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REVIEW:  A ferocious song of desire in American Repertory Theater’s musical, ‘Black Swan’

Posted on by The Sleepless Critic

“Attack it!  Attack it!”

In Darren Aronofsky’s 2010 psychological thriller horror film Black Swan, Nina’s ballet instructor urges Nina to show him a side to her that she has never known.  It’s the side that lets go.

American Repertory Theater’s musical Black Swan may be a bit different than the movie in some respects, but the message remains the same.

With Sonya Tayeh’s taut direction and dynamite choreography and Or Matias’s foreboding music direction, American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12.  The action is not limited to the stage and this mature production within a production runs approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

Melanie Moore and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

The arts can be brutal, competitive and fickle.  Especially with the art of ballet, it requires a unique kind of discipline, sacrifice and determination under the constant pressure of perfection.

Black Swan started out as a 2010 Academy award-winning psychological thriller horror film featuring a stellar cast that included Natalie Portman as Nina, Mila Kunis as Lily, Winona Ryder as Beth and the incomparable Barbara Hershey as Nina’s mother Barbara.  It’s a mesmerizing yet unsettling film loaded with literal and figurative twists and turns through the eyes of sweet dancer Nina whose reality sporadically becomes skewed as the film progresses.

In the process of making the film, Natalie Portman and Mila Kunis endured rigorous training and followed a strict diet. Kunis had never danced in her life.  Both trained for four months on an intense schedule seven days a week and five hours a day which also included Portman swimming a mile every day.  Portman lost 20 pounds from her already tiny frame and Kunis tore a ligament, dislocated her shoulder and has visible scarring from training. Kunis also vowed she will never dance again and it was the hardest thing she had ever done. 

Based on Jen Silverman‘s book of this musical, a story by Andres Heinz and the Academy Award-winning psychological thriller horror film, this world premiere musical boasts some lighter and more humorous moments while its intensity is laid out from the first scene featuring ambitious characters consistently competing with each other.  They are driven by the arduous drive to survive, succeed, and gain power.  It is no wonder that the lyrics and dialogue in this new musical are rife with powerfully visceral action words such as tear, scratch, scrape, twist, elongate, crack and attack as the dancers rehearse on a grueling three week deadline for a new production.  It makes the audience feel this painstaking process.

Amber Iman and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

For those who have not seen the brilliant yet disquieting film, the film and musical are not a musical for the faint of heart. They explore the dark crevices of mental illness and obsession while emphasizing the struggle and ferocious determination it takes to become the best. 

However, the Black Swan musical does not just speak to the art of ballet, but the savage journey one takes to become the best at their craft which often involves relentless focus, determination and sacrifice.

Melanie Moore and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

 AMP featuring Marissa Todd’s vast and layered Scenography accompanied by Chris Fisher and Skylar Fox’s masterful illusion design exacts a ballet studio with moving Barres, a regal gala featuring a tremendous and glimmering chandelier, a wild psychedelic club scene with a dizzying disco ball, and a transformative and ominous forest.  I was fascinated to see how various illusions from the film would translate into a stage production and the results are riveting combined with Lillis Meeh’s stunning blood imagery and Ida Saki’s powerful and athletic performance.

Isabella Byrd’s crackling and flashing lighting devastates and intrigues in this moody tale alongside Kai Harada’s haunting and foreboding fiddle laden rhythms.  Shiona Turini’s colorful and dynamic wardrobe varies from silk and sequined gowns to creatively daring statement ensembles. 

Melanie Moore in A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

In a pastel leotard, Melanie Moore climbs into the skin of anxious and gentle Nina, a New York City ballet dancer aspiring to become the company’s principal dancer.  A perfectionist wrapped in a cluster of timid uncertainty, Nina is childlike, delicate, naïve, impressionable and sheltered under the guidance of her protective mother Barbara, in an increasingly searing performance by understudy Mehry Eslaminia (usually depicted by Kate Jennings Grant).  Barbara is fixated on Nina becoming the star ballerina she was prevented from becoming and Nina longs to please her mother. Moore is excellent as Nina, a beautiful dancer and her sympathetic naiveté draws you into her world of uncertainty and longing.

When a bold new choreographer LeRoy, portrayed with easy charm, charisma and sharp comic timing by Amber Iman, arrives to stage a new version of Swan Lake, Nina thinks this might be her chance to shine.  When Jada Simone Clark breezes in as mysterious and effervescent free spirit dancer Lily, she catches Nina and LeRoy’s attention.  LeRoy is driven by something to prove and Iman and Thom Sesma as company director Jacques share a tense and interesting power dynamic underneath their lighter and more humorous moments. 

Tory Trowbridge delivers a chilling performance as worn principal dancer on edge, Beth McIntyre. Consistently aware of her position, McIntyre is sympathetic in her desperation to hold onto her place in the company and her distressed exchanges with Moore will leave you on tenterhooks.

Ava Noble, Martell Ruffin, Adrian Lee, Anthony Santos, and Caleb Marshall lift
Melanie Moore in A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

While the film draws a clearer picture of Nina’s journey, Black Swan musical is intense, haunting, visceral and intriguing deciphering Nina’s precarious state of mind and how it is executed onstage.  The conclusion remains stunning.  I agree with the moderate differences in the musical than the film for the most part.  However, much of the film hinges on the traditional ballet production than a modern new vision which seems like it doesn’t quite fit.  In the film, Aronofsky takes the dark nature of this renowned classic and turns it on its ear while enhancing this dancer’s journey running intermittent parallels with Tchaikovsky’s Swan Lake. Aronofky also produces this musical so I am surprised by this change. Though this musical is no romance, it is no less a transformational piece rooted in the desire to become who you believe you are meant to become at whatever the cost.

American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12.  Click here for more information and for tickets.

REVIEW:  Comedic suspense and more drives Central Square Theater’s ‘The Mystery of Irma Vep: A Penny Dreadful’

Posted on by The Sleepless Critic

Mummies and vampires and werewolves – oh my!

However, as Paul Melendy as Nicodemus quips, “Don’t be skeered.”

Offering much more absurdity and laughter than horror or gore, The Mystery of Irma Vep leans on comedic suspense in 1930s Mandacrest Manor.  Seeing a Penny Dreadful for the first time with some hesitancy, I’ll take it.

With striking direction and transformative set design by David R. Gammons, Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep:  A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 21.  This two hander adult production displays valuable captions, contains nudity, the action is not limited to the stage and runs two hours including one intermission.  If you are unaware of what a Penny Dreadful means, see here.  Click here for more information and for tickets.

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

Taking cues from classic gothic romantic literature, The Mystery of Irma Vep:  A Penny Dreadful focuses on the highly anticipated appearance of Paul Melendy as new mistress of Mandacrest Manor Lady Enid Hilcrest, the new wife of Gabriel Graetz as widower and Egyptologist Lord Edgar Hillcrest.  However, does Lord Edgar’s late wife, Irma Vep, still haunt these eerie halls?

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

A gleaming and almost sterile looking white foyer in Mandacrest Manor by David R. Gammons is much more than it seems illuminated by Jeff Adelburg’s flashing, tense and vivid lighting which take on a variety of crude shapes and sizes scattered around the room with a glowing fireplace. Composer Nate Tucker skillfully exacts a carefully executed sound design and special effects crucial in this twisted vintage gothic Victorian mystery.  Costumer Seth Bodie creates eccentric, vintage, outrageous and vibrant ensembles varying from grand robes with gold trim to 30s three piece suits to revealing negligees.

Paul Melendy and Gabriel Graetz Photo credit to Maggie Hall Photography

In a production that can be less than subtle, striking the right tone is paramount and this duo certainly has a way with words and sharp comedic timing in every over the top scenario which includes stuffed animals, a picnic table cloth and a tree stump.  Gabriel Graetz and Paul Melendy work remarkably well off each other in every incredulous expression, wild accent, or improvisational and self aware moment.  They also take a lot of complicated cues from each other even during the production’s most awkward scenarios in this vintage melodrama while inviting the audience in on its campy humor and its occasionally moving moments.

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

Melendy steps into each melodramatic character distinctly, but boasting scratchy vocals, a meandering gate and a slovenly appearance, Melendy’s Nicodemus may be my favorite character and one that is not to be underestimated.  The mysterious groundskeeper is protective and shrewd as he lurks about the manor.  Melendy as naïve and vampy chorus girl Lady Enid Hilcrest is self conscious under the suspicion of Graetz as stern and traditional housekeeper Jane who also portrays Lord Edgar Hillcrest…and you get the idea.  Depicting an actor reacting to portraying multiple characters is no easy feat, but both do so seamlessly.  Special accolades to the costume and stage hands for those glorious lightning fast costume and prop changes!  

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

Not a fan of the superfluous nudity even if it was for bizarre comedic purposes, but this production is funny and two great actors performing this campy gothic mystery made me laugh anyway. 

Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep:  A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 28. If you enjoy the soundtrack to this production, it is available on Spotify.  Click here for more information and for tickets.

REVIEW:  Calculations, connection, possibilities and their impact in Central Square Theater’s notable ‘Breaking the Code’

Posted on by The Sleepless Critic

A burglary is far more complicated than it seems.

Methodically directed by Scott Edmiston and based on Andrew Hodges’s critically-acclaimed best-selling biography Alan Turing: the Enigma, Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3.  This engaging A Catalyst Collaborative@MIT Production contains some adult content and runs 2 hours and 30 minutes with an intermission.  Click here for more information and for tickets.

I first learned about Alan Turing’s incredible life and accomplishments through the riveting 2014 biopic, The Imitation Game starring Benedict Cumberbatch and Keira Knightley.  It is a shame that before seeing this eye opening film, I hadn’t been taught about this remarkable and renowned British mathematician, coder and computer scientist as part of my academic history. 

Dom Carter, Matthew Beagan and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Edmiston does not necessarily present Turing’s story in chronological order, but through segments or scenes enhanced by enigmatic typewritten statements that become clearer as the production progresses.  Scenic designer Janie E. Howland and SeifAllah Salotto-Christobal cleverly weave together innovation with vintage elements as projections of definitions to garden settings to calculations are vibrantly illuminated by Karen Perlow as tilted shelves stuffed with books, manuals, vintage electronic parts, old telephones and much more hang overhead.  Classic three piece suits, scholarly cardigans and colorful dresses are just a portion of Chloe Moore’s fittingly traditional 50’s era costumes.

Set in England 1952, Eddie Shields as Alan Turing meets Dom Carter as unwavering and discerning detective Mick Ross to report a mysterious burglary at Turing’s home.  When something seems amiss, Carter and Turing skillfully execute their increasingly tense cat and mouse game to a stunning conclusion.

Eddie Shields and David Bryan Jackson in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Eddie Shields embodies inquisitive, driven, blunt, painfully lonely and socially awkward Alan Turing who once considered numbers his imaginary childhood friends.  The deep connection Turing possesses with numbers and technology are elements he longed for in other people. From Turing’s distinctive stutter and tics to his innate inquisitiveness to his distracted social awkwardness, Shields is exemplary as Turing.  David Bryan Jackson adds easygoing humor as instantly likable and mildly muddled Dilwyn Knox who provides a good dose of lightheartedness during this often heavy production.  Jackson also demonstrates his ample range as intimidating John Smith and Jackson’s dual role challenges Turing in distinct ways.

Eddie Shields and Matthew Beagan in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Turing is a relentlessly focused individual who walks a fine line between confidence and arrogance while facing obstacles thinking outside of the box.  Turing’s driven nature and eccentricity rarely meets his match until two significant people enter his life. One is Matthew Beagan who portrays a number of roles including warm and charming Christopher, a man that Turing describes as someone who makes everyone else seem ordinary.  The other is Josephine Moshiri Elwood as fellow coder Pat Green who shares a remarkable rapport and intellect that challenges Turing.  Elwood beautifully depicts sweet, sympathetic and intuitive Pat with an earnest and unassuming sincerity.  Their strongest moments are not in what is said but in the silences of what is left unsaid.

Breaking the Code Eddie Shields and Josephine Moshiri Elwood in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Paula Plum weaves an endearing mix of propriety, amiability and good humor as Turing’s mother Sara Turing who expresses interest and admiration of Turing’s various pursuits.  However, a later pivotal and memorable scene between Plum and Shields is when both actors are at their best.

Paula Plum and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Not only is Turing the father of the computer and played a crucial role in World War II, but his forward thinking ideas back then about technology address the possibilities we are ever closer to making a reality today.  It is fascinating to see just how this production presents technology’s rapid advancement while also making a profound statement about how we experience it in the world today.

Though I might have liked the show to have taken a closer look at how Turing accomplished his monumental feats, the production focuses more significantly on what drives him as well as his personal experiences and hardships that impacted his life.  Turing’s calculations changed the world as we know it and yet, he suffered many unimaginably cruel injustices. 

 Imagine what more he could have done.

Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3.  Click here for more information and for tickets.

REVIEW:  Searing and stunning, Central Square Theater’s ‘The Moderate’ makes a lasting impact

Posted on by The Sleepless Critic

To say it is riveting is an understatement.

 The Moderate is sure to alter your perspective on the digital world as much as it impacts each member of this small and likable cast.  Be sure to see The Moderate as much for its engulfing state of the art technology as for its stunning emotional core.

Innovatively designed and directed by Jared Mezzocchi, Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1.  This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission.  Click here for more information and for tickets.

Nael Nacer in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

The Moderate is not shared chronologically which helps to make this production a mesmerizing digital journey from its very first frame.  Rewinding the clock to March 2020, a humble yet determined Frank Bonner, powerfully and evocatively portrayed by Nael Nacer, interviews for a job as an internet moderate while the world is in COVID isolation.

The Moderate packs a lot into its brief and swiftly moving timeframe.  It delves into a wide spectrum of themes including loneliness, isolation, family strife, trauma, the gravity of internet addiction, abuse, the dark web, racism, social media, the raw and exhibitionist side of human nature and the lengths one would endure to provide for family.

Nael Nacer and Jules Talbot in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

We live in an encompassing digital world and it is not likely to change any time soon and this technology is depicted in brilliant and meticulous ways.  The show is wisely served up with no intermission which elevates this production’s immersive and gripping style of storytelling. Captivatingly set up and directed, Christian Frederickson’s robust sound design, Mezzocchi’s Multimedia design, and Sibyl Wickersheimer’s distinctive set design invites the audience into not only into what Nael Nacer as Frank sees, but how each character is experiencing one another digitally and in real time.  You are not just an observer, but experiencing each frame navigating right along with the cast between the digital world and reality.

Nael Nacer and Celeste Oliva in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

This amazing show boasts an impressive cast.  Celeste Oliva is intense and relatable as Frank’s estranged and levelheaded wife, Edyth.  Nacer and Oliva fall into difficult and various misunderstandings and both still manage to remain sympathetic under their strained circumstances.  Nacer’s Frank is darkly humorous, naïve and charming in his frustrations over technology.  Jules Talbot brings a mix of lighthearted and dark humor as Rayne, a young maverick union fellow moderate who offers Nacer’s Frank valuable insight into the digital world.  Greg Maraio portrays Frank’s level headed manager Martin who is all too aware of the difficulty and dangers of their positions and the impact it is sure to have on their lives and Sean Wendelken makes a stunning impression as Gus.

Sean Wendelken in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

However amazing the show’s technology is delivered, what truly sets this show apart is its humanity.  It does have genuine lighthearted and humorous moments while remaining unflinching of its emotional toll and remarkably and honestly lays bare the cast’s individual vulnerability and urge to make a difference. Through this shared experience, you may empathize with what they are going through as well and have a better understanding of our real and unpredictable digital landscape.

Jules Talbot and Nael Nacer in Central Square Theatre’s ‘The Moderate’ Photo by Nile Scott Studios

Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1.  This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  American Repertory Theater’s world premiere an imaginative and optimistic ‘Wonder the Musical’

Posted on by The Sleepless Critic

A violet pixelated galactic sky is marvelously portrayed from a spaceship bed and that is only the beginning.

Garrett McNally delivers a moving portrayal as inquisitive Auggie whose vibrant imagination spans the vast cosmos. Born with Treacher Collins Syndrome, Auggie’s world has always been limited to home schooling.  However, when Auggie is about to attend fifth grade, Alison Luff as Auggie’s practical mother Isabel insists he attend public school.  With guarded optimism, Auggie ventures apprehensively on this new journey.

Nathan Salstone, Garrett McNally, and members of the cast of Wonder.
Photo: Hawver and Hall

Insightfully directed by Taibi Magar with Katie Spelman’s enchanting choreography and Ryan Cantwell’s uplifting music direction, American Repertory Theater (A.R.T.) continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts.  This family-friendly and engaging production is approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

In 2012, R.J Palachio’s first novel Wonder became a New York Times best seller before it was adapted into a heartwarming 2017 film of the same name starring Julia Roberts, Owen Wilson and Jacob Tremblay.  It seems only natural that this remarkable story has now been warmly transformed into a compelling musical.

Wonder Production Photo Nathan Salstone, Javier Muñoz, Alison Luff, Garrett McNally, and Kaylin Hedges in Wonder.
Photo: Hawver and Hall

Though Wonder is not based on a true story, Auggie’s story draws from real life experiences of individuals who struggle with this craniofacial condition.  It tackles bullying, prejudice, empathy and kindness, but what sets this intriguing musical apart is how it delves into perspectives.  Auggie may be the central figure in this musical, but a large part of the story focuses on each character’s perspective and the unexpected struggles of those who seem to have it better than Auggie at first glance.  Learning to walk in another’s shoes has never been so important.

Set designer Matt Saunders with lighting designer Bradley King richly articulates this glowing musical’s significant themes symbolically through a multicolored and animated pixilated landscape rhythmically peppering a revolving stage. These pixels can enhance, enliven and moderate the musical’s weightier scenes, but particularly illuminating Auggie’s amazing cosmic universe. Imaginative backpacks, colorful streamers, expressive T-shirts and detailed, fanciful costumes are just a sample of Linda Cho’s exuberant costume design.

Wonder Production Photo Alison Luff and Garrett McNally in Wonder.
Photo: Hawver and Hall

Wonder boasts its share of feel good moments featuring a strong cast. The chiming pop-infused score with lyrics and music by A Great Big World with Cody Spencer’s robust sound design keeps the show hopeful and optimistic even in the face of its heavier and poignant moments. Alison Luff as Isabel, Javier Muñoz as Nate, Kaylin Hedges as Via and Garrett McNally share a natural tight-knit chemistry facing the world as Hedges as Via affectionately calls her family ‘our little galaxy.’ There is a quiet earnestness built into this family when they step aside for one another. Hedges brings an affinity to this complex role with quiet yearning as Via through soaring vocals who consistently puts Auggie first in her solo, Around the Sun.  Luff and McNally share a stirring bond in a fiddle-laden and powerful rendition of You are Beautiful. 

Led by Melvin Abston as energetic Mr. Tushman, Beecher Prep School teachers share an idyllic infectious glee, enthusiasm, and occasionally lovable awkwardness as they navigate the curriculum with verve and charm.

Wonder Production Photo
Garrett McNally and Donovan Louis Bazemore in Wonder.
Photo: Hawver and Hall

Skylar Matthews charismatically shines as excitable and precocious theatre student Charlotte, especially during her engaging solo, You Didn’t Hear it From Me as she waltzes across the stage.   Donovan Louis Bazemore seamlessly navigates conflicted Jack who brings warmth and sincerity to the number, Shoes.  Paravi shows off sharp comedic timing while lightening a heartfelt moment with Hedges.

Garrett McNally (Auggie) and the cast of A.R.T.’s world-premiere production of Wonder bow in front of the Opening Night audience.

Nathan Salstone is no ordinary Moon Boy.  From the exciting 3-2-1 Blast Off and throughout the production, Salstone’s mellifluous vocals and reflective demeanor with Auggie brilliantly elevates each scene.

Wonder is an intuitive, imaginative and heartfelt creation that celebrates the value of loyalty and friendship while sharing significant life lessons prevalent for all ages. You may step away from Wonder the Musical seeing a brighter world too.

American Repertory Theater continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts.  Click here for more information and for tickets.

REVIEW:  A summer not soon forgotten in Central Square Theater’s ‘Summer, 1976’

Posted on by The Sleepless Critic

Some friendships are instant and others form through an inexplicable connection at just the right time. 

The latter is the case for Laura Latreille as free spirited Alice who meets Lee Mikeska Gardner as intellectual Diana through a babysitting co-op with their two daughters.  The daughters become fast friends and these unfulfilled mothers, fascinated with each other, become friends unexpectedly even in the face of their apparent differences. 

Paula Plum’s engaging direction explores friendship, societal expectations and much more in David Auburn’s dramedy, Summer, 1976 which ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30.  This candid two hander production contains adult content and runs 90 minutes with no intermission.  Click here for more information about Central Square Theatre and more on their upcoming production, Yellow Bird Chase.

Laura Latreille and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

Set in Columbus, Ohio during the Summer of 1976, two households sit side by side.  One is a cheerful yellow while the other is composed of sensible brick.  These distinctive houses by set designer Kristin Loeffler reflect two seemingly contrasting mothers’ personalities destined to become friends.

Justin Lahue’s colorful projections with Deb Sullivan’s illuminative lighting offers vibrancy to Kristin Loeffler’s summer set design through fireworks, sunsets, fireflies, clear blue skies and stoner psychedelic imagery.

Summer, 1976 is a reflective piece driven by a unique narrative.  Instead of two women recalling their own memories individually onstage, they share the stage and react to each other’s animated memories conversationally while correcting and playfully ribbing each other along the way.  The narration is a novel approach and it certainly draws on the compelling chemistry between Latreille’s Alice and Gardner’s Diana.  Their joys, heartbreaks, mischievousness and secrets unfold as the other is engulfed in the other’s story. 

Latreille portrays winsome, bold and seemingly carefree married housewife Alice exuberantly who tries not to think too far ahead while Gardner depicts immaculate, studious and practical single mother Diana who is always thinking ahead and encourages Alice to carefully think about her own future.  Occasionally engaging with the audience, Gardner and Latreille challenge each other while exposing one another’s hypocrisies and mutual stubbornness with a clever twist which changes the way you witness this tale.  It’s an important twist and revelation crucial to keeping this style of storytelling fresh.  From migraines to life changing decisions, these two sincerely root each other on and some of the most fulfilling friendships thrive with tough love under the best intentions.

Laura Latreille in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

Taking place during a pivotal and role shifting era for women from the 50s to the 80s, Summer, 1976 insightfully explores these two mothers and their life choices who long to see and understand each other clearly.  It is the kind of familiar camaraderie prevalent in so many important relationships.  I admire the way the production takes a relatable look at friendship and how it evolves throughout the years through a combination of comic and somber moments.  Exploring the joyous and bittersweet, Summer, 1976 delivers a summer not soon forgotten.

Laura Latreille, and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

David Auburn’s dramedy, Summer, 1976 ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30.  This candid two hander production contains adult content and runs 90 minutes with no intermission. Click here for further details and more on their upcoming production, Yellow Bird Chase.

REVIEW:  Thinking outside the box in American Repertory Theater’s artistic autobiographical comedy, ‘300 Paintings’

Posted on by The Sleepless Critic

What happens after a dream doesn’t go quite as planned?  For Sam Kissajukian, it’s finding another one.

Created and skillfully performed by dynamic Australian talent Sam Kissajukian, American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25.  This cleverly executed production runs 90 minutes with no intermission.  Click here for more information and for tickets.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings carefully balances insight and humor in a zig zag autobiographical and educational journey about making a new start when your initial dream goes awry.  Allowing the audience into his captivating methodology and thought patterns, Sam intimately reflects on this time with a step-by-step skewed and spontaneous comic logic that might be farfetched if it wasn’t for his unwavering confidence.  Warmly yet dryly tracing out his often outlandish and complex ideas, you will marvel at his resourcefulness as Sam reflects upon his choices in the aftermath of his decisions. For example, Sam takes apart the art of doing business through the Museum of Modernia in such an interesting and unpredictable manner that one might wonder why no one has ever thought of that before.  As Sam reflects, ‘A manic person will never do something the way you expect them to do it.’ 

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

Part comedy and part fascinating art exhibition, this personal portrait has a sense of urgency as it tackles art, comedy, business, and mental health with sincerity and self deprecation while keeping the majority of his zany storytelling lighthearted and humorous.   

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings also contains a sense of adventure, gusto and discovery as the story unfolds behind these 300 Paintings.  As Sam states, ‘No one would ever expect’ and I do think that is a deft description of this entire journey.  With a mix of humor and surprise, Sam shows that discovering what you are meant to do is as significant as the journey toward it.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25.  Click here for more information and for tickets.

REVIEW:  Titans of discovery and the wonder of a not so ‘Silent Sky’ at Central Square Theater

Posted on by The Sleepless Critic

Henrietta Leavitt is so passionately devoted to the stars that she decides to build her entire life around that dream.  What unfolds is a journey much more complex than she ever anticipated.

With illuminative direction by Sarah Shin, Central Square Theater kicks off its new season with Lauren Gunderson’s Silent Sky continuing live and in person through Sunday, October 5 at Central Square Theater in Cambridge, MA.  This celestial and biographical production is a Catalyst Collaborative@MIT Production and runs approximately two hours and 15 minutes including one intermission.  Click here for more information and for tickets.

Jenny S. Lee and Max Jackson in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Lauren Gunderson’s Silent Sky boasts awe-inspiring connections about the nature of time and life’s occurrences through the cosmos.  It is inspired by the real life story of historical figure Henrietta Leavitt, portrayed with a distinct drive by Jenny S. Lee.  Leavitt is torn between two worlds and Scenic Designer Qingan Zhang effectively divides Henrietta’s life by a staircase between her warm Wisconsin home which includes populated bookcases, floral arrangements, framed family photos and a piano with Harvard University workspaces and an impressive towering refractor looming overhead to the stars.  Lighting Designer Eduardo M. Ramirez with Projection Designer Michi Zaya showcase inviting and rich landscapes include the immensity of the cosmos and the magnitude of the ocean. In multicolor frocks, flowing skirts, detailed high necklines, tailored suits and formal dress coats, Costume designer Leslie Held elegantly captures the high fashion of the early 20th century progressive era.

Max Jackson in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

One does not need to be familiar with astronomy to appreciate Silent Sky, but astronomy enthusiasts may have a more thorough understanding of some of the production’s finer scientific details.  Delivered with a combination of humor and analysis, Silent Sky explores a broad number of subjects including love, family, the women’s movement, societal expectations, life’s unexpected shifts and what it truly takes for a breakthrough. 

Kandyce Whittingham and Jenny S Lee in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Silent Sky is fascinating, but its scientific and factual focus at times curtails some of its emotional depth.  Jenny S. Lee as determined Henrietta and Kandyce Whittingham as Henrietta’s devoted and forthright sister Margaret share a heartwarming bond and Whittingham is often maternal towards Henrietta as she relentlessly pursues her dreams.  It also has a unique element of music and dance delivered by Whittingham’s eloquent musical versatility that turns up in significant and unexpected places.

Max Jackson and Jenny S. Lee in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Max Jackson as dubious Peter Shaw shares jittery and charming chemistry with Lee and it is captivating to see Henrietta not only rise to challenge Peter’s intellectual prowess but Peter’s approach as a bundle of nervous energy to Lee’s direct and sensible delivery.   Lee Mikeska Gardner brings excellent bravado and frequent frank comical moments as Williamina Fleming and Erica Cruz Hernández is bold yet nurturing as American astronomer activist Annie Cannon.  Alongside Lee’s Henrietta, they form a dynamite and fiercely loyal trio ahead of their time and prove that when great minds come together, the sky’s the limit.

Lee Mikeska Gardner, Jenny S. Lee and Erica Cruz Hernández in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

An educational and unconventional work exploring the pursuit of discovery, Lauren Gunderson’s Silent Sky is not without its twists and turns as Henrietta Leavitt is one to root for as she relentlessly embarks on an inspirational journey to be remembered in the pursuit of light.

With illuminative direction by Sarah Shin, Central Square Theatre kicks off its new season with Lauren Gunderson’s Silent Sky continuing live and in person through Sunday, October 5 at Central Square Theatre in Cambridge, MA.  This celestial and biographical production is a Catalyst Collaborative@MIT Production and runs approximately two hours and 15 minutes including one intermission.  Click here for more information and for tickets.

REVIEW:  An exhilarating journey awaits as American Repertory Theater presents ‘The 7 Fingers: Passengers’

Posted on by The Sleepless Critic

Some moments will bring joy to your heart and others will launch your heart in your throat.  Prepare to be amazed by the 7 Fingers.

The Montreal-based 7 Fingers contemporary circus troupe was founded in 2002, but this is the first time I witnessed their distinctive artistry as they trace a cohesive connection about travel to life and time within the perpetual motion of a train.  We are all passengers on this transformative journey as tales, rhythms, and creativity unites onstage.

Members of the Passengers company in performance. Credit: Grace Gershenfeld

Eloquently written, directed and choreographed by Shana Carroll, American Repertory Theater (A.R.T.) continues The 7 Fingers:  Passengers live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Friday, September 26.  This thrilling production runs 90 minutes with no intermission.  Click here for more information and for tickets.

Amanda Orozco, of the Passengers company, in performance. Credit: Grace Gershenfeld.

Whether it’s to escape, to return home, to make a new start or to navigate back to a familiar place, everyone travels with hope and expectation for what the future holds.  However, this production is about the motivation and journey and not necessarily the destination.  Through leaps, bounds, acrobatics, and always with creative and audacious flair, the 7 Fingers depict a group of agile and graceful travelers that maneuver to compelling original music from piano-infused lullabies to soulful beats to guitar-infused tango and echoing fiddle folk rhythms memorably composed by Colin Gagné with lyrics by Shana Carroll.  Far from a silent performance, Passengers unveils this insightful journey in poetry, song and the spoken word through storytelling while sharing reflections, dreams, and aspirations as Johnny Ranger’s dynamic projection, Colin Gagné with Jérôme Guilleaume’s absorbing sound design and Éric Champoux’s vivid lighting are as animated and lively as the performers onstage. 

Members of the Passengers company in performance. Credit: Grace Gershenfeld.

Suitcases, textured chairs, gliding luggage carts and a split flap departure board are just a portion of Ana Cappelluto’s rolling scenic design enhanced by Johnny Ranger’s surreal projections ranging from lush watercolor illustrations to layered cinematic landscapes that enhance the production’s consistent motion while allowing the dazzling feats to take center stage.

Members of the Passengers company in performance. Credit: Grace Gershenfeld.

Composed of Victor Crépin, Eduardo De Azevedo Grillo, Isabella Diaz, Marie-Christine Fournier, Téo Le Baut, Amanda Orozeco, Michael Patterson, Basile Pucek, Santiago Rivera and Méliejade Tremblay-Bouchard, the 7 Fingers show off their various talents with agility, power and ease demonstrating feats that range from playful, elegant, and mischievous to daring, intense and suspenseful.  In Camille Thibault-Bédard’s loose, freeing and flowing casual and classic outdoor apparel, they also bring to light the amount of sheer trust, connection, and chemistry involved in every carry, leap, toss, and intimate climb with no net between the members of this international circus troupe.  The athletic beauty, the durability, grace and precision in each movement and stroke is spellbinding whether dangling in mid-air in aerial silk, flying across the stage or grounded within a comedic piece.  While I preferred the more daring stunts, each piece brought a dynamic range of emotions within its gripping 90 minutes including heartbreak, longing, loss and liberating joy.  Within all its thrilling components, playfulness and wonder, the 7 Fingers also offers resonating depth and thought- provoking nuances about life and the magnitude of time in each inquisitive lyric, comic scenario, and precise step.

Members of the Passengers company in performance. Credit: Grace Gershenfeld.

Grab a ticket to this amusing and exhilarating journey you won’t soon forget.

Passengers Production Photo Members of the cast of Passengers in performance. Photo: Lucille Audoineau-Maire

American Repertory Theater (A.R.T.) continues The 7 Fingers:  Passengers live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Friday, September 26.   Click here for more information and for tickets.

REVIEW:  Emerald City Theatrical highlights blond ambition in frothy, feel good and inspiring ‘Legally Blonde: The Musical’

Posted on by The Sleepless Critic

Harvard doesn’t know what it’s in for in Legally Blonde the Musical.

Blending Allana Turcotte’s upbeat direction and energetic and athletic choreography with Richard Marchetti’s lively music direction, Emerald City Theatrical presented Legally Blonde the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts.  This exuberant musical was greeted by an enthusiastic audience and ran two hours and twenty minutes with one intermission.  Parking was a little tricky, so allow some extra time when attending this theatre.  Click here for more information and here to see what Emerald City Theatrical is working on this season.

Michelle Moran and her sorority sister in Emerald City Theatrical’s ‘Legally Blonde the Musical’ Photo by Jesse Barnett

Elle Woods, a high school sorority student, thinks her future is set until she realizes things are not quite what they seem.  In order to win back her ex-boyfriend, Elle is determined to attend Harvard Law School. 

This is the fundamental premise of the 2001 movie, Legally Blonde, which is on the verge of celebrating its 25th anniversary of the film’s release.  Starring Reese Witherspoon, this box office success inspired a sequel, award-winning Legally Blonde: the Musical and a prequel series currently in the works.  Although Reese Witherspoon portrays inspirational Elle Woods with humor and heart, this romantic comedy has its share of superficial, silly and over the top moments which can be a lighthearted distraction from the film’s themes.

However, with book by Heather Hach, music and lyrics by Laurence O’Keefe and Nell Benjamin, Legally Blonde: the Musical’s cast recording hatches out some of cast’s psyche and motivations while still maintaining its frothy and comic charm.  While everything seems to be made into a musical these days, Emerald City Theatrical presents Legally Blonde: the Musical as a well paced production which expands and elaborates on the film’s themes while further resonating its inherent message.

Nathan Corbett and Michelle Moran in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Musical numbers such as Serious and Chip on My Shoulder offer greater insight and further dimension into Michelle Moran as Elle Woods that is only touched upon in the film.  For example, in a beautiful and humorous duet called Serious between Elle and Nathan Corbett as Warner, both share they want different things.  Corbett manages to make Warner at first sympathetic and well intentioned under his parents’ unrelenting pressure which offers this character a bit more perspective and both have compelling comic timing.  Moran also shares some endearing scenes with Max Connor as handsome, earnest and hardworking Emmett and their duet Chip on My Shoulder is one of the musical’s greatest highlights. 

Michelle Moran and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Michelle Moran portrays Elle as more introspective than excitable while delivering her share of sparkling wit.  With strong vocals and distinctive laugh, Moran navigates her change of scenery from California to Harvard with a flourish even under the pressure to fit in. 

Michelle Moran, Olivia Lancellotta and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

From cheerful ensembles to colorful school uniforms to classic three piece suits, Emerald City Theatrical, known for its extraordinary costumes, navigates from dazzling to stately in bright and bold colors before later presenting a classic and darker color scheme in browns and grays.  The rolling set features multicolored floral arrangements, a layered pink backdrop with gold accents, white pillars and crown molding that even highlight sparkles in the tablecloth to contrast Harvard’s confined monochrome dark wood paneling and red brick accents.

Grace Graham as Paulette in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Delores Salamurovic as Serena, Abby Turchon as Margot and Carina Lopes as Pilar make a squealing yet contemplative Greek chorus as Elle ventures into Harvard’s new and challenging territory with the bright and optimistic number, Positive.  Acting as a cheering squad for Elle while offering a mix of wise and misguided advice, this wild and humorous trio lightens some of the show’s more serious moments.

While Norwell-born Jennifer Coolidge personified the character of Paulette, Grace Graham wisely does not imitate Coolidge while making outspoken and candid hairdresser Paulette her own in unique Emerald City ensembles that stand out in ripped jeans, denim boots and mismatched flair.  With some sharp physical comic timing, a light city accent and a vocal growl, Graham makes quite an impression whether in Ireland’s Celtic swagger or in the flirtatious Bend and Snap alongside Moran.   

Grace Graham, Michelle Moran, Olivia Lancellotta, Abbie Burchard and cast in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett

Jim Braunstein boasts gravitas and commanding vocals as Professor Callahan and clearly relishes the role.  In a beige and brown suit, his wry and egoistical demeanor is immediately evident in a commanding Blood in the Water.  Olivia Lancellotta also depicts cold disdain well as Vivienne and it is fascinating to watch her interact with Moran’s dreamy and optimistic Elle. 

Emerald City Theatrical Jim Braunstein Michelle Moran and cast in class in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett

From the giddy Omigod You Guys to uplifting So Much Better to Find My Way, Legally Blonde: the Musical is a show not to be taken too seriously until it gradually starts to take itself seriously.   Some of the giddiness can be a lot and a few of the characters never go beyond the surface, but there is an inspirational sincerity underneath that could encourage anyone to reach for the stars.

Emerald City Theatrical presented Legally Blonde: the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts.  Click here for more information and here to see what Emerald City Theatrical is working on this season.