REVIEW:  Central Square Theater and Front Porch Collective’s ‘Ain’t Misbehavin’ The Fats Waller Musical’ dazzling, engaging, and sensational fun

Whether it was a wink, a smile, Anthony Pires Jr’s mischievous laugh, the crackling chemistry and snappy asides among this multi-talented, finely adorned cast or Central Square Theater’s transformation into a vivid vintage Harlem nightclub, Ain’t Misbehavin’ certainly knows how to throw a roaring party.

Innovatively directed with stellar choreography by Maurice Emmanuel Parent and Ilyse Robbins with musical arrangements by Luther Henderson, Central Square Theater and The Front Porch Arts Collective continues sensational Ain’t Misbehavin:  The Fats Waller Musical live and in person at Central Square Theater in Cambridge, MA through Sunday, May 29.  Click here for more information and tickets.

Jackson Jirard and Christina Jones in Central Square Theater’s ‘Ain’t Misbehavin” Photo credit to Nile Scott Studios

With festive lighting by Jeff Adelberg, red cocktail tables and lamps lining a gold-embroidered stage that frames the intimate, big band orchestra while eye-catching portraits hang on each side of the stage, Jon Savage’s alluring set design immediately sets the mood for an interactive, carefree, spontaneous, and humorous concert event fueled by Fats Waller’s tremendous talent.

The cast of ‘Ain’t Misbehavin’ The Fats Waller Musical’ Photo credit to Nile Scott Studios

Accented by Elizabetta Polito’s distinctive costumes from furs to glimmering garments to slick pinstripe suits and bowler hats, Ain’t Misbehavin’ seamlessly rewinds the clock to the roaring 20s where Harlem nightclubs and speakeasies sprung up for a boisterous night of revelry during the Prohibition era.  Kicking off the show with a recording from Fats Waller himself, Ain’t Misbehavin’ reveals Waller’s catchy musical repertoire ranging  from exuberant romance to humorous irreverence to playful flirtation while also addressing significant and sobering issues of the era that remain rife today.  This incredible cast depicts it all with clever and mesmerizing swagger as well as some measure of illuminating heartache.

Led and enhanced by conductor Dan Rodriguez’s swift and extraordinary piano work especially for the thrilling stride piano number, Handful of Keys, this fiery, six-piece orchestra masters every brass-tinged and drum-laden beat with finesse. 

The cast of Central Square Theater and Front Porch Arts Collective’s ‘Ain’t Misbehavin’ The Fats Waller Musical’ Photo credit to Nile Scott Studios

With an vocal aptitude for exciting, big band numbers as well as ardent crooning, a few of this show’s many highlights include Lovely Hoffman’s clever and moving Mean to Me and the sheer energy and vibrant vocals in Yacht Club Swing and The Joint is Jumpin.’ 

Ain’t Misbehavin’s  crackling chemistry is well demonstrated between Lovely Hoffman and Anthony Pires Jr as they deliver a playful duet for the light and amorous number, Honeysuckle RoseChristina Jones and Jackson Jirard take the stage for a sweet version of I Can’t Give You Anything But Love and Sheree Marcelle and Anthony Pires Jr deliver an equally charming duet for I’m Gonna Sit Right Down and Write Myself a Letter.  Accented by Jirard’s limber movements and amazing choreography through hazy lighting, the show takes on a captivating, psychedelic turn as Jirard sings The Viper’s Drag.  Anthony Pires Jr shows off big personality and comedic sass for Your Feets too Big before the cast gathers for a heartrending Black and Blue.

The cast of Central Square Theater and Front Porch Collective’s ‘Ain’t Misbehavin’ The Fats Waller Musical’ Photo credit to Nile Scott Studios

The only thing more exciting than the music are the side smirks, irritated looks and onstage antics clearly hinting of the juicy drama happening between cast members behind the scenes, though it is all part of a show that thrives on the audience’s enthusiasm and interaction.   Ain’t Misbehavin’ is a riveting musical celebration for a multi-talented musician clearly ahead of his time.

Central Square Theater and The Front Porch Arts Collective continues sensational Ain’t Misbehavin’  The Fats Waller Musical‘ live and in person at Central Square Theater in Cambridge, MA through Sunday, May 29.  Click here for more information and tickets.

REVIEW: Featuring Grammy award-winning mezzo-soprano Krista River and special guest musicians, A Far Cry ended season with a stirring ‘Sunset’

Having witnessed A Far Cry’s triumphant return to performing live and in person last September as they kicked off their 15th season with Circle of Life, it was an honor and fitting to review Sunset, A Far Cry’s final concert of the season.  Sunset was originally scheduled for March 2020 and this Grammy-nominated, self-directed chamber orchestra was thrilled to finally present it onstage.  With a heartfelt introduction by Sarah Darling, Boston-based A Far Cry brought a diverse repertoire of suspense, tragedy, and soaring vocals by mezzo-soprano Krista River before joining a collection of promising musicians including Project STEP for a robust finale.

A Far Cry criers at Jordan Hall Boston MA Photo credit to A Far Cry

Following opening group Project STEP, A Far Cry took the gorgeous Jordan Hall stage in Boston, MA for their final concert on Friday, May 13 for 90 minutes with no intermission.  A Far Cry will cap off their 15th season with a Spring Soiree on June 1 at the Nathaniel Allen Center for Arts and Culture in Newton, MA.  The event includes a sneak peek of next season, outdoor cocktails, hors d’oeuvres, and a charity auction with the option to attend in person or virtually.  Click here for more information and here for a look at A Far Cry’s upcoming season.

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

Elegantly dressed in flowing dresses and suits, A Far Cry opened their final concert with all 18 criers for Julius Eastman’s Joy Boy.  A piece likened to the feeling of falling in love, Joy Boy has a trickling and mounting intensity as the orchestra gradually comes to life.  It is fascinating to watch the ebb and flow in Joy Boy’s soothing opening rhythms which escalate to a gripping crescendo before lulling into its resonating finale.

Imagine moments before a stunning discovery in a suspenseful film.  That’s the escalating tension built around Lutoslawski’s fiery Musique Funebre, Spanish for Funeral Music.  A Far Cry performs this chilling and somber dirge with rich, Hitchcockian flair enhanced by a stroke of the viola and plucking, creeping rhythms.  Fueled by searing drama and violin-tinged, pulsing urgency, A Far Cry plays furiously to bring this masterful work to an exciting and astounding climax that might leave you with a few goose bumps by the finale.

‘Il Tramonto Photo credit to Sarah Darling/A Far Cry

Led by Grammy award-winning mezzo-soprano Krista River’s airy and soaring vocals, A Far Cry took on Respighi’s classic piece, Il Tramonto, which is an Italian phrase translated as The Sunset.  It is a popular piece having been featured in films such as the western classic, The Good the Bad and the Ugly.  Adorned in a shimmering blue gray gown with her hair swept into an updo, River’s expressive vocals and her stirring countenance brings out the surreal poignancy of this tragic romance.  Based on a poem by Percy Bysshe Shelley, Il Tramonto has a moving story behind it and possibly inspired by a real life disaster in Indonesia. 

Mezzo-soprano Krista River Photo credit to A Far Cry

A Far Cry recalled how music has been “cathartic journey” and like many in the arts and beyond, the love for the arts has been tested, especially in the last few years.  Joined by promising musicians in Boston Conservatory, NEC Prep, and Project STEP, A Far Cry brought this concert to a robust and wondrous close with Vicente Lusitano’s Aspice Domine and Ralph Vaughan Williams’s Fantasia on a Theme, the latter dedicated to an inspiring teacher that encouraged young musicians to pursue their musical aspirations.  Highlighted by a duo of skilled violinists, this group of musicians brought A Far Cry’s 15th season to a glorious close with a mix of fragility, power, and a stirring finale.

Students in Project STEP Photo credit to Project STEP/A Far Cry

A Far Cry will cap off their 15th season with a Spring Soiree on June 1 at the Nathaniel Allen Center for Arts and Culture in Newton, MA.  The event includes a sneak peek of next season, outdoor cocktails, hors d’oeuvres, and a charity auction with the option to attend in person or virtually.  Click here for more information and here for a look at A Far Cry’s upcoming season.

REVIEW:  Lexus Broadway in Boston’s ‘Ain’t too Proud: The Life and Times of the Temptations’ powerhouse vocals as compelling as their back story

Get ready for a whirlwind concert experience fueled by vocal powerhouses.  Having been familiar with the award-winning 1998 The Temptations miniseries produced by Temptations founder Otis Williams and based on the book featuring a special appearance by Smokey Robinson, it is no secret just how much material this musical had to cover and does so with finesse and upbeat pacing.

The Temptations Marcus Paul James as Otis Williams, James T. Lane as Paul Williams, Jalen Harris as Eddie Kendricks, Harrell Holmes Jr as Melvin Franklin and Elijah Ahmed Lewis as David Ruffin Photo credit to Lexus Broadway in Boston

Directed slickly by Des McAnuff and produced by Otis Williams and Shelly Berger, Lexus Broadway in Boston presents Tony award-winning jukebox musical Ain’t Too Proud:  The Life and Times of the Temptations at Citizens Bank Opera House in Boston, MA through Sunday, May 1.  The show is 2 hours and 30 minutes including an intermission.  Click here for more information and for tickets.

Behind every monumental group is a colossal tale.  The story behind the Temptations spans decades encapsulating wild drama (some of which seems too incredible to be true) while members of the Temptations changed like a revolving door.  Some of these legendary performers haunted by the past wrestled with inner turmoil and demons that indelibly impacted their own lives and with timeless and groundbreaking music comes sacrifice.

Marcus Paul James as Otis Williams (center) Photo credit to Lexus Broadway in Boston

Based on the Otis Williams and Patricia Romanowski’s The Temptations autobiography, the journey began in Detroit.  Marcus Paul James is part preacher, part storyteller, and all heart as Temptations founder Otis Williams recalls admiring groups like The Cadillacs in his hometown when he wasn’t getting into trouble.  Finding his calling to sing was like ‘the heavens opening up.’  Immediately engaging, James guides the audience through decades of the Temptations musical journey through the losses, the humor, dedication, arrogance, passion, tragedy, and fleeting success to the Rock & Roll Hall of Fame.

Most importantly though, it is a rich voyage through the classic Motown tunes that have stood the test of time not just by The Temptations, but the Supremes and other famous Motown classics of that time.

Jalen Harris as Eddie Kendricks with the Temptations and The Supremes together. Photo credit to Lexus Broadway in Boston

Decked out in suave matching gray suits and ties and launching into The Way You Do the Things You Do featuring the five original members composed of James T. Lane as Paul Williams, Harrell Holmes Jr as Melvin Franklin, Elijah Ahmad Lewis as David Ruffin, Jalen Harris as Eddie Kendricks, and Marcus Paul James as Otis Williams, Ain’t too Proud is an interactive, energetic, concert-driven locomotive as sliding vintage black and white photos and film depict the fans, the touring, the injustices, and the milestones through the years.  The frequently moving, multilayered set by Robert Brill combined with Howell Binkley’s impressive lighting gives the slick illusion of the quick pace of their lives and the audience riding along for each transforming scene.

The Supremes – Traci Elaine Lee as Mary Wilson Deri’Andra Tucker as Diana Ross and Shayla Brielle G. as Florence Ballard Photo credit to Lexus Broadway in Boston

Not only does Ain’t too Proud feature Tony award-winning choreography, but some dynamite vocals from start to finish.  Traci Elaine Lee delivers a dual role first with brief, but memorable impromptu vocals as fast-talking Johnnie Mae in a spectacular onstage Cadillac as as Mary Wilson of The Supremes.  The Supremes, adorned in dazzling gowns by costume designer Paul Tazewell, make brief but memorable appearances with seamless vocals for classic numbers such as You Can’t Hurry Love and I’m Gonna Make You Love Me led by Deri’Andra Tucker as the luminous Diana Ross. 

Though each member of the Temptations have good chemistry, baritone Marcus Paul James as Otis and Harrell Holmes Jr as dedicated and forthright bass singer Melvin, have an exceptional brotherly connection. Jalen Harris as falsetto Eddie Kendricks performed a memorable Just My Imagination to an enthusiastic crowd. Elijah Ahmad Lewis portrays complex and sensational tenor David Ruffin with charisma, arrogance, and affliction from the sweet first notes of My Girl to I Wish it Would Rain.  The stirring I Wish it Would Rain symbolizes much more than love lost in this particular production.

Harris Matthew as Dennis Edwards (center) Marcus Paul James as Otis Williams, James T. Lane as Paul Williams, Harrell Holmes Jr as Melvin Franklin, and Jalen Harris as Eddie Kendricks Photo credit to Lexus Broadway in Boston

Ain’t too Proud delves into the lives of the Temptations, the classic tunes, what tears them apart, and what ultimately makes them the greatest Rhythm and Blues group in music history.  With a total of 24 Temptations over the years, it is quite the tale to tell. 

Lexus Broadway in Boston presents jukebox musical Ain’t too Proud:  The Life and Times of the Temptations at Citizens Bank Opera House in Boston, MA through Sunday, May 1.  Click here for more information and for tickets.

REVIEW:  Boston Ballet’s elegant and edgy ‘DREAMstate’ a fascinating departure from reality

From classically fanciful to electrifying to distinctive, unconventional artistry, the Boston Ballet’s DREAMstate is an astute exploration of the delicate nature of dreams and a fascinating escape from reality.  Aside from Boston Ballet’s traditional Nutcracker in December, Mikko Nissinen’s DREAMstate is the first live and in person return to Boston Ballet’s regular season since the pandemic.  Excitement was in the air and the Boston Opera House was full.

Boston Ballet in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Balle

Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Opera House in Boston, MA.  The show is approximately two hours with two intermissions and the final piece contains partial nudity.  Click here for more information and tickets.

Rolling Stones tribute DEVIL’s/eye Photo credit to Boston Ballet

Though all three Boston Ballet pieces had its highlights, the stellar world premiere of Boston Ballet’s tribute to the Rolling Stones, DEVIL’S/eye was the most uniquely compelling.  Weaving in live concert elements and classic hits such as Can’t You Hear Me Knocking, Paint it Black and much more, dancers take the stage in shadow bathed in purple, red, yellow, pink, and blue glimmering from an incredible, multi-functional sound system lit by Brandon Stirling Baker.  With exhilarating choreography and edgy and exotic costume design both by Stephen Galloway, lively dancers in silk, sequins, fishnets and windswept hair complete the full glamour of a rock and roll concert showing off thrilling, contemporary freestyle moves.  The entire performance is an electrifying spectacle as dancers let loose to the Stones concert footage with epic alicicone spins, but a brief pause in the guitar-tinged, horn-infused rhythms showing off each dancer’s glowing silhouette cannot be properly conveyed here and those sensational moments are best witnessed in person.

George Balanchine’s Chaconne brings to life a regal and fanciful daydream to the heavenly sounds of the Christoph Willibald von Gluck opera, Orfeo ed Euridice.  Elegantly adorned in a flowing and ethereal skirt and crown by Barbara Karinska in front of tranquil green blue backdrop, the always fresh-faced and charming Viktorina Kapitonova performed a beautiful and romantic pas de deux with Lasha Khozashvili, dressed in white.  Khozashvili lifts and leads Kapitonova delicately as they sporadically intertwine.  The piece is primarily playful as dancers bow and sway in gleaming, royal costumes as they float along this lighthearted daydream, the flutter of slippers sweeping across the stage.

Misa Kuranaga and Patrick Yocum in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Ballet

The final piece is probably one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Altan Dugaraa, Sarah Wroth, Yury Yanowsky in Jiří Kylián’s Bella Figura; photo by Gene Schiavone, courtesy of Boston Ballet

 Jiri Kylian’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow.  In many ways, it bucks tradition as the dancers float and slide between closing curtains as Seo Hye Han, topless, wraps herself in only a black stage curtain.  Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away.  Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements.   It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect.  In gathering rich red skirts, men and women, all topless and all looking the same, glide along the stage.  It is a memorable, distinctive performance as the piece continues even as the music concludes.

 Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Boston Opera House.  Click here for more information and tickets.

REVIEW:  ‘Freestyle Love Supreme’ an astounding good time

A roaring crowd greeted hip-hop comedic dynamos, Freestyle Love Supreme opening night at the Emerson Colonial Theatre in Boston on Friday, March 18.  Packed with plenty of self-proclaimed Freestyle Love Supreme super fans, witnessing this unique, interactive, Tony award-winning production feels more like attending a rock concert.  The anticipation leading up to it was palpable and I immediately got the sense I was in for a truly remarkable experience.    

Before In The Heights or Hamilton, there was Lin Manuel Miranda’s Freestyle Love Supreme which continues live and in person at the Emerson Colonial Theatre, 106 Boylston Street in Boston, MA through April 2.  The show is approximately 90 minutes with no intermission. Click here for more information and tickets.

L to R: Lin-Manuel Miranda, Kaila Mullady AKA Kaiser Roze, Anthony Veneziale AKA Two Touch and Aneesa Folds AKA Young Nees Photo credit to Joan Marcus

No wonder Freestyle Love Supreme is beloved seeing that the show still features some of the founding cast members since the group started in 2004 and went on to be featured in the self-titled Hulu documentary and on Broadway.  Founding member Chris Sullivan AKA Shockwave wows with phenomenal hip hop beats (and seemingly impossible) sound effects, Aneesa Folds AKA Young Nees can perform powerful vocal gymnastics to anything that is thrown Young Nees’s way, and founding member Anthony Veneziale AKA Two Touch is a great and welcoming host.  Not only can every cast member deliver clever quips at the drop of a hat, but the show is friendly, interactive, and inclusive.

From L to R: Chris Sullivan AKA Shockwave, Richard Baskin Jr AKA Rich Medway, Anthony Veneziale AKA Two Touch and Aneesa Folds AKA Young Nees Photo credit to Joan Marcus.

Is Freestyle Love Supreme a big party?  A resounding yes, but every performance is unique so it is best enjoyed just knowing the basics.  Don’t feel pressure to participate, but the more enthusiasm and participation, the better the show.  Trust me.  Even in masks which Freestyle Love Supreme deems ‘consonant killers,’ the audience is invited to demonstrate what they are saying in creative and amusing ways.  It is fun, has heart, and there wasn’t a dull moment.

The show is tailor made for the locals boasting a slew of signature Boston and pop culture references.  Listen closely for the inventive and masterful delivery of these brilliant, high-speed rappers.  The possibilities are endless.  They also aren’t shy about what they say onstage.  This may sound a bit like Whose Line is it Anyway and Wayne Brady was part of the cast at one point, but accompanied by an intimate live band, Freestyle Love Supreme is just on another level.  For example, one audience member suggested the word, ‘Yankees’ and it was amazing to see how just many ways that one word was demonstrated led by the vocal styling of hilarious Jay C. Ellis AKA Jellis J.

The cast of ‘Freestyle Love Supreme’ Photo credit to Joan Marcus

Freestyle Love Supreme is hilarious, relatable and brilliantly fast-paced, but what makes the show most endearing was not so much the spectacle, but how much the cast does not hesitate to share their personal experiences as each show is shaped into a carefully tailored crowd pleaser. To think for the first time ever, the show’s full set was not delivered by opening night!  I can’t imagine having a better time.

Freestyle Love Supreme continues live and in person at the Emerson Colonial Theatre in Boston, MA through April 2.  Click here for more information and tickets.

REVIEW:  Greater Boston Stage Company’s well-timed ‘Incident at Our Lady of Perpetual Help’ a comical trip down memory lane

Greater Boston Stage Company chose the perfect time to debut Incident at Our Lady of Perpetual Help.  Nestled right through St. Patrick’s Day during Lent (for Catholics), this engaging family comedy delves into the lives of the quirky lower middle class Irish-Catholic O’Shea family during a chaotic and pivotal week in their lives in the 1970s.  It’s a memory play…with a few amusing twists.

From L to R: Vin Vega as Becky, Maureen Keiller as Theresa “Terri” Carmichael, Amy Barker as Jo O’Shea, and Autumn Blazon-Brown as Linda O’Shea Photo courtesy of Greater Boston Stage Company

A semi-autobiographical play written by Katie Forgette and directed by Weylin Symes, Greater Boston Stage Company presents Incident at Our Lady of Perpetual Help virtually and at Greater Boston Stage Company in Stoneham, Massachusetts through March 20.  The show is 1 hour and 45 minutes with intermission and recommended for children ages 13 and up.  Click here for more information and tickets.

It is fascinating how memories work when they are retold, recalled, and recollected.  A fuzzy little detail here and a little change there may make a big difference.  Some of the production’s characters are a bit over the top, but so was the 70s.  Every detail of this show rewinds the clock to a simpler time before the internet, cell phones, and other technological distractions took over.  Deirdre Gerrard pulls together a wonderfully nostalgic and mismatched array of 70s attire from corduroy to bold patterns to star-studded bellbottoms. 

From L to R: Vin Vega as Becky, Autumn Blazon-Brown as Linda, Amy Barker as Jo O’Shea, and Maureen Keiller as Theresa “Terri” Carmichael Photo courtesy of Greater Boston Stage Company

Incident at Our Lady of Perpetual Help is full of candidness, warmth, and quick pacing much due to the cast’s authentic and believable chemistry as a relatable, flawed, and dysfunctional family.  Tempers flare, judgments are passed often, and the O’Shea family is set in their routines within a meticulously-detailed and functioning wood paneled kitchen plucked straight out of the 70s.  From an afghan blanket on a chair to knickknacks on shelves to photos and notes smattered on a corkboard to greenery gathering in a kitchen window, set designer Shelley Barish’s remarkable blast from the past kitchen lies in the details.

A bossy grandmother, a cheapskate father that works too hard, an exhausted but nurturing mother, a shoot-from-the-hip aunt, and an impressionable daughter all vie for the spotlight breaking the 4th wall and well aware they are in the play.  It flows more like a slice-of-life documentary with most characters eager to speak to the “camera.”

Vin Vega as Becky and Autumn Blazon-Brown as Linda O’Shea Photo courtesy of Greater Boston Stage Company

At the center of this play is somewhat reliable narrator Autumn Blazon-Brown as adorably spunky women’s-lib teenager Linda O’Shea.  Smart yet adventurous, Blazon-Brown shows charming charisma as Linda who, in a moment of frustration, is obnoxious to her impressionable sister Becky to the chagrin of those around her including intimidating Fr. Lovett portrayed with self-righteous glee by Barlow Adamson.  Chaos ensues.   

Amy Barker as Jo O’Shea and Autumn Blazon-Brown as Linda O’Shea Photo courtesy of Greater Boston Stage Company

Adamson is an apt comedian with a wealth of opportunities to show off his dynamic skills during this production.  Vin Vega portrays film-obsessed and imaginative Becky who seems the most sensible among this amiable cast and often along for the ride within the O’Shea high jinx.  Amy Barker portrays a relatable every mom as exhausted but nurturing matriarch Jo O’Shea, but Maureen Keiller, a familiar face having delivered solid past performances in Boston such as in Between Riverside and Crazy, Admissions and The Women, is a gem as Theresa “Terri” Carmichael.  Wisecracking, bold, and often blunt, Keiller shows under Terri’s complicated and tough façade is a loneliness and vulnerability with a fierce loyalty to her family.   A better aunt you will never find.

Greater Boston Stage Company presents Incident at Our Lady of Perpetual Help virtually and at Greater Boston Stage Company in Stoneham, Massachusetts through March 20.  The show is 1 hour and 45 minutes with intermission and recommended for children ages 13 and up.  Click here for more information and tickets.

REVIEW:  Dreams proceed with caution for Central Square Theater’s illuminating ‘Young Nerds of Color’

When I first witnessed the hit film Hidden Figures, I was absolutely amazed for a couple of reasons.  In the early 60’s, a team of phenomenal NASA mathematicians were so talented that some astronauts including Neil Armstrong refused to board the space shuttle without their astute calculations.  The other amazing and frustrating detail is that for all that these African-American women accomplished, I had never heard of them or worse, was never taught about them at school.  Hidden Figures stayed with me.  These genius mathematicians made such an indelible impact in the world and yet, I was learning about them for the first time in this film.

‘Young Nerds of Color’ cast and creative team Photo credit to Nile Scott Studios

Directed remarkably by Dawn M. Simmons, Underground Railway at Central Square Theater presents Young Nerds of Color arranged by Melinda Lopez live in person through March 20 at Central Square Theater in Cambridge, MA and virtually through April 3.  The show is approximately 75 minutes with no intermission.    Click here for more information, tickets, and COVID-19 guidelines.

The night before reviewing Young Nerds of Color, I attended an astronomy group meeting that featured a documentary about a rarely predictable phenomenon.  A professor claimed he knew when the next supernova would occur.  A supernova is when a star explodes and disperses its matter into the galaxy.   It turns out the professor made a tragic miscalculation and the supernova never occurred in the documentary.  However, Young Nerds of Color depicts two beautiful ones thanks to Andrea Sofia Sala’s innovative lighting while also symbolically illuminating some big and impactful ideas such as the discovery that matter from a supernova is directly connected to eyesight. 

Lindsey McWhorter as Portia Long, Daniel Rios Jr as Reinaldo Herrera and DJ Lopez, and Alison Yueming Qu As Chloe Chen Photo credit to Nile Scott Studios

An educational and unconventional play full of discoveries, Young Nerds of Color translates like a flowing and collaborative academic dialogue among geniuses with performances so subtle and convincing that I had to glance back at the program to make sure they were actors and not the actual professionals they are depicting.  A show gathered from 60 interviews with real life scientists, cast members deliver their point of view in their own unique style as they discuss the journey to make their ambitions come to life. 

Ricardo Engermann as Jim Gates, DJ Thomas, Reinaldo Herrera and DJ Lopez Photo credit to Nile Scott Studios

Sponsored in part by MIT, Young Nerds of Color examines the lives of renowned scientists and engineers from diverse backgrounds whose career dreams were more difficult to achieve than they ever expected even before they discovered that dream.   Living in pre-segregated Boston, racism and economic struggles was just a portion of the challenges they faced for being “young nerds of color.”  They all collaboratively take on the role of scientist and educator as they share with the audience and usher in the next generation to proceed toward their dreams with cautious optimism.

Lindsey McWhorter as Portia Long and Karina Beleno Carney as Dr Maria Hernandez Photo credit to Nile Scott Studios

Shelley Barish’s straightforward and illuminated set features two double helixes that might also symbolize that long career ladder and periodic table while Nona Hendryx creates memorable compositions with catchy and cosmic-sounding rhythms and original music.

Some of the cast depicts multiple roles and have engaging chemistry as they portray the journey from childhood experiments fueled by curiosity to those dangerous discoveries that can change the world all while presenting themselves in a way that society might accept so they too might thrive.   I should have learned about this astounding group before now.

Hidden Figures stayed with me and Young Nerds of Color sure does too.

Underground Railway at Central Square Theater presents Young Nerds of Color arranged by Melinda Lopez live in person through March 20 at Central Square Theater in Cambridge, MA and virtually through April 3.  The show is approximately 75 minutes with no intermission.    Click here for more information, tickets, and COVID-19 guidelines.

REVIEW:  SpeakEasy Stage Company’s searing and immersive ‘People, Places & Things’ makes an indelible impact

Nina is in a nightmare.

Perhaps rock bottom is an unimaginable state until you learn how much further you can sink. People, Places & Things is a jarring and astounding portrait of a spiraling woman who must face that this nightmare she’s in can be stopped.

Masterfully directed  by David R. Gammons, SpeakEasy Stage Company presents Duncan Macmillan’s People, Places, & Things live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 5.  This show contains mature themes.  Click here for more information and tickets.

People, Places, and Things is immediately gripping as it thrusts the audience into Nina’s (or whatever she calls herself at the moment) apparent breakdown onstage.  Nina, brilliantly depicted by Marianna Bassham, is a struggling actress who has more than just forgotten her lines during a pivotal moment in a sophisticated play.  The harried and frantic nature of Nina’s life emanates from the stage and you are engulfed in the deep chasm of an addict.

Kadahj Bennett and Marianna Bassham in People, Places & Things. Photo by Nile Scott Studios.

While People, Places & Things has its share of harrowing moments, it is not without its doses of dark humor. It is a realistic depiction of an addict’s complex journey with its own share of twists, turns, and shocking revelations.  Bassham is enigmatic and at times dreadfully unlikable in the way a guarded person who thinks they have all the answers might be.  Her sporadic tics, vacant expression, shaking, low talking, and absent pauses are shocking yet enthralling to witness.  Bassham’s disillusionment of the world gives the impression that she feels she is not in the chaos of her circumstances, but standing outside of them in her own judgment.  With alarm, rage, and confusion flickering in her eyes, Bassham is absolutely riveting.

Adrianne Krstansky and Marianna Bassham in People, Places & Things. Photo by Anabel Rios Photography.

 The show depicts a mix of lucid moments and unhinged visions manifested in part by the efforts of Jeff Adelberg’s transient lighting varying from creepy to downright alarming. Whether it is to demonstrate time freezing, time progression or revealing trauma with occasional strobe lights, Adelberg captures the striking and vivid chaos within and outside this woman.

Marianna Bassham and the cast of People, Places & Things. Photo by Nile Scott Studios.

Jeff Petersen’s open staging is a bold and clever choice where nothing is hidden from the front of the stage right through to what seems like dressing rooms.  This quick-paced production makes some swift transitions meticulously done with purpose and meaning.  The transparency lends a great deal to the piece as each character struggles with what they are hiding.

Marianna Bassham and Nael Nacer in People, Places & Things. Photo by Nile Scott Studios.

 The dynamic cast includes members that take on dual or even multiple roles that are vastly different throughout the production. Kadahj Bennett’s direct, compassionate, and occasionally amusing turn as Foster is as harsh on Bassham as he has probably been on himself.  Bennett, Bassam, and barely stable and complicated Nael Nacer as Mark share some significant and transcending moments as their outlooks on life make for some compelling dialogue.   Nacer and Bassham also share some intriguing chemistry.  At one point, Naser refers to Bassam as a ‘human hand grenade.’  Adrienne Krstansky and John Kuntz make some brilliant transitions in their multiple roles and it is easy to become invested in each of these unpredictable characters.

Nael Nacer, John Kuntz, and Marianna Bassham in People, Places & Things. Photo by Nile Scott Studios.

SpeakEasy Stage Company presents Duncan Macmillan’s People, Places, & Things live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 5.  This show contains mature themes.  Click here for more information, tickets, and upcoming productions.

REVIEW: Celebrity Series of Boston presents ‘What Makes it Great?’ with Rob Kapilow and the brilliance of Broadway’s Lerner and Loewe

What elements contribute to a great song?

At just beyond his 25th year, NPR’s popular composer, conductor, and music commentator, Rob Kapilow continues to captivate audiences with his vast musical knowledge, sense of humor, and careful analysis of what makes the best songs tick.  Though music styles and genres inevitably change, these classic tunes may make you see your favorite songs in a whole new light.

From the GBH’s Fraser Performance Studio in Boston, Massachusetts and directed by Bob Comisky, Celebrity Series of Boston presents What Makes it Great? with Rob Kapilow streaming through January 27.  Featuring an array of classic Broadway songs by American lyricist and librettist Alan Jay Lerner and Austrian composer Frederick Loewe, Kapilow delves into each song’s appeal and emotional undertones through its carefully selected musical notes. 

NPR’s Rob Kapilow and his piano Photo courtesy of Celebrity Series of Boston

Part teacher, humorist, and historian, Kapilow proves once again just how fascinating a song can be through a mix of sophistication and an easy to follow delivery.  Click here for more information and how to get access to this virtual production and follow along by downloading the show’s program.  The virtual performance includes a short question and answer session.  Click here for more on NPR’s What Makes it Great?   

Though often speaking to a large audience, Rob Kapilow possesses such a personal, relaxed and friendly quality during his talks, it often feels like a one-on-one session on a baby grand piano.  He is so popular with the Celebrity Series crowd that he usually makes a couple of Celebrity Series of Boston appearances per season tackling everything from swing to dance to classical to Broadway music revealing each song’s inherent brilliance.

Rob Kapilow Photo Credit: John Johansen

Calling on a couple of Broadway love songs, Kapilow was accompanied by soprano Emily Albrink and stirring singer, actor, and musician Ben Jones.  In a flowing floral dress, Albrink brims with excitement evident is her soaring vocals as she delivers a charming rendition of My Fair Lady’s I Could Have Danced All Night.  In a black jacket and tie, Jones masters the complex and emotional weight of Camelot’s If Ever I Should Leave You with a bold finish.  Together, Jones and Albrink depict the playful and lighthearted chemistry for Brigadoon’s Almost Like Being in Love and Heather on the Hill where at one point, Jones takes Albrink’s hand. 

Delving into the Golden Age of Broadway as well as Lerner and Loewe’s dynamic history, Kapilow chose a selection of lighthearted and dreamy songs as well as pivotal numbers from musicals that leads to a character’s imminent transformation.  With humor and grace, Kapilow also reveals what each song might have sounded like without its individuality and as he peels back each layer, What Makes It Great? becomes an eye-opening experience. 

From classic songs and American Standards such as It’s Almost like Being in Love from Brigadoon to the high-spirited I Could Have Danced All Night from  My Fair Lady to a humorous and not to be missed I Remember it Well from Gigi, Rob shows how compulsive American lyricist Lerner of the famed retail stores and poverty-raised and frugal Austrian composer Loewe poured themselves and their imagination into their music to create some real Broadway magic.

What Makes it Great? with Rob Kapilow streams through January 27.  Click here for more information and how to access the show.  Click here to see what is next during Celebrity Series of Boston’s digital and in person season.

REVIEW:  Lyric Stage Company’s heartfelt and semi-interactive ‘Mr. Parent’ a life changing journey

It is a production so engrossing that when it ends, you find yourself asking, “Then what happens?”

This is not to say that this insightful one man production, Mr. Parent is incomplete by any means, but the essence of this thought can be found in Maurice Emmanuel Parent‘s charismatic and absorbing storytelling.  This autobiographical and semi-interactive recollection of a life-changing period in Parent’s compelling history features amusing and captivating characters that will keep you invested in his journey, eager to find out what is next.

Seamlessly directed by Megan Sandberg-Zakian, Lyric Stage Company continues the timely production Mr. Parent by Melinda Lopez through February 6 at Lyric Stage Company in Boston, Massachusetts. It will also be available for streaming from February 7 through February 20. This show runs 90 minutes with no intermission.  Click here for more information and for tickets.

Maurice Emmanuel Parent Photo by Mark S Howard

Within a colorful and empty classroom by Cristina Todesco, the aptly-named Mr. Parent manages to cover a great deal in its limited time frame from the state education system to struggling families to struggling teachers to desegregation during a pivotal time in Mr. Parent’s life approached with the kind of heart and humor that comes from experience.   Inspirational, educational, and complex, Mr. Parent also begs a significant question that many people face every day:  How do I pursue my passion while still making a decent living? 

Working in the arts, this quest is close to my heart.  In order to do what one loves, one may have to supplement that journey with additional job or jobs to make it all work.  It is a journey of sacrifice, more than likely a lack of sleep, and an overwhelming desire towards that dream goal, however means it may take to get there.  For some, taking this avenue may create another dream realized.

Maurice Immanuel Parent as himself is a struggling actor hoping to find success, but quickly realizes that doing so requires supplemental income.  He finds it in the form of teaching.  Having seen him perform as Cardinal Richelieu in Greater Boston Stage Company and Front Porch Arts Collective’s The Three Musketeers, Parent has a wealth of talent.  He is a charismatic presence onstage and it is easy to see the drive and heart he puts into his work.  Here, Maurice Emmanuel Parent’s personal account reflects that talent in spades.

Maurice Emmanuel Parent Photo courtesy of Mark S Howard

It has as much heart as adventure from hyena auditions to a sneaky hoodie to recollections of shows he encourages his parents not to see, Parent recounts the unsettled and unpredictable life of teaching and acting which includes plenty of realizations along the way with bite, humor, and in times of distress, unmitigated honesty.  For example, in two particularly moving moments, Mr. Parent describes in anguish what it is like to see his bright students from low income families struggle for their basic needs and enduring the scare of a lockdown.  He navigates scenario after scenario invoking an intensity and desperation to succeed in a job that he hopes will meet his needs, but wondering if he may be in over his head.   Seemingly sterling opportunities almost always have its challenges and Mr. Parent shows that we all have much to learn.

Maurice Emmanuel Parent Photo by Mark S Howard

Lyric Stage Company continues Mr. Parent through February 6 live and in person at Lyric Stage Company in Boston, Massachusetts. Click here for more information and for tickets.