Chelsea Theatre Works

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:  Witnessing transformation in Gloucester Stage and Teatro Chelsea’s dramedy ‘The Hombres’

Posted on by The Sleepless Critic

Julián seems lonely and misunderstood, but not for long.

Ricardo “Ricky” Holguin delivers a moving performance as gay Latino yoga instructor Julián who has always been intimidated by macho men.  When he realizes he has to deliver a message to a group of construction workers above the yoga studio, he must face his fear to unexpected results.

Directed affectingly by Armando Rivera with sweeping choreography by movement designer Nathaniel Justiniano, Gloucester Stage Company and Teatro Chelsea co-presents Tony Meneses’ dramedy The Hombres continuing at Gloucester Stage in Gloucester MA through September 22 before concluding at Chelsea Theatre Works from September 27 through September 29.  The show runs 100 minutes with a 15 minute intermission.  Click here for more information and for tickets.

Jaime José Hernández, Luis Negrón and Arthur Gomez in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

A group of Latino construction workers composed of Arthur Gomez as Héctor, Jaime José Hernández as Beto, and Luis Negrón as Pedro are working above a New Jersey yoga studio.  This fascinating trio shares an easygoing and amusing rapport sharing dirty jokes, intriguing stories or fantasizing how good life must be for the gringos (people who are not Latino) working in the city.  In impressive glowing neon hard hats and jackets by Chelsea Kerl with vivid lighting by John Holmes, they strut and occasionally goof off while on break looking down at the city and the yoga studio does not go unnoticed. 

Ricardo “Ricky” Holguin and the cast of Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

Rivera cleverly overlaps the construction and yoga studio scenes depicting how vastly different these environments are until they inevitably collide.   Scenic designer Kristin Loeffler makes the most of the stage as it highlights these contrasting worlds structurally connected featuring candles, incense, crystal and brass offering bowls, yoga blocks and mats while movable scaffolding and various pieces of equipment adorn the background.   Julian Crocamo’s catchy sound design, highlighted by metal clanging infused rhythms and meaningful club and ruminating music, is a lively addition to this tale.

Ricardo “Ricky” Holguin and Patrick O’Konis in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

In a bandana and loose and flowing clothes, Julián seems tuned in and often empathetic towards others.  An aspiring dancer, Julián is caring, funny, unassuming, sensitive, a bit of an over thinker and an amazing listener often finding himself engaging in other people’s problems and connecting to those around him more often by circumstance than by his own will.   Patrick O’Konis portrays conflicted and friendly yoga member Miles who is also a bit of an enigma.  Holguin is wonderful navigating the trepidation within Julián’s encounters with others with a mix of caution and relatable humor. 

Ricardo “Ricky” Holguin and Arthur Gomez in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

Arthur Gomez as Héctor is earnest, vulnerable, and frustrated with his life and longs to make a change.  Gomez’s Héctor thinks Julián may have the answers to his problems.   The connections established in this show are stirring, heartwarming, and complex as it explores the lives and struggles of these Latino men.  Julián often expresses himself through dance which leads a number of uplifting and humorous situations.

Ricardo “Ricky” Holguin and Luis Negrón in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

The Hombres is a well paced production with a captivating cast as each character undergoes some sort of mental, physical or spiritual transformation.  Even in its unpredictable turn of events, it is a hopeful show that explores friendship, brotherhood, and what is truly means to be a real man.

Directed affectingly by Armando Rivera with sweeping choreography by movement designer Nathaniel Justiniano, Gloucester Stage and Teatro Chelsea co-presents Tony Meneses’ dramedy The Hombres continuing at Gloucester Stage in Gloucester MA through September 22 before concluding at Chelsea Theatre Works from September 27 through September 29.  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:  Packing and unpacking Praxis Stage’s impactful ‘The Birthday Party’

Posted on by The Sleepless Critic

‘What came first, the chicken or the egg?!!’

This line of interrogation provides an element of a number of surprises delivered by a pair of possible gangsters in Noble prize-winner Harold Pinter’s The Birthday Party.  Harold Pinter’s thought-provoking work and style inspired many famous playwrights as well as greats in film and television.  For example, it is rumored that Quentin Tarantino, inspired by Harold Pinter, patterned gangsters Samuel L. Jackson’s Jules Winnfield and John Travolta’s Vincent Vega in Pulp Fiction and their absurdist style of dialogue to Goldberg and McCann in The Birthday Party.  The art of the chicken and the egg conversation to a dialogue about a Royal with Cheese gets curiouser and curiouser.

Keenly directed by James Wilkinson, Praxis Stage presented Harold Pinter’s comedy of menace The Birthday Party live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, April 28.  Click here for more information.

Zair Silva, Daniel Boudreau, Kevin Paquette, Darya Denisova, Paul Valley, and Sharon Mason in Praxis Stage’s ‘The Birthday Party’ Photos by Alex Aroyan

Taking place exclusively in a seaside boarding house, The Birthday Party focuses on unassuming Petey, depicted with an air of laidback serenity by Paul Valley, his anxious and chatty wife Meg, portrayed with tightly wound cheerfulness by Sharon Mason as well as boarder and unemployed pianist Stanley in an impressively mercurial performance by Zair Silva.  With Petey and Stanley’s mixed participation, Meg navigates her daily routines at the boarding house with a plastered smile and a meticulous, yet monotonous zeal.  However, a monkey wrench is thrown into the equation when two mysterious guests named Goldberg and McCann suddenly rent a room and everyone anticipates their imminent arrival while Stanley instantly feels a sense of doom. 

Make no mistake, The Birthday Party is indeed about a birthday party which is a joyous occasion celebrating a milestone, but what if it is also merely an annual ritual done on any given day in which one is expected to celebrate? 

The cast of ‘The Birthday Party’ Photo credit Nile Scott Studios

The Birthday Party may render you speechless, a bit disoriented and frustrated, yet you will find yourself invested in this peculiar production’s motivations and outcomes.  This dark comedy examines human nature from a Noble prize-winning playwright’s absurdist perspective leaving much to interpretation.   Pinter shakes up each character’s expectations and was known to loath explaining his craft and or his characters’ real motivations.

This gripping cast is more than up to the challenges this complicated show offers with quick witted timing as moods and situations change on a dime often with breakneck speed.  Mason’s Meg instinctive caretaking habits build a warm rapport with Petey while she shares a bizarre maternal affinity toward Stanley with the exception of a scene using the unnerving word, ‘succulent.’  Beautiful Darya Denisova as adventurous and flirtatious Lulu has ideas of her own.

Kevin Paquette in Praxis Stage’s ‘The Birthday Party’ Photo by Nile Scott Studios

Daniel Boudreau as Goldberg and Kevin Paquette as McCann make an intriguing, focused and stealthy pair.  An avid and smooth storyteller, Boudreau is a natural as Goldberg, swaggering with unmitigated charm and authority while brawny McCann is a sly sidekick.  Whether they are deliberate and threatening or schmoosing with feigned gallantry, each of Goldberg and McCann’s movements keeps the audience guessing.  Some of the most intense and challenging sequences occur between Silva, Boudreau and Paquette demonstrating a rollercoaster of emotions that will leave you at the edge of your seat with questions left unanswered.

The Birthday Party is shrewd, shocking, and suspenseful, even over what seems like the ridiculous.  More often than not, Pinter’s work is not what it seems and reality is often blurred. However, order, chaos, and delusion all play massive roles in this cast of ambiguous characters.  Where there is warmth, there is order.  Where there is panic, there is chaos and where there is delusion, compassion creeps in. 

Keenly directed by James Wilkinson, Praxis Stage presented The Birthday Party, a comedy of menace, live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, April 28.  Click here for more information.

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: 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.