Chelsea

REVIEW:  Her struggle for power in Apollinaire Theatre’s ‘Hedda Gabler’

Posted on by The Sleepless Critic

It’s becoming quite a day and Hedda Gabler has just about had enough.

Intolerant, impatient, and excruciatingly bored, Parker Jennings brings spark to Hedda Gabler, an entitled general’s daughter who settled for her husband because she felt like she was running out of options.  Some of Parker’s best moments depict the phony and tight smile forcing its way across her lips in public before glowering when no one is looking.

Directed by Danielle Fauteux Jacques, Apollinaire Theatre Company continues Hedda Gabler live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, March 16.   Henrik Ibsen’s classic psychological thriller runs approximately one hour and 45 minutes with no intermission.  Click here for more information and for tickets.

The cast of Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Gazing out into Hedda’s world from one solitary angle, it becomes clear that the audience is limited exclusively to Hedda’s single-minded perspective in this dark tale.  Set in the 1890s, Hedda Gabler focuses a full day inside the drawing room of the Tesman villa in Kristiania, Norway.  Joseph Lark-Riley’s tense and chilling sound design infused with a mix of ominous and soft flickering lights by Danielle Fauteaux Jacques enlivens some of the idle chatter and gossip exchanged during the production.  Lark-Riley also delivers a sophisticated set full of dainty flowers, bookcases, and a vintage piano sitting center stage as cast members alter the set from scene to scene.  Elizabeth Rocha’s delicate and finely detailed costumes reflect the Victorian era in distinguished three piece suits, florals, silks, and extravagant lace.

Parker Jennings as Hedda and Conall Sahler as Tesman in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Each character is either onstage or sitting on the sidelines, but the most significant impact is Parker as Hedda’s constant presence even prior to making her first appearance.  She is always looming in the background within the audience’s vantage point needing our constant attention.

After just returning from a six month honeymoon, newlyweds Conall Sahler as sweet and well meaning yet tedious academic Tesman and Parker Jennings as Hedda are hosting a visit with Paola Ferrer as kindly and uncomfortably intrusive, but perhaps not by societal standards, Julianna.  Earnest, kindhearted and generous, Julianna has a strong bond with her nephew Tesman and strives to make him happy. 

Paola Ferrer as Julianna and Conall Sahler as Tesman in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Having never read or seen this Ibsen classic before, Hedda Gabler takes a bit to get going, but nothing quite prepares you for Parker’s instantly unsettling entrance.  In a white ruffled sundress, Parker is certainly a vision as Hedda and can barely muster a smile for Ferrer’s Julianna even in the face of Julianna’s warm generosity. 

Hedda Gabler is a psychological thriller from the perspective of Hedda Gabler who sees her world as monotonous and it seems the most scandalous parts of the production take place outside this villa and merely discussed by members of the cast.  Ibsen’s classic is a brilliant portrait of a selfish and shrewd narcissist and the show has suspense, but if the audience is witnessing Hedda’s world from her perspective, the production’s more stagnant scenes seem meant to appear that way.  Even with Cristhian Mancinas-Garcia as cunning Brack and Joshua Lee Robinson as impressionable Lovborg, the stakes do not seem as convincingly high as they should be. 

Cristhian Mancinas-Garcia as Brack, Joshua Lee Robinson as Lovborg, and Ann Carpenter as Berta in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

A juggernaut of outbursts and fury, Parker’s Hedda is pivotal to this role because she carries the brunt of the tension and Parker has quite a challenge to keep this tension teetering and unstable.  Disappointed in Tesman and their life together, Hedda longs for an act of spontaneous beauty and will stop at nothing to stir up thrills in her life, whatever the cost.

Parker Jennings as Hedda and Kimberly Blaise MacCormack as Thea in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

This period piece squarely delves into the limitations of a Victorian woman.  Expected to get married, have babies, and settle down into a subservient existence, Hedda wishes for something more and sets her own path way ahead of her time.  

Apollinaire Theatre Company continues Hedda Gabler live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, March 16.   Henrik Ibsen’s classic psychological thriller runs approximately one hour and 45 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Apollinaire Theatre Company’s ‘Every Brilliant Thing’ counts its blessings

Posted on by The Sleepless Critic

As famous author Kurt Vonnegut once remarked, ‘Enjoy the little things in life, for one day you’ll look back and realize they were the big things.’

Bringing to light life’s simple pleasures, Every Brilliant Thing emphasizes that no matter what, there is always something to be grateful for, even when it seems impossible to find.

Amusing, heartfelt, poignant and immersive, Every Brilliant Thing is an interactive piece of experimental theater storytelling that hinges on involvement and its success depends on the combination of a charismatic and efficient storyteller and a game audience.

Cristhian Mancinas-García and Parker Jennings in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Directed insightfully by Danielle Fauteux Jacques and an excellent choice for the New Year, Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19.  Alternately starring Parker Jennings and Cristhian Mancinas-García, this refreshing and informative production is presented in both English and Spanish and runs approximately 70 minutes long with no intermission.  Click here for more information and for tickets.

Set in 1988 and beyond, the small but mighty little things in life are easier to find through the eyes of this seven year old storyteller, even when facing traumatic times.  The prospect of dressing up as a Mexican wrestler, roller coasters, and wearing a cape are just a few of the brilliant things that make life worth living.  Why would anyone want to throw it all away?

Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Transforming this Chelsea theater space into a cozy, multi-level room with vintage flair, scenic and sound designer Joseph Lark-Riley invites the audience to feel right at home featuring scattered living room chairs, flowers, plush couches, a dining room, and rugs spread out on the floor.  Danielle Fouteux Jacques as lighting designer adds vintage flair with a variety of eclectic lamps and Lark-Riley’s upbeat selection of American Standards from the swing era and beyond.  Music and exacting sound effects also play a significant and symbolic role in this production which leaves lots of room for originality and imagination with makeshift props and much more.

Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

It takes a special ability to solely make an audience comfortable while bringing them into your confidence.  Cristhian Mancinas-García rises to the occasion with unassuming sincerity and playfulness that adds levity to the production’s somber moments.  Sharing his journey with earnestness and ingenuity, he warmly brings this zany and game audience cheerfully into elements of the production.

Every Brilliant Thing is ideal for people who wish to play along and participate in minor ways, but if you are performance shy, maybe sit in the back.  It has some flexibility and a way of bringing the audience uniquely together while leaving you at the edge of your seat for what is next.    

Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Fast paced and improvisational, Every Brilliant Thing infuses a life affirming journey into a shared experience while spontaneously drawing connections into its articulate and occasionally arbitrary script.  Mancinas-García tackles a challenging piece and it is amazing how well he draws each connection into the story as each little joy is revealed in its amusing and ardent beauty that one can only long to reflect on them a bit longer. 

Parker Jennings and Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

For some, the New Year can bring great hope and immense reflection.  Every Brilliant Thing has a way of delivering both in love, loss, grief, and trauma with moments of humor and joy.  It is short enough that it never wears thin and long enough to tell a complete, meaningful and relevant tale that will be sure to carry weight for many and a solid reminder of the joy in the smallest of things and a restored appreciation of everything.

Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19.  Click here for more information and for tickets.

REVIEW: Praxis Stage’s ‘The Arsonists’ create a spark

Posted on by The Sleepless Critic

Who really is the stranger at your door?

Directed ominously by Bob Scanlan, suspicion takes a front seat as Praxis Stage presents Max Frisch’s British absurdist satire, The Arsonists at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, September 15.  This semi-interactive production is approximately two hours with one intermission. Click here for more information and for tickets.

‘The naked truth told enough, nobody believes it’ is a variation of Nazi Joseph Goebbels’s Big Lie propaganda technique, ‘Repeat a lie often enough, it becomes the truth.’  The Arsonists build on that here as being blind to the obvious. 

First published by Max Frisch in 1953, The Arsonists has since evolved from a radio play to television and a stage production under other names such as The Fire Raisers or The Firebugs.  It delves into many issues including hypocrisy, fascism and propaganda.

Michael Anderson as Pre-show MC and other roles in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

In an unnamed town, place, and setting, The Arsonists is unorthodox right from the start and focuses on Kim H. Carrell as Gottlieb Biedermann who is contrary in many ways.  Relishing in his upper middle class affluence in an expensive ascot in lieu of a tie while smoking cigars, Biedermann just finishes reading about arsonists setting fires in people’s homes in his neighborhood when a towering stranger with bleached blond locks arrives at his door.  Anxious, preoccupied and frustrated Biedermann reluctantly lets him in.

Daniel Boudreau and Kim Carrell in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

 The stranger is Daniel Boudreau as charismatically chatty and homeless former circus wrestler Joe Schmitz.  Boudreau and Carrell share a gnawing awkwardness as Boudreau’s Schmitz voraciously eats and insists he is looking for a little humanity.  Boudreau delivers another impressive performance as Schmitz not entirely unlike his persuasive character Goldberg in The Birthday Party and he shares a darkly fascinating rapport with Zair Silva as mysterious thrill seeker Will Eisenring. 

Zair Silva and Daniel Boudreau in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

The Arsonists reveal some of life’s minor truisms such as when people dismiss behavior over the weather to mask negative emotion and more serious ones such as overlooking any event if it was not reported in the news.  Carrell as Biedermann is fixated on appearances and insists that we are all human beings regardless of status yet disassociates himself with people and is extremely ruthless in other areas of his life.  Along with Julia Trueblood as Biedermann’s equally anxious wife Babette, they wish to appear accommodating even if that is not necessarily the case.

Annunciating Mr. Biedermann’s name for emphasis, Stephanie Charlton is humorous as practical and edgy maid Anna, reflecting much of the exasperation the audience feels at Beidermann’s increasingly bizarre behavior exemplified by an amusing moment amongst an otherwise somber scene between Biedermann and Anna arguing over table settings. 

Julia Trueblood and Stephanie Charlton in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

There is musical accompaniment to The Arsonists by vocalist Miss Mary Mac, Music Director David Krimsky and Malachi Connolly on guitar with percussionist Benedict Dawn-Cross highlighted by a grim cover of R.E.M’s It’s the End of the World as We Know it as part of this cabaret-style show.  Mackenzie Adamick’s sound design is often immersive and lends to some of the show’s tension as a timer sporadically ticks in the background. The most impressive part of Kevin Fulton’s lighting is inside a hidden door that is realistic, convincing and won’t be revealed here. 

Miss Mary Mac on vocals and the band Photo by Praxis Stage

Like Praxis Stage’s previous absurdist work for The Birthday Party, The Arsonists may render you speechless, a bit disoriented and frustrated, yet you may also find yourself invested in this production’s motivations and outcome especially in shifty Boudreau as Schmitz and Zair Silva as Eisenring.  Both absurdist works examine the human condition and deliver its share of truisms from an absurdist perspective but unfortunately, The Arsonists leaves little to interpretation as both productions culminate in a dining room table showdown in which the tables turn.

The Greek chorus of firemen, composed of five actors including Alison Butts, Abby Duell, Jean Dany Joachim, Gabriel Pagan and Jessica Newman, appear to pose as a neighborhood watch.  The idea is intriguing, but their welcome wears thin at first chorusing at times what the audience might be thinking before coming off as condescending, repetitive, and unnecessary with the exception of a brief haunting song sung by Jean Dany Joachim right after intermission.

Chorus: Left to Right Abby Duell Jean Dany Joachim Gabriel Pagan Alison Butts and Jessica Newman in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

At one point, the show encourages you to think for yourself and yet, the show is not without its subtle biases and political leanings.  It may have been more thought provoking if left ambiguous as the play is already witty and relevant on its own.

Directed ominously by Bob Scanlan, Praxis Stage presents Max Frisch’s The Arsonists continuing at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, September 15.  This semi-interactive production is approximately two hours with one intermission. Click here for more information and for tickets.

REVIEW:  Teatro Chelsea’s ‘Fade’ a tense cautionary tale

Posted on by The Sleepless Critic

Tanya Saracho’s Fade proves the daily grind should always contain some chic choreography.

Accented by Desiree Salvo’s multicolored and club-inspired lighting and Armando Rivera’s intense and Latin-inspired upbeat rhythms, two people energetically tackle their workday.  These eclectic and lively dance breaks provide a clever reprieve and gradually become more meaningful afterhours inside a television station where drama takes a front seat.

Directed thoughtfully by Armando Rivera with playful chorography designed by Movement Director Audrey Johnson, Teatro Chelsea presented Tanya Saracho’s Fade live and in person at Chelsea Theatre Works through Sunday, June 30.  Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish have a bit of an advantage. This partially bilingual show was approximately 100 minutes with no intermission and contained explicit language.  Click here for more information and for more on Teatro Chelsea’s upcoming performances.

Luz Lopez and Cristhian Mancinas-Garcia in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

The intimate manner in which the audience is situated offers a uniquely exclusive peek into Rivera’s detailed set design complete with commercial carpet, notes scribbled on a white board, a personalized bulletin board and functioning office equipment.  Fade turns the tables a bit to focus on an individual who is not necessarily a likable figure.  Mexican-born novelist Lucia (Lus-sea-a), portrayed with fiery anxiousness by Luz Lopez, is the new scriptwriter at a television station and is not quite sure where to begin.  When Lucia meets quiet yet observant Mexican-American custodian Abel (A-bell) in an absorbing portrayal by Cristhian Mancinas-Garcia, she seemingly sees a like minded individual, but they soon realize that they are not exactly on a united front.

Luz Lopez and Cristhian Mancinas-Garcia in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

Lucia, feeling under qualified and insecure, is chatty, nosy, and opinionated as she rants about how unfair life has been for her living in California.  She is anxious about success and blames everyone but her own abilities for the work she has done.  To some points, she is justified working in a primarily white male environment.  She jumps to conclusions, is a sneaky rule breaker and hotheaded while Abel is mysterious, reserved and reluctant to speak with her.  However, their conversations progress from awkward to tense as focused, humble, and patient Abel cannot help but politely comply as Lucia uses guilt and pressure in order to have her way.

Lopez delivers a convincing and bold portrayal as Lucia who would be easy to sympathize with if she was more respectful of Abel’s wishes.  Lopez’s Lucia is dramatic, persuasive, and a clear spark exists between her and Mancinas-Garcia as Abel.  Mancinas-Garcia’s Abel is an immediately sympathetic character, forthright, and brutally honest which seems to be good for Lopez’s Lucia.  However, delving into everything from family to politics and everything in between, things get complicated the more they learn about each other.    

Cristhian Mancinas-Garcia and Luz Lopez in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

Luz Lopez and Armando Rivera make a visually compelling statement in Lucia’s clothing which reflects her gradual character transformation from low key basic attire to lavish and flattering accented with a patterned scarf while Mancinas –Garcia’s Abel’s uniform remains the same. 

There lies a twist in this tale and it is startling even if it is one you might see coming.  A tense workplace drama tempered by some comedic and upbeat flair, Fade tackles many topics including intuition, integrity and where you place your trust.

Directed thoughtfully by Armando Rivera with playful chorography designed by Movement Director Audrey Johnson, Teatro Chelsea presented Tanya Saracho’s Fade live and in person at Chelsea Theatre Works through Sunday, June 30.  Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish have a bit of an advantage. This partially bilingual show was approximately 100 minutes with no intermission and contained explicit language.  Click here for more information and for more on Teatro Chelsea’s upcoming performances.

REVIEW:  Ambition and betrayal take center stage in Dream Role Players production of Shakespeare’s classic  ‘Othello’

Posted on by The Sleepless Critic

Alarming what whispers and rumors can create.

With moving direction by Alan White, Dream Role Players continues William Shakespeare’s classic production, Othello live and in person at Chelsea Theatre Works at the Black Box Theatre in Chelsea, Massachusetts through Saturday, March 30.  This show is general admission with pay-what-you-can options and is not suitable for children.  It is their first play performed in an indoor setting and runs two hours and 45 minutes including one 15 minute intermission.  Click here for more information and for tickets.

Dayenne CB Walters and Luis Negrón in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi 

Set in Venice in the 1570’s, Shakespeare’s Othello focuses on General Othello, in a searing depiction by Vincent Ernest Siders, who is madly in love and secretly marries Elisabet “Lisa” Ober as Desdemona to Eric Cheung as Desdemona’s father Brabantio’s fury and dismay that she married a Moor.  Othello also promotes Dom Carter as Cassio to be his lieutenant instead of Dayenne CB Walters as Iago and thus begins stealthy acts of treachery.

Elisabet “Lisa” Ober and Vincent Ernest Siders in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi 

From distinguished uniforms decorated with silver and gold adornments and dapper suits to colorful flowing dresses, costume designer Atlas Mendoza carefully illustrates each character’s distinctive traits.  It was particularly notable to see Iago’s bright red socks hidden just underneath Walters’s suit to indicate that things are not all that they seem.  Lighting designer Richie DeJesus not only creates mood-induced lighting that hints at the mood of each scene, but the simple staging which includes four multipurpose chairs and later an elaborate bed leaves plenty of room for this interactive cast to shine in performances that are not limited to the stage.

Dom Carter and Vincent Ernest Siders in Dream Role Players ‘Othello’ Photo credit to Sushmita Udoshi 

Dream Role Players provide opportunities for individuals to perform their dream roles and Othello boasts an enthusiastic cast who skillfully sinks their teeth into their performances.  With a sly smile, Luis Negrón offers a fervent portrayal of Rodrigo particularly in heated discussions with Dayenne CB Walters as conniving Iago.  Walters epitomizes Iago with shifting eyes while displaying disquieting and calculated practicality.  Walters brilliantly plots and schemes while displaying masked charm and manipulative glee. 

Dom Carter and Dayenne CB Walters in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi 

Dom Carter is amiable as sympathetic and gentlemanly Cassio as he shares some mystifying chemistry with Vidisha Agarwalla as Bianca while Candis Hilton is impressive as mysterious and independent-minded Amelia.  It is endearing to watch Elisabet “Lisa” Ober as strong willed, adoring, and gentle Desdemona who shares boisterous and captivating chemistry with Siders as Othello, but the most riveting encounters occur between Siders as Othello and Walters as Iago.  Siders is a towering and charismatic presence as Othello with rich and powerful vocals who is as suave and lovable as he is intimidating.  Matched by Walters as elusive Iago, the two enact a game of cat and mouse with a mounting intensity that left me at the edge of my seat. 

Dream Role Players ‘Othello’ Full Cast Photo credit Sushmita Udoshi 

With moving direction by Alan White, Dream Role Players continues William Shakespeare’s classic production, Othello live and in person at Chelsea Theatre Works at the Black Box Theatre in Chelsea, Massachusetts through Saturday, March 30.  This show is general admission with pay-what-you-can options and is not suitable for children.  It is their first play performed in an indoor setting and runs two hours and 45 minutes including one 15 minute intermission.   Click here for more information and for tickets.

REVIEW:  Experience the magic and the gripping madness of Apollinaire Theatre’s ‘The Antelope Party’

Posted on by The Sleepless Critic

In a world gone mad, friendship is tested.  How did it all go awry?

Eric John Meyer’s The Antelope Party is a multilayered production that dives behind the production’s kaleidoscopic  colors into many shades of gray.  Many suspicions rise and this tight knit group are stealthily on the hunt for answers. 

Directed methodically by Brooks Reeves, The Apollinaire Theatre Company continues Eric John Meyer’s suspenseful The Antelope Party live and in person at Chelsea Theatre Works through Sunday, March 17.  The show is two hours and fifteen minutes with one intermission and is not suitable for children.   Click here for more information and for tickets.

Put away any preconceived notions of this show.  It is much more than any advertisement can suggest.  It is raw, funny, suspenseful, gloriously unconventional, thought provoking, and slippery in its intentions.  What remain consistent are its views on friendship and its quest for uncovering truth.

Apollinaire Theatre Company The Antelope Party Evan Turissini Christa Brown and Brit Gardner Photo credit Danielle Fauteux Jacques

Cheerfully steeped in rainbow colored brightness and creative nostalgia elevated by a My Little Pony signature blanket, ebullient drapes, and authentic My Little Pony figurines lined up on a dresser, set designer Joseph Lark-Riley certainly knows how to transform a room or in this case, Demetrius Fuller as level headed Ben’s cozy apartment.  This multilevel set has a brew shop and lamp lit park setting that leaves everything out in open unlike this enigmatic storyline that houses many secrets.

Apollinaire Theatre Company The Antelope Party Evan Turissini Christa Brown Brit Gardner and Demetrius Fuller Photo credit Danielle Fauteux Jacques

As impressive as the set design is Elizabeth Rocha’s vibrant and fancifully detailed Brony costumes and most notably, Christa Brown’s wonderfully distracting shimmering blue sneakers.  Demetrius Fuller as Ben, Christa Brown as Maggie, Evan Turissini as Shawn, Brit Garner as Rachel, and Alex Leondedis as Doug gather together in Ben’s apartment  as My Little Ponies or ‘bronies’ to speak minds freely and be heard, listen more than speak, and bond in harmony and understanding in an idyllic land known as Equestria.  The group’s joyful camaraderie punctuated by galloping is endearing and hilarious.   However, when Danielle Fauteaux Jacques arrives as newcomer Jean, something is off.

Apollinaire Theatre Company The Antelope Party Brit Gardner Christa Brown Demetrius Fuller and Evan Turissini Photo credit Danielle Fauteux Jacques

‘Pegasisters pump’, ‘going for a trot’, and ‘klopper’ are just some of the terminology used by self proclaimed Bronies or superfans of My Little Pony which is laid out in the production’s program.  This type of fan base actually exists according to the 2012 documentary, Bronies:  The Extremely Unexpected Adult Fans of My Little Pony  that focuses on diehard fans of the 2010 series, My Little Pony:  Friendship is Magic.  However, this is only the tip of this intense and multidimensional iceberg that Eric John Meyer’s The Antelope Party systematically lays out set in a highly populated and high poverty stricken Western Pennsylvania mill town.  Outside Ben’s apartment, we are not in Equestria anymore.

This show would not be as appealing if not for its powerful cast who delivers sharp comic timing with dramatic flair.  They consistently translate what can at times be interpreted as silly to unmitigated believability.  The Antelope Party weaves in My Little Pony, but also relatable fears, paranoia, obsession, powerful messages, and the fragility of true friendship.

Apollinaire Theatre Company The Antelope Party Evan Turissini as Shawn Photo credit Danielle Fauteux Jacques

Evan Turissini stands out as Pinky Pie or insecure wild card Shawn and Danielle Fouteaux Jacques as Jean.  Turissini is all at once sympathetic and difficult while always longing for acceptance and Fouteaux Jacques delivers comical rationale at the most inopportune times.  Christa Brown adds convincing bite to Rarity or overconfident and connected Maggie and Demetrius holds his own as Fluttershy or good natured Ben.  Brit Gardner as Twilight Sparkle or conflicted Rachel and Alex Leondedis as Rainbox Dash or distant Doug round out this excellent cast.

The Antelope Party is a fascinating and introspective production in a world gone mad and should not be missed.

Directed methodically by Brooks Reeves, The Apollinaire Theatre Company continues Eric John Meyer’s suspenseful The Antelope Party live and in person at Chelsea Theatre Works through Sunday, March 17.  The show is two hours and fifteen minutes with one intermission.  Click here for more information and for tickets.

REVIEW: Imaginary Beasts conjures a boisterous ‘The Spider and the Fly’

Posted on by The Sleepless Critic

With a collection of zany characters such as a Moth, a Praying Mantis, a Gossamer Fairy, Figment, a Land Octopus, and a sleepy constable named Bluebottle, it is clear that The Spider and the Fly has no shortage of zealous imagination.

With so many productions that rely on the zip and zing of digital effects, CGI, and AI, it is exhilarating to see director Matthew Woods solely rely on homespun creativity and audience interaction to bring to life a vivid and unpredictable gothic children’s tale.

Imaginary Beasts ‘The Spider and the Fly’ cast Photo by Matthew Woods

Directed artfully by Matthew Woods, Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 live and in person at Chelsea Theatre Works in Chelsea, Massachusetts.  The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up.  Click here for more information and for tickets that are quickly selling out.

Blending vintage with the contemporary, The Spider and the Fly is quite the inquisitive adventure with lots of high jinks, scheming, plotting, sleuthing, and memorable and poetic dialogue that delivers a meaningful message about inspiration, friendship, and doing what is right.  A panto is a form of wintertime family entertainment in the UK that weaves in puns, wordplay, jokes, and more.  The Spider and the Fly is somewhat a panto within a panto as the cast embarks on an ardent journey to inspire a writer inside the writer’s own head.

Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and the Fly’ Photo by Matthew Woods

Brooks Reeves relishes in the part of King Cumbercrown who will stop at nothing to stop the Panto from happening, even if it means corrupting everyone in his path.  Reeves is up to no good and his scheming and crafty behavior is such fun to watch as Reeves’s blue face scowls and sneers at the any sign of happiness and joy behind hypno spiral goggles.

The black and purple painted set design by Jason Taschereau has a vintage and mesmerizing quality while Cotton-Talbot-Minkin’s captivating and colorful costumes exude a gothic, fanciful and vintage edge with a dash of steam punk.  As the look is inspired by silent films, outrageous patterns combine with bow ties, top hats, sparkling converse sneakers, lace, corduroy, pearls, flowered shoes and boots.   Though it is gothic, it is not scary, but creative, inviting, and imaginative. 

Laura Detwiler as the Great Author and Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and The Fly’ Photo by Matthew Woods

The continual audience engagement fuels this wild tale that does meander and veer off course occasionally, but it is difficult to notice with such a lively cast of characters that weave in some random contemporary pop and winking adult references.  The Wednesday dance challenge, Rhianna, and random television show references are just a few examples. 

Jamie Semel as Young Woodby and Evan Turissini as Madame Bijou in Imaginary Beasts ‘The Spider and the Fly’

Some of the cast depicts more than one role.  Evan Turissini is all drama and also relishes in the part of lovelorn, flirty, and attention-seeking Madame Bijou, especially while vying for the attention of Bluebottle, portrayed with British flair by Colin McIntire.  Sophia Yael Koevary as Daisy Mae and Jamie Semel as Young Woodby share some sweet scenes.  With choreographer Laura Detwiler’s dynamic choreography, Camille Charlier as the Gossamer Fairy and Lindsay Eagle as The Ghost of Mary Whosie-Whatsit perform a  harmonious rendition of Mills Brothers’ The Glow Worm.  Another memorable tune comes straight from the audience as the cast invites the crowd to believe in a spark, depicted by Erin FM and navigated by Beth Owens.

For a show about inspiration, The Spider and the Fly doesn’t need much coaching as it delves into this exciting production with a quick pace with lots of heart.

Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 at Chelsea Theatre Works in Chelsea, Massachusetts.  The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up.  Click here for more information and for tickets that are quickly selling out.

REVIEW:  In partnership with the city of Chelsea and Teatro Chelsea, Apollinaire Theatre staged a street fighting and adventurous summer ‘Hamlet’

Posted on by The Sleepless Critic

Ser o no ser esa es la cuestion (To Be or not to Be)

This was the classic question posed by Apollinaire Theatre Company in partnership with Teatro Chelsea and the City of Chelsea in a bilingual production of Shakespeare’s classic play, Hamlet which took place on Fridays and Saturdays only from August 4-19 live and in person at various locations in Chelsea, Massachusetts.  Though it was not necessary to understand both Spanish and English to enjoy this show and does not take away the gravitas of Shakespeare’s eloquent text, those who understood the dialogue in Spanish may have been at an advantage.  The free production was 90 minutes with no intermission. 

Armando Rivera as Hamlet in ‘Hamlet’

Each performance featured a pre-show that offered take out or delivery dinner, live entertainment, and a pop up Beer Garden by BearMoose Brewing Company at 6:30 pm prior to the performance at 8 pm.  Click here to see what is next for Apollinaire Theatre Company and Teatro Chelsea this fall.

Alan Kuang ‘Hamlet’ rap Photo credit to Danielle Fauteux Jacques

Every summer for the past 20 years with donor support, the Apollinaire Theatre Company has been presenting outdoor theatre productions free to the public in partnership with the city of Chelsea.  This year’s production of the Shakespearean classic, Hamlet mixed the traditional with the contemporary while keeping the audience on its feet.  Intricately directed and cleverly staged by Danielle Fauteaux Jacques with lighthearted chorography by Audrey Johnson, the show is an immersive experience as the production expands beyond the stage and cast members can enter from anywhere.

Armando Rivera as Hamlet in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Though the roads were blocked off, there was still plenty that might have distracted this focused cast.  However disruptive, outdoor disturbances such as traffic, noises or foot traffic did not distract them from their performances for an instant.  Armed with microphones, it was fascinating to watch each scene unfold complete with transportable lighting, sound, ominous sound effects with Diana Mediola and Juhi Nagpal‘s elaborate sets and props. How complicated it must have been to stage something like this while gathering an increasing and surrounding crowd led to each destination by a single notebook.

Shakespeare’s Hamlet is about the Prince of Denmark who discovers his mother has married his uncle after his father has been murdered.  An urgent message inspires Hamlet to believe ‘something is rotten in the state of Denmark.’

Armando Rivera as Hamlet and Paul Benford-Bruce in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Hamlet is a compelling drama that boasts some iridescent and noteworthy special effects such as blue smoke drifting above Paul Benford-Bruce’s haunting figure on a distinctive blue tinged city fountain lit by Joe Morales.  Resolute, firm, and eerie, Benford-Bruce delivers a memorable performance as Hamlet’s father.  David Reiffel’s ominous and echoing sound design and composition lent to the foreboding mystique of the production.

Anna Riggins as Ophelia, Alan Kuang as Laertes, Paola Ferrer as Gertrude and Brooks Reeves as Polonius in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Nodding to the Elsinore, Denmark setting during the late middle ages while boasting a sleek and contemporary flair, Hamlet blended the contemporary with the historical through its colorful, stately, and elegant costumes in furs, leathers, and glittering crowns by Elizabeth Rocha.

Armando Rivera as Hamlet, the Prince of Denmark, led this impressive cast.   Rivera exacted the alarming rage expected of Hamlet in the face of betrayal.  Rivera excelled at Hamlet’s darkly playful, determined, and off kilter demeanor, especially in a powerful scene alone with Ophelia and with Brooks Reeves as Claudius. 

Anna Riggins delivered an absorbing performance as Ophelia with a wide smile, bright eyed virtue, and a complete infatuation and intriguing chemistry with Rivera.  Clinging to any sign of affection, Riggins offered a vulnerable and sympathetic performance.  Riggins also shared a sweet chemistry with her brother, Laertes and Ron Lacey who portrays their proud and concerned father, Polonius.  Alan Kuang is naturally charismatic in the role of valiant and forthright Laertes, especially during an all out and literal street fight with Rivera.

Play-Within-A-Play in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Brooks Reeves as Claudius achieved a suave poker face, but with just enough of a devious smirk to embellish this role with Paolo Ferrer as mysterious Gertrude, they are a beguiling pair.  Claudius is a calculating character and left little room for sympathy.  Reeves particularly shined during the play-within-a-play scene as Reeves exclaimed, ‘Get me some light!’  With skillful feigned concern and sarcasm, Reeves was well suited for the role as some of that demeanor is also on display in the Old North Church’s production of Revolution’s Edge through September.

Armando RIvera as Hamlet and Brooks Reeves as Claudius Photo credit to Danielle Fauteux Jacques

Hamlet was not complete without the appearance of Rosencrantz and Guildenstern, portrayed with jovial humor by Aloe Domizio and Paul St. Cyr respectively.  Wheeling in on lit bicycles, they made a seeming pair of silly and dimwitted bookends as Hamlet’s childhood friends.  However, like each character in this Shakespearean classic, they are more than meets the eye. 

Apollinaire Theatre Company, in partnership with Teatro Chelsea and the City of Chelsea, presented an outdoor bilingual production of Shakespeare’s classic play, Hamlet which took place on Fridays and Saturdays only from August 4-19 live and in person at various locations in Chelsea, Massachusetts.  Click here to see what is next for Apollinaire Theatre Company and Teatro Chelsea this fall.

REVIEW: Teatro Chelsea hits close to home with compelling family dramedy ‘619 Hendricks’

Posted on by The Sleepless Critic

When a house is chock full of memories, sometimes it is difficult to let go.

Shortly after the death of brothers Nesto and Richie’s parents in Laredo, Texas, the aptly titled 619 Hendricks is an address which holds the livelihood of Nesto and Richie’s immediate futures, but for very different reasons.

Directed thoughtfully by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1.  Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish may have been at an advantage.  This bilingual production is 100 minutes with one 10 minute intermission.  Click here for more information and for tickets.

Cristhian Mancinas Garcia as Richie and Juan Carlos Pinedo-Rivera as Nesto in ‘619 Hendricks’ Photo credit to Teatro Chelsea

619 Hendricks is an affecting and sincere dramedy of a vibrant Latino family with some tough decisions ahead of them.  It achieves a delicate balance of sentimentality and practicality as Nesto and Richie discuss the future of their family house which will be financially split between the two of them.  Scenic designer Payton Tavares creates an appropriately tattered atmosphere including intricately torn brick walls and strips of blue wallpaper under vintage photographs perhaps symbolizing the house’s need of repair is not just external.  The intimate manner in which the audience is situated offers a uniquely exclusive peek into this house of many secrets.  619 Hendricks explores grief, jealousies, stubbornness, sibling rivalry, and desperation as the show teeters between humor and tension even occasionally within a single statement.

Juan Carlos Pinedo-Rivera as Nesto, Juan Pedro Paniagua as Tio Chago, and Cristhian Mancinas Garcia as Richie in ‘619 Hendricks’ Photo credit to Teatro Chelsea

This lively cast captures a natural and animated familial rhythm as they lovingly tease and chide each other as they roam the house.   Nesto and Monica Risi as wise and tolerant Marta make an amiable pair striving to do what is best for their family.  Juan Pedro Paniagua as Tio (Uncle) Chago and Eliza Guzman-Hostas as Tia (Aunt) Carolina provide a refreshing lightheartedness as they humorous banter while the brothers discuss a topic that is all too universally familiar within families, especially after a loved one has passed.

Two brothers are at odds over the family house, but the house is just the tip of the iceberg.  Their family issues run deep and the drama unfolds steadily and consistently as tension mounts.  Nesto and Richie have contrasting temperaments which make their bickering, needling, and manipulations that much more explosive. Nesto, portrayed with a big personality and even loftier ideas by Juan Carlos Pinedo-Rivera, thinks he has a fool proof plan for the house while Richie, portrayed with sympathetic and quiet introspection by Crishian Mancinas Garcia, is not so sure.  With Felix Ramos as business minded agent Hector’s added pressure, determined Pinedo-Rivera and Garcia deliver meaty performances as they cut each other to the quick, a consequence of fighting for the upper hand at any cost.  The fights are genuine, tense, and so universally familiar that it is easy to relate to their situation in all of its complications. 

Cristhian Mancinas Garcia as Richie in 619 Hendricks Photo credit to Teatro Chelsea

Directed by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1.  This bilingual production is 100 minutes with one 10 minute intermission.  Click here for more information and for tickets.

REVIEW:  Apollinaire Theatre Company’s ‘Dance Nation’ starts funny, then at times loses its footing

Posted on by The Sleepless Critic

Dance can be a cutthroat sport.  This is especially true for a group of prepubescent, adolescent, and rambunctious preteens in a dance competition who are told the results will change their lives.

However, the twist here is these teens are not actually portrayed by age appropriate preteens, but by a wide age range.  Therein lays comedy and the rub for the rest of this story.

Audrey Johnson as Amina, Schanaya Barrows as Ashlee, Katie Pickett as Zuzu (additional image below) Photos: Danielle Fauteux Jacques

Fervently directed by Danielle Fauteux Jacques with lively choreography by Audrey Johnson,  Apollinaire Theatre Company presents Clare Barron’s Dance Nation live and in person at Apollinaire Theatre Company in Chelsea, Massachusetts through May 14.  Dance Nation has mature themes.  The show is 100 minutes with no intermission.  Click here for more information and for tickets.

A lot is at stake at Liverpool Dance Works in Liverpool, Ohio.  From dance moms to competing with a best friend, Dance Nation delves into the pressure of perfection and the discoveries of coming of age including and certainly not limited to the magic of black coffee.  It starts out with some amusing moments and it excels in depicting some of the angst, uncertainty, heartache and anguish associated with growing up.  It personifies the travesties in a young girl’s life, her changing body, the all or nothing attitude in just about everything, and the sensitivity of a young heart.  Everything is a victory or an absolute disaster.

Schanaya Barrows as Ashlee (front), Alison Butts as Sofia, Paola Ferrer as Vanessa, Erik P. Kraft as Luke Photo by Danielle Fauteux Jacques

Joseph Lark-Riley boasts a heart thumping, catchy and memorable sound design.  Elizabeth Rocha’s dynamic costumes range from delicate tutus to casual wear and Nathan Lee and Jennea Pillay’s realistic scenic design create an everyday teen dance studio complete with hanging coats, multilevel compartments for shoes and dance bags as well as metal trophies displayed like a pillar of excellence for every student to strive for. 

Dance Nation is highlighted with some fascinating performances.  Katie Pickett delicately portrays self conscious and sensitive Zuzu with a tangible anxiousness and discomfort in her own skin.  Dev Luthra portrays occasionally testy, sketchy, manipulative and yet inspiring Dance Teacher Pat.  Luthra’s rapport with the students is complicated, especially with Audrey Johnson’s complex and conflicted perfectionist Amina.  Paola Ferrer impressively juggles not only depicting a dancer, but the supportive, not quite in touch, and competitive dance mom whose child should always be the star.   Imagination sweetly runs wild with Ann Carpenter as Maeve while Schanaya Barrows savagely depicts a mix of ego, vanity and complicated uncertainty as Ashlee.

Audrey Johnson as Amina, Schanaya Barrows as Ashlee, Katie Pickett as Zuzu (additional image below) Photos: Danielle Fauteux Jacques

Then somehow, it starts to lose its way.  Dance Nation was funny until it becomes what some might call “fierce.”   Teens do speak like little adults which is part of the humor of the show, but they are not adults and the show contains some unnecessarily dark and absurd scenarios that become more frequent as the show progresses.  It can be anguish and cringe worthy to be a preteen, but some avenues in which this show takes do not resemble the average teen and it becomes too farfetched and graphic.  Perhaps the crazy scenarios are to show the kids building their wild natures and confidence, but there are several other ways to depict that without the shock value that does not lend to the progression of the story. 

With that being said, Claire Barron’s Dance Nation has its share of powerful and sound moments that resonate on a child’s tumultuous journey into adulthood with humor, sweetness, and poignancy…but beware the cringe.

Apollinaire Theatre Company presents Clare Barron’s Dance Nation live and in person at Apollinaire Theatre Company in Chelsea, Massachusetts through May 14.  Dance Nation has mature themes.  Click here for more information and for tickets.