Cinderella | The Sleepless Critic

REVIEW: Boston Ballet’s ‘Winter Experience’ anticipates the bloom of spring

Posted on March 2, 2024 by The Sleepless Critic

Warm up with the beauty of Boston Ballet’s Winter Experience.

Boasting two world premiere performances, the Boston Ballet masters two bright, thrilling, and contemporary performances with an enchanting classic ballet in four scenes. These performances provide much needed thrilling warmth as the world anticipates the bloom of spring.

As part of its 60^th season, The Boston Ballet presents Winter Experience including the world premiere of To Be One, the return of Petal, and the world premiere of Mikko Nissenen’s Hungarian ballet Raymonda live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 3. The production is two hours and 15 minutes with one intermission. Click here for more information and for tickets.

2B One Photo by Rosalie O’Connor Photography

The world premiere of To Be One and the return of Petal are bold and unfold with finesse. To Be One boasts Helen Pickett’s sharp and vigorous choreography with Brandon Stirling Baker’s pristine lighting to brilliantly capture each dancer’s sheer athleticism to the urgent and anticipatory dance rhythms by Swedish composer Mikael Karlsson.

Sara Marhamo Kirk’s shimmering and translucent garments add a modern lucidity bathed in luminous shifting color backdrops. Lauren Herfindahl, Sage Humphries, Kyra Muttilainen, Chisako Oga, Alainah Grace Reidy, Graham Johns, Ángel García Molinero, Yue Shi, Gearoid Solan, Schuyler Wijsen, and Patrick Yocum perform to piano and violin-infused rhythms with at times short, pithy and lithe movements. The energy became so intense that at one point, the collective dancers seem like they are competing with each other in a lively circle.

Boston Ballet in Helen Pickett’s Petal, photo by Liza Voll, courtesy of Boston Ballet

Steeped in Brandon Stirling Baker’s vibrant colors and a sonic, violin-tinged score which evokes a soothing, building joy, Helen Pickett’s flourishing choreography make Petal an elegant and radiant journey. Amid consistent and warm colors, the agile and jovial cast leaps and spins breezily to form into intriguing pairs. Pickett’s scenic colors transform from brilliant yellow to a warm orange to a bold pink while allowing Nete Joseph’s pastel costumes to remain distinctive on each landscape. Kaitlyn Casey, Lauren Herfindahl, Abigail Merlis, and Chisako Oga seem to thrive with the athletic support of Henry Griffin, Graham Johns, Ángel García Molinero, and Lawrence Rines Munro. Lifting them up and guiding them to the chiming and urgent rhythms of Phillip Glass, John Cocteau, Susan Marshall and Thomas Montgomery Newman’s Elizabeth Chooses a Career, each pair learns how to support each other in order to grow. They float, tumble, sway, and spin as each female learns to soar.

María Álvarez and Boston Ballet in Helen Pickett’s Petal, photo by Liza Voll, courtesy of Boston Ballet

Mikko Nissenen reimagines Marius Petipa’s original choreography for the world premiere of the classic Raymonda: A Ballet in four scenes. Set in medieval times, Raymonda is a magnificent and royal affair featuring a large cast and Robert Perdziola’s exquisite and meticulously detailed costume design ranging from guards in chain link silver armor and black boots to blue, gold, and black feathered costumes to white and gold garments with refined floral sleeves. My’Kal Stromile stands out with large black petal sleeves and a red sash as Master of Ceremonies.

Cast of Raymonda Photo by Rosalie O’Connor Photography

There is a fanciful spark to this intriguing love story filled with beauty and grace to the whimsical and sophisticated harp infused score by Alexander Glazunov. The elegant cast performs a captivating waltz surrounded by Nicholas Kostner’s whimsical marble set pieces.

Raymonda Photo by Rosalie O’Connor Photography

Viktorina Kapitonova, who has depicted the title role in Boston Ballet’s Cinderella, is the perfect fit for delicate, fair, and confident Raymonda. Her rhythmic entrance is a balance of grace and boldness intensified by a spicy Hungarian clap. The Vision scene is a particular highlight. Maria Rubin as La Dame Blanche rises from the misty haze in an intricately detailed white gown. Kapitonova has endearing chemistry with Lasha Khozashvili as fiancé Jean De Brienne and Brandon Stirling Baker’s atmospheric lighting creates a silhouette in orange as they entwine into a tender embrace.

Viktorina Kapitonova as Raymonda Photo by Rosalie O’Connor Photography

The full company is a triumphant celebration in gold crowns, though Raymonda does run a little long in presentation. A quick paced array of mostly variations demonstrates the refined cast’s joy with sweeping sparkle. Some of the highlights include Daniel Durrett, Sun Woo Lee, Ángel García Molinero and Gearoid Solan in a technically impressive performance, Lia Cirio takes the stage in a complex and exuberant performance, Kapitonova as Raymonda performs a display of jubilance and elegance in playful leaps, and Lasha Khozashvili ‘s variation is highlighted by extraordinary leaps.

As part of its 60^th season, The Boston Ballet presents Winter Experience including the world premiere of To Be One, the return of Petal, and the world premiere of Mikko Nissenen’s Hungarian ballet Raymonda live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, March 3. The production is two hours and 15 minutes with one intermission. Click here for more information and for tickets.

REVIEW: Company Theatre delivers an inspiring and ever enchanting Rodgers and Hammerstein’s family-friendly musical, ‘Cinderella’

Posted on December 10, 2023 by The Sleepless Critic

The Company Theatre proves that magic does not just come from a wand in Rodgers and Hammerstein’s Cinderella.

Boasting more magic than other popular adaptations, Cinderella brings to light the virtues of being humble, loyal, generous, and yearning to make a difference in the world. What is wonderful about this adaptation is Rodgers and Hammerstein invites the audience to root for the Prince as much as Cinderella herself.

Resourcefully co-directed by Zoe Bradford and Sally Ashton Forrest with lively musical direction by Steve Bass, The Company Theatre continues Rodgers and Hammerstein’s Cinderella live and in person at the Company Theatre in Norwell, Massachusetts through December 17. Based on the book by Oscar Hammerstein II and a new book by Douglas Carter Beane, this family-friendly musical is approximately two hours with one intermission and appealing for all ages. Click here for more information and for tickets.

Cinderella’s Glass Slipper Image by Zoe Bradford

The Company Theatre always has a way to make the holidays a bit brighter with their December show. Whether bathed in starlight or snow, Ryan Barrow’s moving set fluctuates from a modest village landscape including towering forest, rustic well and a vine crept stone wall to glimmering and fanciful surroundings featuring a large golden clock, a sophisticated marble staircase, pristine white florals, crystal chandeliers, and a gold embroidered living room. Dean Palmer Jr’s warm lighting and Ellie De Lucia’s radiant costume design eloquently depicts the musical’s mid to late 1800s setting through illuminating candlesticks and lanterns, opulent gowns, and gold embroidered suits and vests.

Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein create a robust fairy tale with Cinderella that features characters fleshed out much more soundly than other adaptations. The only adaptation that may come close is the imaginative 1998 film based on the Charles Perrault fairytale, Ever After: A Cinderella Story starring Drew Barrymore.

Cinderella features an exuberant cast in this smart and warmhearted fairytale. Prince Topher, portrayed with shrewd charisma by Sean Donnelly, is valiant, humble, good humored, and protective, proving his virtue in every aspect of his performance. What is wonderful about these characters is it is not just understood who they are. They are not stereotypes, but consistently showing their mettle by growing and transforming in significant and unpredictable ways.

Emily Lyons as Charlotte, Melissa Carubia as Gabrielle, and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Could an ugly stepsister have her own love interest? In this story, anything is possible. Rather than a rehash or a contemporary twist, this twist is rather timeless. It has much more to offer than the often simplistic style of Cinderella’s tale.

Cinderella focuses on a humble young girl who is a servant to her wicked stepmother and ugly stepsisters. However, when the kingdom announces a masked ball for Prince Topher to find a wife in order to become king, every maiden in the kingdom is clamoring for an invitation.

Donnelly’s Prince Topher is handsome, generous, and a practical dreamer that protects his kingdom from any threat that comes its way. However, he also questions his place in the world, knowing he has much more to offer than his lot in life as King as expressed insightfully in the upbeat Me, Who I Am in a compelling duet with Melissa Paz as Cinderella. Both also shine for the lyrically rich number Ten Minutes Ago. Donnelly depicts Topher with dignity and sincerity, making it easy to root for such a character on his own virtues. He shares some complex scenes with Christopher Hagberg as Sebastian who spends his time raising the Prince and overseeing the kingdom. Status conscience and mysterious, Sebastian provides a unique vision of the Prince’s future.

Wearing a kerchief and simple blue skirt, Ella, who is nicknamed Cinderella, is witty, selfless and compassionate. A bright and soaring soprano, Paz as Cinderella works without complaining and tolerating every cruelty she encounters without repayment. She is also obedient under the most ridiculous of demands. She befriends adorable and comical puppet woodland creatures who bop to the music, sing along, and every once in awhile, scene steal in their own right.

Emily Lyons as Charlotte, Vickie Gerard-Culligan as Madame, and Melissa Carubia as Gabrielle in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Cinderella’s ugly stepsisters are not a pair of braying bookends, as some adaptations suggest. They are individuals with their own goals in mind. Melissa Carubia portrays awkward, bashful yet clever Gabrielle and Emily Lyons depicts narcissistic and brutally frank Charlotte. Both have excellent comic timing. Lyons shines in an array of humorous quips for the animated Stepsister’s Lament. Obsessed with status and wealth, Vickie Gerard-Culligan as status hungry Madame is often flagrant and nonchalantly cruel as she wraps herself in her own little world. Gerard-Culligan reveals a fascinating side to Madame briefly in a delightful rendition of Lovely Night with Gabrielle, Charlotte, and Cinderella, but is always focused on exactly what she wants.

Vickie Gerard-Culligan as Madame and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Ryan Rappaport delivers a zealous performance as purposeful revolutionist Jean-Michel, but could not help but think of him at times as a character missing from Les Miserables. He is determined to change the world and every change starts at home. With playful and powerful vocals, Joey Thordarson is a riot as distinguished town crier Lord Pinkelton, gleeful in his important work.

Always amazing Dru Daniels as Marie is much more than she seems, delivering inspiring showstopper There’s Music in You and the catchy signature tune, It’s Possible.

Dru Daniels and Melissa Paz in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein’s Cinderella offers timeless and rich commentary on this classic tale with a beautiful and important message about believing in the impossible. Even adults may shed a happy tear or two.

REVIEW: Boasting a superb and jovial cast, Boston Lyric Opera’s Boston-based ‘La Cenerentola (Cinderella)’ conjures practical magic

Posted on November 16, 2023 by The Sleepless Critic

This Cinderella keeps it local and conjures a bit more practical magic.

Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola (Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12. Click here for more information and for a closer look at Boston Lyric Opera’s new season.

Move over glass slipper and fairy godmother and hello fashionistas and Amazon drivers. Cinderella is getting the city treatment with a few contemporary twists, but keeping its sparkling delivery and timeless moral message from a modern penthouse apartment overlooking the city of Boston.

ANGELINA (CECELIA HALL) MAKES HER ENTRANCE TO THE ROYAL BALL IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

The Emerson Cutler Majestic Theatre’s ornate theatrical setting is so fitting for Jenna McFarland Lord’s sophisticated and elaborate set design featuring two towering lit lamp posts. From a pristine, lightly furnished penthouse apartment to a starlit, fantasy masquerade garden party embellished with vines chasing the walls, a wrought iron staircase, and twinkling lights, Lord builds up the fanciful spirit of this modern fairy tale.

La Cenerentola, spoken in Italian with English subtitles, is a spin of the traditional fairytale Cinderella and centers around an imaginative woman who lives with the Baron and his two daughters and must cater to their every whim. When Don Ramiro shows up at the Baron’s doorstep, change just might be in the air.

DON MAGNIFICO, (BRANDON CEDEL, L.) IS THE WICKED STEPFATHER TO TISBE (ALEXIS PEART, C.) AND DANA LYNNE VARGA IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

However, some things haven’t changed in soprano Dana Lynne Varga as Clorinda and mezzo soprano Alexis Peart as Tisbe, Cinderella’s self-absorbed, scornful, and gold digging wicked stepsisters who can barely see beyond their mirrors (or in this case, their phones and selfie rings). The duo possesses certain regality in their bookend statures, if it was not for their disdain for others. Feathers, diamond encrusted bowties, crushed velvet, lace, and floral embroidery is just a portion of Trevor Bowen’s glittering, extravagant and fanciful costume design. Cecelia Hall as Angelina seems to simply float in her idyllic emerald gown. Don Magnifico, otherwise known as The Baron depicted with scene stealing glee by bass baritone Brandon Cedel, shares his daughters’ conceitedness decked out in rings, an earring, and carefully coiffed hair. Cedel waltzes around the apartment in self congratulatory bliss unless something or someone ruffles his flawless feathers. Though Cedel’s Baron does have a threatening side, Cedel spends much more time as a humorous ham as he flirts and shows off fun loving comic charm.

ANGELINA (CECELIA HALL) DREAMS OF A NEW LIFE FAR FROM WHERE SHE LIVES IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

In suspenders and doo rag cap, mezzo soprano Cecelia Hall gracefully portrays modest, tactful, and compassionate Angelina with agile vocals, shining especially in the production’s quieter moments. A sidelong glance, demure blush, and a barely concealed impish smile and gaiety escape her while she tends to her endless household duties, especially in the charismatic presence of tenor Levy Sekgapane as Don Ramiro. Sekgapone’s dazzling vocals and captivating rapport with Hall make for some of the production’s most delightful moments and Ferretti’s libretto wisely delves further into Ramiro’s persona than other Cinderella productions.

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Hall also shares a sweet camaraderie with bass baritone James Demler through a good deed as humble and quick witted Amazon driver and part narrator Alidoro. Both Demler and Levi Hernandez as Dandini are immediately likable from the start. Demler’s gravitas and commanding vocals deliver some wondrous surprises while baritone Hernandez’s soaring vocals as Dandini show they are much more than meet the eye.

Gioanchino Rossini’s urgent rhythms, quick pacing, and playful, melodic dialogues enchant while the lightning speed of some of the libretto demonstrate the collective and extraordinary skill of this engaging cast. With a few more refreshing twists and turns than in Cinderella’s traditional tale, Boston Lyric Opera’s La Cenerentola (Cinderella) embarks on a humorous and jovial journey while emphasizing the power of love and grace in all circumstances.

REVIEW: Take a wondrous romp ‘Into the Woods’

Posted on March 27, 2023 by The Sleepless Critic

What lies beyond happily ever after?

From David Patrick Kelly’s initial rich and spirited vocals as Narrator uttering the classic line, ‘Once upon a Time’ from a treelike podium, it is easy to see that Into the Woods is no ordinary fairytale. To Stephen Sondheim’s complex tapestry of famous storytelling numbers ranging from stirring ballads to catchy compositions, Into the Woods brings together some of literature’s most famous fairytale characters on a multi-arc journey through an enchanted wood. It’s a place where fortune smiles, but like every fairy tale, the road winds with surprise twists, turns and resounding life lessons for adults and children alike.

INTO THE WOODS 12 : The Company of Into the Woods Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Directed shrewdly by Lear deBessonet, seamlessly choreographed by Lorin Latarro with meticulous music direction by John Bell, the Grammy and Tony award-winning musical Into the Woods continues direct from Broadway live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, April 2. The musical is 2 hours and 45 minutes including one intermission. Click here for more information and for tickets.

Into the Woods boasts some absorbing special effects and Tyler Micoleau’s affective and multicolored lighting enlivens David Rockwell’s moving and immersive set with includes an onstage orchestra and a monstrous full moon.

INTO THE WOODS 25 : David Patrick Kelly Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Storytelling has never sounded better with David Patrick Kelly at the helm. Kelly brings gravitas and zealously delivers this humorous, adventurous, and poignant tale which includes a baker and his wife’s unfortunate encounter with a witch that drives them to embark on an unexpected journey. Into the Woods was revived on Broadway last year and with that, the characters seem more boisterous, the jokes sleeker, and cast’s quick witted comic timing and bold and hilarious adlibbing enrich the characters and their plights while occasionally breaking the 4^th wall.

INTO THE WOODS 21 : (L to R) Jason Forbach and Gavin Creel Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

The chemistry between this savvy cast crackles and they master Sondheim’s technically challenging harmonies in several collaborative numbers including the musical’s title track. Andrea Hood’s edgy, vibrant and lavish costumes are well suited for Nancy Opel as Cinderella’s stepmother and Ta’nika Gibson and Brooke Ishibashi as Cinderella’s fashion conscious stepsisters. Opel’s sarcastic fervor and tight lipped Cheshire smile is reminiscent of Jennifer Saunders and the conceited trio relishes in their own villainy. Gibson and Ishibashi is a pair of self-absorbed bookends who comically parade in their excessive glory, unaware of how foolish they seem. Diane Phelan impressively depicts an exasperated and contemplative Cinderella, her soaring and angelic vocals shine for the deliberative, A Very Nice Prince and conspiratorially for On the Steps of the Palace.

INTO THE WOODS 1 0 : (L to R) Gavin Creel and Katy Geraghty Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

The show’s edgy and coordinating costumes are also prevalent on a pair of egotistical and coiffed Prince Charmings in dazzling fuchsia by Jason Forbach and in brilliant yellow by Gavin Creel. Every bit the scene stealing pair, the two prance and pose like rock stars, their comic timing on point for the backhanded and love struck, Agony. Creel also utilizes some of that lively charm and Jim Carrey-esque energy with some menacing glee for Hello Little Girl with Katy Geraghty in a surly little scowl as blunt, daring, and voracious Red Riding Hood. Geraghty’s strong willed Riding Hood is fierce and exhibits incredible dry wit throughout the production, but especially with Sebastian Archelus as the proud and humble Baker and Stephanie J. Block as the conflicted Baker’s Wife in a bit of physical humor involving a loaf of bread. Archelus and Block are married in real life which only enhances their playful and affectionate duet, It takes Two. Block emotive eyes and desperate demeanor draws sympathy toward her plight, even in her occasionally warped reasoning for Maybe There’s Magic.

INTO THE WOODS 1: (L to R) Aymee Garcia, Cole Thompson, and Kennedy Kanagawa Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Cole Thompson is wonderful as idealistic and naïve Jack in an amazing rendition of Giants in the Sky and has some sweet and humorous scenes with Aymee Garcia as Jack’s protective and practical mother as well as Kennedy Kanagawa, who is one of a few lively personalities depicted splendidly through puppetry.

Montego Glover glides along the stage maliciously as The Witch, but maybe unlike one found in any other fairytale. Glover depicts this harsh and complex practicality with vigor, finesse, and perhaps as a wearied storyteller all her own. The Witch’s multi-faceted demeanor stuns in a harrowing rendition of Stay with Me and in a riveting The Last Midnight.

INTO THE WOODS 7 : Montego Glover Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Into the Woods made its musical debut in 1987 and there is a reason it still thrives over 35 years later. It still has that timeless wonder, humor and charm, but more importantly, it metaphorically encapsulates realistic complexities of life in a fairytale that reaches happily ever after…and beyond.

The Grammy and Tony award-winning musical Into the Woods continues direct from Broadway live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, April 2. Click here for more information and for tickets.

REVIEW: Boston Ballet delivers lighthearted and triumphant ‘Don Quixote’

Posted on March 24, 2023 by The Sleepless Critic

Armed with oversized artillery and a makeshift helmet, Don Quixote is a chivalrous and enchanting hero like none other.

Boasting a wealth of delightful physical humor, resplendent costumes, and exuberant choreography, the Boston Ballet presents Rudolf Nureyev’s uplifting and family friendly romantic comedy Don Quixote through Sunday, March 26 at Citizens Bank Opera House in Boston, Massachusetts. This production is approximately two hours 48 minutes including two intermissions. Click here for more information and for tickets.

Daniel Rubin as Don Quixote, Isaac Akiba as Sancho Panza and John Lam as Gamache Photo by Rosalie O’Connor Photography

A crowd toss, a tense and impressive knife dance, formidable puppetry, and every one of Don Quixote’s grand entrances are just a few of Don Quixote’s indelible moments when the company is not thrilling audiences with daring and athletic lifts and dives.

Isaac Akiba as Sancho Panza Photo by Rosalie O’Connor Photography

Delving into the wise words of Don Quixote author Cervantes, ‘The most perceptive character is the fool because the man who wishes to seem simple cannot possibly be a simpleton.’ Whether in love or in battle, My’kal Stromile’s charismatic and natural assurance as Don Quixote stands out amid his occasionally wild and rowdy surroundings. Chivalrous to a fault and a sympathetic admirer, Don Quixote, accompanied by his trusty and comedic sidekick Sancho Panza portrayed winningly by Angel Garcia Molinero, set out on a quest through Spain to find his ideal Dolcinea.

Ji Young Chae as Kitri and Jeffrey Cirio as Basilio Photo by Rosalie O’Connor Photography

Don Quixote encounters a vast array of dynamic characters from dryads to gypsies to matadors in distinct and exceptional garb in this consistently upbeat and lighthearted production. Viktorina Kapitonova dazzled audiences when she portrayed Cinderella in Boston Ballet’s 2019 Cinderella and that exuberance, determination and confidence shine through as Kitri. A red rose in her hair, Kapitonova’s bright smile lights for Basilio, portrayed impressively by Lasha Khozashvili. Kapitonova and Khozashvili are marvelous together as they perform a playful pas de deux, their captivating chemistry sweet and jubilant. Kapitonova also has some amusing moments with Rasmus Ahlgren as Lorenzo. Chyrstyn Fentroy’s spitfire Mercedes has spicier chemistry with Paul Craig as equally charming Matador Espada. Fentroy and Craig’s sharp and sweeping pas de deux is enthralling in daring lifts and leaps. One of the highlights of the performance is Fentroy’s thrilling knife dance. The matadors are elegant and gallant in bolero jackets in black and gold. Later, Jon Lam delivers a complex and powerful solo dance as a rowdy lead traveler .

The company demonstrates a plethora of visually impressive comedy ranging from absurd to mischievous to self deprecating. Lawrence Rines Munro as wealthy and foppish nobleman is an amusing scene stealer through his over the top expressions and comedic stances. On another notes, Addie Tapp is wonderful as Queen of the dryads delivering sweet chemistry with an enamored Stromile as Quioxote in a fanciful display as her dryads glide along the stage. Kaitlyn Casey intrigues as a mysterious bride.

Viktorina Kapitonova as Queen of the Dryads Photo by Rosalie O’Connor Photography

Boston Ballet’s Don Quixote’s resplendent visions of beauty vary from muted colors to floral pastels to bold and exotic creations inspired by Spain’s reformation era. In silks, lace, flowing capes and skirts, bolero jackets as well as ethereal, glittering and majestic attire, costume designer Nicholas Georgiadis effectively captures Quixote’s distinctive journey with finesse. The multi-functional fans frequently used by the company are characters in themselves for flirtation and comedy. From giant windmills to rustic wagons to towers and cannons, Georgiadis also helmed the production’s distinctive set design. Brandon Stirling Baker’s emotive lighting is especially prevalent for Don Quixote’s vivid and haunting visions.

Boston Ballet in Rudolf Nureyev’s Don Quixote, photo by Rosalie O’Connor, courtesy of Boston Ballet

Skillfully conducted by Mischa Santora, Ludwig Minkus’s brilliant score varies from fanciful to powerfully epic to mischievous, setting the perfect tone for this unique and amazing classic tale.

Boston Ballet presents Rudolf Nureyev’s uplifting and family friendly romantic comedy Don Quixote through Sunday, March 26 at Citizens Bank Opera House in Boston, Massachusetts. Boston Ballet’s upcoming lineup includes Our Journey and Sleeping Beauty. Click here for more information and for tickets.

REVIEW: Walt Disney World at its finest in fall featuring Epcot International Food and Wine Festival

Posted on August 29, 2019 by The Sleepless Critic

Bursts of orange, green and yellows adorn a landscape of huge pumpkin patches on a chilly night. Vivid mums, harvest wreaths, festive decorations, and fall colors fill the night sky in a special, nightly fireworks celebration. No, this is not fall in New England, but the Magic Kingdom at Walt Disney World in Orlando, Florida, a hidden gem for all the flavors of fall from the end of August through November. Featuring Disney’s most infamous villains, enchanting characters, and seasonal activities for the entire family, attendees are encouraged to dress up in costume for trick or treating throughout the park. Click here for more information on Disney’s extensive activities.

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Along with the long list of Magic Kingdom’s wonderful, classic rides such as Pirates of the Caribbean, It’s a Small World, Big Thunder Mountain Railroad, and Space Mountain, take some time to visit some of Disney’s spooky attractions in the spirit of the season such as Haunted Mansion, Monsters Inc. Laugh Floor, and Sorcerers of the Magic Kingdom on Main Street. A select number of rides are open late into the night. From August through November 1, Mickey’s Not-So-Scary Halloween Party is built for all ages and features an array of Halloween shows, Mickey’s Boo-to-You Halloween Parade, A Hocus Pocus Villain Spelltacular set up outside of Cinderella’s Castle, and a seasonal themed fireworks celebration.

Epcot’s annual International Food and Wine Festival Photo courtesy of Jeanne Denizard

Key Lime Wine and a dish from Epcot’s International Food and Wine Festival food and wine Photo courtesy of Jeanne Denizard

Epcot’s Botanical Gardens Photo courtesy of Jeanne Denizard

A topiary character gardens Photo courtesy of Jeanne Denizard

Fall is also widely known for amazing food festivals around the country. Taking that idea and expanding it in Disney’s own unique way within Epcot’s famous World Showcase, Epcot is proud to offer their annual International Food and Wine Festival kicking off Thursday, August 29 through Saturday, November 23. While Epcot’s World Showcase features the rich cultures of 11 countries from Mexico to Tokyo, Epcot’s International Food and Wine Festival exponentially expands on this idea for a limited time, offering enticing cuisines and beverages from 30 marketplaces. Explore and dine on fare from the Caribbean Islands, Africa, Australia, Brazil, and more. Cooking demonstrations from famous culinary chefs, exclusive wine and beers from around the world, concerts, and cultural demonstrations take place throughout the park. From sweet and fruity Hurricane Class 5 wine and key lime flavored wines sold exclusively in Florida to international wines that suit any palette, attendees can try them first with wine tastings throughout the day.

This way to more of Epcot’s World Showcase Photo courtesy of Jeanne Denizard

While the festival takes place, enjoy the classic and new attractions such as Norway’s popular ride, Frozen, Soarin,’ Test Track, The Seas with Nemo and Friends, and Mission Space. Canada and Mexico are among the most popular attractions featured within Epcot’s World Showcase. With the holidays and the summer months among Disney World’s peak times, attendees can see a bit more without a bigger crowd, though FastPass is always recommended for optimal time saving and planning.

At Walt Disney World in Orlando, Florida, the sun shines a little brighter than most places around the world. Having thrilled families for almost 50 years, enjoy shopping, family activities, and spectacular attractions within each of the four parks. Magic Kingdom, Epcot, Hollywood Studios, and Animal Kingdom all offer exciting adventures throughout the year. Click here for more information about Walt Disney World, rates, exclusive offers and more. It’s never too early to start planning a trip to Disney World, no matter what time of year.

REVIEW: Boston Ballet’s idyllic ‘Cinderella’ more than a glittering gown and glass slippers

Posted on May 27, 2019 by The Sleepless Critic

Be like Cinderella.

During Sir Frederick Ashton’s Cinderella, The Prince, portrayed masterfully by Patrick Yocum, gentlemanly gestures for Cinderella to go first as they make their entrance and she in turn motions for him to go first. It is a subtle gesture, but holds great significance. It is just one moment in many that this Cinderella exudes pure selflessness, more so than other adaptations. We can all learn from Cinderella. She’ll make a lasting impression and is a shining example of what every child should strive to become.

Sir Frederick Ashton’s Cinderella, performed by the Boston Ballet, continues through Saturday, June 8 at the Citizens Bank Boston Opera House. Click here for more information and for tickets. Click here for a closer look at the production.

The Boston Ballet’s Cinderella is an ethereal, lighthearted tale, told with a richness that far exceeds a glittering gown and glass slippers. David Walker’s multi-layered, translucent scenic design and elaborate costumes create moving portraits from deep into an enchanted forest to a sophisticated royal ball.

It is a classic fairy tale about a young girl living with her father and two ugly Stepsisters. When a mysterious woman shows up on their doorstep, it may change Cinderella’s life forever. This adaptation has the earmarks of the popular fairy tale including the pumpkin, the royal ball, fairy godmother, and the handsome prince.

Jeffrey Cirio and Misa Kuranaga in Ashton's Cinderella ©Gene Schiavone

Misa Kuranaga and Jeffrey Cirio in Sir Frederick Ashton’s Cinderella; photo by Gene Schiavone, courtesy of Boston Ballet

Sir Frederick Ashton’s Cinderella also contains a few slight alternations from other popular adaptations and it is all the better for it starting with Vikorina Kapitonova’s marvelous portrayal as Cinderella. Even in a soot-covered, flowing costume, Kapitonova’s glowing face shines through as she jaunts around the house, with only a broom as her companion. She soaks in her surroundings, her exuberance shown through the simplest of things. She puts joy in every step, rarely showing any despair in her strength, warmth, and innocent smile. Cinderella may be neglected, but she’s also happy and imaginative, despite her circumstances.

Absent is the anguish and vindictiveness Cinderella endured from the glaring presence of a Stepmother in other retellings, but instead a harried father tending to the constant needs of two trying Stepsisters. What makes this Cinderella so remarkable is she is not bullied by her Stepsisters, but that much more selfless, doing everything for the ease of others, always putting others first with a smile. She tends to her Stepsisters needs out of love, a self-absorbed pair of braying bookends, portrayed with awkward, conceited flair by Roddy Doble and John Lam. In full bonnets and mismatched, heavily adorned attire, the Stepsisters comically parade in their gaudy and audacious glory, unaware of how foolish they seem.

Sir Frederick Ashton’s Cinderella’s choreography is an elegant display. The Fairy Godmother makes a grand, magical entrance and is soon accompanied by the colorful Fairies of the Four Seasons. They each have their moment to shine, their beautiful solos reflecting their distinct personalities on lush green and then under silvery trees.

In white and blue, Patrick Yocum, who was also impressive in Boston Ballet’s Full on Forsythe, makes a wonderful Prince, leading Kapitonova to a delicate pas de deux. Their sweet chemistry is apparent as Cinderella makes her own grand entrance. Another captivating dance occurs at the ball as the clock strikes midnight, the dancers intricately posing in that pivotal moment knowing the best is soon to come.

One of the interactive stations at Boston Ballet’s ‘The Warm Up’ Photo by Jeanne Denizard

Mikko Nissinen’s Boston Ballet continues to offer a number of interactive stations including Fairy tale Fun and a photo-friendly display to learn more about the show and ballet through The Warm Up located in the lower lobby.

Sir Frederick Ashton’s Cinderella, performed by the Boston Ballet, continues through Saturday, June 8 at the Citizen’s Bank Boston Opera House, 539 Washington Street in Boston, Massachusetts. Save 50% for youth under 17 after purchasing one full price ticket. Click here for more information, tickets, and for future events and more, follow Boston Ballet on Facebook and Twitter.

Americana Theatre Company’s Michael Kirkland and Jennifer Martin talk bringing epic musical ‘Man of La Mancha’ to the South Shore

Posted on July 9, 2018 by The Sleepless Critic

Americana Theatre Company is taking the South Shore on an epic quest in the multiple Tony Award-winning musical, Man of La Mancha at Spire Center for Performing Arts in Plymouth, Massachusetts through Sunday, July 29. Starring TV personality Scott Wahle, a fascinating cast, and featuring a memorable score that includes the classic number, The Impossible Dream, Man of La Mancha is based on Cervantes’ masterpiece Don Quixote.

Americana Theatre Company’s Man of La Mancha Director Michael Kirkland Photo courtesy of Americana Theatre Company

Americana Theatre Company Associate Artistic Director and Gypsy in Man of La Mancha Photo courtesy of Americana Theatre Company

American Theatre Company’s Jennifer Martin and director Dr. Michael Kirkland discuss going through 500 audition tapes, their current season, and why Man of La Mancha sometimes felt like a farce. Click here for more information and for tickets.

Sleepless Critic: This is your first time directing Man of La Mancha.

Michael Kirkland: It is, but it is also my seventh La Mancha. I’ve been blessed to portray Sancho Panza four times professionally. I’ve also played The Barber, have choreographed the combat and violence in the show maybe six of the seven times, but have always longed to direct it.

SC: Doing a show that many times makes you that much more prepared of what works and what doesn’t.

MK: Directing the show is a real blessing because I have formulated well germinated ideas about the piece and I finally have an opportunity to experiment with those ideas, but I never lock myself out of the possibility of change.

SC: Although Man of La Mancha is a comedy, Americana Theatre Company’s past production of The Three Musketeers also featured swordplay and took place in a similar time period. Did the actors train the way they did for The Three Musketeers?

MK: Yes, it is a physical show with combat fighting ranging from realistic to stylized to serious to comical narratives and techniques. Similar challenges but different than swordplay. Swordplay has more rules and challenges that come with it. This is all hand to hand and found weapons, which are objects laying around that become unusual weapons.

SC: Man of La Mancha’s The Impossible Dream in itself is epic. So how did Americana decide to take on this show?

Jennifer Martin: This is our third foray into musical theatre having taken on Grease and Lucky Stiff previously. We try to choose stories that we believe matter, have great entertainment value, make our community better, and are ensemble driven. Man of La Mancha is a storytelling, ensemble-driven show that works well with our company. This show is great for that because Cervantes enters the prison and uses the prisoners to tell his story.

American Theatre Company Man of La Mancha

Scott Wahle as Don Quixote and Bethany Lauren James as Aldonza with Ruben Navarro as Sancho Panza

SC: TV personality Scott Wahle stars as the Man of La Mancha. He’s been in a few shows in the area such as Reagle Music Theatre of Greater Boston’s Guys and Dolls and Company Theatre’s Paragon Park. He has a certain charisma and comic timing that fits Man of La Mancha. How was the audition process?

JM: We posted the audition on Backstage for our New York auditions and viewed about 500 audition videos for Aldonza, Sancho Panza, and Don Quixote (Cervantes). After reviewing those videos, we traveled to New York and we did a full day of five minute audition slots. We found Aldonza and Sancho Panza, but we still didn’t have our Man of La Mancha. Americana’s President Peter Martin suggested his friend Scott Wahle. Finding the Man of La Mancha was our actual quest and once we found him, everything fit into place.

SC: What has been the show’s biggest challenge?

JM: The first rehearsal process and making sure that above all, the words and richness of what was written is experienced by the audience while moving quickly. The other challenge unique to our company is our four company members performing in the show are wearing multiple hats. Managing Director David Friday plays The Governor and The Innkeeper while being the set builder and designer. We’re doing a comedy, but sometimes it feels like a farce.

MK: The concept we had settled upon affords an exploration of layers. What I’m trying to communicate in this particular interpretation is even Cervantes does not completely understand the power of what he has written and it takes these prisoners and him watching how his story redeems them that truly brings home the power.

SC: Man of La Mancha has something for everyone, but I think men will especially enjoy it.

MK: It is a show with depth, substance, and great heart. It also has some bite to it and aspects of it might be border line uncomfortable for people to experience. I always think we can tell redemptive stories of girl scouts or in this particular instance, prostitutes. The show makes a powerful statement by the end of this story.

Americana Theatre Company Man of La Mancha bow

The complete cast Photo credit to Denise Maccaferri

SC: What’s been your favorite part of putting the show together?

MK: I love to collaborate. We had collaborative sessions on the telephone before we ever got here, just kicking around ideas then settling upon how we are to realize the conceptualization of the piece. Then we start working with those people on a day to day basis bouncing ideas off each other, then trying things, and then trying them on the performers. Theatre affords you what some more isolated performing arts don’t. Theatre is created and performed in community. Good ideas are great, and once it is on the stage, it’s not mine. It’s ours.

SC: The current season includes Man of La Mancha, Sleepy Hollow, and The Gifts of the Magi. How do Americana select each season?

JM: We look at what would be good for the town of Plymouth based on audience feedback of what they respond to, interested in, what they love, and what they are longing for. We chose Man of La Mancha because we love the story, thought we could tell it well, and saw that it hasn’t been told for awhile in this area.

Our selection process takes about four months of thought and steady, hard work. The Legend of Sleepy Hollow was chosen because we realize this area values holidays and traditional stories. We thought of doing a one man version of Sleepy Hollow. Our founding director Derek Martin is currently working on adapting the script and our Managing Director, David Friday, will be performing it. We’re excited about performing an old, beautiful story in a simple, straight forward and creative manner.

The Gifts of the Magi is a lovely, six person musical so dear and true to the holiday season. We wanted to tell a holiday story and keep the cast small in the wintertime because we want to perform it in the Center for the Arts, a small space.

SC: Studio Americana youth program delves into a lot of big fantasy productions such as Peter Pan, Cinderella, The Wizard of Oz, and Alice in Wonderland. I understand fall registration is still open.

JM: Yes, registration is still open. At Studio Americana, we work with each child individually which is why we keep the shows intentionally small so each student has an equal amount of time. A lot of students say it’s the best part of their summer.

Photo courtesy of Studio Americana

SC: What do you envision the future of Americana Theatre Company?

JM: We still are a bit of a secret in the South Shore. We are blessed to have consistent five star reviews from people who come. When people finally come, they say I can’t believe I’ve missed you guys. We’re expanding our season with a cabaret and fundraiser in March, a show through July and have offerings in October.

We’re a 501(c)3 company and have some great community sponsors. As we get more support, we’d love to expand to a six show season where things are constantly happening. People who come to Plymouth get the highest level of theatre across the United States, but we want our residents and guests to feel like this is also their hometown theater company.

Americana Theatre Company proudly presents Tony award-winning musical Man of La Mancha through July 29 at Spire Center for Performing Arts, 25 ½ Court Street in Plymouth, MA. Click here for more information and tickets. Click here for how to support Americana Theatre Company. Follow Americana Theatre Company on Facebook and Twitter.

For Performing Arts news, interviews, reviews, and much more in Boston and beyond, follow us on Facebook @sleeplesscritic and subscribe.

REVIEW: The Boston Pops blended uplifting Bernstein tribute with sizzling footwork in ‘Dance to the Movies’

Posted on June 22, 2018 by The Sleepless Critic

The Boston Pops turned up the heat as dancers from Dancing with the Stars, So You Think You Can Dance, and America’s Got Talent as well as American Idol finalists joined Academy Award-nominee Lesley Ann Warren as Scott Stander presented Dance to the Movies on June 9 at Symphony Hall. Conducted by renowned Music Director Keith Lockhart and filled with memorable moments from some of Hollywood and Broadway’s most popular films, Dance to the Movies lit the stage as part of Boston Pops 133^rd spectacular season. Dedicated to legendary, Lawrence-born composer and conductor Leonard Bernstein’s centennial this season, click here for upcoming Boston Pops performances including details for the Boston Pops Fireworks Spectacular on July 4.

Boston Pops Keith Lockhart and the Boston Pops_WT26691 (Winslow Townson)

Keith Lockhart and the Boston Pops (Winslow Townson)

Before launching into Dance to the Movies, The Boston Pops performed a few remarkable Bernstein selections which included an urgent, masterful orchestration composed by John Williams, a piece first conducted for Bernstein’s 70^th anniversary called, To Lenny! To Lenny! The orchestration, with equal parts bursting triumph and quiet contemplation, set the perfect tone for this uplifting show. The Bernstein tribute continued with sparkling and upbeat Overture to Candide and the chiming, peerless orchestration of Bernstein’s spiritual Simple Song from Mass.

Boston Pops John Williams and Leonard Bernstein at Harvard Night at the Pops, June 6, 1989 (Donald Dietz)

Winner of 2017’s Boston Symphony Orchestra’s Concerto Competition and recipient of Harry & Marion Dubbs Brookline Youth Concerts Award, captivating violinist Haig Hovsepian, delivered a passionate and intense solo performance as he played Sibelius’s First Movement: Allegro moderato, from Violin Concerto in D Minor. An especially touching moment occurred when a couple of his proud family members rushed to the stage to congratulate him after he finished his piece.

The Boston Pops seamlessly tied in Bernstein’s tribute with a sensational film dance montage by Susan Dangel and Dick Bartlett, weaving in dance scenes from Risky Business, Austin Powers: International Man of Mystery, Burn After Reading, The Greatest Showman, Pulp Fiction, Mrs. Doubtfire, My Best Friend’s Wedding and more to acclaimed dance songs from Bernstein’s musical masterpiece, West Side Story.

Puttin’ on the Ritz Photo courtesy of Hilary Scott

Boasting an enormously talented cast, Dance to the Movies offered vintage flair by Bair/Pututau costumes and sizzling footwork, taking on classic numbers like Puttin’ on the Ritz and Diamonds are a Girl’s Best Friend/Material Girl from the film, Gentlemen Prefer Blondes. Hearkening to the age of Fred Astaire, dancers dressed in gold Lemay cocktail dresses and suits with coat and tails then delivered a double take of dancers dressed in Marilyn Monroe’s signature pink gowns with dripping diamonds respectively. A gorgeously sparkling fringed gown seemed to have a life of its own on Anna Trebunskaya as she swayed with Tristan MacManus to the spicy number, Cuban Pete from the film, The Mask.

Academy Award-nominee Lesley Ann Warren, a television and film veteran known for Cinderella and Clue, delivered a reflective Moon River from Breakfast at Tiffany’s and a flirtatious version of Blues in the Night from the film by the same name. Warren still has that charismatic charm as she engaged the audience.

Lesley Ann Warren in her Cinderella crown Photo courtesy of the Boston Pops

Dance to the Movies tackled Broadway with dance melodies from Chicago and Grease, which featured a performance by American Idol finalist Vonzell Solomon singing Roxy Hart. Vonzell delivered a show stopping performance singing I’ll Always Love You from The Bodyguard before taking the stage with American Idol finalist Von Smith for a stirring tribute to the late Marvin Hamlisch including the songs, Through the Eyes of Love from the film, Ice Castles and The Way We Were.

Dance to the Movies takes on ‘Chicago’ Photo courtesy of Hilary Scott

One of the most impressive dance performances seemed a dangerous feat to the tune, Unchained Medley from the film, Ghost sung by Von Smith. Featuring Randi Strong and Jonathan Platero, it was a rapturous, athletic number recreating a scene from the film featuring remarkable flips and daring spins. Dirty Dancing’s iconic dance number, (I Had) The Time of My Life, featuring a trio of couples, was a beautiful display complete with The Lift.

American Idol finalist Von Smith Photo courtesy of the Boston Pops

Dance to the Movies boasted Dancing with the Stars’ Tristan MacManus, Anna Trebunskaya, Magda Fialek, Anya Fuchs and Oksana Platero, from So You Think You Can Dance Jonathan Platero, Randi Strong, and Jaymz Tuaileva, America’s Got Talent’s Antonio Martinez, with Carl James Bair, Alisa Davtyan, Timothy Lewis, Kateryna Klishyna, and Tony Pututau. Click here to see where Dance to the Movies will appear next.

Dedicated to legendary, Lawrence-born composer and conductor Leonard Bernstein’s centennial this season, click here for upcoming Boston Pops performances including details for the Boston Pops Fireworks Spectacular on July 4. Follow Boston Pops on Twitter and Facebook.

For Performing Arts news, interviews, reviews, and much more in Boston and beyond, follow us on Facebook @sleeplesscritic and subscribe.

Award-winning journalist JC Monahan discusses her part in Urban Improv’s funniest fundraiser, ‘Banned in Boston’

Posted on April 3, 2017 by The Sleepless Critic

Photo courtesy of Urban Improv

What is it like to perform at Urban Improv’s annual fundraiser, comedy, and music revue Banned in Boston? For the last five years, Emmy award-winning journalist and Chronicle host JC Monahan has taken the stage to support Urban Improv’s dedication to youth empowerment each year while leaving seriousness at the door. Sometimes the backstage antics are as hilarious as what is happening onstage.

Urban Improv is celebrating its 25^th anniversary and presenting Banned in Boston, an evening of delicious food from top restaurants such as Mei Mei, Island Creek Oyster Bar, Eastern Standard, and East Coast Grill, improve featuring guests from business to politics to media personalities, and much more on Friday, April 7 at House of Blues in Boston, Massachusetts at 6 p.m. This is a 21+ event. Hosted by WGBH’s Jim Braude and Margery Eagan, click here for this year’s featured guests and tickets.

As the guest list grows longer each year, this exciting, highly-anticipated event get sillier and more inventive. Anything can happen. Emmy award-winning journalist JC Monahan talks about her experiences.

Onstage at Banned in Boston – Governor Charlie Baker and musician Sally Taylor

Jeanne Denizard: Last year, I interviewed returning musician, Sally Taylor. Sally said she had a blast at Banned in Boston.

JC Monahan: She participates every year and is such a big supporter. I think a lot of the fun happens backstage, but we also have fun onstage too. It’s a chance to connect with so many other people in Boston behind the scenes talking and getting to know each other, laughing at the costumes we’re wearing and the lines that we’re saying, and it’s a blast seeing some of these people put into crazy situations. For example, one of my all-time favorite memories is Aerosmith’s Tom Hamilton, dressed in this fantastic blue prom dress, as one of Cinderella’s ugly stepsisters. Tom has achieved so much in his life and it’s so great he is totally willing to get onstage and be silly all for Urban Improv.

JD: He’s local too.

JCM: We have amazing people right in our backyard and it’s fantastic they all get onstage for this cause. We’re all from different walks of life contributing in our own way in our personal lives, but we are also contributing together onstage. I am as much a fan as I am a participant. Sally Taylor is so sweet, so down to earth, and so talented. I’ve become good friends with WGBH’s Jared Bowen and that is completely through Banned in Boston. Emily Rooney is hysterical and Matt Siegel, who I only hear on Matty in the Morning. I usually don’t get to see him face to face. It’s a little reunion every year.

Urban Improv presents their annual fundraiser, Banned in Boston Photo courtesy of Lisa Kessler/Urban Improv

JD: This year, Banned in Boston is hosted by WGBH’s Margery Eagan and Jim Braude.

JCM: They are two of my favorites and I listen to them all the time. Jim usually gives me a hard time which is perfect. It’s a great night and I love everything about it.

JD: It’s such a great cause. Urban Improv helps youth cope with real life challenges such as bullying and violence through topical improvisation.

JCM: Exactly, you’re there to support the arts in many ways, but you are also using the arts in such a constructive way to help kids learn to communicate. We can all benefit from being better communicators. I love that they are starting young and reaching kids who may not know how to solve a problem. Maybe Urban Improv will be that change in their life that sets them on a new path. How can you not want to be behind that?

JD: These kids may lack the guidance and are not in an environment where they can get it.

JCM: Exactly, it takes all of us. Urban Improv steps in and reaches those kids. If I can help keep that program going in a very small way, I’ll be there. I’ve participated for four or five years, but I feel like I’ve been there since the beginning since they make you feel like part of a family. It is a very inviting, warm, environment and it allows you to be even sillier that you would be.

JD: Oh, I know! The funny things I have heard.

JCM: When you have the congressmen get up onstage and act silly, the Governor, and the people I know through charity events as well, it’s just fun for everybody. One of the funnier ones is Sonia Chang-Diaz who was funny as Miley Cyrus one year. Banned in Boston oftentimes have a ringer who is an actual actress or actor that will blow us all away. Kathy St. George will be there this year and she’ll be amazing.

JD: You need a few to keep people guessing. Are any of your characters created with you in mind?

JCM: No, I think they work hard to keep us outside our comfort zone. Politicians don’t play politicians most of the time, though last year I did get to play a reporter a little on the nose. Then, years ago, I was a bratty yoga devotee. I’m all for putting me in the most uncomfortable, craziest role because it’s much easier than something that’s close to who you actually are. I’d rather play Miley Cyrus than have to play myself.

JD: Do you have certain people that you click with better onstage?

JCM: Anyone who is all in is the person I want to work with and I don’t think there has been anybody who hasn’t been all in. Lisa Pierpont is always all in. She came one year in a big, long wig. If you take yourself too seriously, this might not be the place for you. The list of people who have said yes are ready to be silly, ridiculous, and get people to laugh and enjoy themselves because we want people to come back year after year and continue to support Urban Improv.

JD: I know it is an improv show, but do you do any preparation for it?

JCM: We get the script less than a week before the show, but they do give you a costume comment. One year I played a judge, so I overnight shipped a graduation gown on Amazon for the show. I played the yoga devotee and they said to please come in yoga clothes. You have no rehearsal time and we walk onstage with our scripts. We are pretty much a mess, and that is the fun of it.

JC Monahan during an improv sketch at Banned in Boston as a judge with cast Photo courtesy of Lisa Kessler/Urban Improv

JD: What kind of surprises stick out for you over the years?

JCM: You don’t know what character you are playing opposite until you get there, so it’s always fun to see who got what character. A couple of years ago, the chefs in Boston made this awesome music video. Nobody knew they had done it and it wasn’t part of the program. That took some coordination, preparation, and effort for people that are super busy, but it was hysterical. This year’s Banned in Boston’s theme is offense, misdeeds, and comedic infractions.

JD: That sounds dangerous.

JCM: Yes, you never know. When I see the script in my inbox, it’s Christmas morning for me. You find out where they put you, the songs we sing at the beginning and the end and coming up with new lyrics to fit the always Boston-centric theme. Anybody from this area will get the jokes. The jokes are always about Boston accents, Boston parking, Boston drivers, Boston politics. Nothing will be missed and the audience will get it all.

JD: You talked a lot about what you look forward to each year and what drives you to return. What do you think is the best reason people should see Banned in Boston?

JCM: There are a lot of wonderful Boston fundraisers, so it’s hard to capture people’s attention, time, and money, and Banned in Boston has found a really unique way to do it that captures the spirit of what Urban Improv is. It has great food, great drinks, and a fantastic space at House of Blues in Boston. There’s no better mix than that.

Youth improv work in action Photo courtesy of Urban Improv

Click here for more information and tickets to this hilarious, one night only event starting at Lansdowne Pub for a cocktail reception at 9 Lansdowne Street on Friday, April 7 at 6 p.m. Banned in Boston at House of Blues, located at 15 Lansdowne Street, kicks off at 7:45 p.m. Click here for more on Urban Improv and its mission.