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

Posted on by The Sleepless Critic

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

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

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

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

Hats in ‘Crowns’ Photographer: Chelcy Garrett

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

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

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

The Cast of ‘Crowns’ Photographer: Chelcy Garrett

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

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

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

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

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

Mirrorajah and company in ‘Crowns’ Photographer: Chelcy Garrett

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

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

REVIEW:  Searching for reconnection in Central Square Theater with Front Porch Arts Collective’s world premiere of Mfoniso Udofia’s intensely heartfelt ‘Her Portmanteau’

Posted on by The Sleepless Critic

Sundays are Abasiama’s good day. 

It is on a Sunday that Jade A. Guerra as Iniabasi arrives to New York from Nigeria to reunite with family she has not seen in many years.  However with a misunderstanding from the start, reconnecting will prove to more of a challenge than anyone could have imagined.

Profoundly directed by Tasia A. Jones, Central Square Theater with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia‘s Her Portmanteau, the fourth production in the Ufot’s  nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Central Square Theater in Cambridge, Massachusetts through Saturday, April 20.  This intense bilingual production in English and Ibibio runs 90 minutes with no intermission.  It is fascinating to see how these families progress over these nine plays, but you can witness and enjoy one without having seen the others.   Click here for more information and for tickets.

Victoria Kanyike and Jade A. Guerra in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Scenic designer Shelley Barish emphasizes family with an Ufot personal touch displaying framed family photos and gold embellishments around Adiaha’s New York City apartment in January 2014.  Having seen Ufot’s second production The Grove, it was wonderful to see the progression in the Ufot Family from the earlier production in 2009 evident in the set such as Kimberley’s portraits lying by the door.  This stylish apartment is enlivened with splashes of vibrant color in the kitchen and living room as well as gold ropes surrounding it as if symbolically anchoring it in place.  Arshan Gailus’s urgent and at times roaring scenic design emphasizes the family’s building tension, making their surroundings occasionally overwhelming.  However, the family silences are more deafening that any outside activity.  Enclosed in this city apartment, the past is bound to come out.

Jade A Guerra and Patrice Jean-Baptiste in Central Square and Front Porch Arts ‘s Collective ‘Her Portmanteau’ Photo by Maggie Hall Photography

Her Portmanteau continues to build Udofia’s rich characters in each piece and from the moment Jade A. Guerra as serious and direct Iniabasi appears, though she is in the same room as her mother and half sister, they seem continents away.  At first, you wonder if this is due to a language barrier or something more.  Iniabasi is as short, awkward and defensive as Lorraine Victoria Kanyike as Adiaha is thoughtful, chatty and earnest in making Iniabasi comfortable.  Kanyike and Guerra share some notably humorous moments as they struggle to understand each other sharing quips and slights comparing their contrasting upbringing.  With an occasional nervous chuckle, Kanyike’s Adiaha exhibits anxious and yet it is interesting to witness charisma and confidence in Adiaha who has clearly come into her own while Patrice Jean-Baptiste depicts Abasiama, their loving yet complicated mother. 

Victoria Kanyike and Patrice Jean-Baptiste in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Family tension and strain is palpable right from the start and it is intriguing to watch this impressive cast try to break it in a mix of humorous, intense, and painfully relatable moments.  Jean-Baptiste exhibits a carefully executed mix of excitement, curiosity and apprehension as she searches for avenues of reconnection while still dealing with her own struggles and trauma with quiet and harrowing strength.  Patricia Jean-Baptiste and Guerra share stirringly complex scenes in their strained conversations and Udofia’s moving dialogue.  Rooted in love, anger, brokenness and resentment, they misunderstand each other in vast and impactful ways searching to a sense of belonging speaking from different worlds and yearning for middle ground. 

Patrice Jean-Baptiste and Lorraine Victoria Kanyike in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Her Portmanteau is a remarkably moving chapter about family.  It contains struggles and conflict as well as surprising and heartwarming discoveries that were simply wonderful to watch unfold.

Central Square Theatre with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia ‘s Her Portmanteau live and in person at Central Square Theatre in Cambridge, Massachusetts through Saturday, April 20.  Click here for more information and for tickets.

REVIEW:  Far from home in American Repertory Theater’s innovative world premiere of ‘The Odyssey’

Posted on by The Sleepless Critic

Ten years have passed and Penelope holds onto hope her King will return while life marches on.

Actress and playwright Kate Hamill has offered new perspectives to various works including Jane Austen’s beloved novels Pride and Prejudice, Sense and Sensibility and Emma.  Hamill darkly re-imagines Homer’s epic Greek mythology poem and plays an exciting role in American Repertory Theatre’s world premiere of The Odyssey which is as innovative as it is thought provoking.

Directed imaginatively by Shana Cooper, American Repertory Theater continues its world premiere of Kate Hamill’s The Odyssey live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Sunday, March 16.  This epic production has adult themes, violence and runs three hours including two intermissions.  Click here for more information and tickets.

Members of the cast in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

I’m not a big fan of mythology, but who could forget the treacherous and conflicted journey of war-addled Odysseus as he perilously embarks on his journey home consumed by nightmares and at one point, even forgetting himself. 

Three hours may sound like a lengthy stretch of time, but this gripping tale picks up immediately into Odysseus’s perilous and monumental journey. It is a good idea to get a refresher on the tale before attending the production.  Homer’s The Odyssey is considered one of the most influential and most read mythological works of all time and Hamill’s reimagining mixes classic with the contemporary that delivers not only occasional moments of relatable humor but enhances the poem’s universal moral focus.

Members of the cast face Polyphemus in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

The Odyssey unfolds with Sibyl Wichersheimer’s dual level, Grecian and ship-inspired set featuring beige textured walls, hanging buoys, colorful and stylistically embroidered artwork, wicker and wood set pieces, and pristine tensile structured sails scattered throughout the stage.  Lighting and projection designer Jeanette Oi-Suk Yew with puppeteer Abigail Baird take inspiration from Greek illustrations for luminous shadow projections  who are often larger than life and transforming the set from a ship teetering in a storm to Hades itself or skillfully navigating shadows to augment a powerful giant and its threatening eye.

Wayne T. Carr, Kate Hamill, Alejandra Escalante, and Nike Imoru in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall

Led by Wayne T Carr, who is impressive as traumatized, tormented and yet resourceful commander King Odysseus of Ithaca, sacrifices, betrayals, and illusions are just a tip of the iceberg in Odysseus’s treacherous journey to find his way home as the Moirai, portrayed by Alejandra Escalante, Kate Hamill, and Kristian Espiritu, visit Odysseus’s dreams, nightmares and eat away at his conscience.  The Moirai have great chemistry and share a few darkly comical moments while they advise, taunt, discern and engage the audience while guiding Odysseus in his next step depending on his prideful wrongdoings.  The trio takes on  several roles throughout the production ranging from pivotal characters to adorable wild animals.

Alejandra Escalante, Kate Hamill, Nike Imoru, and Wayne T. Carr in The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

Overwhelmed and weighed down by his past, Carr illustrates Odysseus’s harrowing conflict through tragedy and despair after fighting in the Trojan war while agonizing over seeming impossible choices and yet, it is difficult not to root for him even as he follows the wrong path.  Jason O’Connell portrays a number of roles including Odysseus’s right hand man, Pilates and they share an intense and notable moment about prayer, miracles and blessings in Odysseus’s struggle as Odysseus looks on helplessly.  Carr manages to keep Odysseus’s plight sympathetic throughout his journey which quite literally includes the stuff of Hades.

Kate Hamill and Wayne T. Carr in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

Kate Hamill relishes her role as legendary trickster and temptress sea witch Cerce and is one of the most fascinating characters in the production.  Candid and condescending, Hamill brings to life Cerce’s provocative nature and possesses sharp and darkly comic timing as she tows the line between deceit, truth and cruelty while pushing others to the brink.

Keshav Moodliar, Chris Thorn, Wayne T. Carr, and Nike Imoru in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

Army vests, cargo pants, boots, fatigues, furs, sunglasses, embroidered capes, detailed gowns and majestic shawls are just a portion of An-Lin Dauber’s edgy and dynamic wardrobe.  Chris Thorn, Benjamin Benenfant and Kesev Moodliar portray a trio of raunchy, rugged and power hungry reveler suitors who relentlessly pursue Andrus Nichols as Penelope as they think the king is dead.  However, Moodliar as Amphinomus is kind to conflicted Penelope, as she raises Carlo Albán as her son Telemachus to become a warrior, despite his misgivings.  Nichols depicts a raw strength, shrewdness and fortitude as Penelope and she holds onto hope for her King’s return.

Andrus Nichols and Wayne T. Carr in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

American Repertory Theater continues its world premiere of Kate Hamill’s The Odyssey live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Sunday, March 16.  This epic production has adult themes and runs three hours including two intermissions.  Click here for more information and tickets.

REVIEW:  Navigating a dream in Central Square Theater’s ‘SPACE’

Posted on by The Sleepless Critic

For some aviators, space is so close and yet so far away.

The journey for breakthrough can span generations and Space examines the rocky path to bring women to space by taking leaps and bounds through time while unveiling a mix of accomplished and still some hidden figures.

A Catalyst Collaborative@MIT production written by LM Feldman with innovative direction by Larissa Lury, Central Square Theater continues SPACE live and in person through Sunday, February 23 at Central Square Theater in Cambridge, Massachusetts.  The performance is not limited to the stage, contains some mature themes and runs approximately two and a half hours including one intermission.  Click here for more information and for tickets.

Barlow Adamson and Kaili Y Turner in Central Square Theater’s ‘SPACE” Photo by Nile Scott Studios

Prior to SPACE, make your way to a star-filled, adjacent room to study an array of promising and bright aviators featured in this production.   Some who became astronauts and others who attempted to break through barriers while making strides for others. 

Introduced by Kaili Y. Turner as the first African-American woman to travel to space Mae Jemison and Barlow Adamson as JFK, Central Square Theater’s SPACE transcends 100 years bringing together aviation legends whose paths may have never crossed in reality, but gathered together in this production where anything is possible.

Catherine K. Slusar, Kaili Y. Turner, Hui Ying Wen, and MK Tuomanen in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios

Qingan Zhang’s simple yet expansive set design with John R. Malinowski’s transformative lighting and Nate Tucker’s immersive sound design combine for a celestial experience.  The journey to become an astronaut is a physical and mental rollercoaster and this production articulates that rigorous and complicated path in an unconventional and effective manner.  This multilayered production maintains a swiftly moving pace through simultaneous conversations and detailed commentary while stylistically evolving from scene to scene with a zippy narrative. 

The cast’s fascinating rapport explores the similarities and differences these women might have shared had they existed in the same time period, especially when they put their heads together.  It is unique method of examining their individual backgrounds and how they might have interacted if time and space had no barriers.  The production discusses each of these dynamic women’s accomplishments (some who were self taught) and delves into aspects of their personal lives, interests and tragedies which those in charge unreasonably deem to affect their ability for the program compared to male candidates. 

Catharine K. Slusar, Hui Ying Wen, Valencia Proctor and Monica Risi in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios

Some of the strongest scenes of the production include the arduous testing involved for this group of women test candidates in the 1961 Mercury 13 space program.  Led by Barlow Adamson as a testing official, the candidates physically pile together through clever human choreography during testing, symbolizing a bond with the other women who may have never met in reality, but share a common dream.

MK Tuomanen and Mitra Sharif in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios

MK Tuomanen delivers a memorable performance as daring and carefree Sally Ride and aptly articulates the panic and pressure of being NASA’s special consultant Geraldyn Cobb in a dual role.  Listing jaw dropping accomplishments, Catherine K. Slusar avidly depicts Jackie Cochran’s sheer vigilance in a difficult position navigating the system as a Woman Airforce Service pilot, spokesman, and sponsor of the Mercury 13 space program.  Adamson portrays an inspiring and exacting JFK and juggles a number of other characters with finesse and occasional humor while Turner delivers a fervent performance as Mae Jemison.

Mitra Sharif, Hui Ying Wen, Catherine K Slusar, Valencia Proctor, MK Tuomanen and Monica Risi in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios

At one point in the production, it is mentioned that there is no ceiling in space.  Learning about these brilliant women who reached and fought tirelessly through generations for their mutual dream to innovate beyond the system through changes, blockages and rejection to explore space stands an as an inspiration for any dreamer to persist no matter what until that dream is a reality.

Central Square Theater continues SPACE live and in person through Sunday, February 23 at Central Square Theater in Cambridge, Massachusetts.  The performance is not limited to the stage, contains some mature themes and runs approximately two and a half hours including one intermission.  Click here for more information and for tickets.

REVIEW:  Fueled by intricate and electrifying dance rhythms, American Repertory Theater’s ‘Diary of a Tap Dancer’ an inspiring and remarkable journey

Posted on by The Sleepless Critic

Ayodele Casel has so much to say and masters the best way to say it as a dancer once advised her, “You have all the vocabulary.  You just need to speak.”

Ayodele Casel (creator, choreographer, performer) in performance for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

An immediately engaging bilingual tribute to tap dance and much more written and choreographed by acclaimed dance dynamo Ayodele Casel and directed with gusto by Torya Beard, American Repertory Theater (A.R.T.) continues the world premiere of Diary of a Tap Dancer live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Saturday, January 4.  The production runs two hours and 30 minutes including one intermission.   Click here for more information and for tickets.

Ayodele Casel (creator, choreographer, performer) dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer Photo by Nile Scott Studios and Maggie Hall

Contemplating who tap belongs to, Diary of a Tap Dancer is a genuine, deeply personal and revealing story as Ayodele Casel, a woman of color, explores different eras of her life in two worlds and infusing it into her artistry.  Set to symbolic and pulsing dance rhythms, Ayodele shares her story while recognizing other trailblazing dance and tap masters in an emotionally charged journey taking her from the Bronx to Puerto Rico and more.  Born in 1975, it makes a powerful and profound statement through her art which includes determination, gumption, and persistence rising from her challenging upbringing to wonders unknown while making unexpected discoveries about herself along the way.  

The cast dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer Nile Scott Studios and Maggie Hall

Casel is charismatic, inviting and natural as she searches for her destiny, culture, identity and acceptance sharing her reflections, insecurities, rage, disappointment, pain, humor, and sheer joy for her art infused in each step.  Her snappy, exciting and sleek choreography commands the stage as she joins talents Naomi Funaki, Afra Hines, Quynn L. Johnson, Funmi Sofola, Liberty Styles, Annaliese Wilbur, and Ki’Leigh Williams in driving and exhilarating rhythms.  Each dancer also effectively steps into various roles as Casel makes connections in this fascinating narrative.

Liberty Styles (performer) and Ayodele Casel (creator, choreographer, performer) in production for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

The star of this show is the dance illuminated with finesse by lighting director Brandon Stirling Baker in brilliant, gleaming and layered spotlight.  Camilla Dely’s partially vaudeville-inspired costumes cross the classic with the contemporary featuring bow ties, top hats, suspenders, colorful street wear and billowing skirts.

Ayodele Casel (creator, choreographer, performer) dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

Musically directed by Nick Wilders, an intimate onstage orchestra produces catchy rhythms composed of various instruments including Bomba drums by  Keisel Jiménez Leyva so infectious, I could not help but bop my head to the beat. 

Sharath Patel’s distinctive and energetic sound design combines nature and concrete jungle with honking horns, chirping crickets, and barking dogs that hold personal meaning of Casel’s upbringing in the city and Puerto Rico.  Projection designer Katherine Freer captivates with transforming scenic projections that span from glowing diary writings that include Easter eggs within the production to stunning island sunsets and starlight to water color skies to graffiti decorated brick city buildings to images of Casel’s inspirations on Tatiana Kahvegian’s meticulously positioned scenic design. 

Ayodele Casel (creator, choreographer, performer) in performance for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

Not only does Casel ruminate on her life, but historically explores the lives of a wide spectrum of inspiring dancers from chorus girls to Ginger Rogers who dedicated numerous hours to their craft facing pain, obstacles, oppression, racism, injustice and competition along the way.  Casel’s immense love for the Golden Age of Hollywood to a wide range of music also inspires her incredible love for dance. 

The cast dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

Diary of a Tap Dancer takes a relatable look at the dreaming, time, over thinking, worry, endless hours, tenacity, gumption, persistence, sheer grit and determination to dedicate to what you love no matter what which are lessons that transcends tap, but to any ambition.

Make time to see American Repertory Theater’s world premiere of Diary of a Tap Dancer continuing live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Saturday, January 4.  The production runs two hours and 30 minutes including one intermission.   Click here for more information and for tickets.

REVIEW: Reflections and camaraderie navigate Midwinter Revels’ uplifting ‘The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice’

Posted on by The Sleepless Critic

Island waves and a Celtic touch navigate two interpretations of a classic folk tale.

Directed with ruminating holiday cheer by Debra Wise and versatile music direction by Elijah Botkin, the 54th annual Midwinter Revels presents The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday, January 12, 2025.  This traditionally interactive production is approximately two hours 30 minutes with one intermission.  Each performance has a sponsor and dedication noted in the program. Click here for more information and for tickets.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Athéna-Gwendolyn Baptiste

This year’s Midwinter Revels occasionally takes to the seas sharing interconnected stories of identity, culture, traditions, ancestry and much more.  Aiden Parkinson portrays a cynical Celtic poet while Cedric Appolon and Kortney Adams depict a family of New Bedford newcomers from Cabo Verde who receive a mysterious package and Candida Rose Baptista is a beautiful yet elusive stranger that unleashes a new perspective.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Andrew Burke-Stevenson Kortney Adams and Aiden Parkinson

Jeremy Barnett’s festive and inviting set is steeped in the spirit of the season with illuminated lanterns, strings of old fashioned multicolor bulbs and white lights adorned on garlands and wreaths by lighting designer Jeff Adelberg as well as detailed shelves packed with a variety of books and knickknacks.  Featuring a number of traditional and contemporary Cape Verdean and Celtic instruments, the intimate Cambridge Brass Ensemble onstage orchestra beautifully delivers a wide array of music genres including Celtic, jazz, and Cabo Verdean tunes as well as a mix of moving, humorous and traditional Midwinter Revels carols for sing-along such as an a cappella SILENT NIGHT led by David Coffin who hosts with his usual welcoming charm and good humor.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus

Ugly Christmas sweaters, street wear, velvet vests, plaids, wild patterns and period pieces are only a fraction of the convivial costuming by Heidi Hermiller weaved into this large cast.  Candida Rose Baptista stuns in a gold embroidered royal blue draped gown as she shares unique, uplifting and memorable Cape Verdean tunes such as SÓ SABI sing along and later the catchy and uplifting Batuku tune FAMILIA, DESPEDIDA & SIMA NOS È SO NOS along with the Sea Change Chorus amid beautiful fish and island projections.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Lourenco “Pelé” Fernandes, José Lúis “JL” Spencer, and Candida Rose Baptista

One of the best parts of the production is the spooky number Skin and Bones performed by flashlight that may bring you a chill.  David Coffin and Mary Casey also take the stage for an amusing and eloquent a cappella version of the Irish folk number THE HUMORS OF WHISKEY and step dancer Rebecca McGowan impressively shares her spellbinding skills peppered into the production. 

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus and Rocky Road Children’s Chorus

Uniquely creating the motion and depths of the high seas, the adorable The Rocky Road Children with harmonious fiddler Liz Hanley perform the ORO MA BHADIN lullaby.  The Rocky Road Children also shine for The WREN SONG while keeping the beat with sticks accompanied by bodhrán Abe Finch and David Coffin on recorder.  David Coffin, accompanied by a trio of musicians called the Bailemian Band performs a wonderful rendition of THESTAR OF THE COUNTY DOWN.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Straw Men Mummers

Parkinson performs a stirring rendition of OISÍN AND TÍR NA NÓG and shares some reflective scenes with Appolon and Adams as they gradually learn from each other in shared experiences.

It was fascinating to witness the variations upon this symbolic and metaphorical Selkie story which share significance with each other in their own way from an Irish and then a Cape Verdean perspective.  Rather than delving into a traditionally streamlined plot this year, this musical production spends more time in camaraderie and fellowship sharing individual fables and tales while celebrating the Winter Solstice and holiday season with warmth and comfort.  Bringing a number of traditions together, the Midwinter Revels make merry the spirit of the season with reflections, humor and hopefulness in its own charming way.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley David Coffin and the cast of Midwinter Revels

Midwinter Revels presents The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice’ live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday January 12, 2025.  Click here for more information and for tickets.

REVIEW: Sparks fly as love takes center stage in Actors’ Shakespeare Project’s refreshing ‘Emma’

Posted on by The Sleepless Critic

“Love has its own agenda after all.”

This may not be a direct quote from Jane Austen, but Emma’s remark certainly encapsulates the essence of love and timing as Actors’ Shakespeare Project presents Kate Hamill’s delightfully interactive romantic comedy Emma based on Jane Austen’s classic novel live and in person at the elegant Multicultural Arts Center in Cambridge, Massachusetts through December 15.  Directed insightfully by Regine Vital, Emma runs approximately two hours and twenty-five minutes including one intermission.  Click here for more information and for tickets.

Alex Bowden and Josephine Moshiri Elwood in Actors’ Shakepeare Project’s ‘Emma’ Photo by Nile Scott Studios

Love is not just in the air in this inviting Emma, but this immersive experience includes the cast often addressing the audience and presents a sweet purpose for the noisemakers that are distributed to the audience with tea offered at intermission in case you are not already charmed by Austen’s style.

The sophisticated Multicultural Arts Center which includes a marvelous wrap around balcony, marble floors and finely-detailed staircase is an ideal location for the garden parties, tea and affluence taking place in the English countryside prevalent in this production and enhances Saskia Martinez’s lovely set design which includes multicolor sashes, mini models of mansions and sparkling brass chandeliers.   Whether it is in the vine climbing wrought-iron stadium seating or at the decorated tables on the floor, the show does not offer a bad seat in the house.  However, the more fortunate attendees are at the decorated tables on the floor immersed in the play front and center of the action.

Costume designer Nia Safarr Banks infuses colorful attire from the Regency era blending vintage and contemporary costumes ranging from watercolor to floral empire waist gowns with bows, Spencer jackets, corduroy coats, pearls, lace, crinoline and top hats as well as baseball caps and glittering denim.  Anna Drummond’s intriguing sound design also mixes classical with contemporary music featuring uplifting club songs between scenes and subtle instrumental versions of love songs from pop artists such as Taylor Swift and Cyndi Lauper.

Liza Giangrande and Josephine Moshiri Elwood in Actors Shakespeare Project’s ‘Emma’ Photo by Nile Scott Studios

Jane Austen’s Emma has been restaged, restyled and recalibrated many times over the years for television, theatre and film.  It became an age of Austen in the mid 90s after Sense and Sensibility hit the big screen in 1995 followed by Clueless, considered a modern retelling of Emma starring Alicia Silverstone, which hit the big screen in 1996 while a traditional Emma starring Gwyneth Paltrow also premiered that same year.  More recently, a streaming adaptation of Emma premiered on Amazon Prime starring Anya Taylor-Joy to some critical acclaim in 2020.

Dev Luthra as Mr. Weston and Mara Sidmore as Mrs. Weston in Actors’ Shakespeare Project’s ‘Emma’ Photo by Nile Scott Studios

In most adaptations, beautiful Emma leads a spoiled and privileged life and mostly gets whatever she wants, but she was also seemingly well meaning in her confidence that she knows what is best for everyone in her life.  In Actors’ Shakespeare Project’s Emma, having matched Mr. and Mrs. Weston by way of introduction, Josephine Moshiri Elwood as Emma is more self assured than ever that she knows what is best and intends to work her magic on her newest project Harriet, portrayed with wide eyed naiveté, excitability and awkward charm by Liza Giangrande, who she thinks has been misled in the ways of love and status.

Josephine Moshiri Elwood and Liza Giangrande in Actors Shakespeare Project’s ‘Emma’ Photo by Nile Scott Studios

Elwood’s Emma is pricklier, sharper, more outspoken, snobby, and dramatic, making no apologies as she exclaims “onward and upward.”  With a conspiratorial laugh, she is tempestuous and controlling and much more antihero than heroine.  This Emma needs to be better understood than needs to change which is a fun part to play and Elwood revels in it.  She boasts fiery chemistry with Alex Bowden as George who is also a man of means and seems a bit more reasonable, but they match each other in stubbornness.  Elwood also shares some fascinating scenes with Lorraine Victoria Kanyike who shines as refined and humble Jane as does Bowden who shares a comic rivalry with Fady Damian as enigmatic Frank Churchill. 

Josephine Moshiri Elwood and Mara Sidmore in Actors’ Shakepeare Project’s ‘Emma’ Photo by Nile Scott Studios

Most of this talented cast depicts dual roles and the entire cast display a great deal of compelling physical and self aware humor, especially between Elwood and Giangrande as well as Kanyike and Damian. Romantic, endearing, spicy and wonderfully entertaining, Hamill leaves room for more than one transformation in this production and it is refreshing to see how she infuses some contemporary ideas about society into each of these classic characters while still maintaining this classic tale of the Austen you know and love.

Matchmaking, mixed signals, love triangles and more than a few surprises take center stage as Actors’ Shakespeare Project presents Kate Hamill’s delightfully interactive romantic comedy Emma based on Jane Austen’s classic novel live and in person at the elegant Multicultural Arts Center in Cambridge, Massachusetts through December 15.  Click here for more information and for tickets.

REVIEW: The con is on as Moonbox Productions presents musical comedy ‘Dirty Rotten Scoundrels’

Posted on by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW:  Wild high jinks take shape in Central Square Theater’s spooky madcap spoof ‘The Hound of the Baskervilles’

Posted on by The Sleepless Critic

Expect anything and everything to happen as things go bump in the night in this version of The Hound of the Baskervilles.

A striking lass, peculiar locals, a mustachioed stranger, a hobby horse, a stubborn stagehand, wacky beards and hefty accents are all part of this treacherous journey through the moor in Central Square Theater’s spooky and madcap spoof, The Hound of the Baskervilles by Steven Canny and John Nicholson continuing live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, October 6.  Wildly directed by Lee Mikeska Gardner and very loosely based on Doyle’s legendary tale, this zany and semi-interactive production runs two hours and 15 minutes including an intermission.  Click here for more information and for tickets.

Sarah Morin, Jenny S. Lee, and Aimee Doherty in Central Square Theater’s ‘The Hound of the Baskervilles’ Photo by Maggie Hall

The Hound of the Baskervilles is no stranger to adaptations.  Based on Sir Arthur Conan Doyle’s 1903 classic Sherlock Holmes crime novel, The Hound of the Baskervilles has been adapted into dozen of films and TV shows including a 1978 British parody film starring Peter Cook and Dudley Moore.  The actual tale is a chilling and puzzling foray into a mysterious crime and is considered one of Doyle’s best novels.

Haunting, comical and spontaneous is this mystery spoof that mixes the classic with the contemporary while still loosely sharing Doyle’s legendary tale as it veers into several comedic detours along the way.

Sarah Morin and Aimee Doherty in Central Square Theatre’s ‘The Hound of the Baskervilles’ Photo by Maggie Hall

A full moon, distant howling and a single illuminated ghost light kick off the foreboding and eerie demeanor of Central Square Theater’s Hound of the Baskervilles as David Bryan Jackson’s dynamic sound design along with John R. Malinowski’s spooky lighting navigate the haunting, humorous, and spontaneous elements of this swiftly shifting production that is not limited to the stage.

While generally not a big fan of spoofs, this self aware trio takes improvisation, physical humor, and even miming to new heights led by the ever impressive Aimee Doherty as herself, Holmes and others, especially during a zany expedition through Act II.  It is at times mind boggling to think how this jocular trio manages to keep track of which comedic detour they are addressing from moment to moment (never mind the accents!) changing identities, and what is real and what is all in disguise, but it seems all in good fun with a considerable dose of goofy silliness.

Sarah Morin and Jenny S. Lee in Central Square Theater’s ‘The Hound of the Baskervilles’ Photo by Maggie Hall

Costume designer Leslie Held delivers Sherlock sleuthing at its Edwardian finest complete with Harris Tweed deerstalker caps, wool gray and mustard colored coats, paisley ties, and top hats mixed with some surprisingly whimsical selections as well.  The production also swings from vintage into the contemporary in remarkable self aware fashion.  Spoofing deductions about deducing is Doherty as Holmes who must solve the mysterious death of Sir Charles Baskerville.  Did he die of a heart attack or were there darker forces at work?  Doherty’s comic timing is particularly sharp during a train sequence in which Doherty portrays a repetitive train conductor.  Jenny S. Lee is more than game as admiring and a bit dim Watson, Sherlock’s sidekick.  It is amusing to watch Doherty playfully tease Lee as Watson from time to time as they both attempt to solve this ‘jigsaw’ puzzle of a case.  Lee is a fun sidekick, has engaging chemistry with Doherty, and stands as a firm Robin to Sherlock’s Batman. 

Jenny S. Lee and Aimee Doherty in Central Square Theater’s ‘The Hound of the Baskervilles’ Photo by Maggie Hall

Sarah Morin more than has her work cut out for her as not only Canadian Sir Henry Baskerville, but all in the family line not including the zany characters that Doherty and Lee meet along the way.  Trying to unravel this mystery and keep up with all the split second dress changes is a feat in itself. 

Sarah Morin and Jenny S. Lee in Central Square Theatre’s The Hound of the Baskervilles Maggie Hall

However, the greatest feat of all might be how the show manages to remain on course.  After all, The Hound of the Baskervilles is essentially a murder mystery and Holmes and Watson have a crime to solve.

Central Square Theater’s presents spooky madcap spoof, The Hound of the Baskervilles by Steven Canny and John Nicholson live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, October 6.  Wildly directed by Lee Mikeska Gardner and very loosely based on Doyle’s legendary tale, this zany and semi-interactive production runs two hours and 15 minutes including an intermission.  Click here for more information and for tickets.

REVIEW:  American Repertory Theater brings new dimensions to Shakespeare’s ‘Romeo and Juliet’

Posted on by The Sleepless Critic

Nowhere else but Fair Verona is love and hate so swift and immediate than in Shakespeare’s Romeo and Juliet.

American Repertory Theater reveals love, rage, loyalty, and passion in an ominous production that integrates a number of Shakespeare’s signature elements.  Director Diane Paulus remarkably illustrates ‘what could have been’ in a haunting sequence of the best laid plans and Emilia Suárez as Juliet is not only beautiful, naïve and headstrong, but depicted in a heightened and more thought provoking manner while adding new dimensions to this classic star crossed love story. 

Directed meaningfully by Diane Paulus and captivating choreography by Sidi Larbi Cherkaoui with raw and memorable fight choreography by Thomas Schall, American Repertory Theater kicks off its 45th season with Shakespeare’s Romeo and Juliet continuing live and in person at the Loeb Drama Center in Cambridge, Massachusetts through October 6.  The production is two hours and 45 minutes including one intermission.  Click here for more information and for tickets.

Shakespeare’s Romeo and Juliet delves into the war between feuding families the Montagues and Capulets.  However, when Rudy Pankow as Romeo Montague sets his eyes on Emilia Suárez as Juliet Capulet, their worlds are forever changed.

Emilia Suárez (Juliet) and Rudy Pankow (Romeo) in A.R.T.’s Romeo and Juliet. Photo by Nile Scott Studios and Maggie Hall

The war between the Capulet and the Montague families take center stage from the production’s first scene and the hate proves as instantaneous as Romeo and Juliet falling in love at first sight – unreasonable, unbridled, and unyielding. Tensions rise and escalate quickly as both clans face off over a gesture on the street.   Amy Rubin’s grand wooden and transformative set pieces which includes a tower that billows smoke, reflects the weighty love and rage contained in these characters who occasionally labor to shift these symbolic set pieces during the production.

Jen Schriever’s dynamic lighting fuels a beautifully contemporary Capulet masquerade with luminous orbs, hazy spotlights and special effects alongside Daniel Lundberg’s mix of foreboding, ethereal and pulsing sound design, but truly shines later in a harrowing display of chilling shadows. 

Rudy Pankow (Romeo) and Terrence Mann (Friar Laurence) in A.R.T.’s Romeo and Juliet. Photo by Nile Scott Studios and Maggie Hall

Romeo and Juliet features a strong and compelling cast highlighted by Terrence Mann as herbalist Friar Laurence.  In tattoos and pulled back hair, Terrence Mann boasts a meaty and enhanced role including part narrator and providing some musical accompaniment on a ukulele.  With sharp dramatic and comic timing, Mann as Friar is stoic, sensible and is humorous in his understandable exasperation and weariness reflecting some the audience’s thoughts as he aspires to advise impulsive Romeo and Juliet.

Emilia Suárez as young and love struck Juliet is riveting from her first meeting with passionate and insistent Romeo and later as she agonizes over the excruciating decisions in front of her, almost losing herself in what feels like an Ophelia-like moment during a scene with Sharon Catherine Brown as Juliet’s compassionate and supportive Nurse.  It is chilling, brilliant and adds another dimension to this complex character.    

Sharon Catherine Brown (Nurse) and Emilia Suárez (Juliet) in A.R.T.’s Romeo and Juliet Photo by Nile Scott Studios and Maggie Hall

Emilio Sosa’s detailed costume design varies from fishnets, ripped jeans and leather to stately and glittering formalwear.  Brown has an enviable wardrobe in floral multicolor dresses and jackets right down to her fabulous boots.  With a glowing smile, Brown shares a protective and sweet rapport with Juliet and while the Nurse is sometimes depicted with a more maternal instinct than Juliet’s mother, it is not necessarily the case here.  Glamorous Nicole Villamil as Lady Capulet may be preoccupied by social matters at times and aware of her limited power as a wife, but has a heartfelt affection for Juliet and wants what is best for her.  Mann and Brown also share a memorably amusing scene together, demonstrating they may be the only rational characters in this tale. 

Terence Archie is dignified and confident as Lord Capulet, even during a moment where he knocks on a wooden set piece.  Archie’s clever turn of Shakespeare’s lines feel contemporary and relatable as Juliet’s father especially in a powerful scene with Juliet later in the production. 

Clay Singer (Mercutio), Rudy Pankow (Romeo), and Brandon Dial (Benvolio) in A.R.T.’s Romeo and Juliet. Photo by Nile Scott Studios and Maggie Hall

From a Hawaiian shirt and sneakers to a multicolored cardigan, Clay Singer’s Mercutio is a teasing, raunchy and saucy presence and may keep you guessing whether Singer is flirting or fighting with the other characters.  Singer plays the darker undertones and unpredictability of this pivotal character with playful yet protective gallantry and shares some mischievous antics with Brandon Dial as warm hearted and earnest Benvolio.  In a black fishnet shirt and leather, Alex Ross as tumultuous Tybalt is a disquieting and menacing force onstage escalating in a gripping scene with Singer, Pankow, and Dial.

Though the production is a bit lengthy, American Repertory Theater delivers an enhanced tale that adds new dimensions to these classic characters which culminate in a unique and insightful epilogue demonstrating that hope rises even in the bleakest of times.   

Rudy Pankow (Romeo) and Emilia Suárez (Juliet) in A.R.T.’s Romeo and Juliet. Photo by Nile Scott Studios and Maggie Hall

American Repertory Theater presents Shakespeare’s Romeo and Juliet live and in person at the Loeb Drama Center in Cambridge, Massachusetts through October 6.  The production is two hours and 45 minutes including one intermission.  Click here for more information and for tickets.