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

Posted on December 23, 2023 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Midwinter Revels Solstice Dancers Photo by Paul Buckley

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

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

REVIEW: Greater Boston Stage Company’s ‘All is Calm: The Christmas Truce of 1914’ moving and miraculous

Posted on December 15, 2021 by The Sleepless Critic

Witnessing a phenomenon is a rare and precious thing. It was nothing short of miraculous watching Greater Boston Company’s All is Calm: The Christmas Truce of 1914 which details that short period in history where enemies united briefly during the depths of War War I on Christmas Eve 1914. Disillusioned and missing their loved ones, soldiers demonstrated compassion and the mercy of the human spirit as both sides sang carols, exchanged goods, and mutually wished for the war to end.

In the Greater Boston Stage Company’s lobby. Authentic combat uniform and gear from the Veteran Association of the First Corps of Cadets and Museum Photo courtesy of Greater Boston Stage Company

Directed poignantly by Ilyse Robbins and compellingly written by Peter Rothstein, Greater Boston Stage Company presents the award-winning documentary musical, All is Calm: The Christmas Truce of 1914 through December 23 as a digital performance and live in person at Greater Boston Stage Company, 395 Main Street in Stoneham, Massachusetts. The show is approximately 70 minutes with no intermission. Click here for more information and tickets.

It is surprising that The Christmas Truce of 1914 is not more widely known. Joyeux Noel, The Christmas Truce, various documentaries, and this show are a few of the ways that this short historical period is recorded. It should be an annual tradition like How the Grinch Stole Christmas, Frosty, Rudolph or A Charlie Brown Christmas. It stands as a significant reminder of a Christmas Eve miracle that occurred only once during War World I’s long and grueling four year time span. Most soldiers first joined thinking the war would end by Christmas.

The cast of ‘All is Calm: The Christmas Truce of 1914’ Photo credit to Nile Scott Studios/Greater Boston Stage Company

A dimly lit, bare stage is all that is revealed at the start of All is Calm, but what transpires as the show progresses is a rich landscape of moonlight, song, and memories. Though this show features musical interludes, it is not a traditional musical. It is more like a documentary that features stunning music and carols inviting the audience into the warmth, spirit, sacrifice, and the true meaning of the season.

Comprised of ten cast members who take on several identities during the production as they recollect that time period, All is Calm boasts powerful and silvery harmonies chiming into the wintry night sung a cappella without a band. Music Director Matthew Stern does a sensational job with Erick Lichte and Timothy Takach’s vocal arrangements which includes popular carols such as Silent Night, O Holy Night, We Wish You a Merry Christmas, Angels We Have Heard on High, and Auld Lang Syne.

Michael Jennings Mahoney and the cast of ‘All is Calm’ Photo credit to Nile Scott Studios/Greater Boston Stage Company

All is Calm is a beautiful ensemble piece and each cast member rises to the occasion, but when a renowned German tenor leads a stirring rendition of Franz Gruber’s Stille Nacht in No Man’s Land, it is difficult to pinpoint a more memorable moment.

Dressed in muted military uniforms and kilts faithful to the era’s period and culture by Bethany Mullins, the collaborative cast demonstrates heartwarming chemistry and yet simultaneously depicts each soldier’s growing isolation in sorrow, fear, turmoil, and anguish as they progressively experience war’s cruel reality. Integrating direct quotes from soldiers, narration, and uplifting carols such as Wassail as well as exceptional and heartrending songs such as I Want to Go Home, many times moved me beyond words.

Photo credit to Nile Scott Studios/Greater Boston Stage Company

Though the extraordinary harmonies are a large part of the production, the production’s real mastery also resides in its stillness. That brief interlude during a harrowing time where friendships were forged and sweet peace was nestled in the silence of enemies who joined together in the joy of the season and the sadness in their hearts for what was in store.

Greater Boston Stage Company presents the award-winning documentary musical, All is Calm: The Truce of 1914 through December 23 as a digital performance and live in person at Greater Boston Stage Company in Stoneham, Massachusetts. The show is approximately 70 minutes with no intermission. Click here for more information, tickets, and a look at their upcoming events.

REVIEW: Christmas Revels 50th virtual anniversary delivers mirth, merriment, and reflection

Posted on December 29, 2020 by The Sleepless Critic

For what marks its 50^th year, Christmas Revels has been entertaining audiences by delving into vast cultures and recreating historical moments and holiday traditions with drama, dance, humor, and song. Christmas Revels made its debut in 1971 and though it is limited to the screen this year, this engaging production brought a mix of new material while glimpsing some of their best performances in their long history.

Father Christmas makes an appearance in The Christmas Revels annual “Mummers Play” Photo courtesy of Revels

Having never seen Christmas Revels before, it was a lot to take in and quite a feat to encapsulate the best moments in such a broad time frame. Catching glimpses of some of their special guests, returning favorites, and new faces was an innovative way to recap a half century of productions, but it also had me longing to see more, especially as I glimpsed some of their best, most enduring performances.

Christmas Revels is still available to stream on-demand through Thursday, December 31. Click here for more information and how to support future Revels productions. The 50^th Anniversary of Christmas Revels is also available as a 2-CD set. Click here for more information.

Statues: Paula Plum as James Otis and Richard Snee as Josiah Quincy Photo courtesy of Revels

Harvard University’s Sanders Theatre is as majestic and welcoming as ever even as it fills for a virtual audience. The dark, wooden stage is softly-lit with two stately, marble Greek statues sitting on each end as a grand, dimly-lit bronze chandelier floats overhead. Hosted by acting dynamos Paula Plum and Richard Snee as James Otis and Josiah Quincy who were immortalized as those legendary statues on the Harvard University stage and the only souls who have seen every Revels performance and then some, Christmas Revels blends humor, stirring moments, and a wistful trip down memory lane to witness some of Revels’ earliest performances as it gradually became what it is today.

From humorous moments to joyful carols such as 1984’s Yorkshire Here We Come A Wassailing, Go Tell it On the Mountain with Janice Allen and Joy to the World featuring choruses from Christmas past and virtual Christmas present, and a serene Dona Nobis Pacem featuring renowned cellist Yo-Yo Ma, Christmas Revels does not predictably explore its past in sequence, but in clever moments such as merging a past and more recent performance of a song by various performers, setting a different tone to its enduring meaning.

Yo-Yo Ma with Audience: Cellist Yo-Yo Ma performs the peace round “Dona Nobis Pacem” with members of the Revels Virtual Audience Photo courtesy of Revels

One of the best and most exciting examples of this was in 1997’s and 2015’s Lord of the Dance featuring David Coffin, Neena Gulati, and Patrick Swanson as they explored eastern and western Hindu traditions. Audience members were on their feet as enthusiastic performers led audience members to spill out into the Sanders Theatre’s lobby singing along. 1993’s Kukko dance featuring the Karelian Folk Ensemble stood out as one of the more exotic cultures while 1997’s Niska Banja featuring the Revels Women, New England Romanian Ensemble, and Cambridge Symphonic Brass Ensemble revealed beautiful and distinctive garb. 2007’s Shopsko, choreographed by Petre Petrov with Mladost Folk Ensemble, The Village Band, and Cambridge Symphonic Brass Ensemble offered memorable upbeat and bustling Bulgarian dance.

Johnny Nichols, Jr. and Carolyn Saxon perform the spiritual “Hold On” in a segment linked to Maya Angelou’s poem “Still I Rise”, exploring the ongoing journey towards justice and equality Photo courtesy of Revels

Janice Allen and the Silver Leaf Gospel Singers took the stage in 2000 for a stunning, acapella version of Amazing Grace while 1986’s impressive Appalachian Clogging with Ira Bernstein and the Big Gap String Band and Jean Ritchie delivered a captivating Kentucky folk carol, Christ Was Born in Bethlehem. Another indelible moment rested in a powerful medley of 2000’s Underground Railroad featuring Sheila Kay Adams and Janice Allen, Jordan Ashwood, and Cyrus Brooks, Silver Leaf Gospel Singers, Roaring Gap Chorus, Rocky River Children, Carolyn Saxon, and Johnny Nichols, Jr.

Christmas Revels’ ever changing repertoire is too numerous to mention every highlight, but there are plenty of surprises.

The detailed, rustic sets and the meaningful, meticulous costumes ranged from festive to humorous to haunting. It was marvelous to witness the virtual technology that was such a big part of this production. The virtual choir delivered moving, crisp carols and seeing the creators including founder John Langstaff and Revels Directors Patrick Swanson and George Emlen united in present time without actually being onstage provided some comfort that technology can still make some things possible.

Christmas Revels is still available to stream on-demand through Thursday, December 31. Click here for more information and how to support future Revels productions. Click here for more information on The 50^th Anniversary of Christmas Revels available as a 2-CD set.

REVIEW: Festive and moving, Massasoit’s production of ‘It’s a Wonderful Life’ is time well spent

Posted on November 30, 2017 by The Sleepless Critic

Soft, twinkling lights and vintage multi-colored bulbs frame the Buckley Performing Arts Center stage as beloved Christmas carols ring in the holiday cheer in anticipation of a beloved tale. That familiar sign, “You are Now in Bedford Falls” rings true as Massasoit Theatre Company opened a four show, two weekend run of It’s A Wonderful Life continuing through Sunday, December 3 at Buckley Performing Arts Center, part of Massasoit Community College in Brockton, Massachusetts. Craig O’Connor, who acts as part narrator and full-time aspiring angel, warmly recalls a beautiful and haunting tale of the value of a life well spent. Click here for more information and for tickets.

Curtis J. Bellafiore as George and Elizabeth Lovley as Mary Hatch and the cast Photo courtesy of Massasoit Theatre Company

Massasoit has an affinity for festive onstage caroling during annual holiday productions and We Wish You a Merry Christmas is just one of an array of classic tunes to set the mood. The rolling stage, designed impressively by Nathan Fogg DeSisto, hearkens not only to its vintage 1920s to 40s setting, but visually captures some of the tale’s most iconic moments from the cold, snow covered bridge to a wooden bench frequently shown in Bedford Falls, a setting inspired by Seneca Falls, New York. Jennifer Spagone’s distinct costume design make the cast looked sharp as women wore brightly colored dresses from polka dots to paisley in signature hairstyles of the period and the men in a variety of suits, ties, and winter coats faithful to the season.

Patricia Straight-McGrath as Mother Bailey and Curtis J. Bellafiore as George Photo courtesy of Massasoit Theatre Company

Told partly in vignettes and flashbacks, It’s a Wonderful Life focuses on a morbidly downtrodden George Bailey, portrayed with a unique charisma by Curtis J. Bellafiore, who reaches a pivotal moment in his life that makes him question the value of his existence. Enter mild-mannered Clarence Odbody, portrayed with warmhearted sincerity by Craig O’Connor, who questions whether he can produce a Christmas miracle.

Curtis J. Bellafiore as George and Danny Hannafin as Uncle Billy Photo courtesy of Massasoit Theatre Company

Director Tony Ruscio masters the challenging task of capturing the charm of this small town through the cast’s jocular and moving camaraderie. The children have small roles, but each engages the audience in their own distinct way. With a winning smile and apprehensive verbal style only mildly reminiscent of Jimmy Stewart’s portrayal, Curtis J. Bellafiore, embodies endearing dreamer George Bailey with a unique charisma. His instant chemistry with Elizabeth Lovley as jubilant, yet mysterious Mary Hatch is captivating to watch. Lovley’s real skill as Mary is not just in the scripted word, but in the subtlety of her performance. Lovley’s quiet serenity perfectly complements Bellafiore’s charming optimism. Craig O’Connor harnesses such a natural presence as lovable Clarence that it is difficult to imagine the actor himself any other way.

Chris DiOrio, last seen as grouchy but lovable Shrek in Hingham Civic Music Theatre’s fall production of the same name, takes a gloriously dark turn as the infamous Mr. Potter. As he makes his demands from a sitting position, his presence casts a constant shadow, his deep, gravelly, and well spoken demeanor brimming with unflinching practicality. His calculating exchanges with each cast member are riveting to say the least.

Chris DiOrio as Mr. Potter, Jim Gross, and Margaret O’Brien as Bank Examiner Photo courtesy of Massasoit Theatre Company

Massasoit Theatre Company’s festive and moving It’s A Wonderful Life continues through Sunday, December 3 at Buckley Performing Arts Center, One Massasoit Boulevard in Brockton, Massachusetts. Call 508-427-1234 or click here for tickets and further details. Follow Massasoit Theatre Company on Facebook for upcoming events and more.

Holiday Pops makes annual return to Symphony Hall with sing-a-long carols, holiday cheer, and Santa Claus

Posted on November 30, 2017 by The Sleepless Critic

The spirit of the season comes knocking as the Holiday Pops make their way to Symphony Hall bringing sing-a-long carols and brimming with holiday cheer. For over 20 years, decking out Symphony Hall has become an annual Boston tradition, seeped in the luminous sights and sounds of the season and welcoming audiences from near and far. At the helm once again is renowned maestro Keith Lockhart to conduct Holiday Pops 2017 from Tuesday, December 5 and continuing through Christmas Eve. Cap off the year and return to Symphony Hall for a special New Year’s Eve Party featuring the Boston Pops led by returning bandleader Bo Winiker. Click here for more information and for tickets.

Keith Lockhart leads the Holiday Pops Photo courtesy of Stu Rosner/BSO

Holiday Pops features approximately 40 evening and matinee performances featuring an array of beloved carols, storytelling, and a traditional holiday sing-along. Morning kid matinees are also available which includes photos with Santa and much more. Children under 2 get in free. Kicking off on December 2, The Holiday Pops will also be on the road touring New England with Keith Lockhart and Santa in tow for The Boston Pops Holiday Tour. Click here for tour dates and locations.

Bring Holiday Pops home with the Boston Pops all-live CD. Savor the sounds of the season right in the living room with A Boston Pops Christmas: Live from Symphony Hall, virtually bringing the listener right through the Symphony Hall doors to enjoy a time-honored Christmas tradition for the entire family.

With Keith Lockhart leading the Boston Pops, A Boston Pops Christmas: Live from Symphony Hall features a gorgeous Christmas medley from American Idol finalist Melinda Doolittle along with audience favorites such as Dr. Seuss’s How The Grinch Stole Christmas, The Twelve Days of Christmas, Sleigh Ride, The Christmas Song, Rudolph the Red-Nosed Reindeer, and Merrily We Sing Along.

Photo courtesy of Bo Winiker

Click here for tickets, call SymphonyCharge at 888-266-1200, and are also available at the Symphony Hall Box Office, 301 Massachusetts Ave, Boston, Massachusetts. A Boston Pops Christmas: Live from Symphony Hall CD is available through ITunes, Amazon, and Amazon MP3.

REVIEW: Magnificent and visually-stunning, Holiday Pops offers flawless holiday cheer

Posted on December 31, 2016 by The Sleepless Critic

Woven into a wide spectrum of Christmas carols, spiritual hymns, and holiday music capped off with a rousing sing-along, is the stuff that makes the Holiday Pops so appealing each year. Whether it’s through the excitement of the all volunteer Tanglewood Festival Chorus or maestro Keith Lockhart sharing his own Christmas memories, The Boston Pops adds their own unique, personal flair to each heartfelt performance, making it easy to alleviate the stress of the season and happily embrace what truly matters each year. In its 21^st season, The Holiday Pops at Boston Symphony Hall continues through December 31. The Boston Pops also offers special presentations of the film, “Back to the Future” with live orchestra and New Year’s Eve led by acclaimed bandleader, Bo Winiker. Click here for more information and for tickets.

Elegantly adorning the intrinsically-detailed gold balconies are white, twinkling lights and multi-colored bulbs on thick, festive wreaths, just a sampling of the stunning, festive surroundings inside Symphony Hall. The hall also offers its share of playful, humorous decor including orchestra harps topped off with Santa hats. During the show, the stage spontaneously came to life with a variety of scenery reflected above the stage, from flickering candles to sweeping, dancing snowflakes. Holiday Pops also featured a stirring presentation of winter scenes created by visual artist and astronomer Jose Francisco Salgado, PhD. With a lit sky swirling violet with chiming bells, the presentation’s depiction the Northern lights to the song, The Adoration of the Magi from Three Botticelli Pictures lent a mystical, peaceful tone.

This powerful performance of Holiday Pops offered equal doses of reflective material and lightheartedness, the first half insightful and striking. A Christmas prelude that included Hark the Harold Angels Sing, kicked off a reflective, wondrous first half woven in with maestro Keith Lockhart’s personal reflections of the holiday season such as a wonderful story about his father. A lullaby sounding Christmas oratorio, Break Forth O Beauteous Heavenly Light followed by the Hanukkah song, Light One Candle depicted sacrifice, unity, and hope. Holiday Pops also offered a jubilant calypso of Mary’s Little Boy Child, as the Tanglewood Festival Chorus, dressed splendidly in black and white, playfully swayed to the beat.

Brimming with beloved classic Christmas carols and guest appearances by Santa and more, the second half of Holiday Pops was a vibrant, yuletide spectacle of Christmas cheer. While old fashioned Christmas bulbs glowed to the beat, The jolly Tanglewood Festival Chorus delivered a string of Christmas waltzes, singalongs, and more including the annual reading of Clement Charke Moore’s Twas The Night Before Christmas by special guest, NBC Boston’s Melody Mendez. Boston’s delightful, signature versions of Sleigh Ride and the incredible and amusing 12 Days of Christmas were welcome additions to the mix as Santa Claus expertly conducted the rousing Chorus. Holiday Pops gave a final encore of Let There Be Peace on Earth, as Earth shone overhead, brilliantly conveyed the quiet hope for the upcoming New Year.

The Boston Symphony Orchestra has a tremendous lineup in the New Year! All performances take place at Boston Symphony Hall, 301 Massachusetts Ave in Boston, Massachusetts. Click here for tickets to any of BSO’s upcoming performances, through SymphonyCharge at 888-266-1200, and at the Symphony Hall Box Office, 301 Massachusetts Ave, Boston, Massachusetts. Listen to the Holiday Pops at home with “A Boston Pops Christmas: Live from Symphony Hall” album available through ITunes, Amazon, and Amazon MP3.