boston | The Sleepless Critic

REVIEW: Greater Boston Stage Company explores two notorious figures in historical comedy, ‘Founding F%!#ers’

Did the Boston Massacre really start over a snowball?

Not exactly, but colonists who threw snowballs at British soldiers did escalate growing tension leading up to this historical event. It is one of many wildly staged ideas explored in Greater Boston Stage Company’s Founding F%!#ers, a historical comedy which dives into the lives of laidback renegade Vermonter Ethan Allen and meticulous Connecticut-born military officer Benedict Arnold through the American Revolution. These notorious and egotistical individuals cross paths shortly after the Boston Massacre and would become frenemies, but they also might share a lot more in common than they would ever care to admit.

Olivia Dumaine and the cast of Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

History buffs, prepare to be entertained. Boasting Will McGarrahan’s candid and compelling narration, Greater Boston Stage Company delivers a historical comedy whose two strong leads face missteps and misfortune worse than witnessing poor Stewart Evan Smith and Jules Talbot as soldiers enduring the throes of a punishing Boston winter.

Stewart Evan Smith and Jules Talbot in Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Directed with a contemporary comical edge by Weylin Symes, Greater Boston Stage Company presents the world premiere of Conor Casey’s Founding F%!#ers live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, May 18. The production is approximately two hours with one intermission. Click here for more information and for tickets.

Rumor, gossip, spies, backstabbing, conspiracies and tall tales all come to a head in a story that looks back on events with the full knowledge of how these events were bound to turn out. It is also full of local references and colonial fare making Massachusetts the ideal spot to debut this world premiere production with Vermont running a close second.

Marge Dunn and Jules Talbot in Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Plans take shape and also go humorously awry with brief contemporary references such as Hamilton interspersed throughout the play. Iconic moments in history are played out under McGarrahan’s capable narration, which keeps the show from becoming an arduous history lesson. Never preachy, McGarrahan is a wonderful and animated narrator, also peppering his performance with occasional candid reactions to the action before stepping in later as John André. André is a cunning individual that I would have like to have known better.

The cast personify a number of roles as the show progresses such as Jeff Mitchell portraying sweet Rosie the barmaid and John Adams. Within Jenny S. Lee’s multiple roles, Lee’s pivotal role as resourceful Peggy Burr brings mischievous intrigue.

Jenny S. Lee and the cast of Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Corey Whittemore’s warm lighting illuminate Katy Monthei’s sliding rustic wooden colonial set. Deirdre Gerrard’s exacting costume design includes a combination of New England and period colonial pieces with accessories such as leather hats, white wigs, gold buttons, suede, lace, fringe and makeshift mustaches.

Dressed in a suede fringe jacket, William Johnston depicts laidback renegade Ethan Allen, head of the Green Mountain Boys, with a combination of charisma and the ability to spin a good yarn. Allen is dodgy, impulsive and often inebriated and Olivia Dumaine as Allen’s trusty and reasonable cousin Seth Warner does an admirable job in steadying Allen’s spontaneity.

Marge Dunn Olivia Dumaine and William Johnston in Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Marge Dunn does double duty as Fight Captain and Benedict Arnold, boasting a serious and commanding demeanor longing to rise up the military ranks. Arrogant and orderly, Arnold insists on following the rules of engagement until something unexpected takes shape. They share an interesting and unpredictable rapport and it is good fun to anticipate whether they are finally in agreement or about to double cross each other. They are both impressive in these roles as they get under each other’s skin and to watch them make the decisions that lead to their ultimate fate.

William Johnston and the cast of Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Founding F%!#ers is plenty informative and not edgy as the title may suggest, even as they are embarking on exaggerated battles with a good dose of physical and satirical humor from Quebec to West Point and beyond. While it may run a bit long at times, the show has a lot to cover and does so with a combination of action, comedy, silliness…and irony. I guess hindsight really is 20/20.

Greater Boston Stage Company presents the world premiere of Conor Casey’s Founding F%!#ers live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, May 18. Click here for more information and for tickets.

REVIEW: A lively cast highlights SpeakEasy Stage Company’s ‘Jaja’s African Hair Braiding’

Posted on May 8 by The Sleepless Critic

‘Be kind, for everyone you meet is fighting a hard battle.’

It is a popular expression that will hold profound meaning to a group of designers in Jaja’s African Hair Braiding.

Today is a special day in this Harlem salon. The store owner, Jaja is getting married and before MaConnia Chesser as charismatic and outspoken Jaja makes her grand entrance, this salon buzzes with excitement, commotion, confiding, gossip, venting and conflict as steamy July temperatures show no sign of cooling off and the air conditioner hits a snag.

From left: Dru Sky Berrian, MarHadoo Effeh, Kwezi Shongwe, and Crystin Gilmore Photo by Nile Scott Studios

Directed with pizzazz by Summer L. Williams, SpeakEasy Stage Company continues Jocelyn Bioh’s dramedy Jaja’s African Hair Braiding through Saturday, May 31 at the Calderwood Pavilion in Boston, Massachusetts. This production is approximately 90 minutes with no intermission. Click here for more information and for tickets.

Set in 2019, behind these vividly painted graffiti double doors emblazed with ‘Jaja’s African Hair Braiding’ holds an impressive salon by Janie E. Howland featuring an array of identical salon chairs and overhead lights and includes meticulous details such as hazy steam fogging the mirrors, torn posters, and litter collecting out the doors.

While Jaja makes her big plans, this group of West African immigrant designers are holding down the salon and making plans of their own. Dru Sky Berrian makes a captivating entrance as Jaja’s anxious and cheerful daughter Maria who comically vents about already having a day of all days before the shop even opens. Maria helps out at the salon and although Jaja envisions Maria’s life in a lucrative profession, Maria has set her sights on other dreams. Well intentioned and earnest, sympathetic Berrian is the heart of the show.

From left: Dru Sky Berrian and MaConnia Chesser Photo by Nile Scott Studios

Crystin Gilmore portrays veteran designer Bea who has an ax to grind, particularly with younger designer, Ndidi, portrayed by Catia, who is there temporarily because the shop that Ndidi worked at burned down. Bea is appalled and claims Ndidi is stealing her customers. Catia is cool and collected as Ndidi who relishes this opportunity to grow her business. Gilmore’s Bea is glamorous, feisty, candid and frank as she shares the know-it-all vision she had of running this salon…if her plans had not gone awry.

From left: (foreground) Crystin Gilmore, Dru Sky Berrian, and Catia. (Background) MarHadoo Effeh, Hampton Richards and Kwezi Shongwe Photo by Nile Scott Studios

Customers and designers alike confide their stories and struggles as hair braiding is quite an extensive process handled expertly under Williams’ meticulous direction. This animated group holds compelling conversations, support each other, dance joyously, share juicy gossip, fight over the television remote and quietly tolerate what it is to be in customer service.

From left: Catia and Yasmeen Duncan Photo by Nile Scott Studios

Ashley Aldarondo and Yasmeen Duncan champion multiple roles as customers, each distinctive and range from delightfully gleeful to intolerably fussy as designers force a smile across their lips and a poker face in numerous relatable scenarios. It was particularly wonderful to watch Duncan pose and twirl teasingly in the mirror with her new Beyonce braids. Joshua Olumide encapsulates various roles from diligent socks salesman to turning up the charm as a promising love interest and a philandering husband.

From left: MarHadoo Effeh and Hampton Richards Photo by Nile Scott Studios

Vivid pinks, oranges and greens are only a fraction of costumer Danielle Domingue Sumi’s bold tones and stylish African patterns lending to each character’s vibrant personalities. Although these characters shine as individuals, the most fascinating moments come from their collective reactions from playful and horrified looks to synchronized cheers as this important day unfolds.

The cast of Jaja’s African Hair Braiding Photo by Nile Scott Studios

Jaja’s African Hair Braiding has its share of twists and turns, tackling societal and community issues including up to date matters of immigration. However, is also hopeful production that demonstrates the tight bond among this lively cast offering unwavering support, especially in the face of immense challenges.

SpeakEasy Stage Company continues Jocelyn Bioh’s Jaja’s African Hair Braiding through Saturday, May 31 at the Calderwood Pavilion in Boston, Massachusetts. This production is approximately 90 minutes with no intermission. Click here for more information and for tickets.

REVIEW: ‘Mean Girls The Musical’ kind of makes fetch happen

Posted on May 4 by The Sleepless Critic

As is the custom in this Mean Girls girl world, it was Wednesday and I work pink…fuchsia to be exact.

As a big fan of the 2004 hit film Mean Girls featuring Lindsey Lohan and Rachel McAdams, I couldn’t wait to revisit the famous catch phrases which became part of the pop culture landscape in this musical adaptation and it did not disappoint. While some of them are straight out of the 2004 film, other phrases are delivered slightly differently.

Mean Girls the Musical is mostly faithful to the 2004 film with some exceptions with some story elements expanded, enhanced or changed. Seeing the musical is a new experience.

Pictured (L- R): Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), MaryRose Brendel (Karen Smith) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

With nimble direction and sharp choreography by Casey Nicholaw, Mean Girls the Musical continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, May 4 before it continues on its national tour. This production is two hours and 30 minutes including one intermission. Click here for more information and for tickets.

Since the release of the 2004 film, Mean Girls the Musical ran on Broadway from 2018 through 2020 before the commercial success of the 2024 musical film starring Angourie Rice as Cady and Broadway’s Reneé Rapp as Regina.

Pictured (L- R):Mary Rose Brendel (Karen Smith), Maya Petropoulos (Regina George), Kristen Amanda Smith (Gretchen Wieners) Photo by Jenny Anderson, 2023

Having never witnessed either the Broadway musical or the 2024 musical film, it was exciting to see this story unfold in a different genre from an updated perspective acknowledging the widespread use of social media. In 2004, North Shore High School student wrote in an actual Burn Book. It was a wild thought to consider how that might be imagined online, but fortunately, The Burn Book has not changed. Cells phones, social media and autocorrect are integrated into the musical’s enhanced plot.

From shimmering mirror reflections to vibrant and detailed backdrops, scenic designer Scott Pask’s rolling set unfolds at a thrillingly agile pace as montages of classrooms transform in simultaneous desk twirls. Kenneth Posner’s animated lighting can largely be considered its own character enhancing the musical’s quick pace through unique and changing patterns overhead in time to John Clancy’s upbeat orchestrations while at times lending to the humor in key scenes.

While some aspects of the musical do not quite live up to the 2004 film, other aspects are done better. This cautionary tale, introduced by Joshua Morrisey as Damian and Alexys Morera as Janis, begins with Katie Yaomens as adorably quirky, awkward and anxious new student Cady who has moved to Illinois from Kenya after being homeschooled her entire life. Boasting soaring vocals and expanding on Cady’s fearless and adventurous Kenyan spirit in the enchanting song, It Roars, Yaomens brings naiveté and earnestness with a certain charisma as Cady that you can’t help but root for her success. Yaomens further glows with optimism alongside José Raúl as Aaron Samuels in the number, Stupid with Love. However, Cady learns that high school is much more complicated than she could have imagined.

Pictured (L -R): José Raúl (Aaron Samuels) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

Yaomens shares some compelling scenes with Morrisey and Morera as they open Cady’s eyes to an entirely unfamiliar new way of life – high school. This trio builds amiable and playful camaraderie as the show progresses. Joshua Morrisey turns on the charm portraying theatrical Damian. From excellent tap dancing to show choirs to harmonious backup vocals to dance breaks, Morrisey is exuberant delivering funny and sage advice about impulsiveness we can all learn from in the insightful number, Stop and the value of finding your place in Where do you Belong with Alexys Morera as Janis and Yeomans as Cady. In fish net stockings, rhinestone denim shorts and bleached hair, Morera portrays an edgier Janis with finesse for Apex Predator and in the revealing number, I’d Rather Be Me.

Kristen Amanda Smith’s excitable and fast talking Gretchen is a bit too much at once and would benefit slowing down a bit, but Smith delivers some fabulous vocals, especially for the empathetic number, What’s Wrong with Me, diving into Gretchen’s insecurities and expanding on her character. Geekier and more energized, Kabir Gandhi’s iteration of Kevin G lacks the suave and smooth demeanor from the 2004 film which is missed. MaryRose Brendal is hilarious as dimwitted but not to be underestimated Karen and shines in the Halloween-inspired number, Sexy.

Joshua Morrisey (Damian Hubbard) and Tour Company of Mean Girls Photo by Jeremy Daniel, 2025

What made Rachel McAdams as Queen Bee Regina so appealing are those little glimpses of insecurity and weakness under that plastic facade. Maya Petropolos as Regina has real Valley girl bite, arrogance, and a deranged power over others demonstrated in a commanding rendition of My Name is Regina George, but that vulnerability is never truly explored.

Pictured (L-R): Katie Yeomans (Cady Heron) and Kristen Seggio (Mrs. George) Photo by Jeremy Daniel, 2025

It was genius to triple cast Kristen Seggio as frank and quirky Ms. Norbury, zoologist Mrs. Heron and “cool mom” Mrs. George. Seggio is so talented at portraying each distinctive character, it was difficult to believe they were depicted by the same person. Seggio portrays Ms. Norbury a bit quirkier while blending a similar nonchalant frankness that Tina Fey is famous for. Dialing down “cool mom” Mrs. George was a real benefit to the character while still cradling her signature large margarita peppered with umbrellas. Mean Girls the Musical expands on Mrs. George’s character during the sympathetic number, What’s Wrong With Me, bringing new dimension to this amusing character.

The students form a collective army of Regina’s minions and followers on the path to popularity which is reflected in Casey Nicholaw’s sharp choreography. Whether dancing while swinging bright red lunch trays for the captivating number, Where do You Belong, as jungle creatures gathering around the watering hole, but in this case, a fountain at the mall or as partiers in Whose House is This, Nicholaw’s lively chorography reflects the students’ hive mind mentality with each scene. Edgy and creative, costumer Gregg Barnes boasts an extraordinary array of innovative ensembles from sexy to shimmering to edgy to imaginative costumes which include transformers and sexy corn.

MaryRose Brendel (Karen Smith) and the Tour Company of Mean Girls Photo by Jenny Anderson, 2023

It was a lot of fun to see Mean Girls as an engaging musical and witness new elements in this lighthearted story while it also provides additional lessons surviving ‘girl world.’ In today’s world, we can all use a few more pointers.

Mean Girls the Musical continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, May 4 before it continues on its national tour. Click here for more information and for tickets.

REVIEW: Love, the illusion and CAKE in Lyric Stage Company’s world premiere of ‘The Great Reveal’

Posted on April 23 by The Sleepless Critic

What is any party without cake?

However, at this gender reveal party in 2020, the cake is part of the problem and striving to make people happy only gets more complicated.

Paige Clark, Arthur Gomez, Antonia Turilli and Jupiter Lê in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

Directed thoughtfully by Bridget Kathleen O’Leary and Charlotte Snow, Lyric Stage Company continues the world premiere of The Great Reveal by David Valdes live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, April 27. If you agree that a party is not complete without cake, there are festive and delicious cake bites available at concessions. This dramedy is approximately 100 minutes with no intermission and the action is not limited to the stage. Click here for more information and for tickets.

Antonia Turilli and Jupiter Lê in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

A lit floral arch trellis stands out in Baron E Pugh’s festive scenic design which includes pink and blue streamers, shiny embellishments and gold décor that adorn Christopher and Lexi’s Massachusetts backyard deck. E. Rosser’s costumes are equally festive and cheerful in sparkling dresses, colorful jumpsuits, zip up Henley, tuxes and casual attire. Kai Bohlman’s at times ethereal and acoustic sound design lends to the production’s ambiance ranging from the beach to other special occasions.

It is stressful enough hosting a party, but having one during the height of the pandemic is a different story and Paige Clark as high strung and controlling Lexi is feeling it tenfold. Lexi is fixated about everything looking perfect, especially for social media. While Lexi is determined to craft the illusion, she loses sight of what is truly important. However, whatever frustration about illness, exposure, creating perfection online and who to let into their Covid bubble take a back seat to a greater reveal between these two couples.

Paige Clark and Arthur Gomez in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

While Lexi is a planner, her husband Chris seems to prefer to go with the flow. Arthur Gomez as laid back Christopher tries to be reassuring, but is also feeling the strain. Linus and Dosia are a trans couple and while Antonia Turilli as Linus’s composed girlfriend Dosia was invited to make the cake and is dreading this party, Jupiter Lê as workaholic Linus wants to make his sister Lexi happy, but also has his own reasons for attending.

The Great Reveal has more than a few silly moments which can be a relief from the production’s more serious content. Gomez has sharp comic timing and shares some amusing scenes with Antonia Turilli who deadpans impressively well. Clark and Lê share affection, but a stronger sibling rivalry as they struggle to understand each other. This foursome exhibits a strong rapport and a familial bond well before even becoming family, especially in their quieter moments together.

Arthur Gomez and Antonia Turilli in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

There are many reasons to not care for a gender reveal party and as a person without children, I am also not a particular fan of them. Gender reveals can be smug, over the top and may come with a lot of questions about what the future holds. The show is not without political tension yet focuses more on finding common ground and understanding in divided relationships. As Turilli’s Dosia often says as part of Dosia’s meditation mantra, ‘Love is a choice I make daily.’ I’m sure sometimes it is daily and other times with people we love, it is a minute to minute challenge.

Antonia Turilli and Paige Clark in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

Funny, insightful, and relatable, The Great Reveal explores these two couples and all they have been through as their bond is tested. Through squabbling, sibling rivalry, hurtfulness, pettiness and turmoil, it is important to remember what brought everyone together in the first place and what a meaningful future can hold. Loving the cake is a start.

Lyric Stage Company continues the world premiere of The Great Reveal by David Valdes live and in person at Lyric Stage Company through Sunday, April 27. This dramedy is approximately 100 minutes with no intermission and the action is not limited to the stage. Click here for more information and for tickets.

REVIEW: ‘Riverdance’s 30th Anniversary: The New Generation’ combines mesmerizing visuals and fancy footwork to a show stopping rhythm

Posted on April 20 by The Sleepless Critic

‘Tall and straight my mother taught me. This is how we dance.’

Flourishing Celtic landscapes, glimmering international city sidewalks, star studded cosmic atmospheres, and mystical seaside sunsets as well as a journey frolicking through roaring fire, threatening lightening, and changing seasons are just a few of the spectacular settings that unfold through driving rhythms while integrating other forms of captivating dance along the way. Accompanied by a partial onstage orchestra, Riverdance is as innovate and imaginative as ever marking three decades of sparkling toe tapping zeal and ethereal vocals with memorably dramatic flair.

Audaciously directed by John McColgan and composed by Bill Whelan, Riverdance 30^th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country. The show is approximately two hours including one intermission. Click here for more information and for tickets.

Whether battling the elements or showing off their skillful steps, Fergus Kirkpatrick and Olivia Nachtigal are among the leads in this enthusiastic and daring dance troupe as drummer Mark Alfred, fiddler Haley Richardson, saxophonist Emma McPhilemy, and Cathal Croke on Uilleann Pipes with Michael O’Gorman’s immersive sound design combine to deliver a mix of modern and traditional Irish works through Ireland and beyond.

Whether performing solo or playfully challenging other band members and the dancers, these harmonious instrumentalists set the varying tone from serene ballads to rhythmic beats. Richly narrated with Celtic history and poetry as angelic vocals lift, Riverdance has a unique way of building excitement through razor sharp Ceili formations and urgent melodies. Adorned regally in silvery tiaras, detailed velvet flowing dresses, tailored shirts vests and tights by Joan Bergin, the dancers exude confidence exacted in heads held high and the militant precision of their movements gathering in rows, circles and two hand reels.

Riverdance Countess Cathleen with lead dancer Maggie Darlington

In Firedance, Rosio Dusmet commands the stage swirling in a shimmering red gown as fire surrounds her and the flames progressively turn blue to a driving beat. Adventurous, freeing and empowering, Dusmet’s amazing performance is equal parts grace, athleticism, and charisma flowing through the scene.

Alan Farquharson’s fantastical and compelling set design with innovative motion graphics by Cosmo AV and Andrew Voller’s stellar lighting in scrupulous perfection enhance tappers Darmesh Patel and Kenji Igus who perform to rollicking rhythms in street clothes with Fergus Kirkpatrick showing off their skills under the bright city lights. In Trading Taps, they all demonstrate fantastic footwork with charm and exuberance to rousing applause and stands as a particular highlight of this production.

Riverdance, Amy Mae Dolan and Will Bryant

Through a variety of dynamic rhythms, Riverdance’s 30^th Anniversary: The New Generation is a whimsical, thrilling and visually splendid journey steeped in Celtic charm while integrating other forms of dance that keeps it refreshing and imaginative. Having seen it for the first time and watching it with someone who has witnessed it since Riverdance began, it remains a joyous and impressive experience for the whole family.

Riverdance 30^th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country. The show is approximately two hours including one intermission. Click here for more information and for tickets.

REVIEW: Roots run deep in The Huntington’s powerful ‘Don’t Eat the Mangos’

Posted on April 16 by The Sleepless Critic

Family takes care of family.

Tensions run high when three tightly bonded but very different sisters join together to care for their ailing parents. However, one sister’s harrowing secret will change everything.

With stirring direction by David Mendizábal, The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27. This bilingual production contains strong language, adult content and runs 1 hour and 45 minutes with no intermission. Though the production is mostly delivered in English, you may enjoy it more thoroughly if you are familiar with Spanish. Click here for more information and for tickets.

Left to right: Evelyn Howe, Jessica Pimentel, Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Set in Puerto Rico in 2019, Tanya Orellana’s impressive scenic design unveils a seemingly functional house complete with a laundry room, yard, and a towering mango tree hovering over a portion of the house. An eclectic mix of dishes and items scattered in the kitchen and stacked on built in shelves create a natural, lived in atmosphere with a dated fridge and latticed wooden embellishments. This is just a portion of this extraordinary cement house that details subtle signs of mold and wear and tear on the family home. The house rotates from scene to scene unveiling the action in each room.

Left to right: Jessica Pimentel, Susanna Guzmán in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Jake Rodriguez creates an effective and occasionally immersive sound design most notably when a storm knocks the power out. The flash and crash blended with Cha See’s flickering bulbs, illuminating candles and startling lightning makes for a wild event. Alexandra Buschman-Román and Jason Stamberger’s mystical original music amplifies the production’s mercurial changes in mood from foreboding and suspenseful to catchy and lighthearted with music compositions infusing dance genres such as bomba and flamenco.

Left to right: Jessica Pimentel in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Jessica Pimentel as organized loan officer Ismelda, Yesenia Iglesias as married and family oriented middle sister Yinoelle, and Evelyn Howe as activist professor Wicha know their roles when it comes to their parents. While Ismelda lives with her parents, Yinoelle and Wisha assist where they can when they come to visit. Zoë Sundra costumes reflects each character’s individuality through sharp and stylish costumes in vibrant patterns and tropical designs from sharp pant suits to colorful crocs to denim and athleisure.

Left to right: Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Not only does this trio share their joys, sorrows, and annoyances, but their snappy sibling rapport occasionally inspires harsh comments and resentment that cut deep and to the quick. It is as if they are so tightly bonded that they can’t help but occasionally step over the line. José Ramón Rosario portrays their ailing and temperamental father Papi who had a stroke and is bedridden dealing with other medical issues. With startling outbursts, Rosario exudes an implied dominance as Papi and even as he sits in his wheelchair, he commands immediate attention ringing a bell for any and all of his needs. Susanna Guzman depicts instantly likeable, headstrong and realist Mami who has been battling cancer. Ismelda is evidently overwhelmed, overwrought but dedicated tending to their parents and while her two siblings are helpful, Papi prefers Ismelda to handle things. With slumped shoulders and tightly wound tendencies, Pimentel exemplifies Ismelda’s anxiety, the weight of her worries and the pressure to do right by her family.

Don’t Eat the Mangos delves into many dark places including abuse, trauma, PTSD, and fanaticism. It approaches tough subjects with dark humor that can provide relief and some of it is just heartbreaking. It also offers some very funny and relatable family humor exploring cultural traditions, complications and challenges growing up in this Puerto Rican family. It has many tense moments, but its heartwarming connection between the sisters is among the production’s brightest spots. This is especially evident in a moment when the three sisters are trying to piece together a song from their childhood. The scene is brought together in a beautifully organic way and reflects the true nature of the lifelong bond between these siblings.

The production also delivers more than a few stunning revelations. Susanna Guzman as Mami and José Ramón Rosario as Papi also hold their own in an escalating, powerful and alarming scene. Guzman’s Mami may be ailing, but she is a force to be reckoned with.

The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27. Click here for more information and for tickets.

REVIEW: Boston Lyric Opera’s ‘Carousel’ illuminates in the darkest of times

Posted on April 12 by The Sleepless Critic

Anne Bogart establishes an immensely creative way to establish this carousel, but this one is enclosed behind a steel cage.

Under Anne Bogart’s symbolic direction, Shura Baryshnikov’s blend of sweeping and playful ballet-inspired choreography and beautifully conducted by David Angus, Boston Lyric Opera presents the 80^th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts. The action is not limited to the stage and runs 2 hours and 50 minutes with one intermission. Click here for more information and for tickets. It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

Edward Nelson as Billy and Brandie Sutton as Julie in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Based on the 1909 Hungarian play Liliom, Rodgers and Hammerstein’s Carousel has stood the test of time as a classic musical with themes that have resonated with audiences and adapted in a number of ways over its 80 year history. It debuted right here on Boston’s Colonial Theatre stage for its pre-Broadway run on March 27, 1945 and Gordon MacRae and Shirley Jones starred in its 1956 critically-acclaimed film adaptation. It has also been revived onstage a number of times over the years, but its most acclaimed stage revival occurred in 1994. This dark and provocative depiction won multiple Tony Awards including Best Revival of a Musical, Best Choreography, Best Scenic Design, Best Musical Direction and a Best Actress win for Audra McDonald as Carrie Pepperidge.

However, I am most fond of it because I was part of a traditional college production as Mrs. Mullin. Dressed in a thick fur coat, leather maroon skirt and fishnet stockings, Boston Lyric Opera’s Sarah Heltzel holds her own as widow and carousel owner Mrs. Mullin. Streetwise, lovelorn and more than a little manipulative, Heltzel puts up a tough front that can barely conceal her true feelings for Edward Nelson as complicated and charismatic carousel barker Billy Bigelow.

Set in coastal Maine, Carousel tackles what has been considered controversial themes when it was released in 1945. Its portrayal of domestic violence, generational trauma and family pressures are some of the darker issues of this musical, but strength, faith, support and community stand just as tall in this production.

Olivia Moon dances at a celebration in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Earon Chew Nealey and Haydee Zelideth collaborate to showcase wildly modern and vibrant wigs and shimmering costumes which include carousel workers dressed from a glimmering butterfly to elaborate horses. The script features a few subtle changes, but mostly sticks to the essence of the traditional production 80 years ago. Minor changes can make a big difference such as Jamie Barton’s rendition of When You Walk through a Storm instead of ‘hold your head up high,’ as Nettie’s building vocals advises ‘Keep your head up high.’ However, terms such as ‘scallywag,’ ‘riff raff,’ ‘pollywog’ and ideas such as mill workers having to be back for curfew in a boarding house sounds somewhat awkward within the contemporary glow of the production.

Carrie (Anya Matanovič) and Julie (Brandie Sutton) share a moment in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Sara Brown’s mostly barebones set features a multipurpose wooden platform, winding staircase and a rustic wooden set with beach grass, a plant is fittingly and symbolically capable of weathering any storms or conditions. Brian H Scott’s multicolor lighting embellish these exuberant costumes, the rippling coastline, and its intense moments punctuated by an animated lit halo illuminated above the cast serving various purposes throughout the production.

Anya Matanovič as Carrie and Omar Najmi as Enoch in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

The orchestra swells and the cast delivers soaring harmonies and rich and flawless vocals. In denim cut off shorts, sparkling stockings and boots, soprano Brandie Sutton depicts mysterious Julie Jordan and in pink hair and an exuberant fuchsia tutu, soprano Anya Matanovic bursts with joy as Carrie Pepperidge. Cool and collected Julie with dreamy and transparent Carrie is the envy of all friendships. These are two strongly bonded women and their compelling and excitable camaraderie unfailingly lift each other up, look out for and support each other in every victory and heartache.

Edward Nelson as Billy Bigelow charms the crowd in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a black beard and orange suspenders, tenor Omar Najmi portrays staunchly traditional, practical yet big dreamer Enoch Snow. If you think Carrie has dreams, Enoch’s are bigger. Enoch is confident of his strengths and Matanovic’s Carrie clearly adores him. They embark on some sweet moments and humorously curious misunderstandings.

Boston Lyric Opera’s 80th anniversary production of CAROUSEL. Photo by Nile Scott Studios

In a white cowboy hat, black leather vest, tattered black jeans and multicolor hooded sweatshirt, baritone Edward Nelson strikes a chord in a powerful performance as prideful, defensive and contemplative Billy Bigelow. Nelson not only masters the inflection and intensity of the character especially in a humorous and stirring transformation for Soliloquy, but also captures Billy’s conflicted and anxious demeanor. Nelson shares some of that conflict with mysterious Sutton in a touching rendition of If I Loved You which isn’t love at first sight, but gently unfolds through song as the ensemble looks on. They are a consistent presence as stage hands making blossoms fall, workers and community members who are never far away.

Abigail Marie Curran (as Louise) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a flowing black skirt and tied blouse, Abigail Marie Curran as misguided Louise is luminous expressing liveliness, longing, and loneliness in each delicate, athletic and dynamic step. In fatigues and work boots, baritone Markel Reed delivers some comical moments in slick and tricky Jigger who does little to conceal his shady motivations, especially during Blow High, Blow Low.

Markel Reed (as Jigger Craigin) and Edward Nelson (as Billy Bigelow) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a billowing polka dot skirt and vibrant purple hair, mezzo soprano Jaime Barton is inviting as nurturing, wise and discerning Nettie. Barton is as playful in June is Busting out All Over and This was a real Nice Clambake as Rodgers and Hammerstein’s appetizing lyrics burst forth in succulent glory. When You Walk through a Storm is a masterpiece and Barton delivers it tenderly.

Nettie (Jamie Barton) and the townspeople post-clambake in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

It was a remarkable experience to revisit this beloved musical and Bogart’s latest vision does little to affect the show’s inherent story or the timeless message of hope and resilience in the darkest of times.

Boston Lyric Opera presents the 80^th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts. Click here for more information and for tickets. It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

REVIEW: Exploring the world of the sick, American Repertory Theater’s intense ‘Night Side Songs’ not just a lullaby

Posted on April 10, 2025 by The Sleepless Critic

It’s a shock that will take you out of your world.

Then reality sets in.

With stirring direction by Taibi Magar and musically directed by Alex Bechtel, American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Communal, meaningful and creative, this interactive theater in the round experience runs approximately one hour and 40 minutes with no intermission. It contains strong language and adult themes. Click here for more information and for tickets.

It explores the news everyone dreads. Finding out you are sick.

Witnessing its 41^st performance, this intimate cast depicts a number of characters in different scenarios while occasionally engaging the audience in a casual atmosphere. It time jumps from the 12th century to the present day while addressing the calendar date the performance takes place and is dedicated to the sick, healthcare workers and caregivers by blending themes about relationships, sickness, mortality, and grief through acting, song and sing-along utilizing improvisation along the way.

Robi Hager in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs immerses itself into uncomfortable and harrowing territory with patches of hope and beauty that will either be fascinating and draw you in and never let go or hope it’s all over soon. It may not be for everyone, especially if you are squeamish about certain aspects of illness but have no choice but to get through it. Much like being sick can be.

Mary Testa in A.R.T.’s world-premiere production of Night Side Songs. Produced in Credit: Nile Scott Studios

This warm and dedicated group showcases a number of scenarios, but the main storyline centers around Yasmine who discovers she has cancer at 41 years old in Worcester, Massachusetts. Brooke Ishibashi delivers a raw and heartrending performance as Yasmine who must navigate her life in an entirely different way in an attempt to get well while facing obstacles in her path. Mary Testa offers wit and self deprecating humor as Yasmine’s well meaning but overbearing and anxious mother Desiree who assures Yasmine that they come from a family of miracles. Isibashi shares some endearing moments with Jonathan Raviv as warm and nurturing Frank.

Brooke Ishibashi and Jonathan Raviv embrace in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Each performer delivers affecting and inviting vocals and their solo performances are the most memorable. The onstage musicians also interact with the performers and audience and the songs by The Lazours are an eclectic variety ranging from catchy to cathartic to ballads. Some of the highlights in the therapeutic sing-along include Let’s Go Walking, Into the Sky and the poignant Will You Let me Know.

Jordan Dobson in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs approaches this handful of tales with dark humor, absurdity, science and realism peppered with relatable scenarios. It can be uneven in tone at times. How can anyone not relate to overwhelming and unexpected medical bills and drug side effects, but a song showcasing how people inaccurately make assumptions how someone gets sick in The Reason comes off more condescending than sincere and funny. Illness is filled with fear and uncertainly. People just don’t know what to say.

Jonathan Raviv in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Part unconventional love story and part tragedy, Night Side Songs expresses appreciation for the little things in life and relies more on camaraderie and community than faith and optimism while traveling to some grim places. It is informative offering coping methods with the unexpected and it is important to have a show like this to bring support and solidarity in times like these, but however I was moved, I was still left uncomfortable.

American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Click here for more information and for tickets.

REVIEW: Love reigns supreme in The Huntington’s whimsical ‘The Triumph of Love’

Posted on April 3, 2025 by The Sleepless Critic

Witness impassioned lovers and the loved overwhelmed.

Directed shrewdly by Loretta Greco, this is the language of love in Pierre Carlet de Chamblain de Marivaux’s French romantic farce, The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This whimsical tale runs two hours and 15 minutes with one intermission and Joanna Strapp stepped in for Marianna Bassham as Léonide for this performance. This production is also available to stream. Click here for more information and for tickets.

The cast of The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

The Triumph of Love waxes poetic about love and then some in this elaborate love story that contains as many declarations of love as lighthearted comedy. Though The Triumph of Love was written in 1732, it contains insightful ideas, humor, and a classic storyline that connected with its era just as effectively as it does a contemporary audience in delightful ways.

If love is a battlefield, Alison Altman as confident, passionate, and outspoken Léonide is a commander. In a layered and juicy love story, Princess Léonide pursues naïve and sheltered Agis, portrayed nobly by Robert Kellogg, who is sequestered in Hermocrate’s country retreat. However, in order to get close enough to Agis, Altman and Avanthika Srinivansan as her humorous maid Corine must disguise themselves as men and execute a delicate, devious, absurd and yet brilliant scheme to win her true love by using all the wiles she knows how.

Left to right: Allison Altman, Rob B. Kellogg in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Junghyun Georgia Lee’s serene scenic design boasts a lovely garden landscape embellished with lemon trees, florals, vine covered walls, and a stone bench while Fan Zhang intertwines classical and contemporary French flair to Zhang’s original music and sound design. The painted skyline fades from turquoise to pastels to aquamarine through Christopher Akerlind’s romantic lighting expressing the progression of the day. Lee also demonstrates 18^th century French fashion beautifully in elegant silk gowns with petticoats, fingerless gloves, colorful cravats, refined vests and boots as well as finely detailed frock coats with gold embellishments and multicolor garments.

Left to right: Marianna Bassham, Allison Altman, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Led by Alison Altman as Princess Léonide whose complex character is somewhat of an antihero, The Triumph of Love champions a remarkable cast and Marivaux’s script offers each character an opportunity to shine during the production. Occasionally addressing the audience, Altman’s relentlessly determined Léonide has some earmarks of both hero and villain. She is conscious of her power to influence and manipulate while pulling the strings of each character for love’s sake. Resisting her charms is near impossible and Altman masters this multidimensional character with finesse though you may be occasionally torn about her decisions.

Left to right: Marianna Bassham, Nael Nacer in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Altman’s Léonide shares enchanting chemistry with nearly everyone, but her brief encounters with Kellogg as Agis are sweet and splendid. They are adorable together and it’s easy to root for this pair. The plot thickens pretty quickly and most of this lighthearted farce is not meant to be taken seriously.

Strapp as Léontine and Nael Nacer as Hermocrate portray virtuous and staunchly reasonable siblings who have shut out the world with their nephew Agis to pursue the intellectual life. The entire cast delivers sharp comic timing and while Vincent Randazzo as Harlequin get his share of laughs, Strapp and Nacer’s moments of exasperation, panic and self aware humor is first rate as exemplified in one instance where Nacer looks around and softly wonders, ‘Why am I standing here?’ With realizations so innocent and captivating, it won’t take you long to love them both.

Left to right: Patrick Kerr, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Statements such as ‘God forbid there should be love in that house’ and ‘Perhaps if I could be hilarious for awhile, I could amuse myself to death’ are just a couple of the hilarious quips uttered by Vincent Randazzo as Harlequin, Hermocrate’s valet. Rambunctious and mischievous, Randazzo’s frank delivery and gossipy nature are only outdone by his comical facial expressions. With Patrick Kerr as practical gardener and straight man Dimas, they make a wonderfully humorous duo.

Madcap and absorbing, bring love to the front lines with The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This production is also available to stream. Click here for more information and for tickets.

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

Posted on April 1, 2025 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This is no way to document time.

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

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

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

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

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

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

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

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

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

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