Citizens Bank Opera House | The Sleepless Critic

REVIEW: Boston Ballet’s exhilarating ‘Winter Experience’ glows in anticipation

Posted on 26 Days Ago by The Sleepless Critic

Especially amid winter’s bitter isolation and bleakness, one cannot help but anticipate the crackle and rising glow of spring. Through these two bold works, Boston Ballet shows how to appreciate the wonder of winter and glow in spring’s glorious awakening.

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15. The production is one hour and 50 minutes with one intermission. Click here for more information and for tickets.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Ji Young Chae, Viktorina Kapitonova, Lia Cirio, Seo Hye Han, WanTing Zhao, Haley Schwan, Chisako Oga, Chyrstyn Mariah Fentroy

With a wealth of expectation and powerful expression, Boston Ballet’s wondrous Winter Experience features a visceral pair of complementary works infusing innovative ballet which envisions the intensity of the season as well as the increasing promise of spring in Jorma Elo’s bold classic Le Sacre Du Printemps (The Rite of Spring) and Crystal Pite’s contemporary favorite, The Seasons’ Canon.

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Boasting Jorma’s Elo’s sharp and versatile choreography, Le Sacre Du Printemps depicts rich beauty as dancers shift and sway to Stravinsky’s commanding score that ebbs and flows from tender to thunderous. With incredible choreography by Crystal Pite and exhilarating music by Max Richter, The Seasons’ Canon finale remains one of the most amazing pieces that I have ever witnessed from the Boston Ballet.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Stravinsky’s Le Sacre Du Printemps is a striking exploration of a ritual dance believed to usher in the spring season. Adorned in Charles Heightchew’s vibrant sequined burgundy costumes as a band of brimming color rises amid a black layered latticed backdrop, dancers slice the air, trot, tick and lunge in pas de deux and in groups delivering unruly yet synchronized grace in their athletic, sharp and intimate steps.

Stravinsky’s powerful drum and horn-infused rhythms ebb and flow from soft and mischievous to urgent and rebellious which reflect in the dancers as they intricately link and divide and in Brandon Stirling Baker’s symbolic and transformative lighting. Pairs form daring and unique patterns as well as mirror each other as Stravinsky’s wielding drive animates dancers from rigid and mechanical to surprising to occasionally humorous within its more spontaneous moments to haunting as the dance intensifies.

Under a gleaming, crackling and morphing gold light by Jay Gower Taylor and Tom Visser, the Boston Ballet unveils a vision like none other with The Seasons’ Canon. Crystal Pite’s intricate and meticulously detailed chorography to Max Richter’s version of Vivaldi’s mesmerizing The Four Seasons makes The Seasons’ Canon a superlative experience. An incredible vision in every sense of the word, The Seasons’ Canon is innovative and unique as dancers pulse, sway, and tumble with intricate fluidity and precision while methodically spilling onto the stage. Moving like one sinewy organism as if waking from hibernation and molding into magnificent shapes, the sheer exactitude and congruent nature of these movements cannot be overstated. An exciting, uplifting and commanding piece with bursts of energy as the landscape transforms into shades of silver, orange, and gold, is exquisite in every season. It is a haunting and brilliant performance sure to stay with you long after the piece has ended.

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Rosalie O’Connor and Brooke Trisolini
Dancers: Sangmin Lee, Chisako Oga, Ji Young Chae, Jeffrey Cirio, Daniel Rubin, Sage Humphries

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15. Click here for more information and for tickets.

REVIEW: Nostalgia, strong vocals and electrifying special effects fuel ‘Back to the Future the Musical’

Posted on July 23 by The Sleepless Critic

Time is of the essence in Back to the Future the Musical.

Innovatively directed by John Rando with Chris Bailey’s energetic choreography and dynamic Music Direction by Matt Doebler, Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20. This zippy production runs 2 hours and 40 minutes with one intermission and is currently on national tour. Some subtle themes and dialogue are toned down to make this musical more family friendly. Click here for more information on their next stop and for tickets.

David Josefberg in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

No one will ever be Michael J. Fox or Christopher Lloyd in these particular roles. Moreover, I am a firm believer the original film is perfectly cast and a reboot or any other adaptation will never quite live up to the original 1985 hit film. However, I do think that there are a lot of thrills and fun to be had in some of the extensions from the film such as Back to the Future: The Ride and Back the Future: The Musical which boasts some spectacular and immersive special effects and quick pacing to make this production more like a theatrical thrill ride.

To think Back to the Future was conceived when producer Bob Gale discovered his father’s high school yearbook and wondered if they would have been friends if he and his father attended high school together. Back to the Future the Musical not only boasts technological and scientific wizardry, but is also a family tale. Marty, in a likable portrayal infused with some of Fox’s notable inflections by Lucas Hallauer, knows his family is not on the fast track to success as Luke Antony Neville as uncompromising Principal Strickland insultingly blares at Marty into his Matterhorn in Got No Future.

Luke Antony Neville and Lucas Hallauer in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Marty wishes his family were on a different path as Marty’s family is swiftly introduced in Hello-Is Anybody Home? Hallauer explains, ‘My dad would come in third in a two man race.’ Introverted, anxious and painfully shy, Mike Bindeman captures the awkwardness of Marty’s father George who takes what he gets while trying to avoid confrontations at all costs. Zan Berube delivers strong vocals and embodies Marty’s mother Lorraine with ease.

With a memorable laugh, wild facial expressions and threatening presence, Nathaniel Hackmann is well cast as obnoxious and calculating Biff as if the film’s Biff, depicted by Thomas F. Wilson, went back in time for this role.

Nathaniel Hackman, Lucas Hallauer, Mike Bindeman and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Some of the cast leans on some of the original cast’s inflections, but David Josefsberg as eccentric Doc Brown, makes the character his own and shares a warm rapport with Lucas Hallauer as Marty reminiscent of the hit film.

David Josefberg and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Fast talking and excitable, Josefsberg exudes Doc’s wise and unwavering optimism while dreaming of an immense future in the motivational ballad, For the Dreamers as well as in lighter moments in a bit of self aware humor for It Works and the synthetic sounding 21^st Century as the stage lights in sparkling, flashy and futuristic costumes when it is not leaning into scientific white lab coats.

This production would have worked just as effectively as a play and does not necessarily need to be a musical, but the cast’s powerful vocals, especially by Cartreze Tucker who is a highlight as optimistic visionary Gordie Wilson in an extended role, work. Tucker boasts sensational vocals as Gordy Wilson for the inspirational number, Start Somewhere.

Cartreze Tucker and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Back to the Future The Musical also makes some clever choices that capture the spirit of the film while building on some of the film’s themes such as Doc Brown’s inspirational For the Dreamers and the nostalgic harmony in Cake which is a welcome trip into 50s nostalgia and ironic humor while offering mellifluous harmony. Other songs such as the cringe My Myopia and Pretty Baby are better left as brief scenes than full songs. Something about that Boy brings together multiple scenes featuring Berube, Hackmann, and the cast. Fifties classics such as Johnny B. Goode and Earth Angel recreate classic scenes from the film as well as selections from the film’s iconic soundtrack by Huey Lewis and the News.

Lucas Hallauer and Zan Berube in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The multicolored costumes capture two iconic eras as well as ensembles right out of the 1985 film. High tops, slouch socks, jean jackets, diner attire, frilly retro patterned dresses, Marty’s orange vest, and Lorraine’s classic pink prom dress are just a sample of this array of distinctive retro apparel. The fifties and the eighties are defined by certain characteristics, but it does not overpower the film’s universal themes.

Filled with retro pieces and realistic projections, the rolling and rotating sets are impressively detailed from an elaborate tree bursting with fall leaves, Lorraine’s bedroom similar to the hit film and Doc Brown’s house complete with portraits of his legendary mentors and inventors under twinkling stars.

Lucas Hallauer and the DeLorean in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The story is good, but the electrifying special effects are worth the price of the ticket as the real star, the DeLorean, roars to life. Chris Fisher’s impressive illusion design, Tim Lutkin and Hugh Vanstone’s intricate and futuristic lighting, Finn Ross’s realistic video design, and Gareth Owen’s rumbling sound design unite to create an elaborate time jumping experience that immerses the audience into this compelling journey.

Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20. The production is also currently on national tour. Click here for more information on their next stop and for tickets.

REVIEW: Boston Ballet ‘Spring Experience’ an extraordinary awakening

Posted on May 19, 2024 by The Sleepless Critic

Dancers seemingly lie dormant, fires burn, a multi-limbed creation, and athletic feats from a Barre to calypso-inspired rhythms is just a portion of the imagery demonstrated in Boston Ballet’s 60^th season closer, Spring Experience. It embraces the eclectic and the unusual while ever bringing ballet to another level.

Ken Ossola’s ‘The Space Between’ photo by Liza Voll; courtesy of Boston Ballet

The Boston Ballet presents Spring Experience live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, May 19. The production is approximately two hours and 15 minutes with two intermissions. Click here for more information and for tickets.

Boston Ballet in Ken Ossola’s The Space Between; photo by Rosalie O’Connor; courtesy of Boston Ballet

A suspenseful world premiere, a carefully orchestrated Barre experience fueled by James Blake’s innovative works, and a provocative fan favorite create an exceptionally curious and intense set of performances.

The Space Between builds a steady anticipation through its urgent and haunting piano-infused rhythms as dancers lie dormant or may be in sleeping state. As each dancer comes to life and two perform an elegant pas de deux, Choreographer Ken Ossola’s highlights the speed and agility of the dancers in a combination of freestyle and synchronized movements to horn-infused rhythms enclosed on a sloped and curved midnight blue landscape, part of Benjamin Phillips’s multi-color schemed set design brightened by Brandon Stirling Baker’s transformative headlights. Women dancers appear defiant as they prowl, jostle and swing with the push and pull of being navigated by men to the electronic hissing of Mischa Santora’s electronic rhythms. Adorned in Lisa Dezmelyk’s translucent costumes in floral and shimmering patterns, the group leaps and align together which includes María Álvarez, Lia Cirio, Chyrstyn Fentroy, Seo Hye Han, Abigail Merlis, Chisako Oga, Haley Schwan, Jeffrey Cirio, Tyson Ali Clark, Paul Craig, Daniel Durrett, John Lam, Daniel Rubin, Gearóid Solan, Schuyler Wijsen, and Patrick Yocum. The Space Between culminates into a grand finale with a new moving creation.

In Blake Works III (The Barre Project), the Barre highlights this performance steeped in synthetic vocal rhythms as María Álvarez , Graham Johns, Lia Cirio, Sangmin Lee, Ji Young Chae, Gearóid Solan, and Tyson Ali Clark showcase their contact with it. Simply staged with a black back drop and Barre, María Álvarez and Graham Johns perform a playful and lively pas de deux into lifts, twists, and tight leaps. William Forsythe’s urgent and slinky choreography navigate the zip, zing and hip hop tempo of James Blake’s catchy tunes showcasing each dancer’s athletic prowess gripping the Barre. A particular highlight is moving to the tender and haunting rhythms of James Blake’s romantic Lullaby for the Insomniac and 200 Press. Dancers demonstrate tight and urgent leaps in funky rhythms and at what point, letting the arms do the walking on the Barre at fascinating angles in an edgy and eclectic display.

Ji Young Chae in William Forsythe’s Blake Works III; photo by Liza Voll; courtesy of Boston Ballet

The final piece is still one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Jiří Kylián‘s Bella Figura Photo by Liza Voll; courtesy of Boston Ballet

Jiří Kylián and Ken Ossola’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow. In many ways, it bucks tradition as the dancers float and slide between closing curtains as one dancer, topless, wraps herself in only a black stage curtain. The curtain seems to have a mind of its own as it frames, shrinks, and chases the dancers. Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away. As fires burn, Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements. It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect. In gathering rich red skirts which is part of Joke Visser’s bold costume design, topless men and women looking the same glide along the stage. It is a memorable, distinctive performance as the piece continues even as the music concludes.

Boston Ballet in Jiří Kylián’s Bella Figura; photo by Rosalie O’Connor; courtesy of Boston Ballet

The Boston Ballet presents Spring Experience live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, May 19. The production is approximately two hours and 15 minutes with two intermissions. Click here for more information and for tickets.

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: Lexus Broadway in Boston presents sizzling and spectacular ‘Moulin Rouge the Musical’

Posted on February 4, 2024 by The Sleepless Critic

Moulin Rouge is sizzling, romantic and grand scale entertainment perfect just before Valentine’s Day.

Boasting Derek McLane’s lavish and sophisticated heart-shaped sets fueled by Justin Townsend’s vivid lighting so vibrant that could be its own character and Catherine Zuber’s edgy, timely and shimmering costumes, Moulin Rouge the Musical is a glorious spectacle right from the start blending its unique delivery of a multi-generational jukebox musical soundtrack as well as lively and athletic choreography that makes an immediate impact.

The cast of the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Nothing less could be expected from director Baz Luhrmann, who is not only behind the 1997 frenetic film of the same name in which the musical is based on starring Nicole Kidman and Ewan McGregor, but has a creative hand in the musical’s signature style. Filled with popular songs of its time, Moulin Rouge has always been a lavish and wild celebration of desire, the rigid social class divide and first love, but somehow Moulin Rouge the Musical harnesses these rich themes on a considerably larger scale and it is nothing short of a feast for the eyes.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4. The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children. Click here for more information and for tickets. Click here for Moulin Rouge’s national tour schedule.

Not only does Moulin Rouge The Musical contain a wide range of sharp and slinky choreography by Sonya Tayah, but features distinct characters with powerful vocals that make lasting impressions. Robert Petkoff brings enthusiasm, poetic and flamboyant charisma to Moulin Rouge’s nightclub master of ceremonies Harold Zidler starting with an incredible first appearance in Welcome to the Moulin Rouge further embellished by a fierce foursome who sang Christina Aguilera, Pink, Lil Kim, and Mya’s Lady Marmalade first made famous combined with an even catchier and colorful Can Can Can.

Adéa Michelle-Sessoms and Jennifer Wolfe in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Sarah Bowden as Nini is a sensational dancer and alongside Danny Burgos as Santiago sure know how to turn up the heat. Burgos and Bowden make a sultry and flirtatious pair especially in the catchy and cathartic Backstage Romance with the cast featuring music from Lady Gaga, Britney Spears, and the Eurthymics.

Gabe MartInez as Santiago and Libby-Lloyd as Nini in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

In a top hat and thick mustache, Andrew Brewer is cunning as distinguished and wealthy businessman The Duke of Monroth. He seems good to be true and has an agenda all his own. Nick Rashad Borroughs as Toulouse-Lautrec performs a wonderful and moving rendition of Nature Boy and shares warm and humorous camaraderie with Christian Douglas as Christian and Danny Burgos as they advise Christian about life at the Moulin Rouge.

David Harris as The Duke of Monroth in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Christian Douglas is captivating as naïve, charming, and idealistic Christian. Christian is a promising American artist and songwriter longing for his big break. At the Moulin Rouge in Paris, he sets eyes on Moulin Rouge’s confident, complex, and ambitious main attraction Satine, portrayed splendidly by Gabrielle McClinton. McClinton, decked out in a black and diamond ensemble, proves herself a versatile showstopper in The Sparkling Diamond singing snippets from Beyonce, Madonna, Marilyn Monroe and Rihanna with over the top dramatic flair, sensuality, and commanding vocals. Douglas and McClinton bring gorgeous harmony together for Elephant Love Medley featuring Come What May and Silly Love Songs. Christian also performs a haunting and fiery rendition of El Tango de Roxanne.

Courtney Reed as Satine in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Moulin Rouge the Musical offers many exciting surprises that will not all be revealed here. The swift and complex orchestration by Music Director Andrew Graham and sound designer Peter Hylenski uniquely integrates a selection of hit songs with unpredictable humor and drama. It is a fast paced firecracker of a love story that is as edgy as it is moving. Don’t miss the chance to see Moulin Rouge The Musical.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4^th. The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children. Click here for more information and for tickets. Click here for Moulin Rouge the Musical’s national tour schedule.

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: Lexus Broadway in Boston’s ‘Hamilton’ – history and the hype

Posted on February 22, 2023 by The Sleepless Critic

Having witnessed Lin Manuel Miranda’s dynamite, hip hop improvisational event Freestyle Love Supreme live in Boston prior to seeing Hamilton, it is easy to see some of the inspiration and contemporary influences on the renowned historical rap musical, Hamilton which centers around one of America’s founding fathers, Alexander Hamilton. As an illegitimate orphan immigrant from the West Indies, Hamilton created a legacy and became one of the forefathers of the constitution, but not without making enemies and causing scandal along the way.

Directed by Thomas Kail and inspired by the book, Alexander Hamilton by Ron Chernow, Broadway in Boston presents Tony award-winning Hamilton live and in person at the Citizens Bank Opera House in Boston, Massachusetts through March 12. Click here for more information and for tickets.

Hamilton Joseph Morales and Nik Walker will lead the second national tour of Hamilton as Alexander Hamilton and Aaron Burr, respectively. Other principal roles in Hamilton will be played by Ta’Rea Campbell as Angelica Schuyler; Marcus Choi as George Washington; Elijah Malcomb as John Laurens/Phillip Schuyler; Shoba Narayan as Eliza Hamilton; Fergie L. Philippe as Hercules Mulligan/James Madison; Kyle Scatliffe as Marquis de Lafayette/Thomas Jefferson; Danielle Sostre as Peggy Schuyler/Maria Reynolds and Jon Patrick Walker as King George. The second national tour also includes Tia Altinay, Amber Ardolino, Conroe Brooks, Cameron Burke, Evan S. Cochran, Phil Colgan, Desmond Sean Eillington, Hope Endrenyi, Lili Froehlich, Daniel Gaymon, Camden Gonzales, Jennie Harney, Stephen Hernandez, Kristen Hoagland, Abby Jaros, Emily Jenda, Wonza Johnson, King David Jones, Carina-Kay Louchiey, Brandt Martinez, Taeko McCarroll, Tyler McKenzie, Justice Moore, Antuan Magic Raimone, Julian Ramos, Jen Sese, Willie Smith III, and Julius Thomas III. Photo by Joan Marcus

One of Hamilton’s most memorable lines reflected on legacy. It is defined as “planting seeds in a garden you never get to see.” Hamilton has an innate urgency as big as Hamilton’s persistent and risk taking drive. Having emigrated from the West Indies where life was short to New York, Alexander knew many in the West Indies at that time did not expect to live past 20 as he arrived in New York with big aspirations according to the musical at 19 years old.

Hamilton’s life was lived without a second to lose and the show emphasizes this with vigor, roaring cannons by sound designer Nevin Steinberg while Howell Binkley’s peak lighting blares in the distance for My Shot. In spite of a mountain of obstacles, Alexander knew this was his chance to rise up and bring the United States to freedom.

Quite the opposite is the leisurely sarcasm of King of England’s King George, an amusingly smug performance by Neil Haskell as he waits in the wings for his estranged renegades’ surefire defeat and return. Wearing a gleaming crown, Haskell’ s droll and intriguing remarks are so certain and so methodically threatening in You’ll Be Back as he drives his once followers into submission from a distance. In feigned loyalty and villainy, he remarks, “You were mine to subdue.”

One of the strongest and most fascinating aspects of the musical is Jared Dixon’s regal, sophisticated and reserved Aaron Burr to Pierre Jean Gonzalez’s impulsive and expedient Alexander Hamilton. Dixon is exceptional as Burr, emphasizing how these two greats are so alike and so incredibly different as is demonstrated in the stirring number, Dear Theodosia. Burr and Hamilton’s building tension, especially while working with an inspiring Marcus Choi as wise, firm, reasonable and commanding George Washington, is among the best parts of the production. Aaron Burr Sir, Non-Stop, and The Room Where it Happens emphasize this gripping tension while Choi makes a formidable Washington as he delivers soaring vocals in an exhilarating rendition of One Last Time.

Hamilton’s reflective number Hurricane is an indelible performance fueled by Andy Blankenbuehler’s intricate and purposeful choreography while contemporary meets vintage colonial flair in a stream of clever storytelling for the playful Helpless and then the discerning Satisfied. Hamilton’s colonial era setting hits the mark with costumes by Paul Tazewell ranging from bustiers to velvet suits to sweeping ball gowns in muted colors. Ta’Rea Campbell is extraordinary as conflicted Schuyler sister Angelica. Her silvery vocals depict her charisma, determination, but steadfast loyalty established in Helpless and Satisfied. She has intriguing chemistry with Hamilton as she deliberately matches her sister Eliza with him. Nikisha Williams is well suited for wide eyed, altruistic, and unwaveringly supportive Eliza as demonstrated in the touching duet That Would be Enough with Gonzalez and the complex and poignant It’s Quiet Uptown enhanced by Blankenbueher’s sweeping choreography.

Shoba Narayan, Ta’Rea Campbell, and Nyla Sostre – Hamilton National Tour Photo credit Joan Marcus 2018

Hamilton has had quite a sterling reputation over the years. Witnessing this musical the first time brought incredibly high expectations, so perhaps those high hopes was not fair to the musical itself. It was a unique and immersive experience featuring some fast paced and catchy numbers, but also a wealth of heady and historical dialogue delivered in rap libretto, which sometimes made the musical difficult to follow. Streaming it with subtitles certainly helped on Disney Plus and returning fans of Hamilton are already familiar with the story and soundtrack, but though the style is contemporary and innovative, it was a bit frustrating trying to capture every word. Perhaps it is wise to experience Hamilton through the soundtrack and/or streaming before watching it live.

Much acclaim to Alexander Hamilton who literally picked himself up by his bootstraps and created such an incredible legacy. Hamilton is packed with some lesser known historical facts about United States history and history buffs will especially enjoy it as events unfold. Hamilton is full of patriotism and stands as a much needed reminder of the kind of timeless zealousness that originally established America’s independence and freedom as it pulses to its own contemporary beat.

Broadway in Boston presents Tony award-winning Hamilton live and in person at the Citizens Bank Opera House through March 12. Click here for more information and for tickets.

REVIEW: Mikko Nissinen’s ‘Swan Lake’ returns in riveting and enchanting splendor

Posted on June 4, 2022 by The Sleepless Critic

Mikko Nissinen’s Swan Lake will enchant you from the start.

Swan Lake has stood the test of time for generations and it is no mystery why. Seeped in regal splendor, Swan Lake is a visually-striking portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest. Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

With seamless musical-direction by Mischa Santora, Tchaikovsky’s majestic score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet rises out of Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Performed in memory of John W. Humphrey, Swan Lake has returned to the Boston Opera House for the first time since Mikko Nissinen re-imagined the ballet in 2016. This four-act performance has one intermission. Click here for more information and tickets.

Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake. Swan Queen Odette, portrayed with graceful fragility by Lia Cirio, catches his eye and it is love at first sight. It soon becomes clear that the swans were once women cursed by sorcerer Von Rothbart, depicted menacingly by Tyson Clark. Tyson Clark as Rothbart is an incredible and unpredictable force as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.

Golden-braided, ornate headpieces, flowing pastel garments, parasols, garlands, exquisitely feathered tutus and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight by lighting designer Mark Stanley.

Marked by such precision, Mikko Nissinen’s choreography is ballet at its finest. Emily Entingh and Sage Humphries are visually-stunning rising gracefully and beautifully fluttering out of the mist. A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe, delicate strokes. The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist. It still stands as one of the beautiful displays of ballet I have ever seen.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Gene Schiavone, courtesy of Boston Ballet

In the castle gardens, dancers whimsically join together in a feast dance with goblets and joyfully present the prince with rich garlands. While the castle garden depicts almost a dreamlike setting, an equally opulent ballroom with vast ceilings lit in red later depict a livelier setting as a grand and dynamic lineup of guests gather to charm the kingdom including princesses, czardas, and Neapolitans.

Patrick Yocum is impressive as Prince Siegfried as he evokes loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance as if floating across the stage. Light and dark in Tchaikovsky’s Swan Lake is demonstrated impeccably in Lia Cirio in a complex, dual role. As guarded Odette, her every move diligent and yet her statuesque beauty and downcast demeanor enrich her mysterious and powerful presence. Tingling violin resonates in Tchaikovsky’s emotive score as Cirio and Yocum share a hesitant and sweet encounter. He tenderly lifts and comforts her at every turn. Cirio can craftily engage an audience and masters her dual role as mysterious and confident Odile. That striking look she gives reminded me of the fire she brought to her 2020 performance in Boston Ballet’s Carmen. Cirio’s cunning smile and playful charisma gleam as Yocum takes her hand playfully and yet, almost possessively in a spellbinding and exhilarating dance.

Swan Lake is such a haunting and beloved tale of tender grace and arduous passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s Academy award-winning Black Swan. Mikko Nissinen has adjusted a few scenarios in Swan Lake since its re-imagining in 2016, but only for its betterment to create an even more thrilling, illuminative and memorable experience.

Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Click here for more information and tickets.

REVIEW: Lexus Broadway in Boston’s ‘Ain’t too Proud: The Life and Times of the Temptations’ powerhouse vocals as compelling as their back story

Posted on April 29, 2022 by The Sleepless Critic

Get ready for a whirlwind concert experience fueled by vocal powerhouses. Having been familiar with the award-winning 1998 The Temptations miniseries produced by Temptations founder Otis Williams and based on the book featuring a special appearance by Smokey Robinson, it is no secret just how much material this musical had to cover and does so with finesse and upbeat pacing.

The Temptations Marcus Paul James as Otis Williams, James T. Lane as Paul Williams, Jalen Harris as Eddie Kendricks, Harrell Holmes Jr as Melvin Franklin and Elijah Ahmed Lewis as David Ruffin Photo credit to Lexus Broadway in Boston

Directed slickly by Des McAnuff and produced by Otis Williams and Shelly Berger, Lexus Broadway in Boston presents Tony award-winning jukebox musical Ain’t Too Proud: The Life and Times of the Temptations at Citizens Bank Opera House in Boston, MA through Sunday, May 1. The show is 2 hours and 30 minutes including an intermission. Click here for more information and for tickets.

Behind every monumental group is a colossal tale. The story behind the Temptations spans decades encapsulating wild drama (some of which seems too incredible to be true) while members of the Temptations changed like a revolving door. Some of these legendary performers haunted by the past wrestled with inner turmoil and demons that indelibly impacted their own lives and with timeless and groundbreaking music comes sacrifice.

Marcus Paul James as Otis Williams (center) Photo credit to Lexus Broadway in Boston

Based on the Otis Williams and Patricia Romanowski’s The Temptations autobiography, the journey began in Detroit. Marcus Paul James is part preacher, part storyteller, and all heart as Temptations founder Otis Williams recalls admiring groups like The Cadillacs in his hometown when he wasn’t getting into trouble. Finding his calling to sing was like ‘the heavens opening up.’ Immediately engaging, James guides the audience through decades of the Temptations musical journey through the losses, the humor, dedication, arrogance, passion, tragedy, and fleeting success to the Rock & Roll Hall of Fame.

Most importantly though, it is a rich voyage through the classic Motown tunes that have stood the test of time not just by The Temptations, but the Supremes and other famous Motown classics of that time.

Jalen Harris as Eddie Kendricks with the Temptations and The Supremes together. Photo credit to Lexus Broadway in Boston

Decked out in suave matching gray suits and ties and launching into The Way You Do the Things You Do featuring the five original members composed of James T. Lane as Paul Williams, Harrell Holmes Jr as Melvin Franklin, Elijah Ahmad Lewis as David Ruffin, Jalen Harris as Eddie Kendricks, and Marcus Paul James as Otis Williams, Ain’t too Proud is an interactive, energetic, concert-driven locomotive as sliding vintage black and white photos and film depict the fans, the touring, the injustices, and the milestones through the years. The frequently moving, multilayered set by Robert Brill combined with Howell Binkley’s impressive lighting gives the slick illusion of the quick pace of their lives and the audience riding along for each transforming scene.

The Supremes – Traci Elaine Lee as Mary Wilson Deri’Andra Tucker as Diana Ross and Shayla Brielle G. as Florence Ballard Photo credit to Lexus Broadway in Boston

Not only does Ain’t too Proud feature Tony award-winning choreography, but some dynamite vocals from start to finish. Traci Elaine Lee delivers a dual role first with brief, but memorable impromptu vocals as fast-talking Johnnie Mae in a spectacular onstage Cadillac as as Mary Wilson of The Supremes. The Supremes, adorned in dazzling gowns by costume designer Paul Tazewell, make brief but memorable appearances with seamless vocals for classic numbers such as You Can’t Hurry Love and I’m Gonna Make You Love Me led by Deri’Andra Tucker as the luminous Diana Ross.

Though each member of the Temptations have good chemistry, baritone Marcus Paul James as Otis and Harrell Holmes Jr as dedicated and forthright bass singer Melvin, have an exceptional brotherly connection. Jalen Harris as falsetto Eddie Kendricks performed a memorable Just My Imagination to an enthusiastic crowd. Elijah Ahmad Lewis portrays complex and sensational tenor David Ruffin with charisma, arrogance, and affliction from the sweet first notes of My Girl to I Wish it Would Rain. The stirring I Wish it Would Rain symbolizes much more than love lost in this particular production.

Harris Matthew as Dennis Edwards (center) Marcus Paul James as Otis Williams, James T. Lane as Paul Williams, Harrell Holmes Jr as Melvin Franklin, and Jalen Harris as Eddie Kendricks Photo credit to Lexus Broadway in Boston

Ain’t too Proud delves into the lives of the Temptations, the classic tunes, what tears them apart, and what ultimately makes them the greatest Rhythm and Blues group in music history. With a total of 24 Temptations over the years, it is quite the tale to tell.

Lexus Broadway in Boston presents jukebox musical Ain’t too Proud: The Life and Times of the Temptations at Citizens Bank Opera House in Boston, MA through Sunday, May 1. Click here for more information and for tickets.