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REVIEW: Moonbox Productions presents Regina Taylor’s soul stirring ‘Crowns’

Posted on April 25 by The Sleepless Critic

‘When I’ve done the best I can, I want my crown.’

This is one of a few significant songs led by Lovely Hoffman in a production about faith through grief and much more. Through testimonies, reflections, and soul stirring music, Regina Taylor’s inspiring Crowns explores life’s journey through hats which can make a profound statement, represent a lot of sacrifices, and ultimately stand for something greater.

Mildred E. Walker, Cortlandt Barrett, Mirrorajah, Janelle Grace, Elijah Brown, Kaedon Gray, Cheryl Singleton* in ‘Crowns’
Photographer: Chelcy Garrett

With Regine Vital’s soul stirring direction, Kurt Douglas’s upbeat choreography, and David Coleman’s powerful music direction, Moonbox Productions continues Regina Taylor’s Crowns live and in person at Arrow Street Arts in Cambridge, MA through Sunday, May 4. Perfectly timed around Easter and prior to Mother’s Day, this semi-interactive production is an uplifting 90 minutes with no intermission. It is not limited to the stage and its church atmosphere has a collection benefiting Rosie’s Place. Click here for more information and for tickets.

Hats in ‘Crowns’ Photographer: Chelcy Garrett

One may stay silent and observe, but this show is quite a celebration and the audience is invited to show their enthusiasm and engage in a joyful noise, clap and sing along. The Crowns cast is friendly, warm, welcoming and makes it easy to join in as part of their community. Having attended a previous Moonbox production, it is also comforting that a teleprompter is available to follow and sing along to a vast selection of powerful gospel works.

Mildred E. Walker and Mirrorajah in ‘Crowns’ Photographer: Chelcy Garrett

Demure and delicate or a sparkling showstopper, Crowns show that hats hold greater meaning than an article you place on your head, especially to a group of southern women who have welcomed a young girl from Brooklyn named Yolanda into their church. After Yolanda’s brother in killed, Yolanda is sent to live with Mildred E. Walker as wise Mother Shaw, Yolanda’s grandmother in South Carolina. Mirrorajah portrays Yolanda, a city girl who looked up to her brother and had not had much guidance in her life. Yolanda’s fish out of water experience makes room for compelling comical moments and soul stirring revelations with an excellent cast who takes on various roles as their stories unfold.

The Cast of ‘Crowns’ Photographer: Chelcy Garrett

With gray columns and offstage instrumentalists David Freeman Coleman and Brandon Mayes, Issak Olson’s transformative lighting illuminates the altar in Baron S. Pugh’s modest set design enhanced by a variety of multicolored hats, hat boxes, flowers and vanity mirrors hung on each side of the stage. Eye catching and detailed lace parasols also make a strong impression. Decked out in distinctive hats, E. Rosser and wig designer Schanaya Barrows makes each character stand out sharply dressed in vibrant and bold colors as Yolanda makes her own impression in a colorful jacket and shining shoes.

Lovely Hoffman*, Mirrorajah and Cortlandt Barrett in ‘Crowns’
Photographer: Chelcy Garrett

Crowns is a collection of music, stories, testimonials, traditions and reflections exploring the meaning behind ‘hattitude’ while delving into cultural, ancestral and historical context including segregation. From how to wear a hat to what type of hat to wear, structure, fabric, etiquette and significance, each character has an original reflection on how their hats made an impact in their lives and to those around them.

Kaedon Gray, Lovely Hoffman* and Janelle Grace in ‘Crowns’ Photographer: Chelcy Garrett

The entire cast which includes Cortlandt Barrett, Janelle Grace, Lovely Hoffman, Cheryl D. Singleton, Mildred E. Walker and Kaedon Gray boasts soaring vocals as well as irresistible charm in their lively and witty dialogue. Mirrorajah delivers a moving performance as leery yet curious Yolanda, especially as she proclaims, ‘I don’t know how a dead soul can rise again’ and shines in the upbeat number I’ve Got Joy like a Fountain. Dressed all in white, Walker as Mother Shaw exuberantly sings, In the Morning, blends beautiful harmony for Ol Ship of Zion and delivers an amazing a capella rendition of Take me to the Water with the cast. Lovely Hoffman as Velma’s rendition of His Eye is on the Sparrow also boasts incredible harmony as well as the spiritual Wade in the Water featuring the cast. It is difficult to choose standouts when they are all so brilliantly done.

Mirrorajah and company in ‘Crowns’ Photographer: Chelcy Garrett

Eshe O Baba is Yoruba for ‘Thank you father’ which is a significant phrase in Crowns. Fueled by love, experience the wonder of Crowns.

Moonbox Productions continues Regina Taylor’s Crowns live and in person at Arrow Street Arts in Cambridge, MA through Sunday, May 4. Click here for more information and for tickets.

REVIEW: The risk of depending on one another in SpeakEasy Stage Company’s tender ‘Cost of Living’

Posted on March 29, 2024 by The Sleepless Critic

‘It’s just unfortunate that some people have already lived a lot of life before they meet other people.’

This introspective observance is one of several pearls of wisdom from Martyna Majok’s insightful and perceptive script focusing on four struggling individuals in two parallel and intersecting stories as SpeakEasy Stage presents Pulitzer Prize-winning play, Cost of Living live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, March 30. Sensitively directed by Alex Lonati, this thought provoking production contains strong language, adult themes, and runs 1 hour and 40 minutes with no intermission. Click here for more information and for tickets.

Scenic director Janie E Howland’s muted colored set includes blocks of windows stacked in various sizes as shadows of individuals glow in pastel illumination by lighting designer Amanda E. Fallon. We are the observers of these two pairs of individuals and Fallon infuses subtle and colorful lighting on Howland’s muted colored set seemingly to illustrate not only the other tenants in the building, but the art of observing.

Lewis D. Wheeler as Eddie in ‘Cost of Living’ Photo by Nile Scott Studios

Cost of Living focuses on the journey of living itself including the kindnesses and the sufferings people can endure externally and internally. These four individuals have been through different degrees of hardship and find themselves having to depend upon one another for some relief as they each attempt to make a new start in life. With easygoing demeanor and insightful charm, Lewis D. Wheeler is mesmerizing as a recovering alcoholic and unemployed truck driver Eddie. Wheeler’s engaging opening and personable monologue pulls the audience into his consuming thoughts and complicated heartache. Tough talking yet with penetrating vulnerability, Stephanie Gould movingly depicts Eddie’s estranged wife Ani who suffers from a shattered spinal cord as a result of a devastating accident. Both lonely individuals in North Jersey, Gould’s dark wit with a dash of satirical humor as Ani blends intriguingly well with Eddie’s ease and their sporadically humorous banter and relatable conversations sharing their innermost thoughts, dreams, hopes, and fears reflect the nature of their longevity together. Their tense familiarity is apparent even in their physical interactions. As Anna Drummond’s adsorbing sound design delivers Erik Satie’s Gymnopédie in the background, this familiarity is exemplified in a rush of emotions as Eddie and Ani discuss the therapeutic power of music.

Gina Fonseca as candid yet secretive Princeton graduate and immigrant Jess struggles to make ends meet in Brooklyn, NY and is being considered to care for Sean Leviashvilli as steadfast, cautious, and wealthy graduate student John who has cerebral palsy. John needs someone who as he states ‘will keep me handsome’ such as shower and shave him daily. Jess is driven and insistent that she is the person for the job, but John is hesitant because he has had other caretakers who have not worked out. Fonseca as Jess and Leviashvilli as John share a chatty and awkward tension as they discover nuances about each other and at times strike up endearing camaraderie.

Stephanie Gould as Ani and Lewis D. Wheeler as Eddie in ‘Cost of Living’ Photo by Nile Scott Studios

Martya Majok’s Cost of Living not only explores surviving financially, but the risk and agony of putting trust in another person. This show tackles some difficult and heartrending topics with a resonating message delivered with eloquence, humor and sincerity as unpredictable as life itself.

SpeakEasy Stage Company presents Pulitzer Prize-winning play, Cost of Living live and in person at Calderwood Pavilion in Boston, Massachusetts through March 30. Sensitively directed by Alex Lonati, this thought provoking production is 1 hour and 40 minutes with no intermission. Click here for more information and for tickets.

REVIEW: SpeakEasy Stage Company’s comedy-drama ‘BLKS’

Posted on November 16, 2021 by The Sleepless Critic

A glow in the dark graffiti soaked Brooklyn apartment and street set the stage for SpeakEasy Stage Company’s production of BLKS continuing through Saturday, November 20 live and in person at Calderwood Pavilion at Boston Center for the Arts in Boston, Massachusetts. Raw, raunchy, and at times more shocking than funny, BLKS delves into one long and hazy 24-hour period for a group of 20-something city singles. Infidelity, danger, and sex are just a few of the issues addressed in this one hour and 45 minute comedy-drama by Aziza Barnes. This show has no intermission and contains mature themes, adult content and language. Click here for more information and tickets.

Shanelle Chloe Villegas, Kelsey Fonise, and Thomika Marie Bridwell in SpeakEasy Stage’s production of ‘BLKS’ Photo by Nile Scott Studios

On the surface, BLKS tackles the life of a group of strong Brooklyn 20-something singles living together. After they all endure a tough day, they decide to party and forget their troubles. However, as the night wears on with plenty of pitfalls in the way from a broken heel to a broken heart, getting what they hope for will be far more difficult than they ever expected. Each individual faces their own insecurities and long for belonging, whether it comes to love, commitment, career, or identity. They all want to fit in where they are and yet, each person can’t shake what is missing.

Struggling comedian Imani, portrayed by Kelsey Fonise, longs to be like comedy legend Eddie Murphy and like Murphy’s standup comedy, much of the humor in BLKS is fierce, aggressive, and pulls no punches. It runs the gamut of relatable to squeamish to unabashedly funny. Thomika Marie Bridwell as level headed June seems to be climbing the corporate ladder, but is perpetually stuck in love while filmmakers Sandra Seoane-Seri as forthright Ry and Shanelle Chloe Villegas as flighty Octavia clash as they attempt to label their relationship. Bridwell has a gift for the one liner while Villegas as Octavia displays a knack for physical humor.

Kelsey Fonise in SpeakEasy Stage Company’s production of ‘Blks’ Photo courtesy of Nile Scott Studios

Sharmarke Yusuf portrays a number of dynamic characters including seemingly sweet Justin. A climatic scene between Yusef and Villegas in an apartment display the daring lengths these two will go for a laugh. Bridwell as June and Yusef as Justin also share some charming moments.

Roommates Octavia, June, and Imani have a moment on the street and one in the apartment when they reflect on the struggles they deal with on a daily basis and this is where the production shows such potential and solid relevance. With the exception of Justin who reveals an immediate emotional center, it is a chance to get to know these characters on a deeper level, but these moments pass by too soon. It gets weighed down at times by the need for shock and comedy over substance rather than delving into these characters more closely.

Sandra Seone-Seri and Shanelle Chloe Villegas in SpeakEasy Stage’s production of ‘BLKS’ Photo by Nile Scott Studios.

BLKS is primarily a comedy and these roommates also share their fill of junk food, gossip, and partying in their quest to find love, success, and contentment in which they all share good chemistry. Like many 20-something singles, they find comfort facing the struggle together.

Directed by Tonasia Jones, SpeakEasy Stage Company’s continues Aziza Barnes’s production of BLKS through Saturday, November 20 at Calderwood Pavilion at Boston Center for the Arts in Boston, Massachusetts. Click here for more information and tickets.

REVIEW: Moliere in the Park’s ‘The School for Wives’ a twist-filled comedy of scheming proportions

Posted on November 2, 2020 by The Sleepless Critic

What truly makes one person love another?

Moliere in the Park begs this question while addressing gender stereotypes and takes an at times tongue in cheek look at what makes a good wife in The School for Wives, a classic comedy by French playwright Moliere first making its stage debut in 1662. Translated by Pulitzer Prize-winner Richard Wilbur with French subtitles, this virtual romantic comedy in five acts has plenty of twists and turns on the road to love and made its live streaming debut on October 24 with the recording available through October 28 on Moliere in the Park’s YouTube channel.

The cast of Moliere in the Park’s ‘The School for Wives’ Photo courtesy of Moliere in the Park

Moliere in the Park is dedicated to inclusive, just, and free theatre. Click here for more information.

Set in Brooklyn, NY, Moliere in the Park’s The School for Wives uses its creative technical wizardry to meet Covid-19 standards with enhanced, virtual sets by Lina Younes transporting actors from a regal city garden to a carefully-detailed bedroom to an inviting cafe. At one point, it also gives the illusion that the characters are all together. Ari Fulton’s colorful costumes stay faithful to the time period while providing a certain modern edge.

Kaliswa Brewster (Horace), Mirirai Sithole (Agnes) Photo courtesy of Moliere in the Park

Directed insightfully by Lucie Tiberghien, ‘The School of Wives’ is punctuated by its intriguing and catchy dialogue as well as its flipped gender roles. Older and wealthy Arnolphe (Tonya Pinkins) thought he has his love life figured out until Horace (Kaliswa Brewster) makes him rethink his road to love with sweet and virtuous Agnes (Mirirai Sithole). Each character is well developed, but what truly shines is the fleshed out philosophies and misconceptions of what makes a good woman and a good wife while exemplifying what truly makes a good man and husband.

Tony Pinkins skillfully depicts the well-spoken and arrogant Arnolphe as a myriad of emotions cross Pinkins face in a single scene. From a biting temper to soft chuckling to a Cheshire smile, Pinkins seamlessly illustrates Arnolphe’s constant inner conflict. Ever the focused manipulator, Arnolphe’s vibrant scene-stealing gravitas keeps you engaged no matter how complicated his situation becomes.

Kaliswa Brewster (Horace), Tonya Pinkins (Arnolphe) Photo courtesy of Moliere in the Park

Kaliswa Brewster’s thousand-watt smile brings glowing charisma to young Horace, his youth shining through his outspoken candidness and confidence. Pinkins and Brewster are best as they hide their veiled intentions from each other, carefully holding all their cards at bay.

Virtue takes form in Mirirai Sithole as Agnes, a wide-eyed, sympathetic creature who hides a secret. Sithole’s carefully delivered dialogue and angelic, learned mannerisms keeps her fascinating and complicated in a demure pink headpiece and dress.

Tonya Pinkins (Arnolphe), Mirirai Sithole (Agnes) Photo courtesy of Moliere in the Park

Peasants Georgette (Tamara Sevunts) and Alain (Corey Tazmania) offer comic relief as frenzied servants of Arnolphe. Anxious, obedient, and scrambling to meet Arnolphe’s demands, they are a fanatical and sympathetic pair whose often bewildered expressions makes one think they may have just ended up in the wrong place at the wrong time.

Tamara Sevunts (Georgette), Tonya Pinkins (Arnolphe) and Corey Tazania (Alain) Photo courtesy of Moliere in the Park

Moliere in the Park’s The School for Wives takes an enlightened look at love while the play unquestionably sets the foundation for today’s romantic comedy tropes. Its rich, inherent message never lacks humor or sincerity when it comes to the unpredictable path to true love.

REVIEW: Lexus Broadway in Boston’s ‘Beautiful: The Carole King Musical’ some kind of wonderful triumph

Posted on February 20, 2019 by The Sleepless Critic

Triumph she does. Carole King, one of the most successful songwriters of the latter part of the 20^th century, had talent from the first time she walked in the studio at age 16. This is not the average biopic where the protagonist has to overcome some sort of terrible tragedy or failure, but a woman on the move from the very start.

Boasting a library of hits before Carole even considers taking the stage to perform her own music, this show brings on the nostalgia of passing generations from the chic retro clothes to the distinctive music style. It is a sweeping musical from a songwriter’s perspective with few low notes and anyway, why not pack a show with hits and a lighter story that just might leave you smiling?

Sarah Bockel as Carole King Photo credit to Lexus Broadway in Boston

Lexus Broadway in Boston concluded Beautiful: The Carole King Musical‘s run on Sunday, February 10. Beautiful: The Carole King Musical recently celebrated five years on Broadway. Click here to see where this captivating show will be next. Click here more on Broadway in Boston’s stellar season.

From the moment Carole makes contact with that baby grand piano for a lively rendition of I Feel the Earth Move, impressive, rolling sets transport her into her Brooklyn home where she first started writing. Portrayed by Elise Vannerson throughout the show, Carole is introspective yet dreamy, seemingly more than ready for her life to take off. Vannerson captures the essence of her ambition, shyness, and tenacity. Her soaring vocals is an impressive tribute to Carole’s trademark voice. Suzanne Grodner portrays Genie Klein, Carole King’s mother, with humorous, cynical sass and sensibility as she cuts Carole a deal.

The Drifters: Darius Delk, Dimitri Joseph Moise, Deon Releford-Lee, and Nathan Andrew Riley Photo credit to Lexus Broadway in Boston

The Shirelles: Harper Miles, DeAnne Stewart, Danielle J. Summons, and Alexis Tidwell Photo credit to Lexus Broadway in Boston

Dominating this tale is some of the most popular music of the 20^th century and Beautiful offers a peek into how some of these songs hit the charts. A rollicking mix of hits including There Goes My Baby and Yakety Yak encompasses the sensational 1650 Broadway Medley as a glittering display of guitars, scripts, music sheets, and sound systems hang in the background. From shimmering gowns to some of the era’s most popular, colorful fashion trends, Allejo Vietti’s costume design blends perfectly with Joyce Chittick’s lively choreography, a compelling spectrum of classic dance moves and crazes of each era. It’s an era so influenced by Carole King’s songwriting and that of her peers.

From Left to right: James Clow as Don Kirshner, Dylan S. Wallach as Gerry Goffin, Sarah Bockel as Carole King, Jacob Heimer as Barry Mann, and Alison Whitehurst as Cythia Weil Photo credit to Lexus Broadway in Boston

Beautiful: The Carole King Musical is full of moments of light humor and endearing chemistry among the cast. With smooth, pliable vocals, Dylan S. Wallach portrays idealistic, sharp, and a bit macho Gerry Goffin. He and Elise Vannerson as Carole have charming chemistry and moments of cute awkwardness. They complement each other and their duets are particularly memorable. Alison Whitehurst as confident and driven Cynthia Weil and Jacob Heimer as hypochondriac Barry Mann make a fascinating comic duo. James Clow is also impressive as warm, inventive, and open minded Don Kirshner, who always knows talent when he sees it.

Click here to see where Beautiful: The Carole King Musical will be next. Lexus Broadway in Boston’s upcoming performances include A Bronx Tale, Hello Dolly, Dear Evan Hanson, as well as the return of The Illusionists, Miss Saigon, Les Miserables. Click here for a closer look at their season and follow them on Facebook and Twitter.