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

Posted on 1 Day Ago 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 4 Days Ago 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 9 Days Ago 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 21 Days Ago 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 28 Days Ago 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.

REVIEW: Humor brightens The Huntington’s raw and gritty ‘Oedipus El Rey’

Posted on May 27 by The Sleepless Critic

Is it possible to alter your destiny?

If you are thinking of that classic Greek mythological tale, then yes, it’s that story…with a twist.

Boldly directed by Loretta Greco, The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Taking place in engaging stadium seating, the production runs approximately 100 minutes without an intermission. The program contains a valuable synopsis and guide of Spanish terms with translations. Click here for more information and for tickets.

Javier David in foreground, with LtoR:Jaime José Hernández, Juan Arturo, Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Oedipus El Rey is a re-imagining of Sophocles’s classic tale and is one third of Luis Alfaro’s Greek trilogy. The other two works include Sophocles’ Electra and Euripides’ Medea. Oedipus El Rey is shared through a distinct lens about a man wrestling with destiny.

Hana S. Kim’s barebones set comes to life through mystical, biblical, modern, and kaleidoscopic projected landscapes from shooting stars to prison bars to floral gardens. One of my favorite set pieces was the ice cream cart! Greco makes the most out of the intimate staging through the depiction of motion and scenes occurring side by side. From finely-detailed and mythological headdresses to modern orange emblazoned jumpsuits and track suits with thick gold chains and baseball hats to chic denim and Latino-inspired gowns, Hana S. Kim ties together this tale transcending time right down to Jocasta’s laced up Greek sandals.

Javier David in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Set in a contemporary urban Los Angeles landscape, Oedipus El Rey delivers universal themes with a dose of mysticism about the cost of relentless pride and infallibility. This world is raw and gritty while possessing its own distinct energy. It has a passing resemblance to Baz Luhrman’s gritty setting in Romeo and Juliet which takes place in California and combines Mexico City, Miami and Los Angeles with Catholic imagery.

If you don’t already know this classic story, it is a poignant tale not for the faint at heart featuring a group of wise and discerning narrators who also act as a Greek chorus delivering a mix of satirical humor and commentary that can lighten this production’s heavier elements.

Shared in a penitentiary setting, this Greek chorus disguised as inmates not only keep time, but assume a number of pivotal roles. Jaime José Hernández, Victor Almanzar, Javier David, and Gabe Martínez share a fascinating and seemingly easygoing and amiable rapport delivering relatable, modern, dark and humorous commentary as they share this fluctuating tale that is once cynically amusing, grim the next and thoroughly intense. It boasts music, celebration and comedy while still possessing all the elements to this at times shocking classic tale. Alongside Juan Arturo as Oedipus, the group displays athleticism, activity and prowess with an urgency to outrun or outsmart their ultimate fate.

Domineering gang leader Laius, fiercely portrayed by Gabe Martínez, learns he is expecting a baby with Melisa Soledad Pereyra as Laius’s faithful wife Jocasta. However, when a seer foretells the baby’s fate, Laius takes drastic measures to prevent Oedipus’s ultimate destiny.

Juan Arturo, Melisa Pereyra in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Juan Arturo as Oedipus sharply mixes hubris, resentment, rage and sympathy in a textured and intense performance. Oedipus is a victim of circumstance and longs for meaning veiled in relentless ego and pride and brings overriding sympathy but not endearment beneath an array of shocking actions.

Victor Almanzar in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Oedipus and Victor Almanzar as Tirasius share a complex and compelling relationship. Almanzar is particularly impressive as compassionate Tirasius who possesses profound power behind stirring humility. Melisa Soledad Pereyra also stands out as traditional and powerfully faithful Jocasta who demonstrates resilience through her struggle and resentment and Jaime José Hernández is charismatic as Jocasta’s protective brother Creon.

Jaime José Hernández in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

While I’m not a fan of Greek mythology and the classic tale of Oedipus isn’t one of my favorites, I can appreciate its resounding significance and moral messages. What I enjoyed about Oedipus El Rey is its liveliness and the imaginative retelling while still managing to stay true to its timeless mythological roots. The dark and occasionally lighthearted humor unexpectedly made me laugh quite a few times even as this troubling tale reached its inevitable climax and for that, I am grateful.

L to R: Victor Almanzar, Javier David, Juan Arturo,Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Click here for more information and for tickets.

REVIEW: SpeakEasy Stage’s ‘Swept Away’ creates light and haunting shadow in impactful rhythms

Posted on May 14 by The Sleepless Critic

Paralyzed by the past, one man must share his life-altering recollections of the high seas.

Directed by Jeremy Johnson with pulsating musical direction by Paul S. Katz, music and lyrics by the Avett Brothers and astutely choreographed by Ilyse Robbins, SpeakEasy Stage continues the New England premiere of musical drama, Swept Away live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, May 23. Based on a true story set in New Bedford, Massachusetts, Swept Away has adult themes and runs approximately 90 minutes with no intermission. Click here for more information and for tickets.

Peter DiMaggio & ensemble. Photo: Nile Scott Studios

Sailing the high seas can hold as much danger as adventure. A dynamic group of veteran and inexperienced whalers set sail from New Bedford, Massachusetts on a wooden yacht called The Mignonette. The yacht’s name is based on a real life yacht bound from Southampton, England to Sydney, Australia in 1884 and inspired an album by the Avett Brothers.

Having seen In the Heart of the Sea, a film with some similar themes based on the Essex Maritime Disaster and inspired Herman Melville’s Moby Dick, Swept Away has a lot of jubilant and hopeful moments while it is also based on a horrific true story about survival. While the sweeping harmonies and beautiful lyrics drew me in, the darker themes kept me at bay which left me wondering whether every tale needs to be told.

Max Connor (dark hair) and Bishop Levesque. Photo: Nile Scott Studios

It is joyful and moving, but also chilling and grim. You should be ready for all of these to witness this musical.

Opposing ideas are at war during this surprising musical drama and includes a number of meaty themes such as duty, faith, trauma, sacrifice, grief, morality, sin, desperation and redemption dwelling within these often jaded whalers. These themes are not just touched upon, but are the very basis for what happens next.

Janie E. Howland’s maritime-inspired set includes wooden chests, masts tied in thick rope, ladders and wooden barrels framed by a translucent sail illuminated by kerosene lanterns. Karen Perlow’s vibrant lighting depicts days passing in shades of greens, purples, and blues on the horizon. Perlow also creates creeping shadows as James Cannon’s haunting sound design demonstrates the rollicking and foreboding sounds of the sea.

Foreground Max Connor (left) and Peter DiMaggio with ensemble. Photo: Nile Scott Studios

It’s natural to wonder what is beyond your backyard and what kind of adventures lies just beyond your reach. Led by Peter DiMaggio who delivers a charismatic, sympathetic, and sinister performance, this enthusiastic cast initially shares a warm camaraderie as they get to know each other. Little Brother, amiably portrayed with naiveté, wide-eyed tenacity by Max Connor, is determined to become a whaler believing it might be his only chance to see the world. However, Bishop Levesque as Max’s protective older brother, a pillar of faith and sacrifice, hopes to convince him to come home.

From left: Christopher Chew, Peter DiMaggio, Bishop Levesque, Max Connor. Photo: Nile Scott Studios

Levesque’s Big Brother beliefs clash with Peter DiMaggio as rebellious Mate who has seen and swallowed more than he can bear and wants to wash his hands of responsibility. They impressively standoff with the cast in a cappella and piano-infused harmony for gospel hymn Lord Lay Your Hand On My Shoulder against the catchy and stomping rhythms of Ain’t No Man.

Christopher Chew as The Captain with ensemble. Photo: Nile Scott Studios

Swept Away boasts stunning harmonies in this folk-rock musical articulated through Robbins’s swift, energetic and organic choreography in every sliding, stomping and clapping rhythm led by skilled aerialist Ezra Quinlan who gracefully glides from what seems to be a main sail. They leap and sway to the upbeat and guitar-tinged Hard Worker which describes the life of a whaler and Christopher Chew eloquently shares his proud yet weary life as Captain in May it Last.

Bishop Levesque as Big Brother. Photo: Nile Scott Studios

The Avett Brothers deliver a number of poetic and memorable lyrics such as What more is a rainbow than colors out of reach? and With Your Heart my soul is bound and their riveting rhythms is the pulse of this nautical journey.

Peter DiMaggio as Mate. Photo: Nile Scott Studios

SpeakEasy Stage continues the New England premiere of musical drama, Swept Away live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, May 23. Click here for more information and for tickets.

REVIEW: Helmed by a strong cast, Actors’ Shakespeare Project’s profound and soul-stirring ‘Gem of the Ocean’ shines

Posted on May 10 by The Sleepless Critic

Everyone should see Aunt Ester.

Joshua Lee Robinson delivers a captivating performance as complex young Citizen who is desperate to see Regine Vital’s Aunt Ester, believing she is the key to unburdening his heavy heart and cleansing his soul. Robinson conveys Citizen’s troubled spirit in low tones as well as pleading and urgent mannerisms that make it easy to feel the weight of his burden.

Joshua Lee Robinson and Regine Vital with Dereks Thomas and MarHadoo Effeh in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

August Wilson has woven a powerful tale with an array of interconnected characters and a supernatural twist that delves into the meaning of freedom, oppression, superstition, the law, redemption, biblical themes and much more.

Directed intuitively by Monica White Ndounou, Actors’ Shakespeare Project continues August Wilson’s Gem of the Ocean live and in person at Hibernian Hall in Boston, Massachusetts through Sunday, May 17. This beautiful production contains strong language and runs two hours and 40 minutes including one intermission. Click here for more information and for tickets.

Dereks Thomas, MarHadoo Effeh, Joshua Lee Robinson, Jonathan Kitt, and Kadahj Bennett in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

With the acclaim of Fences, Ma Rainey’s Black Bottom and The Piano Lesson, Denzel Washington recently made a deal with the August Wilson Estate to bring the rest of the plays from August Wilson’s Pittsburgh Ten Play Cycle to the big screen. Washington only met August Wilson once on a rainy day in Seattle between 2003 and 2005 when Wilson was considering Washington for a part in his new play, Gem of the Ocean.

Over the past few years, Actors’ Shakespeare Project staging August Wilson’s plays has proven to be a match made in Heaven. Since the premiere of Seven Guitars in 2023, Actors’ Shakespeare Project shines with each new production and Gem of the Ocean, their resonating fourth play in August Wilson’s Pittsburgh Cycle, is no exception.

Set in 1904 Pittsburgh, Gem of the Ocean was not written first, but it is set the earliest in the Pittsburgh cycle and stands as the historical and spiritual center of the cycle’s various works. Seven Guitars also ties in Gem of the Ocean nicely with a brief mention of Aunt Ester’s legendary gifts and now we are learning the full story.

Payton Tavares creates a wooden duel level and transformative set which features a balcony, a dark staircase, hanging wrought iron pots, a vintage etched cabinet with bread box, doilies adorning timely furniture and pivotal lanterns adorning both sides of Aunt Ester’s house.

Joshua Lee Robinson (center) with Jonathan Kitt and Regine Vital in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

Like The Piano Lesson, Gem of the Ocean has its own transfixing and suspenseful share of supernatural elements hauntingly illuminated by Isaak Olson combined with Aubrey Dube’s windswept, mystical, soulful and rumbling sound design.

Jonathan Kitt, Dereks Thomas, and Joshua Lee Robinson in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

The family bonded rapport between characters, the genuine humor, rich storytelling and shared pearls of wisdom are just a few of the common and riveting elements in August Wilson’s productions. With the soaring vocals Vital is known for in other productions, Regine Vital brings to life charismatic, weary, and home bound Aunt Ester whose power and discernment reveals itself in bursts. Aunt Ester’s mystical wisdom shapes this story while Jonathan Kitt portrays a heartfelt and larger than life persona as energetic Solly Two Kings. Kitt’s Solly muses, “If I live my life for a woman, I can’t live my life for the people” and “Wave the law in one hand and a Billy club in the other.”

MarHadoo Effeh and Kadahj Bennett in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

Kitt is as endearing and avid a storyteller as he was as reserved and discerning Doaker in The Piano Lesson, but Solly Two Kings is an impulsive, frank and instinctive man full of ideas. Even with a wooden stick for a cane, Kitt’s Solly is a man of action and devoted to his family with a harrowing history of survival that fuels his determination and only makes him stronger. Solly and Aunt Ester share a lighthearted and affectionate rapport. Aunt Ester also leans on Dereks Thomas as warm, concerned and protective Eli, a fascinating bond with Marhadoo Effah as Aunt Ester’s loyal caretaker Black Mary, and a growing and enigmatic connection with Robinson’s Citizen who resembles someone from her past.

Michael Broadhurst (right) with MarHadoo Effeh in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

In a black vest, holster and tie, Kadahj Bennett is terrific as tough, outspoken, wealthy and rigid free man Caesar, who has changed in recent years to the frustration of Effah is also Caesar’s humble, earnest and seemingly stoic sister. In a production boasting biblical references, it is likely Caesar is named after the Roman Emperor who practiced supreme civil authority. Blinded by self-righteousness and a dominating sneer, Bennett’s Caesar is intense and unflinching in the name of the law. Michael Broadhurst rounds out this intriguing cast as Solly’s trusted peddler friend, Rutherford.

Joshua Lee Robinson (center) with Jonathan Kitt, MarHadoo Effeh, Dereks Thomas, and Regine Vital in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

A gem is established when it is tested to its very limits. Gem of the Ocean is a remarkable spiritual journey that tests each of these characters and is rooted in harrowing history while emphasizing the importance of endurance and fortitude in life’s brutal battlefield. It is a moving production offering humor and profound life lessons that culminate in surprising revelations and full circle moments that keeps you guessing to the very end.

Actors’ Shakespeare Project continues August Wilson’s Gem of the Ocean live and in person at Hibernian Hall in Boston, Massachusetts through Sunday, May 17. Click here for more information and for tickets.

REVIEW: Behind the love of music in ‘Stereophonic’

Posted on April 28 by The Sleepless Critic

As it is with making anything significant, creating begs a steep price. No pain. No gain.

Inside this expansive 70s music recording studio, upcoming rock band Here takes a crash course in this hard earned lesson.

Sleekly directed by Daniel Aukin with Justin Craig’s intricate music direction and Will Butler’s dynamic original songs, David Adjmi’s Stereophonic took the stage live and in person for a limited run from Tuesday, March 10 through Sunday, March 15 at Emerson Colonial Theatre in Boston, Massachusetts and is currently on a national tour. The music-inspired production contains mature dialogue, performed in four acts and runs 3 hours and 10 minutes including an intermission. Click here for more information on their Boston run here for details on their national tour.

Jack Barrett as ‘Grover’ in the First National Tour of Stereophonic. Photo: Julieta Cervantes

Prior to attending Stereophonic, I was visiting Thinking Cup on Tremont Street in Boston and one of the employees happened to be streaming Fleetwood Mac’s acclaimed 1977 Rumours album. I asked about it and he revealed he was a big fan of their music and felt like playing it, not knowing that just across the street Stereophonic would be loosely paying tribute to not only Fleetwood Mac, but the many artists who indulged in the power and art of painstaking music creation during that era without an auto tune in sight.

It’s no secret that Fleetwood Mac has stood the test of time as one of the world’s greatest bands, but hearing Dreams in that popular café was the perfect opening act for this show.

However, you do not have to be Fleetwood Mac fan to enjoy this production. I was also a fan of Amazon’s Prime’s Daisy and the Six which is also loosely based on the story of Fleetwood Mac. Built for any music lover, Stereophonic concentrates much more on the tricky and collective process of creating an album and could represent the story of any band.

Company of STEREOPHONIC. Credit Julieta Cervantes.

Stereophonic follows rock band Here entirely from an elaborate recording studio in Sausalito, California from 1976 to 1977. David Zinn’s finely-tuned and functional glass-dual level recording studio set allows you to simultaneously see what is happening on both floors as plenty of drama takes place inside the recording booth as well as behind the scenes. Adjmi’s energetic dialogue kicks off the opening scene already in progress taking place the day after a big rehearsal night in overlapping and at times frenzied-under-high-pressure tones. With Jiyoun Chang’s urgent lighting measuring the progression of time, the audience is a fly on the wall and an omniscient presence privy to the secrets these musicians are keeping from one another as they contemplate their next song.

Having worked inside radio stations for many years, Zinn’s set resonated with me. The life of a radio talent and a musician share some similarities exemplified in a scene involving Jack Barrett as Grover and Steven Lee Johnson as Charlie who talk their way into a gig as a pair of rookie sound engineers. It’s all about the music and living that rock and roll dream.

Radio stations and studios can be open 24 hours a day and a musician or a radio personality can be working exhausting hours anywhere within that 24 hour period into the wee hours of the morning. With fluffy pillows and blankets, a radio station or a recording studio couch is not just convenient for studio visitors, but a place to crash if you are recording overnight.

(From L) Jack Barrett as ‘Grover’ and Steven Lee Johnson as ‘Charlie’ in the First National Tour of Stereophonic. Photo: Julieta Cervantes

Stereophonic hones in on the music process and what a meticulous undertaking it is, especially surrounded by musicians who can barely agree on what to do next, never mind tempo and rhythms. They riff, debate, share outlandish ideas, philosophize, joke and reflect like family at their best and at their worst.

The production features quite a bit of nostalgia through a wealth of 70s pop culture references, especially from Fleetwood Mac and other famous 70s rock bands such as The Eagles or the Doobie Brothers. Enver Chakartash’s colorful costumes speak to the hippie/disco era in bell bottoms, suspenders, and button down shirts as well as vividly patterned and flowing dresses.

Claire DeJean, Emilie Kouatchou, and Denver Milord in STEREOPHONIC. Credit Julieta Cervantes.

The cast exhibits strong vocals even as harmony and discord unleash onstage. From song snippets to a full song run through, you can’t help but long to hear more music and how the entire album turns out.

Swinging a tambourine, Claire Dejean brings to life naïve and insecure yet creatively gifted Diana who shares both harmony and discord with Denver MiLord as frustrated perfectionist Peter. They are a couple who perpetually challenge each other to a boiling point. Dejean’s Diana bonds with Emilie Kouatchou as best friend and band mate Holly who also has her own relationship troubles.

Claire DeJean and Denver Milord in STEREOPHONIC. Credit Julieta Cervantes.

Though the production would be just as impactful in a briefer timeframe, Stereophonic delivers a mix of somber, tense and humorous moments with Christopher Mowod standing out through a mix of humor and seriousness as unfiltered British musician Reg. Stephen Lee Johnson as Charlie and Jack Barrett as Grover share great chemistry and lend some lightheartedness to the show while Cornelius McMoyler brings an intensity to firm, level headed yet overwhelmed manager Simon. McMoyler’s Simon wise and stoic exchange with MiLord’s Peter is one of the show’s most intense highlights.

The First National Tour Cast of Stereophonic. Photo: Julieta Cervantes

Pursuing your passion often requires more than you bargained for and Stereophonic takes a deep dive into inevitable impact of long hours, partying, what smells like real smoking, and drug use. It also depicts the resourcefulness, perfectionism, and the drama behind the scenes as a band spends every hour together pouring their lives into creating what they hope is an album masterpiece while their personal lives hang in the balance.

Such is the art of rock and roll.

Stereophonic is currently on a national tour. Click here for further details and tickets.

REVIEW: A playwright’s journey goes awry in shrewd satirical comedy ‘When Playwrights Kill’

Posted on April 15 by The Sleepless Critic

Theatre can really drive you crazy and no one is more versed on that subject than Matt Doyle as playwright Jack Hawkins. Matt Doyle also acts as narrator reflecting on his wild journey as a struggling playwright.

With Noah Himmelstein’s zippy direction fueled by John Gromada and Joel Abbot’s catchy and mischievous sound design, Matthew Lombardo’s zany satirical comedy, When Playwrights Kill continues its world premiere live and in person at The Huntington in Boston, Massachusetts for a limited engagement through Saturday, April 18. This semi-interactive play-within-the making-of-a-play contains adult language and runs 2 hours with an intermission. Click here for more information and for tickets.

(L-R) Adam Heller (The Producer), Matt Doyle (The Playwright), Kevin Chamberlin (The
Director) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Loosely based on a real life theatrical incident, When Playwrights Kill features far more wry humor and hilarity than dark moments when a struggling playwright desperately attempts to get his new play, The Return to the Broadway stage. Working with an unpredictable theatre company which includes a greedy producer and a semi-retired acting legend, success may come with a price.

(L-R) Kevin Chamberlin (The Director), Matt Doyle (The Playwright), Beth Leavel (The
Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Alexander Dodge’s modestly stylish scenic design includes a glimmering red curtain and an extravagant makeup table with diva lights enhanced by Elizabeth Harper’s versatile lighting that not only cues scene changes and adds depth to the set, but illustrates Jack’s self aware inner monologue and narration.

Matt Doyle (The Playwright) and Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Comparing a restaurant to a shame shack and lines like “I’m not even following your tricycle of thought” is just a sample of Matthew Lombardo’s witty and uproarious script. It often draws on theatre history and boasts an assortment of theatrical and Boston references, but you don’t need to be a theatre buff to enjoy the absurdity of this shrewd production.

When Playwrights Kill features a strong cast that feed well off each other as this initially lighthearted production’s plot wildly thickens. Doyle delivers an earnest and engaging performance as Jack while articulating the building fury and frustration of being a playwright. Doyle’s asides are especially entertaining and he shares a fascinating chemistry with Beth Leavel as Brooke Remington, a semi-retired acting legend hired to perform his one woman show.

Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Electric in fabulous heels, Beth Leavel is excellent as frazzled, charismatic, egotistical and blunt Brooke mastering a complex array of physical comedic scenarios that bear a passing resemblance to Carol Burnett‘s comedic prowess. For example, a scene where Leavel as Brooke is navigating a phone is pure perfection. Always making a memorable entrance, Brooke can also order a meal that gives Sally Albright a run for her money decked out in glamorous and vibrant attire by costumer Alejo Vietti only second to Tomás Matos as frank and wisecracking Val Liam’s chic and studded wardrobe in shredded denim and florals.

(L-R) Beth Leavel (The Actress) and Marissa Jaret Winokur (The Stage Manager) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Adam Heller is also memorable as a business minded, fittingly raspy voiced and relentlessly greedy producer who shares some grand scenes with Doyle, but it is especially entertaining as Heller and Kevin Chamberlin, wonderful as the Director, conspire together calculating what next is in store. Boasting some priceless facial expressions, you may also feel the frustration of Marissa Jaret Winokur as a sympathetic and level headed Stage Manager who is doing everything necessary to keep this production afloat.

(L-R) Beth Leavel (The Actress), Tomás Matos (The Prompter), Adam Heller (The Producer),
Matt Doyle (The Playwright) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Twists and turns navigate this quickly paced and often unpredictable tale that delves into themes such as avarice versus creativity and other thought provoking ideas that resonate while the production never takes itself too seriously.

When Playwrights Kill is a delightfully absurd and insightful treat to anyone on and off the stage.

Matthew Lombardo’s zany satirical comedy, When Playwrights Kill continues its world premiere live and in person at The Huntington in Boston, Massachusetts for a limited engagement through Saturday, April 18. Click here for more information and for tickets.