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REVIEW: Central Square Theater elegantly streamlines heart and innovation with ‘Machine Learning’

Posted on February 17 by The Sleepless Critic

Jorge is in distress. Maybe Arnold can help.

Directed beautifully by Gabriel Vega Weissman, Central Square Theatre in partnership with Teatro Chelsea and a Catalyst Collaborative@MIT production continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, February 25. The show is 100 minutes with no intermission and contains some Spanish dialogue. Click here for more information and for tickets.

Armando Rivera in ‘Machine Learning’ Photo by Nile Scott Studios

Caring for a loved one is challenging in itself, but a loved one with a terrible illness battling addiction is that much more daunting. Frustrated yet determined computer scientist Jorge, empathetically portrayed by Armando Rivera, shares a complex history and relationship with his proud, stubborn, and sympathetic Columbian father Gabriel, depicted with machismo yet stalwart likability by Alberto Rubio. Rubio as Gabriel hones an authentic depiction of the nature of addiction in an ailing man. In order to care for his ailing father who is battling liver cancer, Jorge establishes an AI digital application and nurse named ‘Arnold’, voiced brilliantly by Matthew Zahnzinger, which might not only possibly make both their lives easier, but an entity that stubborn Gabriel just might listen to.

Jorge Alberto Rubio as Gabriel Photo by Nile Scott Studios

Each of these lovable characters is virtuous in their own way and their desire to seek the best in the other is what truly makes them remarkable. Young Jorge, depicted precociously and humorously by Xavier Rosario, is a scene stealer in his sweet and difficult moments with his father particularly demonstrated in an escalating battle over a game. Rosario tries his father’s patience with unflinching honesty and their experiences shape the relationship later demonstrated by Rivera as Jorge and Rubio as Gabriel. Zahnzinger as Arnold is an inquisitive and unintentionally funny logical entity that develops a seemingly caring and convincing rapport with Rivera and Rubio that can affectively blur the lines between AI and humanity, but Mendoza’s insightful script cleverly navigates this line of thinking through Arnold’s programming and deduction.

Xavier Rosario and Jorge Alberto Rubio Photo by Nile Scott Studios

Sugandha Gopal portrays sensible and focused Anita, Jorge’s encouraging and astute professor and mentor. Anita and Jorge share an admirable mutual respect and Gopal shines when she perceptively challenges Jorge on the most difficult things that Jorge needs to face about himself. Gopal as Anita has confidence in Jorge, but knows the best thing for Jorge is compassionate yet constructive criticism for Jorge’s difficult mission to help his father and to become a better computer scientist.

Sugandha Gopal and Armando Rivera Photo by Nile Scott Studios

What makes Machine Learning fascinating is not only the terrific state of the art sound design by David Remedios with sound engineer Kai Bohlman, Amanda Fallon’s animated lighting, and Janie E Howland’s innovative fold out and compartmentalized set boasting rich graphics and impressive coding by Projection Designer SeifAllah Salotto-Cristobal, but the care instilled in Arnold’s every calculation in an attempt to deliver Gabriel better care than Jorge believes he could ever possibly deliver on his own. It is the compassion and resolve put into every detail despite the fraught history Jorge has with Gabriel and their inherent and relatable flaws. Through all of this seeming perfection is the delicate imperfection that truly resonates.

Jorge Alberto Rubio and Xavier Rosario Photo by Nile Scott Studios

Though the production delves into the science of AI and the characters are encompassed by calculations and functionality, not for one moment does this production ever feel robotic. If anything, Machine Learning is a moving production that brings out the ties that bind between a father and son in all of its illuminating calculations.

Central Square Theatre in partnership with Teatro Chelsea and MIT continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theatre in Cambridge, Massachusetts through Sunday, February 25. The show is 100 minutes with no intermission and contains some Spanish dialogue. Click here for more information and for tickets.

REVIEW: Midwinter Revels brilliant ‘The Feast of Fools’ blends hope and laughter in the darkest of times

Posted on December 23 by The Sleepless Critic

Dragon battles! Reindeers dance! Kings and Fools! Hope in darkness.

This year’s annual Midwinter Revels is titled The Feast of Fools: A Medieval Celebration of the Solstice, and though fools may be onstage, not even a fool would miss this production.

Showing fresh ingenuity and as immersive as ever, The Feast of Fools delivers as much reveling as insightfulness into medieval hierarchy, the contemporary world we live in, and and the importance of eternal peace in this unpredictable world.

L to R: Vincent Ernest Siders (The King), Laurel Swift (Boney), René Collins (Folly), Eliza Rose Fichter (Fiasco), Roger Reed (Flop), and members of the Midwinter Revels Solstice Chorus Photo by Paul Buckley

Directed cleverly by Patrick Swanson and Debra Wise while seamlessly musically directed by Elijah Botkin, Midwinter Revels joyfully presents The Feast of Fools: A Medieval Celebration of the Solstice through December 28 live and in person at Sanders Theatre in Cambridge, Massachusetts. The December 16^th performance was dedicated to ‘GBH’s legendary and beloved Brian O’Donovan who passed away this year. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

An apt and enthusiastic master of ceremonies, veteran reveler David Coffin grandly declared, ‘We are all here to sing!’ He vigorously prepares the audience pre-production for an afternoon of sing-along carols and interactive fun in the spirit of the season.

David Coffin and the cast of Midwinter Revels: The Feast of Fools Photo by Paul Buckley

Accompanied by lively fiddle and horn-infused rhythms performed by the onstage Sting and Buzzy Walking Band, scenic designer Jeremy Barnett warmly sets the stage with an inviting red glowing wooden fireplace festively adorned with garland and pewter mugs hanging on both sides of the mantel. The Yule Log and a Christmas Star are pivotal pieces in this exciting tale and keys to a bright New Year.

Costumes Supervisor Dexter Wadsworth and costume designer Heidi Hermiller deliver a splendid and kaleidoscopic vision of medieval and festive garb from villager to soldier and jester to royalty in gold embroidered velvet, silver and gold detailed armor, shiny red and black scales, a blue-hued pair of enormous ethereal wings, and much more.

This particular production featured Jeff Adelberg’s gorgeous and luminous lighting for a moonlit night, in a glowing red fire, gleaming lanterns, a haunting twilight on a vastly creative voyage, and in a dazzling solstice flame. Illuminated by gleaming lanterns, Gabriel’s Message is a moving and glorious moment in this touching production.

L to R: René Collins (Folly), Athéna-Gwendolyn Baptiste (Angel), and Laurel Swift (Boney) Photo by Paul Buckley

Rene Collins as Folly, Eliza Rose Fichter as Fiasco, and Roger Reed as Flop form a comical and jovial trio of fools with affable camaraderie who declare they must present The Feast of Fools celebration much to the King’s accommodating dismay. Where love, joy, peace and hope metaphorically take center stage, the trio wears bright, distinctive, and zany costumes as they navigate this symbolic and exciting tale with juggling and more.

L to R: Eliza Rose Fichter (Fiasco), Vincent Ernest Siders (The King), René Collins (Folly), and Roger Reed (Flop) Photo by Paul Buckley

The talented Evergreen Children have a larger role in this tale as their angelic falsetto voices partake in carols, games, puppetry and more. Some of the particular highlights include a beautiful rendition of Lees Wais’ Wassail with David Coffin on recorder and Karen Burciaga on rebec. Roger Reed not only portrays dimwitted and mustachioed Fop, but pops up in additional roles including a mischievous and expressive participant in a children’s game of Old Roger is Dead before taking on a silent, silly, yet fascinating role later in the production. Charismatic Rene Collins later demonstrates some unique skills and magnificent courage facing an intriguing domestic beast.

L to R: René Collins (Folly) and Heather Koerber Nunes (Dragon) Photo by Paul Buckley

Wearing animal hats including crow, cow, and sheep, The Evergreen Children chime for an adorable rendition of There was a Pig Went out to Dig and a significant illuminating shadow puppet show for the King, portrayed with a charismatic baritone laugh by Vincent Ernest Siders. His regal, playful and natural gravitas is a bit scene stealing, even without a crown. His poignant yet hopeful recitation of the Shortest Day was delivered with full throated gracefulness and one of the most memorable parts of this production.

Accompanied by a concertina, The Pinewoods Morris Men literally revel with bells on in an interactive Morris Dance, an intricate and rhythmic Upton stick dance, and the traditional Mummers Carol.

Andrew Conant, Ewan Swanson, and the cast of Midwinter Revels: The Feast of Fools Photo by Paul Buckley

Soloist Barbara Allen Hill provided rich vocals in various parts of the production including O Cruor Sanguinis chant, the instrumental hymn Dies Irae and in a stirring arrangement by John Fleagle’s Winter Wakeneth.

Having never been swept up in the moment of the production, it was exhilarating to participate in the interactive and traditional Lord of the Dance as revelers and audience members joined arms in the halls dancing jubilantly into intermission and in the lobby of the Sanders Theatre.

The Midwinter Revels Solstice Dancers Photo by Paul Buckley

From Sing We Noel to the Peasant Dance to the Traveler’s Prayer to the Village Bransle Ding Dong Merrily on High to the marvelous Lord of the Dance dynamically choreographed by Susan Dibble, the Midwinter Revels will have everyone on their feet to ring in a wondrous New Year.

Directed cleverly by Patrick Swanson and Debra Wise while seamlessly musically directed by Elijah Botkin, Midwinter Revels joyfully presents The Feast of Fools: A Medieval Celebration of the Solstice through December 28 live and in person at Sanders Theatre in Cambridge, Massachusetts. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

REVIEW: Central Square Theater reveals ‘Angels in America Part 1: Millennium Approaches and Part 2: Perestroika’

Posted on October 3 by The Sleepless Critic

For a show about grief, life springs forth briskly inside the pristine walls of hospital quarters that house only a few scattered chairs. The radio comes to life with a few select news and pop culture references signaling its 80s setting. Much of what is portrayed isn’t what it seems and Director Eric Tucker and scenic designer Deb Sivigny provide order to the disarray as props twist, sashay, and sway in the semi-interactive chaos at a terrific pace. In a particular highlight, members of the cast physically pile together to form a bed as they rely on each other for support while the dialogue flows and it all works beautifully. Angels in America: Millennium Approaches somehow makes sense of it as it embraces the manic nature of the world and in this genius and raw staging, consistently propelling it forward.

Eddie Shields as Prior Walter and Zach Fike Hodges as Louis Ironson in Central Square Theater’s ‘Angels in America Part 1’ Photo by Nile Scott Studios

Central Square Theater and Bedlam present Tony Kushner’s Pulitzer Prize-winning and Tony Award-winning Angels in America Part 1: Millennium Approaches and Part 2: Perestroika at select times through Sunday, October 8 live and in person at Central Square Theatre in Cambridge, MA. This is a review of Part 1 which is three and a half hours including two intermissions and contains adult content, nudity, and some graphic scenes. Click here for more information and for tickets.

This multi-talented, collaborative cast not only demonstrate physical prowess with its integral props and settings for each energetic and urgent scene, but some depict a mix of complex and sympathetic characters which intersect into different storylines. Debra Wise slips into a beautiful Yiddish accent as a Rabbi tasked with officiating a funeral, a significant phantom from the past, and later as a stern Mormon mother. The Rabbi’s terse, wry wit and candid delivery highlight Wise’s apt skills before she later manifests Hannah Pitt’s guarded and concerned motherly misgivings. One looks death in the eye, one has faced death and the latter is afraid to watch. At one point, the Rabbi examines an immigrant’s journey by exclaiming, ‘You do not live in America. No such a place exists.’

Central Square Theater Angels in America Part 1 Debra Wise Photo by Nile Scott Studios

Angels in America takes off with the hustle and bustle of death and business that zings and marches as acclaimed lawyer and power broker Roy Cohn, depicted with biting wit and magnetic, yet morbid cynicism by Barlow Adamson meets his new Mormon assistant from Salt Lake City, Joe Pitt, portrayed with principled diffidence by Alexander Platt. Adamson and Platt are quick to establish a mentorship as they learn more about each other.

Maurice Emmanuel Parent, Zach Fike Hodges, Kari Buckley, and Eddie Shields in Angels in America Part 1 Photo by Nile Scott Studios

Angels in America addresses many complex questions including the nature of love, grief, religion, freedom, and the state of the world where hope is so hidden and nearly bereft of existence. John R. Malinowski’s menacing lighting is at once investigative and haunting as it veers and shifts so cleverly that it is difficult to tell if it is shedding light in a dark world or exposing the dark with light. The show profoundly tackles loneliness in most of its characters and how each one of them copes with their present circumstances. Eddie Shields as Prior Walter gets the brunt of it physically and psychologically as he is faced with HIV. Using humor and escapism to mask his inner turmoil, Shields delivers a bold and heartrending performance facing obstacle after obstacle.

Maurice Emmanuel Parent, Helen Hy-Yuen Swanson and Kari Buckley in Central Square Theater’s ‘Angels in America Part 1’ Photo By Nile Scott Studios

Kari Buckley suffers a quieter battle as agoraphobic Harper. Buckley’s gleaming smile, endearing and quirky inquisitiveness, and denial masks her own inner turmoil as she turns to medication for relief and as a life raft for her unhappiness. Harper muses, ‘People are like planets. You need a thick skin.’ Buckley and Maurice Emmanuel Parent as Mr. Lies share some whimsical scenes that cleverly act as a relief from the heavier material. Maurice Emmanuel Parent also portrays supportive, compassionate, and reasonable Belize who levelheadedly sets the record straight in a debate about love and politics with Zach Fike Hodges as Louis who is doing everything he can to avoid the truth about Prior’s condition. Hodges weaves impulsively in out of the five stages of grief and in his suffering further complicates things.

Central Square Theater Angels in America Part 1 Maurice Emmanuel Parent and Zack Fike Hodges Photo by Nile Scott Studios

Angels in America is not for the faint of heart. It is rueful, witty, cynical, sobering, and unflinchingly unearths the shadows and heartache of the boundaries of freedom in a world gone mad before it sheds some light. Though both parts of Angels in America can exist on their own, Part 1’s conclusion leaves plenty of room for Part 2.

Helen Hy-Yuen in Central Square Theater’s ‘Angels in America Part 1’ Photo by Nile Scott Studios

Central Square Theater and Bedlam present Tony Kushner’s Pulitzer Prize-winning and Tony Award-winning Angels in America Part 1: Millennium Approaches and Part 2: Perestroika at select times through Sunday, October 8 live and in person at Central Square Theatre in Cambridge, MA. Part I is three and a half hours including two intermissions and contains adult content, nudity, and some graphic scenes. Click here for more information and for tickets.

REVIEW: The Arlekin Players powerful and interactive ‘The Gaaga’ (The Hague) brings war under the microscope

Posted on June 23 by The Sleepless Critic

What if during the pain and strife of war, leaders were rounded up and required to stand trial for war crimes? What if during that trial, the very nature of war is peeled away to only exact more questions?

The Arlekin Players are known for daring and original productions fueled with a strong and universal message and this time, the audience had a say in this interactive trial through the eyes of a child.

Taisiia Fedorenco as Taya in Arlekin Players ‘The Gaaga’ Photo by Irina Danilova

Innovatively written and directed by Sasha Denisova, Arlekin Players Theatre and the Zero-G Virtual Theatre Lab presented The Gaaga (The Hague) live and in person at Beat Brew Hall in Harvard Square in Cambridge, MA as well as a virtual option from June 2 through June 18. This show contained some adult themes and is 2 hours and 40 including one 10 minute intermission. Click here for more information.

The cast of Arlekin Players ‘The Gaaga’ Photos by Irina Danilova

The Gaaga delves into some heavy and heady content, but also has its share of satiric humor and spectacle told in an interactive manner through a child’s game delivered through a dark and intriguing performance by Taisiia Fedorenco as Taya in a bomb shelter in Mariupol, Ukraine. Taya’s “game” is a trial that Putin, portrayed with striking resemblance by hair and makeup designer Anna Furman and depicted somewhat superficially as a child would see Putin by Paulina Dubovikova, and his network of operatives is on trial for their crimes in the Ukraine. The audience is privy to the trial and then some as each operative parade out for aiding Putin in crimes against humanity.

It is a powerful, gritty, harrowing, tense, and deeply personal production that leaves many more questions that it does answers about war, its consequences, and the dilemma of who is truly responsible for its uprising. Though the cast is a dynamic group made of mostly conniving and power hungry adversaries all looking for a scapegoat, The Gaaga adds unexpected dimension to this almost assuredly doomed bunch, but things are never quite as cut and dry.

Taya is not just any girl. She wants the audience (who can choose to be part of the online jury) to not just see her as narrator and orchestrator of the game, but to get to know her by revealing her favorite soup and what she loves as evidenced by tell tale surroundings including a rocking horse, tea set, and pink doll house. It’s such a purposefully ironic and metaphorical setting by Environmental Designer Irina Kruzhilina which perhaps symbolizes the loss of innocence as war talk overpowers a child’s playthings. Lighting designer Kevin Fulton enhances the crucial, mood setting atmosphere from a drab and dismal Dutch prison to the satirical buoyancy of a theatrical performance. Sound designer Brendan F Doyle and composers Szymon Orfin and Jacek Jedrasik add spectacle and with a cryptic, but at times humorous soundtrack that includes classic rock and original score.

Ilya Volok as Patruschev Photos by Irina Danilova

The originality of The Gaaga varies from treacherous individuals dancing exuberantly in strange garb to being interrogated in a bathtub through the unique lens of security cameras and other means of revelation including a bleary and bombed window. Quite a few of the cast members make powerful impressions especially handling dual or multiple roles such as Garrett Sands as a malicious soldier, Robert Walsh as Surovikin, Joe Biden and others, but Ilya Volok as conspiracy theorist Patruschev gives a mesmerizing performance, especially in a particularly commanding, absorbing, and unsettling monologue which combines comedy and cruel irony.

Not only is the audience asked show questions as trivia during pivotal points in the production, but invites others to share their thoughts. Some questions are tongue in cheek, but others are sure to be considered long after the production is over.

Arlekin Players Theatre and the Zero-G Virtual Theatre Lab presented The Gaaga (The Hague) live and in person at Beat Brew Hall in Cambridge, MA as well as a virtual option from June 2 through June 18. Click here for more information.

REVIEW: The 52nd annual ‘Midwinter Revels: A Solstice Celebration Tales from Ellis Island’ shares solace and warmth into a tapestry of traditions from around the world

Posted on December 24, 2022 by The Sleepless Critic

After a half century, the Midwinter Revels can not only still create fresh and concise storytelling while weaving in various cultures and traditions with a balance of joy and poignancy, but this year recalls a miraculous event in history that is not shared enough during the holiday season.

Innovatively written and directed by Patrick Swanson and guided by Carolyn Saxon as the Immortal Spirit of Place, Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15. Each performance pays tribute to Revels supporters and this particular performance was dedicated to the The Rioff Family in honor of WGBH’s Brian O’Donovan. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

The Ensemble of The Christmas Revels Photo by Roger Ide

Veteran reveler David Coffin’s enthusiasm reflected the same from the audience as he vigorously prepared them pre-production for the Revels live and interactive sing-along that features a vast array of carols and cultural songs. Meticulously musically directed by Elijah Botkin and led by Keith Murphy of A Saint Patrick’s Day Celtic Sojourn, an intimate onstage band returns as the Liberty Band performing carols to folk to war songs from around the world right alongside the cast. The joy and gratitude in singing in front of an audience again is as uplifting as ever and the cast’s a cappella harmonies are a glorious treat.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island does not just take place on Ellis Island, but provides the foundation for each of the tales shared during the production. The tales of hardship and strife seem so different, but are somehow tied into shared experiences as immigrants from all over the world find themselves stranded together on Christmas Eve in 1924. The spirit of the season is exemplified in several tales including a fiddle that needs mending featuring Maeve Leahy as Bridget and Ewan Swanson as Isaac.

From Left to Right Carolyn Saxon, Maeve Leahy and Ewan Swanson and the Revels Ensemble Photo by Paul Buckley

Adorned in a glimmering gown and gold wreathed crown, Carolyn Saxon makes a warm and welcome return to Revels this time as the Immortal Spirit of Place. Her subtle charm and light humor enhance each aspect of the production as she guides the audience through various tales and periods in history in Nikes. Saxon is clearly enjoying this enigmatic role becoming invisible when she wishes and popping up at felicitous and spontaneous moments.

While last year’s show focused on saving a bar by venturing into the past, family is much more prevalent as members of the cast tie in pieces of their own cultural holiday memories into the production. Irish and Jewish Dramaturg Nicole Galland contributed by drawing on her own experiences and upbringing. With frank and humorous inflections, Reveler Stephanie Clayman is an amiable and avid storyteller as she brings some of those tales to life such as two well staged pieces of morally centered Jewish folklore and several Chanukah traditions.

Stephanie Clayman, Ewan Swanson, The Ellis Island Children, and the Midwinter Revels Adult Chorus Photo by Paul Buckley

David Coffin as Conor Riley revealed a miraculous event during World War I that took place on Christmas Eve in 1914. For a brief time, soldiers showed camaraderie with their enemies as they joined together in song, games, and friendship. It is a historical event that needs to be shared with as much frequency as annual holiday traditions such How the Grinch Stole Christmas, A Christmas Carol, or It’s a Wonderful Life. That brief interlude of peace made such a significant impact on the world and Midwinter Revels depicts that moving period of time with Christmas in the Trenches, O Tannenbaum and Stile Nacht as the production spread itself beyond the Sanders Theatre stage.

The children are always a joy to watch and this year as the Ellis Island Children, they share upbeat, jumping rope rhythm for There’s a Big Ship Sailing and later with Las Posadas as Mary rides on a donkey. It is just one example of the many endearing appearances they make in song and tale.

A brilliant performance comes from Ricardo Holguin who passionately performs a wondrous rendition of Mexican love song La Malgeuna followed by striking number El Relampago featuring women in gorgeous floral headdresses and sun drenched gowns by Heidi Hermiller. Kelli Edwards’ multifaceted choreography is on full display throughout as well as for a tricky and intricate sword dance accompanied by an onstage accordion and drummer for The Straw Folk Mummers Play and Rogue’s Delight.

Maeve Leahy (left), Ewan Swanson (center), and dancers from Great Meadows Morris & Sword Photo by Paul Buckley

Though the show lulled a bit on occasion, Midwinter Revels: A Solstice Celebration Tales from Ellis Island’s engaging tales bring unity and light and depicts how sharing different traditions can bring a new understanding and warmth into the darkest of times.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15. Click here for more information and tickets.

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

Posted on May 24, 2022 by The Sleepless Critic

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

Innovatively directed with stellar choreography by Maurice Emmanuel Parent and Ilyse Robbins with musical arrangements by Luther Henderson, Central Square Theater and The Front Porch Arts Collective continues sensational Ain’t Misbehavin: The Fats Waller Musical live and in person at Central Square Theater in Cambridge, MA through Sunday, May 29 before moving to the Greater Boston Stage Company in Stoneham, MA from June 9 to June 26. Click here for more information and tickets.

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

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

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

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

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

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

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

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

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

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

Central Square Theater and The Front Porch Arts Collective continues sensational Ain’t Misbehavin’ The Fats Waller Musical‘ live and in person at Central Square Theater in Cambridge, MA through Sunday, May 29 before moving to the Greater Boston Stage Company in Stoneham, MA from June 9 to June 26. Click here for more information and tickets.

REVIEW: Singer-songwriters Natalie Price and Grace Pettis share resilience through struggle and the joy of performing live onstage again

Posted on April 21, 2022 by The Sleepless Critic

It is no surprise that guitar strumming singer-songwriters Natalie Price and Grace Pettis recently brought a mix of emotional weight to the Club Passim stage in Cambridge, MA. Not only in the great joy of performing for an audience again, but the heartache, loss, and reflection in their music as a result of these past couple of complicated years. However, within this sadness lies resilience for thriving again.

Grace Pettis and Natalie Price Photo credit to Natalie Price

Singer-songwriter Natalie Price debuted at Club Passim and opened for returning Club Passim favorite Grace Pettis on Thursday, April 14 in person and on live stream for one night only. Click here to see where Pettis will perform next and here for more on Price. Click here for more on Club Passim, their educational programs, upcoming events, and how to support local music.

A smattering of spotlights lit the Club Passim stage as Dallas-born Natalie Price delivered a mix of reflective, sorrowful, and playful love songs during her brief opening set. Price’s sound has a tinge of Natalie Imbruglia or Lisa Loeb as she shares her experiences.

These Days is a clever track about the memory of escaping an unhealthy relationship and if the timing of that relationship were any different, Price might not have escaped. Price sings, ‘I’m so glad I wasn’t younger when we met’ and ‘The heaviness, strangled me/A songbird in a cage.’ Its seemingly lighthearted chords contrast a returning and complex memory that changes over time.

Another highlight was The Island, a song performed entirely with a music box-sounding Kalimba instrument. It is a melodious track about the euphoria of new love while Done is another clever piece that delves into the erratic and frantic feelings of unsteady love. Price ends the set with a catchy and cheerful tune about devotion.

Natalie Price’s music can be found on Band Camp or on her website.

Grace Pettis Photo credit to Nicola Gell

Before taking the stage alone, Grace Pettis joined Price for an unconventional and sweet lullaby Pettis wrote and performs for a Ukrainian child living with Pettis and her family in Ireland called Sleepy Lobster. Pettis had a table set up that evening to support Ukraine.

Florida-born Grace Pettis delves into a collection of powerful, somber, and soulful tunes, a reflection of some of the complex, life-changing experiences Pettis endured over the last two years. In a burgundy shirt and black pants, Pettis is an unassuming presence with a certain personable charm and expressed her gratefulness to be back at Club Passim sharing her music with a crowd again.

Her passionate and powerful vocals in Pick me Up and Never Get it Back from her new album, Working Woman from MPress Records, has universal appeal with the latter a bittersweet message on the importance of living in the present and the former finding the strength to keep going in spite of life’s hardships. Though Pick me Up could simply be interpreted as a love song, it could also apply to a larger message about faith and finding loyal support through life.

Pettis mused in Rain’s lyrics, ‘I don’t know how to be happy’ when she recalled being tasked with writing a song about sunshine. The somber track was inspired by November rain in Ireland.

So many of Grace’s work addresses strength through struggle. Mean Something also from Working Woman has a soothing quality about finding hope while Birthright, which is a Nobody’s Girl song, reveals the struggles of living with the pain of the past. Pettis is an apt songwriter reflecting on the end of a life-changing relationship. She sings, ‘Brace myself for unwanted advice…I’m the box forgotten in the attic.’

However, one of my favorite tracks is Corner, a complex love song about unconditional loyalty, the pain thick in Grace’s voice. Though the show had its share of solemn musings, Pettis ends the set with Working Woman’s fiery and meaningful title track, her powerful belt demonstrating though hardship, Grace Pettis has thicker skin than that.

Click here for more information on Grace Pettis and where she is touring next. Learn more about Natalie Price here and click here for more on Club Passim, their music classes, upcoming concerts, and how to support local music.

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

Posted on March 12, 2022 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: ‘Christmas Revels In Celebration of Winter Solstice’ a clever and inviting return to the stage

Posted on December 31, 2021 by The Sleepless Critic

Performing for a full and enthusiastic crowd and dedicating the performance to Revels friend Julie Smith, this year’s Christmas Revels offers a lot to its audience, but most importantly, it ushers in the excitement and gratefulness of being together again with a sing-along as well as emphasizing helping those in need.

Christmas Revels’ audience sang live in Sanders Theatre in Cambridge, Massachusetts and now until January 9, you are invited to sing along virtually from your own living room. Be sure to download the program first and follow along to songs from the middle ages to classic Christmas carols to contemporary classic songs. Directed cleverly by Patrick Swanson, The Christmas Revels in Celebration of Winter Solstice is approximately 90 minutes with no intermission. Click here for more information and how to see this year’s show.

Scene from the Mummers Play (William Forchion as The Dragon, Regie Gibson as the MC/referee, and Mark Jaster as Saint George) Photo courtesy of Shep Ferguson

From last year’s selection of new songs mixed in with some of their greatest performances over Christmas Revels’ 50-year run, Christmas Revels is back to a bit of storytelling and theatrics while still tying in the past with the present day – pandemic times, masks, and all. An unconventional battle with a dragon is only portion of this wild and peculiar tale where traditions are challenged and life today takes an unexpected turn for this lively cast during a caroling and Christmas party.

It also weighs in the vintage with the contemporary while infusing its own share of lighthearted humor and enough fantastical elements to create a concise and innovative story. Acknowledging our present woes, Christmas Revels offers insight and hope into how to best help each other through these difficult times.

Christmas Revels boasts a large, collaborative cast which includes the lighthearted return of Paula Plum and Richard Snee’s quick-witted observational skills. With dynamic chorography by Kelli Edwards, Tony Tucker, and Gillian Stewart, charismatic David Coffin returns as Master of the Revels leading an uplifting rendition of Lord of the Dance and beautiful a cappella harmonies for Donna Nobis Pacem. Alex Cumming and the Revels Morris dancers also impress with the traditional and eclectic Pudding Jig.

The Elizabethan’s arrive! (William Forchion, Regie Gibson, Mark Jaster) Photo courtesy of Shep Ferguson

William Forchion portrays pub owner Joe with Carolyn Saxon as his wife. Forchion is affable and charismatic keeping a cool head as the pub experiences some unexpected surprises. He shows off some fancy footwork in a drum-infused sword dance and his smooth vocals are also put to the test in a dual role that is anything but cool. Regie Gibson portrays sophisticated and no nonsense Reginald while Sabrina Selma Mandell amusingly delivered cheerful comedic nonsense as Flunky, a seemingly dimwitted jester.

Carolyn Saxon bringing the house down at the George and Dragon’s annual carol party Photo courtesy of Shep Ferguson

Carolyn Saxon gives an amazing performance every time she lifts her voice. Her vibrant vocals shine in her warm delivery of Oh Happy Day, her heartfelt rendition of Lean on Me, and inspiring Someday at Christmas accompanied by the entire cast.

The Ha’Penny Wassail Children also do a splendid job as they join together for a festive “zoom” to We Wish You a Merry Christmas, their own sweet rendition of Someday at Christmas with harp accompaniment, and leading off a glorious Wassail medley while decorating a tree.

Elizabethan’s strut their stuff (dancing) Photo courtesy of Shep Ferguson

Heidi Hermiller’s colorful costumes varies from humorous ugly Christmas sweaters to festive pub wear to resplendent, gold embroidered and delicately laced gowns. Jeremy Barnett’s hospitable and festive pub setting includes subtle sparks of hope and encouragement weaved into the surroundings such as a ‘You’ll Never Walk Alone’ sign by the bar. With a glowing fireplace in the background, the warm atmosphere boasts a festively decorated room enhanced with lit evergreen trim wrapped around the entire theatre as Jeff Adelberg innovative lighting flashes to the beat as the live onstage Pickled Eggs House Band showcase a variety of music styles led by Music Director George Emlen and Associate Music Director Edmar Colon.

The Christmas Revels in Celebration of Winter Solstice continues its virtual run through January 9. Click here for more information and how to see the show.

REVIEW: Boasting two stellar leads, Central’s Square’s ‘The Half Life of Marie Curie’ full of inspiration and crackling chemistry

Posted on November 26, 2021 by The Sleepless Critic

For revolutionary physicist and chemist Marie Curie, not everything can be solved through a calculation.

On the verge of her second Noble Prize for Chemistry, anxious and introspective Marie Curie finds herself embroiled in a scandal and at one of the lowest points of her life. Quite literally bursting onto the scene is brilliant and charismatic electromechanical engineer and suffragette Hertha Ayrton ready to bring humor and optimism to what seems like a bleak situation.

Lee Mikeska Gardner as Marie Curie Debra Wise as Hertha Ayrton Photo courtesy of Nile Scott Studios

Brimming with crackling chemistry between Lee Mikeska Gardner as Marie Curie and Debra Wise as Herthe Ayrton, Central Square Theater opened their fall season with Lauren Gunderson’s The Half Life of Marie Curie continuing through December 12 at the Central Square Theater in Cambridge, Massachusetts. The show is 85 minutes with no intermission. Click here for more information and tickets.

The stage is deceptively serene for Lauren Gunderson’s The Half Life of Marie Curie. Lindsay Genevieve Fuori’s colorful, innovative, and functional scenic design comes to life as stirring sound effects and a mysterious and foreboding piano score by sound designer Elizabeth Cahill make an intriguing combination fused with Whitney Brady-Guzman’s dynamic and surreal lighting.

A production that picks up from the very start, these two driven pillars of science with contrasting personalities are a fascinating pair to watch and listen to their musings. Gunderson’s sharp script strikes a delicate balance between intellectual prowess and absorbing dramedy. They share their views on life, family, and work with wit, humor and candor, yet instinctually encourage each other forward with respect and admiration. Both are widows and mothers who struggle with how women were perceived in the early 20^th century, but their sheer determination and passion for science ultimately make an indelible mark on the world.

Lee Mikeska Gardner as Marie Curie and Debra Wise as Hertha Ayrton in 1910s swimwear Photo courtesy of Nile Scott Studios

Adorned in a lovely feathered black hat and flowing emerald green dress, Debra Wise brings gravitas, confidence, ego, and clever charm as Hertha Ayrton. From the moment Ayrton bursts onto the stage with a confident cock of her head, gleam in her eye, and cheerful intonation, a lightheartedness sets in to her passionate and outspoken persona as opposed to Curie’s darker sensibilities. Dressed demurely in a rich purple dress, Gardner skillfully embodies tense Curie in her careful and calculated movements. You can practically see the wheels turning in Curie’s constantly analyzing mind and consider the lengths she would go for the sake of her work.

Marie Curie and Hertha Ayron’s exchanges are no ordinary gabfests. From sexual politics to love to family and everything in between, Wise and Gardner, as different in their approaches are and as opposite their personalities, they understand each other as equals, colleagues, and kindred spirits. Celebrating each other’s triumphs and supportive in hardship, theirs is a true testament to unyielding and enduring friendship and it stands at the center of this auspicious and biographical story.

Directed astutely by Bryn Boice, Central Square Theater presents Lauren Gunderson’s The Half Life of Marie Curie through December 12 at the Central Square Theater in Cambridge, Massachusetts. The show is 85 minutes with no intermission. Click here for more information and tickets.