broadway | The Sleepless Critic

REVIEW: A thrilling race against time in wondrous ‘Harry Potter and the Cursed Child’

Posted on December 2 by The Sleepless Critic

This production boasts a great deal of elaborate presentation and what an amazing presentation it is!

John Tiffany’s innovative direction, Gareth Fry’s robust sound design and a gleaming set by Christine Jones paves the way for more than a little magic as Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20. This exciting production runs two hours and 50 minutes with one intermission and some dark imagery may not be appropriate for children. Click here for more information and for tickets.

David Fine, Adam Grant Morrison, and Maren Searle in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Set Designer Christine Jones’s sterling and multi-dimensional set boasts gleaming wood and fine detail with stars and moons etched into a dome trim. Featuring spinning clocks, animated books, vaulted ceilings and swerving grand staircases, this sliding set follows its own meticulous rhythm integrating shadows which brilliantly capture the essence of Hogwarts and the iconic events of the beloved series and films. Capes swing in succession to its own mesmerizing beat in sharp and sweeping choreography that enhances the swift pace of this production.

The cast of ‘Harry Potter and the Cursed Child’ Photo By Matthew Murphy

The spellbinding and pulsating special effects by Jamie Harrison as well as the nostalgic return of beloved places and characters are the essential reasons why anyone, but especially Harry Potter fans, will delight in this show. As an avid Harry Potter fan having read the all the books including this screenplay and witnessed all the films, Harry Potter and the Cursed Child’s Easter eggs and recognizable spells are all familiar and welcome territory. A wizard disappearing into a mailbox, characters drifting through walls, and haunting characters looming larger than life is just a glimpse into the stupendous magic that takes place live onstage.

‘Harry Potter and the Cursed Child’ national cast Photo By Matthew Murphy

Seeing magic during recorded films is one thing, but to witness this magic materialize onstage is more than exciting. It is a thrill each and every time.

Starting during Harry Potter and the Deathly Hallows epilogue, Harry, Ginny, Ron and Hermoine are at King’s Cross Station sending their children on the Hogwarts Express as new students to Hogwarts much like when Harry, Ron and Hermoine embarked on the Hogwarts Express for the first time years ago.

Much like J.K. Rowling’s beloved book series, this topsy turvy plot contains themes of family love, enduring friendship, and coming of age love that materializes between Adam Grant Morrison as Albus and David Fine as Scorpius. It also focuses on parenting, reputation and the consequences of one’s actions. Its winding plot is just intriguing enough to revel in the appearances of these characters and goes to great lengths to stretch the plot for the purpose of justifying revisiting all these iconic places through a time turner.

David Fine and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

The production brings together both generations as Juliana Nightingale remarkably portrays mysterious Delphi Diggory and Larry Yando as sympathetic Amos Diggory urges Nick Dillenberg as Harry Potter to bring back Amos’s son Cedric using a time turner. When Harry refuses, Albus and Scorpius see it as an opportunity to prove themselves as great wizards.

Nightingale, Fine, and Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

What I did feel like the production lacked is the amount of time given to other students at Hogwarts. So much time was dedicated to the OG characters that aside from acquaintances, Albus and Scorpius seem to be the only two people that truly connect in Hogwarts which is hard to believe at such a large university with numerous cast members. Perhaps this is due to the shortening of the production which was once divided into two parts and clocked in at over four hours.

Fine is exuberantly expressive, anxious and excitable as Scorpius Malfoy. Fine defines Scorpius with bursts of chatter and bravery infused with an occasional unhinged edge while Morrison as Albus Severus Potter is more introspective and resentful trying to live up to his father’s image.

David Fine in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Tom Felton may have returned in his OG role as Draco Malfoy on Broadway, but Ryan Hallahan is certainly up to the task in menacing and sarcastic ways punctuated by a delightfully upturned sneer and rich vocals as Draco. Hallahan’s Draco is an impressive adversary and protective father to David Fine as Scorpius while infusing traces of Draco’s own father, Lucius.

Dillenburg as Harry Potter is well suited for the role, though the character has become more egotistical and stubborn thinking he knows best which makes for fascinating scenes with Trish Lindstrom as softer spoken Ginny. Lindstrom amiably demonstrates Ginny’s maturity and bolder practicality, especially as she tempers Harry’s anxieties.

Matt Harrington amusingly captures quirky, outspoken, and underestimated Ron who provides more than a few playful moments. He also shares some sweet scenes with Rachel Leslie as shrewd and determined Hermoine.

David Fine, MacKenzie Lesser-Roy, and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Some actors in this large cast take on multiple roles with finesse. MacKenzie Lesser-Roy as giddy, giggling, bold and flirtatious Moaning Myrtle is an over the top scene stealer and unrecognizable in a dual turn as serene Lily Potter. Katherine Leask closely exacts Maggie Smith’s glorious timbre and cadence as firm, yet compassionate Professor McGonagall with winking good humor before stepping into the shoes of one of Harry Potter’s perilously disdainful villains not to be revealed here. Larry Yando impressively takes on the challenge of triple roles though some land better than others.

Wands abaze in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Twists, turns, rumors and revelations abound in this elaborate production tailor made for Harry Potter fans and for those who truly enjoy onstage wizardry! Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20. Click here for more information and for tickets.

REVIEW: Behind the scenes take center stage in Hub Theatre Company’s satire ‘The Understudy’

Posted on July 31 by The Sleepless Critic

The understudy has a gripe…and he has a point.

Sharply yet familiarly written by hit show Smash creator Theresa Rebeck and resourcefully directed by Paula Plum, Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts. The action is not limited to the stage and contains adult language. All tickets are on a pay-what-you can basis and the show runs approximately 90 minutes with no intermission. Click here for more information and for tickets.

Kevin Paquette in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Angelica Houston portrayed Eileen Rand, a savvy Broadway producer jilted and betrayed by Jerry. Katherine McPhee as Karen and Megan Hilty as Ivy are competing actresses for the role of Marilyn Monroe in Bombshell, a new Broadway musical where the real drama took place behind the scenes. This is the plot of Smash, a musical TV drama that lasted two seasons, but developed a cult following.

Like Smash, some elements of The Understudy are not meant to be taken seriously. Though some of the core plot points between Smash and The Understudy bears some resemblance, it expands its satirical focus into films, theatre and what makes real art through a newly discovered Broadway work by renowned absurdist writer Kafka. It also contains insightful commentary about creating quality work with meaning and creating less than quality work for profit while infusing inside humor about the nature of theatre. What do audiences actually want?

Kevin Paquette and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Symbolically wearing a Bad Brains punk t-shirt and flannel by costume designer Kara McGuinness, some of the play’s funniest and strongest moments come from Kevin Paquette as Harry who is a fed up and a bit of an embittered savant theatre actor performing exacting accents who just happens to be holding out for real art while Cristhian Mancinas-Garcia as Jake is a determined movie star reluctant to do theatre. Both actors are charismatic and humorously egotistical as they realize their roles. Paquette as Harry engages the audience with real gusto commenting on the state of art thinking outside the box while Lauren Elias as harried stage manager Roxanne and the picture of practicality, tries to keep the production rehearsal on track. Paquette, Mancias-Garcia and Elias share rapid fire banter, physical comedy and a few surprises as the show unfolds.

Lauren Elias and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

It also acts as a love letter to the stage managers of the world and does it well. The play may be called The Understudy, but rocking a legendary Kiss T-shirt, clever, skeptical and sympathetic Elias as Roxanne rises to the challenge attempting to avoid impending theatre disasters while keep it together personally and professionally. No small feat as Emily Bearce’s haunting lighting and Justin Lahue’s impressively gothic projections seem to possess a mind of their own. When these elements work with Gage Baker’s rich sound design, it is all quite the spectacle.

Cristhian Mancinas-Garcia, Kevin Paquette and Lauren Elias in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

A day at the theatre with The Understudy unveils drama, secrets, romance, and takes its time with a twist ending you may not see coming. A production may come together onstage, but the absurdity of how it gets there is the real story. Thank a stage manager and an understudy today.

Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts. The action is not limited to the stage and contains adult language. All tickets are on a pay-what-you can basis and runs 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: The con is on as Moonbox Productions presents musical comedy ‘Dirty Rotten Scoundrels’

Posted on October 13, 2024 by The Sleepless Critic

An odd couple and a lucrative bet….but if you think you know how this slippery musical comedy tango will end, there is much more here than meets the eye.

Directed skillfully by Allison Olivia Choat with absorbing music direction by Catherine Stornetta and upbeat yet spicy choreography by Brad Reinking, Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20. This show has adult themes and runs approximately two hours and 15 min with one ten minute intermission. It also boasts open captions that come in handy during the performance. Click here for more information and for tickets.

Matthew Zahnzinger, Shonna McEachern* and Phil Tayler in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

A remake of 1964’s Bedtime Story, Dirty Rotten Scoundrels hit the big screen in 1988 starring Michael Caine and Steve Martin before it became a popular Broadway musical comedy in 2004 garnering a number of Tony nominations including Norbert Leo Butz’s Tony Award-winning performance as Freddy. In 2019, Anne Hathaway and Rebel Wilson starred in the film remake renamed The Hustle.

From Hawaiian shirts to stately formal wear in cheerful colors, some aspects of E. Rosser’s costume design is inspired by the 1988 film, but thankfully contemporarily updated from the film’s bulky 80s style clothing.

Taking place over one summer on the French Riviera, Dirty Rotten Scoundrels focuses on a group of conmen doing what they do best. It has an odd coupling vibe with Matthew Zahnzinger as sophisticated master conman Lawrence with his co-conspirator André who encounters Phil Tayler as skilled yet uncouth novice Freddy. Freddy is a small time conman who immediately admires Lawrence’s success and longs to learn the ropes. When they both set their eyes on Shonna McEachern as mysterious Christine, the stakes are high and the con is on.

With simple staging on two floors by Peyton Taveres with portable props by Andrew Reynolds as well as an onstage band behind glass, Andrea Sala’s upscale multicolor lighting takes center stage and has a delightful mind of its own demonstrated by Zahnzinger’s Lawrence who drolly exclaims, ‘Breeding is important, but lighting is everything!’

Matthew Zahnzinger and Julius P. Williams III in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Adorned in a three piece suit with a red carnation and suave ascot, Zahnzinger perfects a thick British accent and is the picture of refinement as Lawrence. Charismatic, suave and boasting a crafty smirk, Zahnzinger shines as Lawrence and is more than game as this smooth world traveling con artist. Julius P. Williams III portrays Lawrence’s behind the scenes right hand man André. Williams III is quite the schmoozer who is big on decorum and short on patience. Lawrence and André’s conspiratorial tête-à-têtes and knowing glances make them an amusing comedy duo. When Phil Tayler as younger, outspoken, unhinged and underhanded Freddy Benson enters the scene, the real excitement begins.

Matthew Zahnzinger, Phil Tayler and Sophie Shaw in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

It is easy to see how seamlessly Dirty Rotten Scoundrels fits as a musical comedy and after watching the 1988 comedy film, the musical is tremendously more fun. With sultry and exuberant choreography by Brad Reinking, this charming ensemble has as big of a personality as the distinct main cast. From the two step to yodeling to even birdcage choreography which has to be seen to be believed, Dirty Rotten Scoundrels infuses these dance sequences in all the right places.

Tader Shipley and cast in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Most of the women seem gullible and naïve with few exceptions including Tader Shipley as Jolene Oakes as a fabulous, cart wheeling southern belle in glittering gold cowboy boots. Shipley’s over the top delivery as she headlines Oklahoma is an unforgettable treat. Boasting soaring vocals, Shonna McEachern depicts the altruistic Christine and performs a lovely ballad with Tayler for Nothing is Too Wonderful to Be True.

Shonna McEachern* and company in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Through David Yazbek’s lyrically clever music, Dirty Rotten Scoundrels’ catchy soundtrack often plays on words, especially demonstrated through Ruffhousen with Schüffhausen featuring a memorably comedic twist between Lawrence, Freddy, and Christine. Like Zis, Like Zat is a coy duet featuring André and Christine English as wide eyed Muriel and the tongue twisting and captivating cha cha-inspired The More We Dance between Lawrence and Christine. Phil Tayler as Freddy is at his avaricious best for Great Big Stuff!

Phil Tayler and company in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

Dirty Rotten Scoundrels is silly, sneaky and romantic with a brand of self aware humor that smoothly brings the audience in on the art of the con. It’s a lot of fun to be in on this hustle.

Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20. Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company turns on the charm for ‘Guys and Dolls’

Posted on June 27, 2024 by The Sleepless Critic

What a Guy wouldn’t do for some doll.

A sky high bet, a saintly woman, and a group of gamblers are all on the line in a musical comedy custom made in New York City. Guys and Dolls is lighthearted and bustling with some of the most popular songs of Musical’s Golden Age such as Luck Be a Lady, Fugue for Tinhorns, I’ve Never Been in Love Before, Sit Down You’re Rockin’ the Boat and its beloved title track.

Directed and choreographed by Ceit Zweil, Greater Boston Stage Company continues Frank Loesser’s musical comedy classic Guys and Dolls live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through June 30. This slick production is approximately two hours and 30 minutes with one 15 minute intermission. Click here for more information and for tickets.

Arthur Gomez, Mark Linehan, Stephen Markarian and Greater Boston Stage Company ‘Guys and Dolls’ cast Photo by Gillian Gordon

Set on Broadway between Times Square and Columbus Circle, Greater Boston Stage Company reveals a little cozy but snazzy set by John Savage including vintage 1950s illustrated signs lit by marquis lights and an illuminated moving cityscape back drop. With lively music direction and conducted by Dan Rodriguez, this glitzy version of Guys and Dolls has a bit of a concert vibe with the orchestra performing center stage amidst all the action.

Arthur Gomez and Sara Coombs in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

The show is as zippy as these fast talking gamblers ready for the next crap game. In stylish hat and a pinstriped suit, Arthur Gomez as lovable but scheming Nathan Detroit is always cooking up a plan and usually one step ahead, but now he is short on money to hold his next floating crap game. Enter Jared Troilo as smooth talking and high stakes gambler Sky Masterson and suddenly, Nathan has a new and seeming surefire plan to win big and finally marry his long suffering girlfriend, Miss Adelaide. However, Sky discovers he is in for much more than he ever bargained for.

Jared Troilo and Sarah Coombs in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Guys and Dolls is a classic for a reason. Not only did the 50s film adaptation star Marlon Brando and Frank Sinatra, but it’s an upbeat musical full of charm about love, the Big City vibe, taking risks and saving souls not necessarily in that order. The characters are all likable in spite of their shady ways because most of them can humorously talk their way out of just about anything.

Stephen Markarian and Mark Linehan in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

In glasses and a bowler hat, Stephen Markarian captures the cheery and good natured charm of Nicely-Nicely Johnson from the slick and catchy harmonies in Fugue for Tinhorns with Mark Linehan as Benny and Christian David as Rusty Charlie. Their goofy chemistry and antics set the stage well along with the title track and bookended by Stephen Markarian’s exuberant and exciting classic number Sit down You’re Rocking the Boat which is not to be missed.

Allison Russell, Kaedon Gray and the cast of Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Sara Coombs as Miss Adalaide could easily have entered over the top caricature territory, but Coombs sticks with dramatic yet a bit more realistic subtlety for Adelaide’s Lament. Hailing from Rhode Island, Miss Adelaide is not to be underestimated and knows exactly what she wants playing a long game of her own as Nathan’s girlfriend. She shares some endearing chemistry albeit with some understandable bickering with Nathan as they perform a quick paced and intense rendition of Sue Me. Alongside Hot Box dancers Hannah Shihdanian, Allison Russell and Abigail Martin, Coombs delivers some flirtatious and humorous scenarios decked out in Dierdre Gerrard’s timely, sparkling and playful costumes kicking off with a country coy Bushel and a Peck. Russell and Shihdanian both perform triple roles with Russell notably as the infamous big time, tough talking gambler Big Jule.

Sara Coombs, Abigail Martin, Allison Russell, and Hannah Shihdanian in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

In a blue pinstripe suit and gleaming white shoes, Troilo depicts Sky Masterson with smooth talking swagger and shares some great scenes with Lisa Kate Joyce’s straight-arrowed and head of the Save-a-Soul Mission band, Sarah Brown. Joyce’s angelic and silvery soprano vocals nail the delightful If I were a Bell and I’ve Never Been in Love Before alongside Troilo in a lovely duet. Joyce also has a brief but memorable scene with Chip Phillips as lovable Arvide for the tenderhearted number, More I Cannot Wish You.

Lisa Kate Joyce and Chip Phillips in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Jared Troilo shines in My Time of Day, but nothing beats Troilo’s determined earnestness teetering toward desperation with the rest of the cast for Luck Be a Lady embellished by Ceit Zweil’s tight choreography and Corey Whittemore’s vivid and flashy lighting which just about brings down the house.

Jared Troilo and the cast of Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Photo by Gillian Gordon

REVIEW: Sullivan Rep’s ‘A Little Night Music’ soars

Posted on June 18, 2024 by The Sleepless Critic

Love is in the air among the rich and glamorous…elusive and oftentimes fleeting.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8. This production was not for children and ran approximately two hours with an intermission. Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions.

The cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Having never seen A Little Night Music before, it was with great anticipation to witness another classic Sondheim production. A Little Night Music was first staged on Broadway in 1973 and was revived on Broadway in 2009 starring Angela Lansbury as Madame and Catherine Zeta-Jones in her Tony award-winning performance as Desiree. Send in the Clowns is one of my favorite Broadway songs and it was exciting to finally see it performed in the context in which Sondheim intended.

Veronica Anastasio Wiseman and Libby Sweder in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Set in 1900s Sweden, Sondheim’s A Little Night Music has bit of a soap opera vibe focusing on the jaded love lives and lifestyles of the upper class emphasized in the number, The Glamourous Life which is sung by some questionably moral aristocratic characters who lead anything but a mundane daily routine and where absolutely nothing is out of reach. In a black dress and burgundy sash, accomplished matriarch Madame, cleverly and amusingly portrayed by Veronica Anastasio Wiseman, decides to advise her granddaughter, an adorably precocious Libby Sweder, in the ways of the world. Surrounded by several love triangles, Sweder soon learns that the world is far more complicated, especially among the privileged.

The Newton Town Hall, though the acoustics had a bit of an echo that muffled some lyrics, was an ideal setting for this sophisticated production with its sterling piano, marble floors, a candelabra and the full orchestra refreshingly set above the stage and cleverly utilized in a brief play-within-a-play scene. An opulent table setting and a countryside picnic arranged by cast members are part of Rick Grenier’s ornate properties design. DW emphasized this regal atmosphere with upscale Edwardian attire featuring lace, stately coat tails, and long silk gloves embellished by ritzy and sparkling jewelry and adornments.

A Little Night Music’s refined cast have a sense they are a cut above the rest and prove it mastering complex harmonies, powerful vocals and droll comic timing. Led by Veronica Anastasio Wiseman as Armfeldt matriarch Madame, Wiseman huffs and admonishes with the best of them musing about today’s Liasons with rapier wit, ‘Where is the style? Where is skill? Where is forethought? Where is the discretion of the heart?’ knowing full well she leads this glamorous life for good reason. Wiseman and Sweder share an intimate and knowing camaraderie and it is fascinating to see how Sweder responds to her surroundings.

With a shriek and bubbly childishness, Rebekah Rae Robles impressively embodies lively and youthful teenager Anne who happens to be married to much older, wealthy and experienced attorney Fredrik, enigmatically depicted by Brian Higgins. It is not immediately evident Fredrik’s motives for marrying her and it is strangely comical to see them together in her innocence. Fredrik’s eyes shine fondly with former love, Desiree for a reflective rendition of You Must Meet My Wife.

Andrea Giangreco, Rebekah Rae Robles and the cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

In glasses and a sweater vest, Jacob Thomas Less depicts smart, ambitious and neurotic Henrik, son of Fredrik. Awkward and sweet, Less meaningfully conveys Henrik’s sincere and frustrating invisibility in this world of excess and longs to be understood demonstrated in an earnest rendition of Later, part of a vocal trio for Now/Later/Soon.

Jacob Thomas Less in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Andrea Giangreco is a standout as Charlotte with wonderful dark humor and enchanting vocals as Anthony Rinaldi as Carl-Magnus’s long suffering and conflicted wife. Everyday a Little Death with Rebekah Rae Robles as Anne is a solemn and tender duet and Giangreco’s witty and sympathetic portrayal and solid vocals makes it easy to root for her. Giangreco shares some very funny moments with scene stealing Rinaldi as plotting and conceited military dragoon Carl-Magnus as he storms and struts around the stage with an entitled air and an over the top sneer emphasized in a soaring rendition of In Praise of Women.

Anthony Rinaldi in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As a big fan of Into the Woods, there is a gleam of similarity to where Sondheim might have been inspired for his later works in A Little Night Music. For example, the contemplative duet It would have been Wonderful featuring Brian Higgins as Fredrik and Anthony Rinaldi as Carl-Magnus share lighthearted and humorous reflections similar in comic tone to the Into the Woods’s duet in Agony featuring two rivals that may share more in common than they think. Higgins and Rinaldi’s absurd reasoning keeps their ridiculous rivalry interesting.

Nora Sullivan in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Nora Sullivan masters the quick paced vocals prevalent in Sondheim’s works in a commanding rendition of The Miller’s Son as flirtatious and spontaneous Petra who savors each passing day. In tight red curls, Carly Evans portrays renowned actress Desiree who falls for an old love which quickly becomes much more complicated than she ever anticipated.

Carly Evans and Brian Higgins in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As for Send in the Clowns, Evans as Desiree delivers a moving rendition that is winsome and rueful, reminding me why I love that song in the first place.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8. This production was approximately two hours with an intermission. Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions.

REVIEW: SpeakEasy Stage Company and Front Porch Arts Collective’s introspective ‘A Strange Loop’ clever from the start

Posted on May 23, 2024 by The Sleepless Critic

A Strange Loop’ is quite the existential crisis in one serious brainstorm.

Usher dreams of becoming a musical theatre writer. In hopes of brighter prospects, Usher works as an usher on Broadway for Disney’s The Lion King musical but feels stuck. Stuck in a pattern and flooded with self loathing and self defeatist thoughts over the pressure to be brilliant and accepted, Usher needs to overcome a great deal in order to create something great.

With Maurice Emmanuel Parent’s versatile direction and David Freeman Coleman’s complex music direction with expeditious choreography by Taavon Gamble, SpeakEasy Stage Company in co-production with Front Porch Arts Collective continues Michael R. Jackson’s Pulitzer Prize and Tony award-winning dark musical comedy satire A Strange Loop though Saturday, May 25 live and in person at Calderwood Pavilion in Boston, Massachusetts. This unique and multifaceted production has explicit language, adult themes, and runs 100 minutes with no intermission. Click here for more information and for tickets.

Kai Clifton (center) and the company of A STRANGE LOOP. Photo by Maggie Hall Photography

To say this production is multi-layered is an understatement. It focuses on a queer black writer writing a musical about a queer black writer writing a musical about a queer black writer. Usher, in a vivid, poignant and moving portrayal sung beautifully by Kai Clifton, is not only dealing with writer’s block but is overwhelmed by unpredictable, wild, unhinged, uninhibited, and punishing thoughts and it doesn’t take long to realize how brutal and undeserving these thoughts are for Usher’s wellbeing. Kai Clifton’s Usher is reserved, shy, and nonconfrontational on the outside, but suffers from inner turmoil and loneliness. Usher’s perspective of reality is a landscape of discouragement and the desire to be someone else, but also the desire to be free to be accepted for who Usher really is.

These frenzied thoughts, composed of Grant Evan, Davron S. Monroe, Jonathan Melo, Aaron Michael Ray, De’Lon Grant, and Zion Middleton, are compartmentalized cleverly into black stage lit cubes by John Savage and lighting designer Brian J. Lillienthal which act as a compelling metaphor for one’s tendency to compartmentalize inner thoughts and feelings. With powerful vocals and animated velocity, these actors master the gravity of quick changes in mood, personality, and roles seamlessly and with precision.

Some of the individual thoughts pop into multiple roles in Usher’s perception of reality as well. In the comically guilt-ridden number, We Wanna Know, the cast wears identical housedresses and represents Usher’s pushy, religious and gossipy mother in various ways. Clifton lets loose with Inner White Girl before taking a darker turn with the evasive yet telling Didn’t Want Nothing reflecting Usher’s strained relationship with Usher’s father.

The company of A STRANGE LOOP. Photo by Maggie Hall Photography

The loops in this production are not restricted to Usher’s thoughts but exist in circular conversations with parents, critics and others that have their own ideas of what Usher should write about and what they are comfortable with and if this production is being done right, the audience is anything but comfortable. It also explores the psychological and frustrating journey of a writer and the pressure to write what is popular or safe rather than writing from the heart. The notably well staged and satirical numbers Tyler Perry Writes Real Life and Writing a Gospel Play are both powerful, humorous and delve into some of these themes.

A Strange Loop runs the gamut of raw emotions including fear and painful regret in the conflicted and sympathetic number Boundaries, gripping Memory Song, and the stirring title track. It is humorous, but is also a harsh, shocking and challenging production. Michael R. Jackson has noted that this Pulitzer prize-winning production is fiction, but perhaps emotionally autobiographical in its musical theatre style collection of original, evocative, and thought provoking songs that drives the show to its striking conclusion.

With Maurice Emmanuel Parent’s versatile direction and David Freeman Coleman’s complex music direction with expeditious choreography by Taavon Gamble, SpeakEasy Stage Company in co-production with Front Porch Arts Collective continues Michael R. Jackson’s dark musical comedy satire A Strange Loop though Saturday, May 25 live and in person at Calderwood Pavilion in Boston, Massachusetts. This distinctive and multifaceted production has explicit language, adult themes, and runs 100 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Joy and grief co-exist in Anthony Rapp’s moving ‘Without You’

Posted on April 12, 2024 by The Sleepless Critic

Author Nancy Berns once reflected, ‘There is freedom in knowing you can carry joy and grief together.’

Joy and grief coexist in Without You, a one man production performed by award-winning actor and singer Anthony Rapp. Known for his performance in the Pulitzer prize-winning musical Rent, Rapp weaves together a deeply personal portrait of the story behind the hit musical, his experiences as an actor, and the love and losses in his life. Featuring a mix of original music and beloved songs from Rent and based on Rapp’s 2006 memoir Without You: A Memoir of Love, Loss and the Musical Rent, Without You is a moving production for those who have seen Rent, but it is not necessary to see Rent in order to appreciate this production. It might encourage you to see it for the first time or revisit it after the production is over.

Seasons of Love

Directed conscientiously by Stephen Maler with insightful Music Direction by Daniel A. Weiss, ATG Colonial presents Anthony Rapp’s one man musical show Without You live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, April 14 and is also touring. This production is 90 without an intermission. Click here for more information and for tickets and here for the production’s tour schedule.

Anthony Rapp’s ‘Without You’ Photo by Russ Rowland

Rapp is contemplative of what he has been through privately and professionally with a variety of personal nuances to make it his own. With authentic scrapbook style flair by light and scene designer Eric Southern, a projected brick wall boasts a variety of Rapp’s taped newspaper clippings, vintage playbills, and weathered New York City landmark photographs, Rapp’s apartment, and even an touching handwritten note. The resplendent multicolor lighting and ambiance seem inspired by Rent itself. The production has a casual 90’s vibe with Rapp in a flannel shirt and sneakers by Angela Vesco and Rapp sets his own props during the production.

Having had phenomenal success as an acclaimed hit musical in the 90s that became one of the longest running shows on Broadway and gone one to be performed around the world as well as a film adaptation of the same name that also starred Anthony Rapp in 2005, it is amazing to think that Rent is closing in on its 30^th anniversary since Rapp’s first Rent audition. Rent is a daring, joyous, raw, and poignant musical about a group of 20-somethings living in New York City. It explores love, loss, hardships, dreams and realizations all while this group struggles to make the rent.

Anthony Rapp is speaking from personal experience as a struggling actor in New York City who worked at Starbucks to make ends meet as he embarked on auditions. Rapp’s mother encouraged his singing more than his acting recalling Rapp’s childhood roles as Snoopy and Oliver. With an innovative onstage band, Rapp tells an engaging and inspiring account recalling the invaluable friendships he made along the way including a beautiful event called the Peasant Feast. Rapp sings Seasons of Love wistfully, talks of his affinity for La Vie Bohème, hopeful Another Day, and a sweet rendition of Without You as well as the endearing original Carry Me Home, and the darkly quirky Wild Bill.

Having lost my father recently, Without You genuinely captures the sting and elusive solace of grief while Rapp immerses himself in mimicking the voice and mannerisms of each significant character in his heartfelt story including his mother, Rent creator Jonathan Larson and music director Michael Greif. Rapp’s warm, humorous, and spirited inflections were especially memorable in a stunning moment with Cy coaxing Rapp that the only way out is through.

REVIEW: Sara Bareilles serves up music and pie for film version of ‘Waitress the Musical’

Posted on December 15, 2023 by The Sleepless Critic

Perhaps love is like a pie. It’s comforting, fluffy, messy and sometimes forbidden.

When Joe’s Diner offers 27 varieties of pie including ‘White Knuckle Cream Pie’ and ‘In the Dark, Dark Chocolate Pie,’ love can get complicated.

Fathom Events presents a heartwarming and meaningful musical comedy, Waitress the Musical, a show that proves the greatest secrets in life might just be found in the kitchen. A lively production that made a splash on both Broadway and on a national tour, this filmed stage version is particularly special because it stars Grammy-nominated singer-songwriter Sara Bareilles, the woman behind the music and lyrics to the production. Waitress the Musical boasts an all female production team and is based on the book by Jessie Nelson and screenplay by the late and great Adrienne Shelly. This film is dedicated to Shelly’s memory.

With a cast of colorful and comical characters and based on the 2007 film of the same name starring Keri Russell, Waitress the Musical film version is serving its best at select movie theatres for a limited time and will soon be available for streaming and video on demand. The show has some mature themes. Click here for more information and tickets.

L to R: Charity Angel Dawson as Becky, Sara Bareilles as Jenna and Caitlin Houlahan as Dawn in ‘Waitress the Musical’ Photo credit to Fathom Events

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From a bright neon sign and red chrome booths to clever choreography that brings diner dancing a fresh, new meaning, the majority of Waitress is set inside the vintage and picturesque Joe’s Pie Diner as patrons and musicians interact onstage. Impressive songs range from catchy to reflective and numbers such as When He Sees Me and Opening Up are sure to stay with the audience long after the show is over.

Full of heart, what Waitress the Musical achieves is a delicate balance of the sweetness and realism, delving into the lives of a group of dynamic characters who dream of a better life. Sara Bareilles depicts diner baker Jenna who finds herself pregnant and falling in love with her doctor. Jenna expresses her thoughts on life through the humorous titles she deems to Joe’s Diner Pie of the Day.

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It is impressive to watch mezzo soprano singer-songwriter Bareilles take the stage though it is sometimes difficult to separate her from her music. Sara Bareilles delivers a natural and inspiring performance as Jenna with her offbeat daydreams among the most memorable highlights of the film. Bareilles depicts Jenna’s complex web of emotions with dark humor and a spark of hope. Her smooth and familiar vocals offer an emotional rendition of A Soft Place to Land and She Used to Be Mine.

Bareilles as Jenna shares playful chemistry and beautiful harmony with compassionate and mysterious Drew Gehling as Dr. Pomatter in Bad Idea and the tender You Matter to Me. Lanky and a bit neurotic, Gehling doesn’t immediately seem so suave, but his compassion and quirky persona give him a fascinating charm. Dressed in a plaid shirt, worn jeans, and an acoustic guitar, Joe Tippett as Earl is manipulative, possessive, and at times chilling, especially for the rock tinged number, ‘You Will Still be Mine.’ Tippett is also ironically Sara Bareilles’s real life fiancé.

With oversized earrings, wild hair, and tiger prints, Charity Angel Dawson offers a great deal of comic relief as outspoken, wise cracking, and supportive waitress Becky. Spirited and direct, Becky captivates for the number, I Didn’t Plan It and her onstage charisma will have the audience hanging on her every word including her sarcastic and priceless reactions to her surroundings.

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In bright red glasses, Caitlin Houlahan portrays Dawn with her own endearing comedic timing and shines as a yearning bundle of nerves for the catchy tune, When He Sees Me. Imaginative and shy while she rhythmically shoots ketchup into the mustard bottle, Dawn awkwardly deems herself ‘a woman of many passions.’ With Christopher Fitzgerald as scene stealing Ogie, they are a comedic force to be reckoned with. Gleeful and goofy yet determined, Fitzgerald shows the power of love has sharp comedic rhythm in a bungle of flawless and unsuppressed energy.

Boasting a wonderful laugh and a curmudgeonly personality, Dakin Matthews portrays difficult customer and diner owner, Joe. A darkly comical storyteller, Joe’s conversations with Jenna are frank, open, and offer sage advice. Take it from an Old Man is tender, paternal, and moving number. Matthews as Joe also captures the uplifting spirit of the production as he remarks, ‘Baking a pie is a magical experience.’

With a cast of colorful and comical characters and based on the 2007 film of the same name starring Keri Russell, Waitress the Musical is serving its best at select movie theatres for a limited time and will soon be available for streaming and video on demand. The show has some mature themes. Click here for more information and tickets.

REVIEW: Fueled by a mesmerizing soundtrack, witness The Huntington and SpeakEasy Stage Company’s quietly stirring ‘The Band’s Visit’

Posted on December 1, 2023 by The Sleepless Critic

Imagine longing for a phone call from a loved one or the act of just mustering up enough courage to speak to a girl. Imagine welcoming a group of strangers to your table and into your private home for the night because they are in need of a place to stay. Think about that kind of selflessness and hospitality freely given without a second thought. These seemingly small acts of kindness make a big impact in The Band’s Visit.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage Company presents The Band’s Visit by Itamar Moses through December 17. The show is 90 minutes with no intermission. Click here for more information and for tickets.

The Band’s Visit made its Broadway debut in 2017 with Tony Shaloub as Tewfiq and went on to win multiple Tony Awards. Much of this acclaimed show hinges on its eclectic and spellbinding music soundtrack which ties the band and the locals together, particularly essential when they are feeling misunderstood. This multi-talented onstage band certainly can jam especially for the numbers Soraya and Haj-Butras and receives some additional hidden accompaniment which is delightedly revealed in an unexpected way.

Set in 1996 in a small Israeli town located in the middle of the Negrev Desert where nothing unusual ever seems to happen, the townsfolk are dazzled by a traveling and stranded Egyptian band wearing distinguished powder blue uniforms by Miranda Kau Giurleu. The Band’s Visit is an unconventional and unassuming musical that quietly and most assuredly will open hearts and minds to the little things in life that are sometimes overlooked.

The Band’s Visit unveils heartache and hope in such a remote land that the locals may sometimes feel forgotten. Many aspects of Jimmy Stubbs and Wilson Chin’s nostalgic scenic design fondly rewinds the clock using iconic pieces of nostalgia while also evoking the isolated nature of the town which includes a towering lamp post, a phone booth richly and authentically detailed with fingerprints and grime on its plastic cover, and a deserted blue street with yellow stripes. One of the most memorable scenes recreates a retro roller skating rink equipped with multicolored lights, disco ball and DJ.

Jennifer Apple, Brian Thomas Abraham; Photo by T Charles Erickson

This production delivers many surprises and this intriguing cast is no exception. Brian Thomas Abraham wonderfully portrays modest orchestra leader Tewfiq. Abraham’s reserved Tewfiq expresses his art with charisma, but offstage, he is a man of few words. Guarded and mysterious, Abraham shares fascinating chemistry with Jennifer Apple, a natural as feisty divorcee Dina especially for the beguiling numbers Omar Sharif and Something Different. Stunning in a gorgeous red flowing burgundy frock, Apple captures Dina’s resilience and yearning for happiness beyond what this small town can offer but something is holding her back. Apple’s bright smile and intensity is particularly notable in a scene stealing incident slicing watermelon in It is What it Is.

Marianna Bassham, Andrew Mayer, Robert Saoud, James Rana, Jared Troilo; Photo by T Charles Erickson

Mariana Bassham, who has a history of impactful roles including a starring role in SpeakEasy Stage’s People Places and Things from 2022, is impressive alongside Jared Troilo as Iris, Itzik’s long suffering and resentful wife. Even in an uplifting scene involving household instruments, Bassham’s vacant expression and fatigue is the picture of indifference and discontented heartache as she stares into the abyss of a life unfulfilled. Troilo’s Itzik is warm and helplessly optimistic despite his family’s circumstances. Troilo has a powerful voice which is understated for this particular performance for a quietly tender Itzik’s Lullaby.

Noah Kieserman, Mac Ritchey, Jared Troilo; Photo by T Charles Erickson

The Band’s Visit also offers a mix of lighthearted comedic moments. Jesse Garlick shines as awkward and bewildered Papi for the zany number Papi Hears the Ocean as Josephine Moshiri Elwood as self effacing Julia looks on. Kareem Elsamadicy is much more than meets the eye as Haled in the smooth and lovely rendition of Haled’s Song about Love. Emily Qualmann as Anna and Fady Demian as Zelgar make an entertaining pair of partiers and Noah Kieserman delivers gorgeous vocals with the cast for the enthralling number, Answer Me.

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage presents The Band’s Visit by Itamar Moses through December 17. The show is 90 minutes with no intermission. Click here for more information and for tickets.