore creates a variety of ensembles for Marshall-Oliver and Bell that reflect each of their distinct personalities and how radiantly their style changes as the production progresses. Sound designer Arshan Gailus with lighting designer Eduardo Ramirez reflect a fluctuating peacefulness and sudden intensity through a variety of spontaneous instances over the course of a few days.

Marshall-Oliver as Abasiama Bassey and Bell as Azell Abernathy are quite a captivating pair to watch through their heated and humorous exchanges and candor and the way they observe each other. In a plaid flannel shirt and work boots, Bell is a natural as seemingly charming, practical and enthusiastic chatterbox Azell while Marshall-Oliver is deeply relatable and endearing as a reserved and anxious widow who is coming into her own while attempting to overcome her insecurities and put aside her urge to remain set in her ways. “What is outside should never enter inside” and “It is like everything has its own kind of beauty” is just a couple of the pearls of generational wisdom and observances reflected by Abasiama.

Ebony Marshall-Oliver as Abasiama in the Front Porch Arts Collective production of IN OLD AGE.

Like in other UFot productions, In Old Age contains surprising and welcome elements of the spiritual and supernatural ingrained into this insightful and moving tale. Though both characters have both lived through remarkable stories, In Old Age shows there is still so much more to tell.

Ebony Marshall-Oliver as Abasiama in the Front Porch Arts Collective production of IN OLD AGE. PHOTO Nile Scott Studios

REVIEW: Chaos and good intentions in The Huntington’s hysterical satirical comedy, ‘Eureka Day’

Posted on June 22 by The Sleepless Critic

Perhaps it’s the adults might have something more to learn than the students at Eureka Day.

Welcome to a meticulous world of learning where bright ideas are considered and delivered with such surgical accuracy to never offend anyone at Eureka Day School in Berkeley, California. Treading with intense care, Eureka Day is a private school that weaves radical inclusivity, veiled open-mindedness and ultra-progressive ideas into every aspect of their curriculum penetrating from each of the Eureka Day executive committee member’s polite smiles. Bending over backwards to support one another never looked so pained.

Directed with tongue-in-cheek humor by Margot Bordelon, The Huntington continues Jonathan Spector’s satirical comedy Eureka Day live and in person at the Huntington in Boston, Massachusetts through Sunday, June 28. The production is approximately 100 minutes with no intermission. Click here for more information and for tickets.

The cast of The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

From catchy children’s songs anywhere from Sesame Street to Schoolhouse Rock, Jonathan Spector’s Eureka Day at the Huntington cleverly welcomes the audience back to childhood though Daniela Hart, Noel Nichols, Bailey Trierweiler and Uptown Works’ sound design and the sight of Luciana Stecconi’s imaginative and detailed classroom filled with a wide array of children’s books prior to the production.

Eunice Woods; photo by Liza Voll Eureka Day May 28 – June 28, 2026 Written by Jonathan Spector Directed by Margot Bordelon
The Huntington Theatre, 264 Huntington Ave. Boston, MA 02115

Nothing but vim and vigor erupts from each committee member at the start of the 2018 to 2019 school year. The Eureka Day executive committee are made up of parents who decide on policies in the best interest of the school. Committee member and founder Suzanne portrayed by Nancy Lemenager and Ken Cheeseman as Don alongside Sasha Diamond as Meiko and Japhet Balaban as Eli are to show Eunice Woods as Carina, a new committee member and parent hailing from a Maryland public school, the ropes. However, there is a lot more going on behind the scenes than anyone ever expected at this seemingly quaint elementary day school, especially when an outbreak of the measles surfaces and has the school divided.

The cast of Eureka Day; photo by Liza Voll Eureka Day May 28 – June 28, 2026 Written by Jonathan Spector
Directed by Margot Bordelon The Huntington Theatre, 264 Huntington Ave. Boston, MA 02115

The extraordinary detail in Luciana Stecconi’s set design depicts a large jungle themed classroom adorned with signs, posters, and art work pinned to the walls, bookshelves piled with various children’s books of all sizes, and illustrated winding trees climbing the walls. Plump stuffed animals and stackable shell chairs are scatter around the room as towering trees stem from above the classroom to an open sky. Cha See’s energetic lighting and rhythmic sound design work together to trigger time and progression between scenes with similar flair as school set John Proctor is the Villian, a past production at the Huntington also directed by Margot Bordelon.

Eureka Day tackles a long list of hot topics and painfully awkward conversations including vaccinations, unisex bathrooms, motherhood, school closures, climate change, diversity, inclusion and more. It also does so in a way that just tense enough while also finding some semblance of humor and much of that is due to this complex cast of characters who share everything except what they are truly thinking. Also, Eureka Day contains a scene so hilarious in its resonance, tears rolled from my eyes. This doesn’t happen to me often in the theater, but without spoiling it, this chaotic and rapid fire scene by projection designers John Horzen and Uptown Works is so brutally prevalent in today’s world that it’s no wonder I was hysterically laughing through tears.

Sasha Diamond and Japhet Balaban in The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre (264 Huntington Ave. Boston, MA 02155).

With a tight smile, Nancy Lemenager impressively depicts rigidly careful committee member and school founder Suzanne who goes out of her way to choose her words wisely in an effort to share her viewpoints while sporadically recounting the school’s historical decision-making process. Lemenager’s Suzanne is shrewd, orderly and condescending while hiding a deep secret. Ken Cheeseman as consummate peacemaker Don is likable, diligent and seeming concerned about accommodating everyone. Sasha Diamond as level headed yet cynical single mother Meiko and Japhet Balaban as enthusiastic yet cagey parent Eli share some thought provoking and comical moments and Ebonie Marie as Winter round out this even handed cast.

Sasha Diamond, Nancy Lemenager, Ken Cheeseman, and Eunice Woods in The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre
(264 Huntington Ave, Boston, MA 02115).

Tension builds, friendships are tested and chaos most assuredly ensues while remaining thoroughly funny and compelling. It also has its share of stirring and surprising moments where people ultimately have to arrive at some painstaking decisions and unleash their true feelings even as they call each other family.

REVIEW: Irresistible rhythms get North Shore Music Theatre’s ‘On Your Feet’

Posted on June 10 by The Sleepless Critic

“Washing cleans the clothes. Singing washes the soul.”

Leave it to music trailblazers Gloria and Emilio Estefan to make even folding laundry an exciting event.

With lively direction and chorography by Marcos Santana and Jose Delgado’s upbeat music direction, North Shore Music Theatre presents On Your Feet live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 14. This theatre-in-the-round bilingual production runs 2 hours and 20 minutes with one intermission and the action is not limited to the stage. Click here for more information and for tickets.

From its first few powerful notes flowing under multicolored club lights, On Your Feet is a party from the start. Cuban dancers emerge pounding bongo drums which kick off Gloria’s music fueled upbringing that resonates even in the midst of ordinary chores. North Shore Music Theatre’s distinct theatre-in-the-round and rotating stage brings plenty of surprises as scenes rise from the floor and appear in various parts of the theatre. Santana’s upbeat choreography frames every aspect of this international true story with flair and gusto.

On Your Feet has an equal share of wild, quick, and intense music with complex fancy foot work including Cuban tap as well as poignant and inspiring moments within a few of Gloria Estefan’s famous ballads. Gloria and Emilio Estefan are behind the Latin rhythms, touching original compositions, and orchestrations of some of Gloria Estefan’s biggest hits. This captivating production not only showcases Latin culture and a peek into its history, but Gloria and Emilio’s tenacious struggle to break out into the American music scene.

Costume designer Emilio Sosa skillfully replicates Gloria’s sparkling and iconic outfits featured in her memorable concert appearances. The Estefans’ worldwide travel brings together the colorful styles of the 60s, 80s, and 90s from casual and vibrant floral summer wear to elegant nightclub attire. Jack Mehler’s often romantic scenic design and dynamic vivid spotlight lighting depicts Havana to Miami’s palm tree silhouettes to the glare of the spotlight.

Prior to the show, an array of projected Estefan family photos deliver a personal and authentic touch by Pamela Hersch that permeates throughout the musical. On Your Feet not only explores Gloria and Emilio’s budding romance and their mutual dreams, but their aspirations to pursue music as Latin performers. One of the most fascinating aspects of this musical is Marcello Audino as Emilio and Isabel Leoni as Gloria’s sheer dogged determination to thrive. Audino offers a charming yet driven performance as business minded and determined Emilio with smooth and rich vocals. He delivers a touching rendition of Gloria Estefan’s hit, Don’t Want to Lose You Now and an original song co-written by Gloria Estefan’s daughter, If I Never Got to Tell You, a stirring duet with Karmine Alers as Gloria Estefan’s mother, Gloria Fajardo. Audino is intense, charismatic, and always planning one step ahead.

It is easy to see why Leoni as Gloria has such natural and endearing chemistry with Audino. Leoni as Gloria complements Emilio’s drive through her vibrant, shy, and creative personality. Curly haired and slim with inflections of Gloria Estefan’s distinctive vocals, Leoni is well suited to depict the award-winning singer-songwriter. She engages the audience with a glowing smile while skillfully handling the quick pacing and complex choreography of this production, often breaking out into song and dance on a dime. From a ‘can’t-help-but-sing’ child doing chores in Cuba portrayed sweetly by Massachusetts local Kendall Rivera to a timid woman taking the stage, Gloria’s charismatic stage presence in undeniable. Together, Gloria and Emilio are a force to be reckoned with in their uphill battle to become a music sensation. Their tender song, Here We Are and powerful duet, To Keep From Loving You are particular highlights, showing off their sweet chemistry.

Alers delivers a memorable performance as Gloria Fajardo, Gloria’s protective mother. Alers portrays strong willed Fajardo with passion and soaring vocals, especially during the flirtatious number Mi Tierra sung in a Havana nightclub. Alers as Fajardo is stubborn and hard on Gloria, but with a giving spirit toward Henry Gainza as Gloria’s loving war veteran father, Jose.

On Your Feet not only quite literally encourages the audience to dance to some of Gloria’s most catchy numbers such as 1-2-3, Rhythm is Gonna Get You, Conga and Dr. Beat while also unveiling the journey and sorrows of following a dream including its family turmoil, challenges and past resentments. It also boasts its share of humorous moments in Sydia Cedeño-Genat as Gloria’s heartwarming and discerning grandmother, Consuelo, in her unwavering support of her granddaughter while delivering a few sharp one liners. However, most importantly, On Your Feet certainly brings the beat to this uplifting music celebration.

North Shore Music Theatre’s On Your Feet continues live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 14. Click here for more information and for tickets.

REVIEW: Boston Ballet’s ‘The Sleeping Beauty’ remains a regal and enchanting achievement

Posted on June 3 by The Sleepless Critic

When an invitation goes awry…

An unexpected hero, an insulted fairy, true love, and a terrible curse make up this enchanting and haunting fairy tale classic as Boston Ballet proudly presents The Sleeping Beauty. Unfolding with elegant and athletic choreography by Marius Pepita and Sir Frederick Ashton, The Sleeping Beauty has returned to Boston for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. This production runs two hours and forty-seven minutes with two intermissions. Click here for more information and for tickets.

Boston Ballet in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

A full house gathered inside the Citizens Opera House as Mischa Santora conducted Tchaikovsky’s famous and dramatic music score, transporting the enthusiastic crowd into a world of royalty, betrayal, innocence, a few familiar fairy tale faces, and a dose of magic. Disney’s popular animated adaptation possesses some similarities to this captivating tale, but Boston Ballet delivers more to the story. You may even find yourself humming along to the instrumental refrain of the iconic number, Once Upon a Dream.

At the center of The Sleeping Beauty is Ji Young Chae who is radiant as delightful and charming Princess Aurora. A triumph of delicate yet athletic grace, her poised and lithe body masters a few of ballet’s most difficult dance moves with impeccable balance including an array of arabesques that garnered particular applause. Seokjoo Kim, Francisco Schilereff, Tyson Ali Clark and Lawrence Rines Munro as prince suitors are enraptured by Chae’s playfulness, charisma, and charm. Chae as Aurora accepts their roses with a flourish.

Ji Young Chae in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Based on Russia’s Imperial Ballet’s 1890 production, The Sleeping Beauty remains a visual treat, boasting ornate costumes in a wide array of intricate patterns with picturesque and multi-dimensional set design by David Walker richly illuminated by Brandon Stirling Baker. From ornate, lush and colorful rural backdrops in gold, red, and green to the enchanting Renaissance era costumes, each scene is a wonder to behold. Wearing glimmering tiaras and dressed in sparkling pink, green, yellow, and blue, the gracious fairies made up of Lauren Herfindahl, Alexandria Heath, Kyra Muttilainen, Emily Aston, and Evelina Godunova floated, frolicked, and twirled, each displaying their own unique personalities. Muttilainen as the whimsical and tip toeing Woodland Glade Fairy and Godunova performing a joyful, skittering and humorous dance as energetic Golden Vine Fairy were particular highlights.

Chisako Oga in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

With a cruel and mocking laugh arriving in a dark, glimmering carriage was Haley Schwan as treacherous Carabosse. Accompanied by a group of monstrous henchmen performed by Ethan Collins, James Cunningham, Alexander Mockrish, and Clay Murray, Schwan displays vindictiveness as an insulted fairy in a mesmerizing array of sharp and rigid movements.

Chyrstyn Fentroy in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Tchaikovsky’s uplifting score hits a crescendo as Emma Topalova appears as the serene and captivating Lilac Fairy. In this adaptation, The Lilac Fairy acts as a guide, her warm presence, quick thinking and commanding courage setting her apart. Her charismatic and skillful performance was most evident among her lively lilac fairy attendants in a glorious display of fouettes, plies, and pirouettes. Topalova was also endearing in a compelling scene with Jeffrey Cirio as Prince Desire. Cirio has a regal and noble air, gallantly leaping with joy at Aurora’s image. Ji Young Chae as Aurora and Jeffrey Cirio as Prince Desire exhibit many tender and playful moments and perfectly complement each other in a fancifully-driven dance including extraordinary fish dives, swept up in love.

Ji Young Chae and Jeffrey Cirio in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

The Sleeping Beauty delivers many magnificent performances within this large cast taking on multiple roles. From a wild and thrilling duet from Layla Porter as Little Red Riding Hood and Lawrence Rines Munroe as the Wolf to humorous feline flirtation from Emily Aston as The White Cat and Spencer Wetherington as Puss ‘N Boots, many beloved fairy tale characters were presented in a joyous celebration.

Chisako Oga and Derek Dunn in Marius Petipa’s The Sleeping Beauty by Liza Voll, courtesy of Boston Ballet

With two intermissions, The Boston Ballet offers a photo friendly display located in the lower lobby. The Boston Ballet closes its season with The Sleeping Beauty for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. Click here for more information and for tickets.