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REVIEW: Well suited for the holiday season, The Huntington’s ‘The Heart Sellers’ a true Friendsgiving

Posted on December 12, 2023 by The Sleepless Critic

For some, the holidays can be the most wonderful time of the year and for others, the loneliest. What good fortune to find someone to make the holidays brighter.

Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’s The Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.

Judy Song, Jenna Agbayani; photo by T Charles Erickson

It seems like destiny that Luna and Jane should meet. On Thanksgiving Day 1973, imaginative Korean chatterbox Luna, exuberantly portrayed with an infectious smile by Jenna Agbayani, invites quiet Filipino Jane, depicted with reserved and humorous wit by Judy Song, to her apartment shortly after meeting that day. Not only do they happen to be wearing the same colorful coat from Kmart, but they also see a familiarity in each other that they cannot quite place.

Agbayani as Luna warmly exclaims, ‘We have nothing so it is not a mess!’ Scenic and costume designer Junghyun Georgia Lee’s modest one bedroom studio apartment impressively rewinds the clock to the 70s featuring wood paneling, a burnt orange couch, retro wallpaper and dated appliances. The apartment has quite a realistic and detailed appearance right down to the dingy surface on the sliding glass doors. Lee’s retro costumes add cheerful splashes of color to the setting.

Jenna Agbayani, Judy Song; photo by T Charles Erickson

This dynamite duo has crackling and good humored chemistry that make the show a treat. It is not only in what they say, but the way they communicate without words. Agbayani and Song exhibit sharp physical comic timing in an overwhelmed glance, awkward mannerisms, and relatable reactions to the other’s way of life. Song as Jane is exceedingly polite and timid, but her expressions often give away what she really thinks.

Both are immigrant housewives who have never heard of Thanksgiving before and it is endearing to watch them share a genuine interest in each other’s stories, dreams, memories, how they are adjusting to life away from home, and in their fervent attempts to celebrate together.

With more than a generous helping of heart and humor, The Heart Sellers also comes with a great deal of realizations and reflections questioning where these two women belong in their new world during a pivotal time. They are important questions still addressed today.

The Heartsellers stands as a lively, wonderful and worthy visit centered on friendship. Bring a friend, a date, or a loved one because this is one story meant to be shared.

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

Posted on August 30, 2023 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Gloucester Stage’s ‘Paradise Blue’ a savvy and intriguing noir experience

Posted on September 16, 2022 by The Sleepless Critic

Paradise, a longtime 40s Detroit Jazz Club, holds many secrets. As those secrets gradually unfold, nothing is as it seems.

With multi-faceted direction by Elise Joyner and Logan Pitts, Gloucester Stage Company presents Dominique Morisseau’s noir drama Paradise Blue through Sunday, September 18 live and in person at Gloucester Stage, 267 E Main Street on Cape Ann in Gloucester, MA. The show has some adult language. The half moon stage and intimate venue does not have a bad seat in the house. Click here for more information and for tickets.

Gloucester Stage’s ‘Paradise Blue’ Darian Michael Garey as P-Sam, Destiny Deshuan Washington as Pumpkin, and Dereks Thomas as Corn Photo Credit to Jason Grow

Though the show’s main focus didn’t seem immediately clear, many revelations piece the production together for its stunning conclusion that may leave you thinking about it long after the show is over.

Paradise Blue focuses on a group of people tied in one way or another to a jazz club/boarding house called Paradise, run exclusively by no-nonsense Blue, portrayed with guarded complexity by horn player Durrell Lyons. Now in danger of closing, the club has its own mysterious roots in Detroit and everyone in Blue’s world has a stake in the club’s future.

Gloucester Stage’s ‘Paradise Blue’ Darian Michael Garey as P-Sam and Dereks Thomas as Corn Photo Credit to Jason Grow

Paradise Blue taps into the cast’s multilayered personas as each character makes surprising choices as the show progresses. This complex and unpredictable production boasts strong performances with particular standouts from Destiny Deschaun Washington as Pumpkin and Alexandria Danielle King as Silver. Destiny Deschaun Washington infuses Pumpkin with warmth, humbleness and compassion towards everyone while consistently putting others first at times to her own detriment. Pumpkin’s maternal nature endears her to each cast member as she shares bittersweet and complicated moments with Blue and a natural camaraderie with James Ricardo Milord who only recently joined the cast, but kept up with the best of them as trusting and steadfast piano player Corn.

Gloucester Stage’s ‘Paradise Blue’ Alexandria Danielle King as Silver, Durrell Lyons as Blue, Darian Michael Garey as P-Sam, and Dereks Thomas as Corn, Photo credit to Jason Grow

Chatty, curious, and hardworking, Pumpkin is the seeming antithesis to new tenant Silver, portrayed with blunt and worldly shrewdness by Alexandria Danielle King. Both Silver and P-Sam, depicted with agitated energy by Darian Michael Garey, possess a learned tenacity and restlessness from bitter past experiences. Darian Michael Garey exudes palpable energy while King simmers. Seeing these characters face conflict in their own unique way is a fascinating character study, but due to vastly differing perspectives, Pumpkin and Silver are particularly intriguing with each interaction.

Gloucester Stage ‘Paradise Blue’ Destiny Deshuan Washington as Pumpkin and Alexandria Danielle King as Silver Photo Credit_Jason to Grow

Paradise Blue itself exudes its own restlessness in the Black Bottom neighborhood of Detroit which society considers the club a ‘blight.’ Word travels fast and gossip carries its own weight in this enigmatic neighborhood. Paradise Blue succinctly carries the tense and rueful undertones through Toni Sterling’s stirring lighting and Aubrey Dube’s soulful and bluesy sound design. Nia Safarr Banks’s sharp vintage suits and distinctive and colorful dresses pop against Janie Howland’s modest and earthy-colored set.

‘Paradise Blue’ Stage set Photo Credit to Jason Grow

Paradise Blue is a powerful drama with grit and gall as each character pours their hopes into Paradise for a brighter future unsuspecting of what lies ahead.

Gloucester Stage Company presents Dominique Morisseau’s noir drama Paradise Blue through Sunday, September 18 live and in person at Gloucester Stage, 267 E Main Street on Cape Ann in Gloucester, MA. Click here for more information and for tickets.

REVIEW: Hub Theatre Company of Boston’s zany and immersive dinner comedy ‘Slow Food’ survival of the hangriest

Posted on July 27, 2022 by The Sleepless Critic

Having to wait for food isn’t easy, but the crazy antics that result are quite extraordinary in Slow Food, a wild comedy that focuses on a long time married couple on their anniversary vacation who finds themselves in pursuit of their meal. It’s a good thing that Hub Theatre Company of Boston cleverly sets this production in a dinner theatre setting because not only does the show address love, marriage, manipulative food service and more, but most importantly, the very art of being frustratingly hangry.

With witty direction by Daniel Bourque, Hub Theatre Company of Boston presents Slow Food through Saturday, July 30 live and in person at Club Café Boston at 209 Columbus Ave in Boston, MA. This show is 90 minutes with no intermission and tickets are on a pay-what-you can-basis. Club Café offers a discount on the menu when attending Slow Food. Click here for more information and for tickets.

Jyoti Daniere as Irene, Victor L. Shopov as Waiter Stephen, and Steve Auger as Peter Photo courtesy of Lauren Elias/Hub Theatre Company of Boston

Club Café’s backroom was once artfully transformed into a hair salon setting for Steel Magnolias, one of Hub Theatre Company of Boston’s lighthearted past productions held at Club Café Boston. Though a Palm Springs Greek restaurant setting is less of a stretch, set designer Justin Lahue’s subtle candlelit setting, vine adorned walls and framed photos onstage flow with the candlelight and Ukraine flags that frame Club Café while sound designer Ted Kearnan’s inviting Greek soundtrack sets the mood.

Slow Food’s immersive and interactive vibe continues as Jyoti Daniere as Irene, Steve Auger as Peter and Victor J. Shopov as Stephen the Waiter wander through Club Café at various times, making it easy to engage in the frustrating hilarity of this pair as they attempt to navigate a stubborn, preoccupied waiter and each other through it all.

Slow Food features a small and strong cast with dialogue that is pretty snappy at times. Shopov pushes all the right buttons and stealthily builds tension as a nosy, savvy and neurotic waiter that doesn’t know his boundaries. With a dry sense of humor, natural chemistry, and a gift for pushing each other’s buttons, Daniere and Auger make a likeable and relatable couple. Daniere as perceptive, exasperated, and sympathetic Auger as business minded, occasionally distracted and blunt Peter know they must rally to negotiate a good meal if they can get past their personal grievances as secrets gradually unfold along the way.

Slow Food is only the name of the show and Club Café delivered quick and attentive service. Try the delicious Raspberry White Chocolate Cheesecake for dessert.

Hub Theatre Company of Boston presents Slow Food through Saturday, July 30 live and in person at Club Café Boston at 209 Columbus Ave in Boston, MA. This show is 90 minutes with no intermission and tickets are on a pay-what-you can-basis. Club Café offers a discount on the menu when attending Slow Food. Click here for more information, tickets, and for more about Hub Theatre Company of Boston.

REVIEW: ‘Freestyle Love Supreme’ an astounding good time

Posted on March 24, 2022 by The Sleepless Critic

A roaring crowd greeted hip-hop comedic dynamos, Freestyle Love Supreme opening night at the Emerson Colonial Theatre in Boston on Friday, March 18. Packed with plenty of self-proclaimed Freestyle Love Supreme super fans, witnessing this unique, interactive, Tony award-winning production feels more like attending a rock concert. The anticipation leading up to it was palpable and I immediately got the sense I was in for a truly remarkable experience.

Before In The Heights or Hamilton, there was Lin Manuel Miranda’s Freestyle Love Supreme which continues live and in person at the Emerson Colonial Theatre, 106 Boylston Street in Boston, MA through April 2. The show is approximately 90 minutes with no intermission. Click here for more information and tickets.

L to R: Lin-Manuel Miranda, Kaila Mullady AKA Kaiser Roze, Anthony Veneziale AKA Two Touch and Aneesa Folds AKA Young Nees Photo credit to Joan Marcus

No wonder Freestyle Love Supreme is beloved seeing that the show still features some of the founding cast members since the group started in 2004 and went on to be featured in the self-titled Hulu documentary and on Broadway. Founding member Chris Sullivan AKA Shockwave wows with phenomenal hip hop beats (and seemingly impossible) sound effects, Aneesa Folds AKA Young Nees can perform powerful vocal gymnastics to anything that is thrown Young Nees’s way, and founding member Anthony Veneziale AKA Two Touch is a great and welcoming host. Not only can every cast member deliver clever quips at the drop of a hat, but the show is friendly, interactive, and inclusive.

From L to R: Chris Sullivan AKA Shockwave, Richard Baskin Jr AKA Rich Medway, Anthony Veneziale AKA Two Touch and Aneesa Folds AKA Young Nees Photo credit to Joan Marcus.

Is Freestyle Love Supreme a big party? A resounding yes, but every performance is unique so it is best enjoyed just knowing the basics. Don’t feel pressure to participate, but the more enthusiasm and participation, the better the show. Trust me. Even in masks which Freestyle Love Supreme deems ‘consonant killers,’ the audience is invited to demonstrate what they are saying in creative and amusing ways. It is fun, has heart, and there wasn’t a dull moment.

The show is tailor made for the locals boasting a slew of signature Boston and pop culture references. Listen closely for the inventive and masterful delivery of these brilliant, high-speed rappers. The possibilities are endless. They also aren’t shy about what they say onstage. This may sound a bit like Whose Line is it Anyway and Wayne Brady was part of the cast at one point, but accompanied by an intimate live band, Freestyle Love Supreme is just on another level. For example, one audience member suggested the word, ‘Yankees’ and it was amazing to see how just many ways that one word was demonstrated led by the vocal styling of hilarious Jay C. Ellis AKA Jellis J.

The cast of ‘Freestyle Love Supreme’ Photo credit to Joan Marcus

Freestyle Love Supreme is hilarious, relatable and brilliantly fast-paced, but what makes the show most endearing was not so much the spectacle, but how much the cast does not hesitate to share their personal experiences as each show is shaped into a carefully tailored crowd pleaser. To think for the first time ever, the show’s full set was not delivered by opening night! I can’t imagine having a better time.

Freestyle Love Supreme continues live and in person at the Emerson Colonial Theatre in Boston, MA through April 2. Click here for more information and tickets.

REVIEW: SpeakEasy Stage Company’s comedy-drama ‘BLKS’

Posted on November 16, 2021 by The Sleepless Critic

A glow in the dark graffiti soaked Brooklyn apartment and street set the stage for SpeakEasy Stage Company’s production of BLKS continuing through Saturday, November 20 live and in person at Calderwood Pavilion at Boston Center for the Arts in Boston, Massachusetts. Raw, raunchy, and at times more shocking than funny, BLKS delves into one long and hazy 24-hour period for a group of 20-something city singles. Infidelity, danger, and sex are just a few of the issues addressed in this one hour and 45 minute comedy-drama by Aziza Barnes. This show has no intermission and contains mature themes, adult content and language. Click here for more information and tickets.

Shanelle Chloe Villegas, Kelsey Fonise, and Thomika Marie Bridwell in SpeakEasy Stage’s production of ‘BLKS’ Photo by Nile Scott Studios

On the surface, BLKS tackles the life of a group of strong Brooklyn 20-something singles living together. After they all endure a tough day, they decide to party and forget their troubles. However, as the night wears on with plenty of pitfalls in the way from a broken heel to a broken heart, getting what they hope for will be far more difficult than they ever expected. Each individual faces their own insecurities and long for belonging, whether it comes to love, commitment, career, or identity. They all want to fit in where they are and yet, each person can’t shake what is missing.

Struggling comedian Imani, portrayed by Kelsey Fonise, longs to be like comedy legend Eddie Murphy and like Murphy’s standup comedy, much of the humor in BLKS is fierce, aggressive, and pulls no punches. It runs the gamut of relatable to squeamish to unabashedly funny. Thomika Marie Bridwell as level headed June seems to be climbing the corporate ladder, but is perpetually stuck in love while filmmakers Sandra Seoane-Seri as forthright Ry and Shanelle Chloe Villegas as flighty Octavia clash as they attempt to label their relationship. Bridwell has a gift for the one liner while Villegas as Octavia displays a knack for physical humor.

Kelsey Fonise in SpeakEasy Stage Company’s production of ‘Blks’ Photo courtesy of Nile Scott Studios

Sharmarke Yusuf portrays a number of dynamic characters including seemingly sweet Justin. A climatic scene between Yusef and Villegas in an apartment display the daring lengths these two will go for a laugh. Bridwell as June and Yusef as Justin also share some charming moments.

Roommates Octavia, June, and Imani have a moment on the street and one in the apartment when they reflect on the struggles they deal with on a daily basis and this is where the production shows such potential and solid relevance. With the exception of Justin who reveals an immediate emotional center, it is a chance to get to know these characters on a deeper level, but these moments pass by too soon. It gets weighed down at times by the need for shock and comedy over substance rather than delving into these characters more closely.

Sandra Seone-Seri and Shanelle Chloe Villegas in SpeakEasy Stage’s production of ‘BLKS’ Photo by Nile Scott Studios.

BLKS is primarily a comedy and these roommates also share their fill of junk food, gossip, and partying in their quest to find love, success, and contentment in which they all share good chemistry. Like many 20-something singles, they find comfort facing the struggle together.

Directed by Tonasia Jones, SpeakEasy Stage Company’s continues Aziza Barnes’s production of BLKS through Saturday, November 20 at Calderwood Pavilion at Boston Center for the Arts in Boston, Massachusetts. Click here for more information and tickets.

REVIEW: Boston Ballet off to a brilliant ‘reSTART’

Posted on November 4, 2021 by The Sleepless Critic

Boston, it’s time to reSTART.

Embarking on a journey from beloved local landmarks to overseas to inside the Boston Ballet studios, Boston Ballet’s reSTART amps up the excitement of their highly-anticipated return live onstage in time for the holidays.

With a versatile lineup that includes recently filmed jazz-infused contemporary dance, classic tales, traditional dance, and a season preview as well as a full range of costumes including street wear by Yin Yue and Jens Jacob Worsaae and Judanna Lynn’s spectacular royal fashion, Boston Ballet’s virtual reSTART, available through November 7, delivers an elegant and dynamic show for dance lovers everywhere. Click here for more information and for Boston Ballet’s full season.

Boston Ballet in Yin Yue’s A Common Movement, photo by Brooke Trisolini; courtesy of Boston Ballet

Over the past year and a half, the renowned Boston Ballet has become much more than a force onstage. It has been inspiring to see this sophisticated and athletic company in various settings, using creative and unconventional methods to evoke their passion for their extraordinary work. Lighthearted, romantic, and refreshing, Boston Ballet’s season premiere reSTART demonstrates a brilliant new season to come.

It all starts right in the city of Boston. Renowned contemporary choreographer Yin Yue delivers jazz-infused spirit into the Boston Common as fifty dancers brighten this beloved October landscape in A Common Movement. In comfortable and modest attire, the dancers come together in a joyful and sweeping dance as horns blare creating a vintage vibe under a peerless sun. With catchy tunes performed by Quincy Jones and Alice Coltrane, these charismatic dancers take over the Common with a swift beat in a smooth, mischievous, and calibrated performance enhanced by a slick dance by Maria Alvarez, Louise Hautefeuille, Lauren Herfindahl, Sangmin Lee, Ao Wang, and Patrick Yocum on the Boston Public Garden Foot Bridge.

Haley Schwan and My’Kal Stromile in Yin Yue’s A Common Movement, photo by Brooke Trisolini; courtesy of Boston Ballet

Clever choreography and digital technology bring together pairs Ji Young Chae and Tyson Clark and Haley Schwan and My’kal Stromile in an unexpected way for a fascinating performance in the Public Garden.

Boston Ballet delves into a classic tale with fantasy flair featuring Soo-bin Lee and SeokJoo Kim, a stunning duo as they perform a deeply romantic Pas de Deux in an excerpt from Romeo and Juliet. Angelically adorned in a halo of ribbons and flowing gown by Song Bohwa and Hanna Kim, Lee is a vision in an idealistic dark forest. Despite a hint of foreboding, Prokofiev’s score is uplifting and glorious as Lee and Kim enchant each other building into bursts of joy, seeming to move as one into an embrace.

Addie Tapp and Lasha Khozashvili in Jorma Elo’s Ruth’s Dance, photo by Brooke Trisolini; courtesy of Boston Ballet

From classic tale to classic dance, another highlight of reSTART features Bach’s soothing, piano-driven rhythms as Addie Tapp and Lasha Khozahvili perform a tender and delicate dance as Khozahvili quite literally sweeps Tapp off her feet.

Muses take on full form as Paul Arrais beguiles inspiration as bold and fresh faced Apollo in a pivotal classic work which first brought choreographer Balanchine and composer Stravinsky together. What is particularly captivating about Balanchine’s choreography is the mechanical synchronization between muses Lia Cirio as majestic Terpsichore, Viktorina Kapitonova as mysterious and foreboding Calliope, and Chryrstyn Fentroy as jubilant and charismatic Polyhymnia. Their dance is meticulously precise as they rhythmically pivot in unison, at one point forming a beautiful silhouette until each have a chance to portray their own distinct chemistry with Arrais’s mesmerizing Apollo. They join together, hinging onto each other and one might wonder who is in control.

The Boston Ballet kicks off their new season with virtual reSTART continuing through Sunday, November 7. Click here for more information and a closer look at Boston Ballet’s new season.

REVIEW: ‘Love, Repeat’ gets love right

Posted on January 21, 2021 by The Sleepless Critic

Viewing Warwick Film’s unconventional and heartwarming romantic comedy Love, Repeat makes this city lover long to return to New York City. Steeped in New York City’s pinnacle, snow-covered beauty and featuring some of the city’s most iconic landmarks in muted enchantment brings on a wistful feeling. New York City not only provides this film’s idyllic ambiance, but is portrayed as its own active character in James, an auspicious person who feels like he lucked out in love to his wife Barbara until they suddenly divorce. James feels much like Manhattan, a lonely island.

Bill Connington as James in idyllic New York City in ‘Love, Repeat’ Photo courtesy of DARR Publicity/Love, Repeat

Whether you are still feeling the holiday spirit as any Hallmark movie fan would be or looking for a lighthearted tale of love and loss, Love, Repeat delivers. January is also nestled between the close of the holiday season and the anticipation of Valentine’s Day. Warwick Film’s Love, Repeat is available to stream and on DVD. Click here for more information on the film and how to watch Love, Repeat.

MaxwellPurushothaman as Chris and Bill Connington as James in ‘Love, Repeat’ Photo courtesy of DARR Publicity/Love, Repeat

Written, executive produced, and starring Bill Connington as James, Love, Repeat largely portrays the difficult part of love. It explores the kind of love that is tested after things go right, but done in a way that is optimistic, humorous, and never bereft of hope.

Marcus Ho as Chad, Maxwell Purushothaman as Chris, Stu Richel as Philip, and Bill Connington as James Photo courtesy of DARR Publicity/Love, Repeat

The setting may be idyllic, but this is not a tale of beautiful people with beautiful problems that are easily solved. Love, Repeat boasts a dynamic, strong, and quirky cast helmed by Bill Connington as earnest, stoic and quietly romantic James Anderson. Connington endearingly depicts James’s tension and hesitation as he wades into this unexpected period in his life while his artistic ex-wife Barbara, amiably portrayed by Leenya Rideout, seems ready to move on. The pair possess a sweet and familiar chemistry. There is nothing quite like getting romantic advice from your son and Maxwell Purushothanan as their bright, albeit blunt son Chris receives the lion’s share of the laughs. Stu Richel as Phillip, James’s football-loving father resembles that “shoot-from-the-hip” charisma portrayed in Martin Crane from the hit TV show Frasier.

Marcus Ho as Chad and Nandita Shenoy as Lavanya Photo courtesy of DARR Publicity/Love, Repeat

Marcus Ho as Chad and Nandita Shenoy as Lavanya are James’s chic and wildly dramatic friends as they amusingly swing from passionate to cynical at times in the very same scene. The film also has its share of good naturedly silly moments including a spontaneous dance sequence and Vivia Font who deems a noteworthy portrayal as increasingly obsessive and comically driven Camilla.

The story is a bit rushed at times and it would have been nice to get more insight into Barbara’s character, but the characters are relatable enough to stay invested while delivering an authentic message about love, risk, acceptance, and relationships while taking in those marvelous city views.

Bill Connington as James at the MET Photo courtesy of DARR Publicity/Love, Repeat

Warwick Film’s Love, Repeat is available to stream and on DVD. Click here for more information on the film and how to watch Love, Repeat.

REVIEW: Company Theatre walks the line between love and rage with Green Day’s catchy punk musical, ‘American Idiot’

Posted on February 13, 2019 by The Sleepless Critic

Rage. Love. Town. City are the themes emblazoned within the songs and tale of the Tony award-winning punk rock musical, Green Day’s American Idiot, presented by the Company Theatre and continuing through Sunday, February 17 at the Company Theatre in Norwell, Massachusetts. It is an in-your-face journey of a group of young, unambitious city dwellers who occupy a portion of an angry, rebellious America. Green Day’s American Idiot is a concert drama that contains mature themes and surprising moments. Click here for more information and tickets.

The set of Green Day’s ‘American Idiot’ Photo courtesy of Jeanne Denizard

This high energy musical is based on Green Day’s lauded album, American Idiot, a band known for their raw, catchy, guitar-tinged riffs, and uncensored lyrics. With hits such as Holiday, Know Your Enemy, Boulevard of Broken Dreams, Wake Me Up When September Ends, and Good Riddance (Time of Your Life), Green Day’s American Idiot contains the music and vocal chops that would please Green Day fans while also considered a message-driven punk rock opera.

Sharing a bit of the mentality of Rent and the 90s film, Reality Bites, the characters in American Idiot wander into a realm of rebellious indifference, confusion, and perhaps laziness looking for their purpose in life as Green Day sings, “in the land of make believe.” Some are unconcerned and others genuinely lost. Partially set in a beat up apartment equipped with a blank, but lit tube TV and shabby couch which perhaps reflects a thinking but lost generation, American Idiot shows they have a hell of a lot to learn.

The energetic, daring choreography by Corinne Mason, which includes moshing and head banging, reflects the anarchic nature of punk music. The choreography in Holiday, which includes a group of characters packed into a wire cart, is a visual highlight.

(Back row, L-R ) Audrey Clark of Northboro as Whatsername, Jose Merlo of Attleboro as Jose, William Oliver of Weymouth as Will, Sarah Kelly of Braintree as Heather, John Crampton of Dedham as John, Jessica DePalo of Westboro as Extraordinary Girl, Brendan Duquette of North Attleboro as Tunny (Front row) Theo Victoria of Brockton as Theo, Evan Cole of Natick as Johnny, Aliyah Harris of Mansfield as Aliyah Photo courtesy of Zoe Bradford

This cast of jaded youths include a haunting performance by Chris Boyajian as Joshua/St. Jimmy, a role that Green Day lead singer Billy Joe Armstrong took over for 50 performances during the show’s run on Broadway. Evan Cole hits all the right notes as Johnny, who also plays his own guitar for Boulevard of Broken Dreams, one of the show’s few quieter tunes. He shares a natural camaraderie with Brendan Duquette as naive Tunny and William Oliver as oblivious Will, a trio of friends heading in different directions. Sarah Kelly stands out as Heather as she develops her resolve during a heartfelt Last Night on Earth. Aliyah Harris as Aliyah also lends her serious pipes to Favorite Son and Too Much Too Soon.

The Company Theatre presents Green Day’s American Idiot through Sunday, February 17, with a special event for Valentine’s Day. All performances take place at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts Click here to support the Company Theatre and here for more on their 2019 season.