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REVIEW:  Lyric Stage Company delves into musical genius Rachmaninoff’s chaotic mind in mesmerizing ‘Preludes’

Posted on by The Sleepless Critic

Ever wondered if legendary musicians would still be who they are if they lacked any vices or instabilities?  Would they still achieve that same level of success or become even greater?

Some of the most extraordinary musicians also endured turmoil in their lives whether through external circumstances or within the depths of their very being.  Most come to the general consensus that the artist simply wouldn’t have that level of genius without everything that came with it.  For Russian composer, pianist, and conductor Sergei Rachmanioff, he endured quite a battle on his journey to greatness and his music continues to live on.

Dan Prior and Aimee Doherty in ‘Preludes’ Photo by Mark S. Howard

Directed profoundly by Courtney O’Connor, Lyric Stage Company presents Dan Malloy’s musical Preludes through Sunday, February 5 live and in person at Lyric Stage Company in Boston, Massachusetts.  The production is approximately 2 hours with a 15 min intermission.  Click here for more information and tickets.

Preludes references Rachmaninoff’s classic works, but the word itself describes what happens before an important event. It delves head first into Rachmanioff’s massive struggle to create which included fear of failure, Marfan syndrome, and mental instabilities that led to his historical writer’s block. Dan Rodriguez’s music direction combined with Andrew Dunkan Will’s complicated, vivid, and occasionally manic sound design illustrates the turmoil and genius of a musician on the brink of something bigger, but struggling to pull through.

Preludes boasts a fascinating cast including Will McGarrahan taking on multiple roles during the production.  Wringing his hands, frustrated, and utterly exhausted, Dan Prior embodies frazzled and despondent ‘Rach,’ his world seized by hesitation and regret delivered cleverly in the opening number Your Day.  Rachmaninoff battled life through music, but both can become blaringly stringent.  Battling all these limiting factors, Rach freezes.  Music Director Dan Rodriguez performs double duty depicting the mood setting musical side of pianist Rachmanioff with earnestness and peaks of humor and charm. Keyboardists Bethany Aiken and Mindy Cimini enhance this complex score that keeps up with the chaos of Rach’s mind and the reality surrounding it.

Prior’s subtle yet searing performance delves into a defeated man reaching for a lifeline through therapist Dahl, depicted skillfully by Aimee Doherty with a contemporary vibe in a Pink Floyd T-shirt, black glasses and edgy depth.  Doherty’s inquisitive and unorthodox methods may be the calm in the storm.  Kayla Shimizu is relatable as steadfast, optimistic, and maybe in over her head Natalya.  Shimizu brings a smooth and natural ease to the number Vocalize as well as a powerful and painfully honest rendition of Natalya as she struggles in her limited understanding of Rach’s condition.  Shimizu and Prior bring compelling chemistry and connection in their moving rendition of Not Alone. 

Dan Prior, Aimee Doherty, Dan Rodriguez and Anthony Pires Jr in ‘Preludes’ Photo by Mark S. Howard

Enhanced by Karen Perlow’s mind bending lighting, Preludes is at times trippy and often teetering between daydream and reality.  Highlighted by amazing and intricate choreography, Anthony Pires Jr as Chaliapin slides into an entrancing and catchy Loop with finesse and charisma while blending elegant vocals between jarring beats. It is a standout number that may ruminate long after the show is over. Taking on multiple roles and delivering inspiring and thought provoking pearls of wisdom is Will McGarrahan who portrays a number of dynamic historical figures. McGarrahan’s commanding voice, distinct characterizations, and dark comedic timing make him a treat to watch each time he appears onstage.

Kayla Shimizu, Anthony Pires Jr, Dan Prior, Will McGarrahan, and Dan Rodriguez in ‘Preludes’ Photo by Mark S. Howard

Scenic Designer Shelley Barish’s insightful circular staging moves fluidly with the performers with a piano set perfectly at center stage accented by lilacs, ordered blocks of vibrant colors, and an ever changing, mood-induced colored backdrop. The scalloped trim and soft lighting from various hung fixtures add an eclectic elegance as does the eye popping vintage couch and ottoman.

In some ways, Rachmaninoff’s struggles also made him distinctive. He had Marfan Syndrome which is a genetic disorder that affects the connective tissue of the body and organs. It is a very difficult way of life, but also gave him unusually long fingers. Much of his work is difficult to play because he could reach the piano keys more easily than the average person. This weakness was also a strength and part of what made him seem destined for greatness.

Lyric Stage Company presents Dan Malloy’s musical Preludes through Sunday, February 5 live and in person at Lyric Stage Company in Boston, Massachusetts.  The production is approximately 2 hours with a 15 min intermission.  Click here for more information and tickets.

REVIEW:  Boston Ballet’s elegant and edgy ‘DREAMstate’ a fascinating departure from reality

Posted on by The Sleepless Critic

From classically fanciful to electrifying to distinctive, unconventional artistry, the Boston Ballet’s DREAMstate is an astute exploration of the delicate nature of dreams and a fascinating escape from reality.  Aside from Boston Ballet’s traditional Nutcracker in December, Mikko Nissinen’s DREAMstate is the first live and in person return to Boston Ballet’s regular season since the pandemic.  Excitement was in the air and the Boston Opera House was full.

Boston Ballet in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Balle

Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Opera House in Boston, MA.  The show is approximately two hours with two intermissions and the final piece contains partial nudity.  Click here for more information and tickets.

Rolling Stones tribute DEVIL’s/eye Photo credit to Boston Ballet

Though all three Boston Ballet pieces had its highlights, the stellar world premiere of Boston Ballet’s tribute to the Rolling Stones, DEVIL’S/eye was the most uniquely compelling.  Weaving in live concert elements and classic hits such as Can’t You Hear Me Knocking, Paint it Black and much more, dancers take the stage in shadow bathed in purple, red, yellow, pink, and blue glimmering from an incredible, multi-functional sound system lit by Brandon Stirling Baker.  With exhilarating choreography and edgy and exotic costume design both by Stephen Galloway, lively dancers in silk, sequins, fishnets and windswept hair complete the full glamour of a rock and roll concert showing off thrilling, contemporary freestyle moves.  The entire performance is an electrifying spectacle as dancers let loose to the Stones concert footage with epic alicicone spins, but a brief pause in the guitar-tinged, horn-infused rhythms showing off each dancer’s glowing silhouette cannot be properly conveyed here and those sensational moments are best witnessed in person.

George Balanchine’s Chaconne brings to life a regal and fanciful daydream to the heavenly sounds of the Christoph Willibald von Gluck opera, Orfeo ed Euridice.  Elegantly adorned in a flowing and ethereal skirt and crown by Barbara Karinska in front of tranquil green blue backdrop, the always fresh-faced and charming Viktorina Kapitonova performed a beautiful and romantic pas de deux with Lasha Khozashvili, dressed in white.  Khozashvili lifts and leads Kapitonova delicately as they sporadically intertwine.  The piece is primarily playful as dancers bow and sway in gleaming, royal costumes as they float along this lighthearted daydream, the flutter of slippers sweeping across the stage.

Misa Kuranaga and Patrick Yocum in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Ballet

The final piece is probably 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.

Altan Dugaraa, Sarah Wroth, Yury Yanowsky in Jiří Kylián’s Bella Figura; photo by Gene Schiavone, courtesy of Boston Ballet

 Jiri Kylian’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 Seo Hye Han, topless, wraps herself in only a black stage curtain.  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.  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, men and women, all topless and all looking the same, glide along the stage.  It is a memorable, distinctive performance as the piece continues even as the music concludes.

 Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Boston Opera House.  Click here for more information and tickets.