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
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.
Mississippi blues singer-songwriter, guitarist and teacher has punk roots?
Ryan Lee Crosby has navigated quite a journey into the music world after setting his sights on his first guitar at three years old. I had the honor of interviewing Mississippi blues singer-songwriter, guitarist and teacher Ryan Lee Crosby about a new album, current international tour and what ultimately draws him to music. Click here to learn more about Blues musician Ryan Lee Crosby, hear his music and where he will perform next.
Ryan Lee Crosby Photo by Lisette Rooney
Sleepless Critic: I understand you were involved in punk at one point?
Ryan Lee Crosby: Yeah, when I first started performing publicly, I was involved in a post punk band called Cancer to the Stars. Labels are a tricky thing, but I suppose you could say that it was a post punk band.
SC: Ok, and what kind of sound did you have?
RLC: Well, we played together just shy of four years and our sound changed quite a bit over time. When we initially began about 25 years ago, we were drawing from electronic music like drum, bass and early ambient music from The Imbeciles, Brian Eno, Joy Division and Gang of Four. It was a rock trio, but we were interested in evoking electronic sounds with guitar, bass, drums and vocals.
Our sound became louder, more aggressive and noisier. By the time we ended, it was more like *sigh* a dark sounding rock band. It’s hard to describe. I think we had a lot of unusual influences such as Hip hop and trip hop. It was electronic and Nirvana was an influence too, so it was a lot of different things.
SC: I ask you that because I reviewed a documentary of a hard core punk band at the NYC Indie Film Festival a few years ago and the punk documentary was paired with a jazz documentary. You can make your own rules with jazz and punk, so perhaps that is how they related.
RLC: Yeah, I feel that there is an overlap between punk and blues too and it doesn’t surprise me to hear that punk and jazz can be considered in the same context. Where things become really interesting is in all those styles of music, I think it is also embedded in blues and punk.
I’m not a jazz musician, but I own some jazz records and within all of those, they are musical expressions of a yearning for freedom and a longing to transcend boundaries, make your own rules and your own community. Those are the threads that make them feel resonant.
I think of how brisk the momentum might be in 1940s bebop holding it alongside the hardcore punk of a band like Bad Brains. They may sound like completely different types of music to the casual listener, but I think there’s a lot we can get when we let go of what something looks like or where it’s from and feel into the underlying quality of the work. So, I think the rhythm and a sense of the momentum and drive in the rhythm a lot of times have a lot to do with that.
Ryan Lee Crosby with guitar Photo by Lisette Rooney
SC: I agree and great insight into how all these genres can tie together. You are a blues musician now, but how did you discover the guitar and how did you evolve into the artist you are now?
RLC: My first memory of the guitar is the one my mom had when I was three years old. It was kept in a separate room and I was not supposed to go in there. I remember going into this room and seeing the guitar under a light bulb so there was this light shining down on it. I didn’t start to play until much later. My uncle and both my brothers played guitar so I came to it a little bit late. My mom didn’t play, but I used that guitar on my first record and it disappeared somewhere in my early 20s. I don’t know what happened to it. Guitar was kind of a means of relieving pressure and something that helped me relax into myself.
I am a guitarist, music teacher and have an English degree. I never used my English degree, but it was something I enjoyed studying in school. I went to Northeastern University because I was interested in their Music Business program, but after about a year of being in the program, I realized that it wasn’t really for me. My parents didn’t want me to drop out of college and I didn’t have the heart to disappoint them so I stayed in school and got an English degree.
SC: I understand you have an avant guard blues style of playing the guitar.
RLC: Well, I’m very interested in regional traditions and Mississippi in particular. I spent time with a number of older practitioners down there, especially my primary mentor, Jimmy “Duck” Holmes. I relate to playing the blues in that way. That is oral tradition passed from person to person and my relationship to the blues is being as traditionally oriented as I can be. I want to honor the way as I understand music is taught and passed on. I also have these other genres and styles in my background and while I am organized around traditional Mississippi Blues, it all goes through the filter of my own life experience which includes a lot of other contexts. It’s traditional to a degree, but there are a lot of entrances that come into it so I end up doing things like playing an electric 12 string guitar or sometimes using an ambient slide guitar and other things that you wouldn’t normally hear in traditional Mississippi blues.
Ryan Lee Crosby Photo by Lisette Roone
SC: You are in the middle of a big tour, but you are a Boston guitarist and singer-songwriter.
RLC: I lived in Boston for just shy of 25 years and that is home to me. A lot of my formative experiences all happened living in or around the city. I feel like a Bostonian at heart, but I have been living in Rhode Island for the last three years.
I recently played at Satellite at Remnant Brewing in Cambridge, MA and it was really lovely. A couple of shows in Boston this year, but for a lot of my life, I would play around town pretty frequently at places like TT the Bears, the Middle East, Atwoods, The Lizard Lounge and Passim. For the past few years, rather than trying to play in town every month, I’ll try to do two really intentional performances a year.
I have two or three weeks worth of tour dates that have not been announced yet, but this fall, I plan to do a good loop around New England, New York, NYC and then go down to Mississippi and do a loop in the South.
SC: What makes the concerts in the South different than the ones in Boston? If the blues is influenced in Mississippi, it must be a different feeling there.
RLC: Oh yeah, absolutely because the cultures are so different. Blues traditions were influenced by and created in Mississippi. If I go to play the Bentonia Blues Festival, that’s the style of music I love in the town it was created. If I’m playing that style in Blues in Boston, Rhode Island, Europe and elsewhere in the world, sometimes I’ll have to explain this kind of music. If I’m playing where the music originated, I don’t have to explain anything. If I do have to explain anything, I have to explain why I’m there.
In the South, audiences respond to an outgoingness that is not second nature to me as a New Englander. The mood of the exchanges is just different in lots of ways. Performing in Europe feels more like performing in New England. Europe has cultural differences too, but I feel more cultural differences in the South than in the Netherlands or in Germany. Going to the source where the music originates from is a powerful feeling.
I grew up in Northern Virginia until I was 11 and then moved to New England. Northern Virginia is just barely in the South and I don’t know how to connect what draws me to Mississippi, but it draws me somehow.
Ryan Lee Crosby Live
SC: Are you working on new music?
RLC: My new record, At the Bluefront, is out August 20 and we’ve been putting singles out from that album once a month or so. I believe there are three songs that they can listen to either at my band camp page, my website or through streaming services and I am working on new material as well.
SC: Do you have a favorite track that you really want people to listen to?
RLC: The first song is Catfish Blues featuring Jimmy “Duck” Holmes who sings and plays on the track which is a real honor. He’s on half the album. People can hear another song called Mistreating People which is a pretty traditional Bentonia Blues style as well.
SC: It’s a tough industry to be a musician. What is your biggest joy in what you do?
RLC: What keeps me going is a heartfelt desire and a longing that comes from what feels like right from the center of my being to feel connected. Music is an opportunity for us to connect to ourselves, connect to beauty, to meaning, to purpose and can give us a path and connect us to each other in community and in collaboration and to a sense of something bigger than ourselves. That’s what I’ve always wanted my life to be about and I feel very fortunate that I’ve been able to live that life and to keep on going.
SC: What I love the most about music is after a song is created, it doesn’t change. You can revisit it and you can change as you get older, but the music stays the same.
RLC: When you produce a recording or document, it can live on. It’s a beautiful thing.
Ryan Lee Crosby is currently on tour. Click here to learn more about Blues musician Ryan Lee Crosby, hear his music and where he will next take the stage.
Let the negotiations begin. This is big business and with cigar in hand, Vivie Warren thinks she is ready for anything.
Set Designer David R. Gammons designates a perfect place for negotiations for the head and heart using a long conference table in a board room for this rich and enigmatic drama.
With sharp direction by Eric Tucker, Bedlam, Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. This production lasts two hours with one 15 minute intermission. It boasts open captions that come in handy during the performance and the content has some adult themes. Click here for more information and for tickets.
What is Mrs. Warren’s profession?
Herein lays one of a few mysteries among this group of complex and formidable characters who are keeping a few secrets of their own. Condescending and at times, downright smug, Barlow Adamson steps into the expensive shoes of Sir George Crofts who declares himself a friend of Vivie’s mother, Mrs. Warren. The show’s fascinating opening scene features Adamson and Luz Lopez as Vivie in an intellectual exchange proving that Vivie can certainly hold her own. Even through Adamson’s humorous mansplaining, Vivie is a female force to be reckoned with.
Barlow Adamson and Luz Lopez in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios
Mrs. Warren’s Profession is primarily steeped in at times heavy, but steadily shrewd and satirical comedy and social commentary. Adamson impressively portrays Crofts with a mix of sardonic wit and charisma as he carefully sizes up seeming competitors including Nael Nacer as kindly Praed, Wesley Savick as alarmed and tight lipped Reverend Samuel Gardner, and Evan Taylor as young, impulsive and perhaps loose cannon Frank Gardner. Nacer as Praed and Adamson as Crofts embark in cagey and captivating exchanges while smirking and belligerent Taylor as Frank cuts his father, Savick as Reverend Gardner down to size when Frank is not shamelessly flirting with both Mrs. Warren and Vivie. Each man approaches Vivie and Mrs. Warren with their own motivations knowing that these strong willed women are also limited by a woman’s oppressive place in society.
Melinda Lopez, Wesley Savick, Nael Nacer, Evan Taylor, Luz Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios
Just three years after the publication of Henrik Ibsen’s Hedda Gabler, George Bernard Shaw published Mrs. Warren’s Profession in 1893. These works feature women ahead of their time fighting against the limitations of a woman in that era. Creating tension and isolation, Tucker seamlessly blends the classic with the contemporary through a notably vintage piece of staging reminiscent of Hedda Gabler where the whole cast is present, but not part of the action taking place onstage. In this pivotal scene, the negotiation table doubles as a stage as Jeff Adelberg’s moody and rhythmic multipurpose lighting gauges time is money as stock market projections flash above the stage.
Nael Nacer Evan Taylor Melinda Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios
Mrs. Warren’s Profession delves into status, conspiracy, hypocrisy, morality and complex family dynamics wrapped up in a couple of significant mysteries that directly affect the complicated relationship between absentee mother Mrs. Warren and her daughter, Vivie. Costumer Leslie Held puts the cast in their business finest with the exception of Sam in a vestment, callow Frank and Vivie. Standing out in a braid and classic business casual attire, Lopez’s poker faced Vivie might be at the negotiation table, but she is ultimately in it for more.
Melinda Lopez and Evan Taylor in Central Square Theatre’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios
Luz Lopez portrays idealistic Vivie, a modern, unwaveringly sensible, and fiercely independent and innately mature woman who is meeting with her mother and woman of the hour, Mrs. Kitty Warren, depicted with critical yet measured affection by Melinda Lopez, for the first time in many years. Vivie feigns a certain indifference to her mother, but feels displaced and lonely. Though Kitty attempts to be more than cordial, Vivie keeps her mother at arm’s length for reasons that gradually unfold. Bickering, mincing words, and pressing each other’s buttons, Melinda and Luz skillfully navigate their unstable mother and daughter dynamic which veer from a cold handshake to hospitable and then changing once again as guilt and promises are stealthily presented amidst negotiations.
Melinda Lopez and Luz Lopez in Central Square Theater’s ‘Mrs. Warrens Profession’ Photo by Nile Scott Studios
Mrs. Warren’s Profession is considered a classic play and much of the quick witted content can be translated with ease into today’s society. Suspenseful and intriguing, these chilling revelations may not be as scandalous as they might have been in 1893, but no less impactful, especially as negotiations go awry.
Nael Nacer and Wesley Savick in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios
Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. Click here for more information and for tickets.
Two people with seemingly nothing in common, one wedding cake, and several pieces of luggage lead to a string of possibilities in this delightful spin on a romantic comedy.
I will admit, I didn’t want it to end.
Imaginatively directed and choreographed by Tim Jackson, American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. This fabulous production runs two hours and 10 minutes including one intermission. Click here for more information and for tickets.
Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York).
Photo: Nile Scott Studios and Maggie Hall
On December 2, two strangers meet at a New York City airport unaware that their futures are connected. That is until Sam Tutty as naïve and perpetually optimistic Brit Dougal discovers that Christiani Pitts as cynical New Yorker Robin is Dougal’s ride from the airport. How they become connected to an expensive wedding cake is where the plot thickens.
Scenic and costume designer Soutra Gilmour cleverly makes innovative use of a pile of strategically placed luggage on a conveyer belt which multitasks as a coffee shop, hotel room, a dance club packed with a string of shimmering disco balls, and several other surprises that will not be revealed here. The rotating conveyer belt is a brilliant addition to the production that translates into multiple uses in various settings. Along with Music Director Jeffrey Campos working in conjunction with Sound Designer Tony Gayle and Cody Spencer, lighting designer Jack Knowles brings it all to life with the playful, flourishing and multicolored neon brilliance of Times Square to each of the onstage band’s rhythmic beat. It is one of the most inventive sets I have seen in a long time.
Sam Tutty in Two Strangers (Carry a Cake Across New York).
Photo: Nile Scott Studios and Maggie Hal
Sam Tutty evokes an innate charisma as Dougal, a guileless and irresistible British charmer who is visiting New York City for a wedding. Tutty’s Dougal is a movie loving, excitable, sincere, rose colored glasses, speak out of turn and puppy dog kind of charming that if Dougal does not win the girl, he will surely win over the audience. Dougal is only in New York for 48 hours to see his absentee dad get married and it is back to England. With a characteristic vibrato, Tutty expresses Dougal’s dreamy excitement for adventure in a duet with Pitts in New York and hopeful optimism in a reflective rendition of Dad.
Christiani Pitts is also terrific as cynical New Yorker Robin who is holding back a secret. While Dougal seems to love life and charges at its possibilities with fun loving enthusiasm, Robin approaches life financially-hanging-on-by-a-thread hampered by a complicated family life struggling to make ends meet in more ways than one. Robin sees the world just as it is and is more concerned about surviving it than taking it all in as exemplified in Pitts’s solo rendition of What’ll it Be.
Christiani Pitts in Two Strangers (Carry a Cake Across New York).
Photo: Joel Zayac
What these two do have in common is they are lost and trying to find their place in the world and within their family. They also have a lot more to learn about each other than they realize as demonstrated in their contemplative duet Be Happy.
If you think you know how this romantic comedy musical will turn out, Two Strangers holds plenty of surprises up its sleeve and brings a refreshing new take to the romcom. Leaving behind any shallow or empty plotlines that some romantic comedies are culpable, Two Strangers deliver a self aware and satirical approach to these scenarios through dialogue and song. It is a wink to past romantic comedies while also veering into new territory offering authentically exhilarating and stirring moments.
Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York).
Photo: Joel Zayac
Much of that is due to the crackling chemistry between Christiani Pitts and Sam Tutty who banter, tease, joke, disagree and reflect on the their individual lives and their views on the future. Their irresistible affinity towards each other is endlessly entertaining and creates beautiful harmony in several duets, but especially for their humorous (and a little naughty) duet, On the App.
Two Strangers (Carry a Cake across New York) boasts catchy and unique pop-infused melodies that these leads seem to master effortlessly with charm, style and finesse. Pitts lends fluttering vocals and a mix of anxiousness and rising hopefulness to the powerful ballad This Year. Pitts also masters the a cappella and vocal gymnastics of the hysterical and hilarious number, The Hangover alongside Tutty.
Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York).
Photo: Nile Scott Studios and Maggie Hall
Amusing, original, feel good and inventive, make time to witness how this heartfelt story unfolds! Two Strangers (Carry a Cake across New York) stands as one of my favorite productions this year.
American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. Click here for more information and for tickets.
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.
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.
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.
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.
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. Hersnappy, 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.
