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REVIEW: Out of the shadows, North Shore Music Theatre presents a less frightening ‘Phantom’

Posted on 4 Days Ago by The Sleepless Critic

Could Phantom still be a gothic mystery horror tale and yet be effervescent, tender, playful and uplifting? Could it also be an introspective musical that delves into love and family?

Why yes it could while adding unexpected elements and a new dimension to Gaston Leroux’s classic novel that works.

Viscerally directed by Robert W. Schneider with powerful music direction by Dale Reiling, Bill Hanney’s North Shore Music Theatre continues Yeston and Kopil’s Phantom live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, November 1. Based on Gaston Leroux’s classic novel, The Phantom of the Opera, this revolving theatre-in-the-round musical’s action is not limited to the stage and runs approximately 2 hours 40 minutes including one intermission. Click here for more information and for tickets.

The cast of Yeston & Kopit’s “Phantom” on stage at Bill Hanney’s North Shore Music Theatre from October 21 thru November 1. Photo © Paul Lyden

It may seem like a small detail, but a dazzling chandelier plays a pivotal role in Andrew Lloyd Webber’s The Phantom of the Opera. It opens the show in its sheer majesty and the Phantom is actually found hiding in the glittering and monstrous powerhouse of a special effect at one point during the Broadway production. In fact, it is what fascinates the audience at the beginning of the musical in glorious rhythm with the thunderous and foreboding sound of a pipe organ blaring in the distance and what later crashes to makes the cast run in terror.

As a big Phantom of the Opera fan, I was relieved that aside from similar core story elements taken from Leroux’s famous novel, Yeston and Kopil’s Phantom is no imitation nor is it attempting to deliver Andrew Lloyd Webber’s organ-fueled intensity and spectacle. It stands separately as its own creation composed in Maury’s Yeston galloping and occasionally peppy waltzing rhythms. Yeston and Kopil’s Phantom boasts changes in tone and dives further into character development and back story to deliver a tale light on cynical gothic intensity, but dare I say, contains elements of optimism and humor during a dark time. Instead of a glittering chandelier, an extended symbolic bridge reaches far into the dark to deliver greater meaning later.

Madison Claire Parks (Christine Daaé) and David Coffee (Jean-Claude) in Yeston & Kopit’s “Phantom” on stage at Bill Hanney’s North Shore Music Theatre from October 21 thru November 1. Photo © Paul Lyden

Yeston and Kopit’s Phantom features ornate and multicolor costumes with splendid Parisian-inspired flair in feathers, frills, top hats and tuxedos by costumers Martha Clarke and Morgan Andersen, the cast boasts sterling vocals, its emotive and haunting lighting blends with an immersive Parisian-inspired set by scenic and set designer Jack Mehler.

This version boasts some familiar and impressive special effects including a spinning pipe organ and a mystical underground lake. Mehler’s old fashioned opera lights, flickering vintage lampposts, rustic lanterns, and a candelabra lit lair glows orange on a misty lake which bring this somewhat opera within an opera to life.

Sean Seamus Thompson (The Phantom) and Madison Claire Parks (Christine Daaé) in Yeston & Kopit’s “Phantom” on stage at Bill Hanney’s North Shore Music Theatre from October 21 thru November 1. Photo © Paul Lyden

Set at the turn of the century in France, Phantom focuses on a mysterious presence that haunts the famous Palais Garnier Opera House in Paris, France and was recently sold. New opera house co-owners Alex Syiek as Alain Cholet and Victoria Huston-Elem as La Carlotta make a distinguished and obnoxious pair extravagantly dressed and luxuriating in their riches.

Victoria Huston-Elem (La Carlotta) and Alex Syiek (Alain Cholet) in Yeston & Kopit’s “Phantom” on stage at Bill Hanney’s North Shore Music Theatre from from October 21 thru November 1. Photo © Paul Lyden

Spoiled, demanding and vindictive with a snide smile, Victoria Huston-Elem is quite the spiteful presence as La Carlotta delivering a vehement This Place is Mine. Carlotta prances around the stage in signature diva fashion, bold and comical as she shouts her demands. Carlotta’s sophisticated gowns become more extravagant as the musical progresses and the cast hits its stylish stride for the pivotal number Bistro.

Madison Claire Parks (Christine Daaé) and the cast of Yeston & Kopit’s “Phantom” on stage at Bill Hanney’s North Shore Music Theatre from October 21 thru November 1. Photo © Paul Lyden

Webber’s Christine is somewhat of a mystery in her motivations, but Madison Claire Parks portrays a wide-eyed Christine, hailing from a small town in Oklahoma and dazzled by Paris. She remains naïve and innocent but with a sunnier disposition right down to her long blond waves.

Madison Claire Parks (Christine Daaé) and Christian Probst (Count Phillippe de Chandon) in Yeston & Kopit’s “Phantom” on stage at Bill Hanney’s North Shore Music Theatre from October 21 thru November 1. Photo © Paul Lyden

Parks as Christine leads an effervescent Melody de Paris, longs for the opera stage, and illustrates her love for music in a beautiful duet with Sean Seamus Thomas in Home with a painfully lonely Phantom. Parks also wows in a stirring rendition of My True Love.

With a sense of humor more mainstream than caustic, Thomas as Phantom is more mysterious tortured soul than threat, though his deep and resounding vocals are still menacing offstage. He also does not work alone, but with a band of lost souls that do his bidding.

Sean Seamus Thompson (The Phantom) and Gregory North (Gerard Carriere) in Yeston & Kopit’s “Phantom” on stage at Bill Hanney’s North Shore Music Theatre from October 21 thru November 1. Photo © Paul Lyden

Thomas and Parks are a complex and charismatic pair while Christian Probst is well suited for the daring and charming Count Phillipe de Chandon. Parks and Probst perform a sweet rendition of Who Could Have Ever Dreamed Up You? Gregory North as Gerard Carriere is discerning and even tempered managing the opera house while navigating the Phantom’s escalating chaos for unexpected and surprising reasons.

North Shore Music Theatre continues Yeston and Kopil’s Phantom live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, November 1. Click here for more information and for tickets.

REVIEW: Exploring man’s darker side in Merrimack Repertory Theatre’s chilling thriller ‘Dr. Jekyll and Mr. Hyde’

Posted on 5 Days Ago by The Sleepless Critic

Some of the best thrillers kick off with a blood curdling scream and a man dead. Even better thrillers deliver an inevitable reckoning.

Both can be true with Jeffery Hatcher’s complex take on Robert Lewis Stevenson’s classic novella, The Strange Case of Dr. Jekyll and Mr. Hyde. It is a no doubt a complicated case that perhaps only an esteemed scientist can fully decipher.

Street lamps eerily glow, grime decays industrial windows, doors alight with prognostication as part of Brian J. Lillenthal’s ominous lighting and multiple stairwells and tight quarters by scenic designer Michael Hoover add to the production’s writhing intensity as the night grows dark and a villain breaks free.

Eerily directed by Jenny Lavery, Merrimack Repertory Theatre continues Dr. Jekyll and Mr. Hyde live and in person at Merrimack Repertory Theatre in Lowell, Massachusetts through Sunday, November 1. This dark production runs 2 hours and 15 minutes including an intermission, has some disturbing imagery, graphic language and is not for children. Click here for more information and for tickets.

Brent Charles, André Martin, Ed Swidey, Amber Quick, and Herman Gambhir in MRT’s ‘Dr. Jekyll and Mr. Hyde’ Photo by Meg Moore
Image Design by Braxton Lilyquist-DeLauro

Since Robert Lewis Stevenson wrote the classic novella The Strange Case of Dr. Jekyll and Mr. Hyde in 1885, many adaptations have seen the light of day since including Jekyll and Hyde, a 1990 pop rock musical thriller that hit Broadway before a television version of the musical was created in 2001 starring David Hasselhoff. Even comedic variations of this novella have taken shape including 1963’s The Nutty Professor with Jerry Lewis and the 1996 reboot starring Eddie Murphy.

David Remedios creates a pulsing, urgent and steely atmosphere through the production’s deafening and creepy fiddle laden rhythms. Thick wool scarves, glossy vests splashed with red and blooms, glimmering neck ties, tall black boots, slender frock coats with gold buttons, and elegant, floral gowns create an aura of sophistication in Yao Chen’s chic costumes.

Amber Quick, Herman Gambhir and Brent Charles in MRT’s ‘Dr. Jekyll and Mr. Hyde’ Photo by Meg Moore
Image Design by Braxton Lilyquist-DeLauro

A hint of Sherlock Holmes rests in this production’s method of meticulous analysis and Sir Arthur Cohen’s Sherlock novel made its debut only a year after Stevenson’s novella was published. Though MRT’s Dr. Jekyll and Mr. Hyde boasts some dark humor and is part love story, make no mistake this version is of the gothic thriller variety with an intensity of the classic tale that carries indomitable weight between its small and versatile cast.

Set in 1880 Victorian England, society is shaken by a string of mysterious crimes and getting to the bottom of them involves post mortem examinations as André Martin as secretive and dignified, level headed and kind scientist Dr. Jekyll performs experiments of his own. Martin makes for an intriguing Dr. Jekyll in his slight and careful demeanor underneath the shy charm. Sarah Danko amiably portrays a strong yet complicated Elizabeth.

Ed Swidey, Brent Charles and Amber Quick in MRT’s ‘Dr. Jekyll and Mr. Hyde’ Photo by Meg Moore
Image Design by Braxton Lilyquist-DeLauro

This version dives into its classic novella roots with a cast in which some members share the tale as multiple narrators, characters, and to quote from the playbill “others” especially through Herman Gambhir, Ed Swidey, Brent Charles and Amber Quick. Unequivocally linked, they bend, contort, swing, growl and can just as easily slip into the astute, prim and sophisticated London aristocracy. Though they all have a talent for getting under your skin, Brent Charles’s pliable facial expressions are absolutely brilliant and terrifying.

Ed Swidey, André Martin, Brent Charles, Amber Quick, and Herman Gambhir in MRT’s ‘Dr. Jekyll and Mr. Hyde’ Photo by Meg Moore
Image Design by Braxton Lilyquist-DeLauro

Jeffrey Hatcher’s Dr. Jekyll and Mr. Hyde boasts a number of compelling observances into human nature which keeps Stevenson’s novel an enduring classic. The first half can be a bit confusing where maneuvering transformations can be as swift as a quick glance or a steely whisper, but you will grapple its greater meaning before the production is over.

Merrimack Repertory Theatre continues Dr. Jekyll and Mr. Hyde live and in person at Merrimack Repertory Theatre in Lowell, Massachusetts through Sunday, November 1. Click here for more information and for tickets.

REVIEW: Intriguing and profound, the struggle to make a difference in Harper Lee’s ‘To Kill a Mockingbird’ at the Huntington

Posted on 8 Days Ago by The Sleepless Critic

A gavel sounds. All rise.

In October 2018, PBS concluded their eight-part series, The Great American Read, by naming Harper Lee’s Pulitzer prize-winning To Kill a Mockingbird as America’s best-loved novel as a result of 4 million votes nationwide. Shortly after this series concluded in December 2018, award-winning screenwriter and playwright Aaron Sorkin unveiled a new adaptation of Lee’s To Kill a Mockingbird on Broadway that leans much more into the multilayered courtroom drama and Atticus Finch’s adult perspective.

Having witnessed Harper Lee’s To Kill a Mockingbird onstage before, The Huntington’s production does not unfold exactly as the novel you recall while maintaining its coming-of-age tale with more subtlety. Sorkin delivers a well paced adaptation that whisks the audience right into the courtroom almost from the start and establishes a mystery with verve and intensity that kept me invested in this encompassing production.

The cast of Harper Lee’s ‘To Kill a Mockingbird’ Photo by Liza Voll Photography

Perceptively directed by Loretta Greco, The Huntington continues Harper Lee’s To Kill a Mockingbird by Aaron Sorkin live and in person at The Huntington in Boston, Massachusetts through Sunday, November 8. This immersive production’s action is not limited to the stage and runs 2 hours and 50 minutes with one intermission. Click here for more information and for tickets.

Scenic designer Andrew Boyce delivers swift and transformative changes throughout the production as set pieces rise from the floor and lower from the ceiling starting out with a simple porch swing and a sprawling tree on an opaque backdrop. Not only does sound designer Daniel Baker create the production’s evolving tone through ambient sounds, but works with single onstage fiddler Ashley Frith’s dynamic compositions and vocalizations as they navigate suspense, comedy and tragedy under a glorious tree. Christopher Acklerlind’s looming and active lighting invades in so many corners of this show, it could be its own a character. Ackerlind’s investigative and surveilling lighting moves, hovers and creates distinct shadows whether it is through lanterns or troffers. Newsboy caps, vintage three-piece suits with timepieces, ties, vests, denim overalls and a striking red dress are just a few of costumer Celeste Jennings’s wide variety of classic and rural ensembles.

Karen Killeen in Harper Lee’s ‘To Kill a Mockingbird at the Huntington Photo by Liza Voll Photography

Many cast members step into multiple roles as a trio of keen and charming narrators including Karen Killeen as fast talking, adventurous and inquisitive Scout, Benjamin Izaak as bold and fiery Jem, and later Andrew Stevens Purdy as bright, naive and optimistic Dill recall Macon, Alabama in September 1935 where neighbors sat on their front porch, making it their business to watch over the community. This playful narrative trio shares an adventurous and mischievous rapport in this unfolding tale as their innocence and faith in humanity is inevitably tested. While this version of To Kill a Mockingbird holds familial moments and the enchantment and disenchantment of childhood, getting to the bottom of the case and exploring the nature of man takes a front seat.

Andrew Stevens Purdy and Benjamin Izaak Harper Lee’s ‘To Kill a Mockingbird at the Huntington Photo by Liza Voll Photography

These days it is easy to forget about community distracted behind a computer or a cell phone, but To Kill a Mockingbird takes you back to a time when neighbors called on neighbors and found time for one another. When teenage Mayella (Jackie Scholl) accuses Mayella’s neighbor Tom Robinson (Rafael Jordan) of rape, small time lawyer Atticus takes the case. Humble, altruistic, brave and with an unyielding faith in humanity, Karl Kenzler makes you feel the weight of Atticus’s battles determined to make a difference even in the face of blatant cruelty for sometimes as little as bartered goods and produce.

Rafael Jordan, the cast of Harper Lee’s ‘To Kill a Mockingbird’ Photo by Liza Voll Photography

“No matter how bitter things get, they are still our neighbors,” Atticus reflects. However, Patrice Jean-Baptiste as the Finches housekeeper and nanny Calpernia has something to say about that. Stubborn, shrewd and pragmatic, Jean Baptiste’s Calpernia and Kenzler’s Atticus create a fascinating and palpable tension over things that seem to go unsaid as Atticus’s magnanimous nature and Cal’s discerning cynicism considerably collide.

Liam Craig impresses as menacing, shortsighted, insecure and self righteous Bob Ewell and his encounters with Kenzler as Atticus thrive in its intensity. Jackie Scholl encapsulates squirming and unsettling Mayella in an alarming and anguished performance from the moment she steps onstage. The pauses, sputtering, stammering and urge to speak burst out of her slight and visibly shaking frame. Rafael Jordan does not seem to get enough stage time as Tom Robinson, but makes the most of it in a stirring performance.

Andrew Stevens Purdy and Kyle Cameron in Harper Lee’s ‘To Kill a Mockingbird’ Photo by Liza Voll Photography

Ken Cheeseman adds firm sensibility and dry humor to the role of Judge Taylor and Jesse Garlick does double time finishing Lyric Stage’s All My Sons and impressively portraying harsh opposing lawyer Horace Gilmer.

Kyle Cameron displays sharp and melancholic comic timing as community member Link Deas who is not to be underestimated while Aimee Doherty steps into the accusatory Mrs. Debose, pretty town gossip Stephanie, and Dill’s neglectful mother with memorable finesse.

Karl Kenzler and Karen Killeen Harper Lee’s ‘To Kill a Mockingbird at the Huntington Photo by Liza Voll Photography

To Kill a Mockingbird, though an incredibly significant novel in American Literature, it is not my favorite. However, Sorkin kept me rapt with a swiftly paced production that maintains its timeless insights, iconic moments and its core and prevalent themes including abuse, social status, prejudice, intimidation, mob mentality and faith. It was refreshing to witness something new brought into this powerful, poignant and thought provoking classic.

The Huntington continues Harper Lee’s To Kill a Mockingbird by Aaron Sorkin live and in person at The Huntington in Boston, Massachusetts through Sunday, November 8. Click here for more information and for tickets.

REVIEW: War and Sacrifice in theatre KAPOW’s stunning ‘Iphanalis in Aulis’

Posted on October 4 by The Sleepless Critic

The war cannot end unless it begins.

A prophecy, an atrocious act and a man blinded by victory. Stakes and superstitions run high in the Great Trojan War on an exceptional beach…at an unfathomable cost.

Elemental is Theatre KAPOW’s current season’s theme. Their 19^th season returns to basics and explores the power of nature in four distinct productions.

With Matthew Cahoon’s perceptive direction and stunning scenic design as well as Lorraine Chapman’s captivating choreography, theatre KAPOW presented Euripides’s Iphigenia in Aulis which ran for one weekend only from September 18 through 20 live and in person on the BNH Stage in Concord, New Hampshire. Trans adapted by Ann Washburn tying in classic and contemporary elements, this musically-inspired production ran approximately 100 minutes with no intermission. Click here for more information and for Theatre Kapow’s upcoming productions.

The cast of theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

A luminous full moon and a rippling setting sun are just a couple of Cahoon’s striking projections intensified by Tavya Young’s innovative lighting illuminating Aulis’s sandy shores. Strategically-placed clothing is inventively transformed and shadows of the sea and sail come alive inside pristine parasols. Symbolic wooden posts scatter along this beach under a rich sky.

From halo braids to iridescent, flowing and draped Greek-inspired gowns and faithful panoply and sandals to symbolic and translucent veils to colorful and trendier styles, costumer Barbara Holbrook balances these classic and contemporary visuals flawlessly. Samantha Griffin as Iphigenia is a particular vision while Greek chorus Samantha Autumn, Tracy Hickey and Olivia Krick stylishly turn heads without seeming stilted or out of place.

Samantha Autumn, Alex Picard, Olivia Krick and Tracy Hickey in theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

As peaceful as this setting may sound, Euripides’s classic is anything but peaceful as Peter Josephson as Agamemnon, King of Mycenae, wanders onto the beach. Josephson has a gift for bringing depth and sympathy to complex and polarizing characters and he makes it easy to sympathize with Agamemnon’s lament. The goddess Artemis demands Agamemnon sacrifice his favorite daughter to ensure victory in a war that has not yet started.

Alex Picard and Peter Josephson in theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

Barefoot, distressed and lost in thought, Josephson chooses his words carefully while expressing his inner turmoil. He turns to Alex Picard as Agamemnon’s brother and King of Sparta Menelaus for reassurance, but what Picard’s Menelaus returns is far different from what he is expecting.

Even if you know the story of Iphigenia in Aulis, this intense adaptation reveals new perspectives and much more.

Rachel Chapin Longo and Peter Josephson theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

Led by Josephson, Iphigenia in Aulis boasts a skilled and discerning cast as some members take on multiple roles during the production. Picard and Josephson share gripping chemistry as palpable tension and sibling rivalry take hold, leveling each other in deep seated resentment. Trusting, warm, wise and practical, Rachael Chapin Longo holds her own with Josephson and delivers a courageous and powerful performance as Agamemnon’s wife Clytemnestra, Queen of Mycenae. However, Samantha Griffin shines as Agamemnon’s favorite daughter who is not to be underestimated.

Adding context, meaning and atmosphere to this production is a trio of acoustic Greek folk musicians who narrate, participate and articulate a number of perspectives and observations through stirring original music by composer Jake Hudgins. Along with guitar and harmonica tinged rhythms, they muse, “Let this not come to me or my children’s children” and “Water flowing…an excellent daughter…let the winds blow.”

Alex Picard, Tracy Hickey, Olivia Krick and Samatha Griffin as the Chorus in theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

Having never witnessed this classic Greek mythical tale, Iphigenia in Aulis explores a great deal in its tense 100 minute timeframe. It does share moments of dark and clever humor while tackling war, cowardice, sacrifice, jealousy, ambition, obsession, betrayal, honor, and loyalty in a profound exploration of family and country where truth and integrity are so difficult to find.

Samantha Griffin, Samantha Autumn, Olivia Krick, Alex Picard, Tracy Hickey and Rachael Chapin Longo in theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

Theatre KAPOW particularly excels at bringing something new to classic works and Anne Washburn’s final play Iphigenia in Aulis is an ideal work for Theatre KAPOW, delivering a unique and multilayered journey with a number of unpredictable twists and turns right down to its final shocking seconds.

Theatre KAPOW presented Euripides’s Iphigenia in Aulis which ran for one weekend only from September 18 through 20 live and in person at the BNH Stage in Concord, New Hampshire. Click here for more information and for further details on Theatre Kapow’s upcoming productions.

REVIEW: Boston Ballet’s ‘The Sleeping Beauty’ remains a regal and enchanting achievement

Posted on June 3 by The Sleepless Critic

When an invitation goes awry…

An unexpected hero, an insulted fairy, true love, and a terrible curse make up this enchanting and haunting fairy tale classic as Boston Ballet proudly presents The Sleeping Beauty. Unfolding with elegant and athletic choreography by Marius Pepita and Sir Frederick Ashton, The Sleeping Beauty has returned to Boston for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. This production runs two hours and forty-seven minutes with two intermissions. Click here for more information and for tickets.

Boston Ballet in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

A full house gathered inside the Citizens Opera House as Mischa Santora conducted Tchaikovsky’s famous and dramatic music score, transporting the enthusiastic crowd into a world of royalty, betrayal, innocence, a few familiar fairy tale faces, and a dose of magic. Disney’s popular animated adaptation possesses some similarities to this captivating tale, but Boston Ballet delivers more to the story. You may even find yourself humming along to the instrumental refrain of the iconic number, Once Upon a Dream.

At the center of The Sleeping Beauty is Ji Young Chae who is radiant as delightful and charming Princess Aurora. A triumph of delicate yet athletic grace, her poised and lithe body masters a few of ballet’s most difficult dance moves with impeccable balance including an array of arabesques that garnered particular applause. Seokjoo Kim, Francisco Schilereff, Tyson Ali Clark and Lawrence Rines Munro as prince suitors are enraptured by Chae’s playfulness, charisma, and charm. Chae as Aurora accepts their roses with a flourish.

Ji Young Chae in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Based on Russia’s Imperial Ballet’s 1890 production, The Sleeping Beauty remains a visual treat, boasting ornate costumes in a wide array of intricate patterns with picturesque and multi-dimensional set design by David Walker richly illuminated by Brandon Stirling Baker. From ornate, lush and colorful rural backdrops in gold, red, and green to the enchanting Renaissance era costumes, each scene is a wonder to behold. Wearing glimmering tiaras and dressed in sparkling pink, green, yellow, and blue, the gracious fairies made up of Lauren Herfindahl, Alexandria Heath, Kyra Muttilainen, Emily Aston, and Evelina Godunova floated, frolicked, and twirled, each displaying their own unique personalities. Muttilainen as the whimsical and tip toeing Woodland Glade Fairy and Godunova performing a joyful, skittering and humorous dance as energetic Golden Vine Fairy were particular highlights.

Chisako Oga in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

With a cruel and mocking laugh arriving in a dark, glimmering carriage was Haley Schwan as treacherous Carabosse. Accompanied by a group of monstrous henchmen performed by Ethan Collins, James Cunningham, Alexander Mockrish, and Clay Murray, Schwan displays vindictiveness as an insulted fairy in a mesmerizing array of sharp and rigid movements.

Chyrstyn Fentroy in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Tchaikovsky’s uplifting score hits a crescendo as Emma Topalova appears as the serene and captivating Lilac Fairy. In this adaptation, The Lilac Fairy acts as a guide, her warm presence, quick thinking and commanding courage setting her apart. Her charismatic and skillful performance was most evident among her lively lilac fairy attendants in a glorious display of fouettes, plies, and pirouettes. Topalova was also endearing in a compelling scene with Jeffrey Cirio as Prince Desire. Cirio has a regal and noble air, gallantly leaping with joy at Aurora’s image. Ji Young Chae as Aurora and Jeffrey Cirio as Prince Desire exhibit many tender and playful moments and perfectly complement each other in a fancifully-driven dance including extraordinary fish dives, swept up in love.

Ji Young Chae and Jeffrey Cirio in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

The Sleeping Beauty delivers many magnificent performances within this large cast taking on multiple roles. From a wild and thrilling duet from Layla Porter as Little Red Riding Hood and Lawrence Rines Munroe as the Wolf to humorous feline flirtation from Emily Aston as The White Cat and Spencer Wetherington as Puss ‘N Boots, many beloved fairy tale characters were presented in a joyous celebration.

Chisako Oga and Derek Dunn in Marius Petipa’s The Sleeping Beauty by Liza Voll, courtesy of Boston Ballet

With two intermissions, The Boston Ballet offers a photo friendly display located in the lower lobby. The Boston Ballet closes its season with The Sleeping Beauty for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Humor brightens The Huntington’s raw and gritty ‘Oedipus El Rey’

Posted on May 27 by The Sleepless Critic

Is it possible to alter your destiny?

If you are thinking of that classic Greek mythological tale, then yes, it’s that story…with a twist.

Boldly directed by Loretta Greco, The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Taking place in engaging stadium seating, the production runs approximately 100 minutes without an intermission. The program contains a valuable synopsis and guide of Spanish terms with translations. Click here for more information and for tickets.

Javier David in foreground, with LtoR:Jaime José Hernández, Juan Arturo, Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Oedipus El Rey is a re-imagining of Sophocles’s classic tale and is one third of Luis Alfaro’s Greek trilogy. The other two works include Sophocles’ Electra and Euripides’ Medea. Oedipus El Rey is shared through a distinct lens about a man wrestling with destiny.

Hana S. Kim’s barebones set comes to life through mystical, biblical, modern, and kaleidoscopic projected landscapes from shooting stars to prison bars to floral gardens. One of my favorite set pieces was the ice cream cart! Greco makes the most out of the intimate staging through the depiction of motion and scenes occurring side by side. From finely-detailed and mythological headdresses to modern orange emblazoned jumpsuits and track suits with thick gold chains and baseball hats to chic denim and Latino-inspired gowns, Hana S. Kim ties together this tale transcending time right down to Jocasta’s laced up Greek sandals.

Javier David in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Set in a contemporary urban Los Angeles landscape, Oedipus El Rey delivers universal themes with a dose of mysticism about the cost of relentless pride and infallibility. This world is raw and gritty while possessing its own distinct energy. It has a passing resemblance to Baz Luhrman’s gritty setting in Romeo and Juliet which takes place in California and combines Mexico City, Miami and Los Angeles with Catholic imagery.

If you don’t already know this classic story, it is a poignant tale not for the faint at heart featuring a group of wise and discerning narrators who also act as a Greek chorus delivering a mix of satirical humor and commentary that can lighten this production’s heavier elements.

Shared in a penitentiary setting, this Greek chorus disguised as inmates not only keep time, but assume a number of pivotal roles. Jaime José Hernández, Victor Almanzar, Javier David, and Gabe Martínez share a fascinating and seemingly easygoing and amiable rapport delivering relatable, modern, dark and humorous commentary as they share this fluctuating tale that is once cynically amusing, grim the next and thoroughly intense. It boasts music, celebration and comedy while still possessing all the elements to this at times shocking classic tale. Alongside Juan Arturo as Oedipus, the group displays athleticism, activity and prowess with an urgency to outrun or outsmart their ultimate fate.

Domineering gang leader Laius, fiercely portrayed by Gabe Martínez, learns he is expecting a baby with Melisa Soledad Pereyra as Laius’s faithful wife Jocasta. However, when a seer foretells the baby’s fate, Laius takes drastic measures to prevent Oedipus’s ultimate destiny.

Juan Arturo, Melisa Pereyra in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Juan Arturo as Oedipus sharply mixes hubris, resentment, rage and sympathy in a textured and intense performance. Oedipus is a victim of circumstance and longs for meaning veiled in relentless ego and pride and brings overriding sympathy but not endearment beneath an array of shocking actions.

Victor Almanzar in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Oedipus and Victor Almanzar as Tirasius share a complex and compelling relationship. Almanzar is particularly impressive as compassionate Tirasius who possesses profound power behind stirring humility. Melisa Soledad Pereyra also stands out as traditional and powerfully faithful Jocasta who demonstrates resilience through her struggle and resentment and Jaime José Hernández is charismatic as Jocasta’s protective brother Creon.

Jaime José Hernández in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

While I’m not a fan of Greek mythology and the classic tale of Oedipus isn’t one of my favorites, I can appreciate its resounding significance and moral messages. What I enjoyed about Oedipus El Rey is its liveliness and the imaginative retelling while still managing to stay true to its timeless mythological roots. The dark and occasionally lighthearted humor unexpectedly made me laugh quite a few times even as this troubling tale reached its inevitable climax and for that, I am grateful.

L to R: Victor Almanzar, Javier David, Juan Arturo,Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Click here for more information and for tickets.

REVIEW: Ambition and belonging in Actors’ Shakespeare Project’s ‘Little Women’

Posted on February 24 by The Sleepless Critic

“We want so badly,” reflects Kaila Pelton-Flavin as Beth, “We don’t see what we have.”

From Jenna McFarland Lord’s dual level wooden set reminiscent of a doll house highlighted by a fireplace, family table and uniquely patterned rug, Beth’s realization rings true of the mercurial March family. With the exception of Kaila Pelton-Flavin as shy and fragile Beth and Sarah Newhouse as nurturing and practical Marmee, the March sisters share an exceptional amount of squabbling with little understanding of what is really important. Aislinn Brophy may be story telling Jo, but Pelton-Flavin’s Beth just may be the wisest of all.

Directed by Shana Gozanky, Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. This production runs 2 hours and twenty minutes including one intermission. Click here for more information and for tickets.

The cast of Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

This is not the first time Actors Shakespeare Project has re-imagined and restaged a literary classic as demonstrated in productions such as Kate Hamill’s refreshing take on Jane Austen’s Emma and Shakespeare’s vibrant Romeo and Juliet.

Louisa May Alcott’s Little Women has been restaged, restyled and recalibrated many times over the years for television, theatre and film. I’ve followed many adaptations of Little Women on both stage and screen most notably Greta Gerwig’s adaptation of Little Women which earned Academy Award-nominations for Saoirse Ronan as Jo and Florence Pugh as Amy. Gerwig’s adaptation jumps timelines and presents a real life meets literary work in a revolutionary way. It doesn’t feel like watching yet another Little Women. The iconic moments from the novel are still present, but delivered in a manner never presented before and approaching issues such as social status in a frank and more obvious way.

While Kate Hamill’s Little Women focuses on the March family, at its core is the sibling relationship between Jo and Beth which unfolds in a distinctive way as they interact together even before the production begins. Hamill’s version also has a lot to say and presents its content in a frank and more obvious manner while preserving its roots as a coming of age tale without sharing Alcott’s work in its entirety. This version is also shaped differently as these March girls march metaphorically and quite literally which says so much about how Hamill adapts these characters from Louisa May Alcott’s beloved book.

Aislinn Brophy, Kaila Pelton-Flavin, and Olivia Fenton in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Zoe Sundra’s audacious costuming includes handlebar mustaches, ties, suspenders, dapper long coats, and multi-patterned dresses with each costume designed to reflect the era and highlight each character’s distinct personalities. Brophy’s Jo wears several mismatched and layered ensembles that enhance her individuality and buck tradition while Chloe McFarlane as Amy’s long braids and traditional dress highlights Amy’s aspirations for refinement. Julian Crocamo’s energetic and defining piano-infused score varies mellifluously from playful to rushing to tender as the production unfolds.

Aislinn Brophy in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Most of the characters, especially the March girls, depict pronounced and less profound versions of themselves. The March sisters are iconic for their subtler qualities as much as for the traits that make them classic characters ahead of their time. Jo is inquisitive, confident and awkward with big ambitions and a temper alleviated by her sensitivity. However, Brophy’s Jo is outspoken, tempestuous and controlling fixated on a man’s world. Like the iconic character, this Jo also longs for the comfort of things to always remain the same. In long thick braids, Chloe McFarlane as haughty, clever and traditional Amy often locks horns with Jo’s unorthodox views. Olivia Fenton’s Megan is boy crazy, impressionable, goofy, and exceedingly optimistic providing awkward humor especially in scenes with Chris Stahl as Mr. Brooks who share a wildly giddy bordering on silly chemistry.

Aislinn Brophy and Sarah Newhouse in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Only calm, mature and consoling Beth quietly observes with sympathetic and sensible Marmee as Marmee quells and directs her daughters. Newhouse impressively depicts Aunt March in a dual role who is as uncomfortably outspoken as ever while Patrick Vincent Curren charismatically portrays stern and wealthy Mr. Laurence along with Amy Griffin and Chris Stahl who aptly portray multiple roles.

Aislinn Brophy and Jonah Barricklo in Actors Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

One of the best parts of this production are the fascinating interactions between Brophy’s Jo and Jonah Barricklo’s Laurie who share some wonderful camaraderie and an endearing rapport. Barricklo as Laurie is lonely, earnest, sensitive and sincere, feels out of place in the world and will do just about anything for Jo. They conspire and tease each other while emphasizing the unique commonalities in which they share their true selves and their unorthodox outlook of the world. Their unique recognition of each other and the manner in which they understand each other is rare, lovely and bittersweet.

Though I am not a fan of the way the March sisters are depicted, there are new elements of the show’s storytelling worth seeing, especially in the work of Newhouse’s Marmee and Pelton-Flavin’s Beth who consistently attempts to bring to light what is important in the midst of all of life’s distractions, noise and ambitions.

Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. Click here for more information and for tickets.

REVIEW: Thoughts set adrift and a lady waiting in Lyric Stage’s humorous and ruminating new musical, ‘Penelope’

Posted on February 18 by The Sleepless Critic

So many questions lie in an uncertain future.

Waiting can make you antsy, edgy, and frustrated while fluctuating between hope, anticipation and dread. No one knows waiting quite like Penelope from Homer’s epic work, The Odyssey. From a Cliffside island abode, Penelope waits for years for her husband to come home after the Trojan War with no idea of what’s ahead. However, boasting an eclectic mix of catchy, playful, melancholy and soothing songs, thoughts travel even when the body does not and a lot can happen even while the world is still.

Directed with introspection by Courtney O’Connor with eclectic music direction by Dan Rodriguez, Lyric Stage presents Alex Bechtel’s new musical, Penelope live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, March 1. This stirring and semi-interactive one woman cabaret style production contains adult language and runs 80 minutes with no intermission. Click here for more information and for tickets.

Aimee Doherty in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Homer’s The Odyssey is considered one of the most influential and most read mythological works of all time and has been getting particular attention lately. American Repertory Theater debuted Kate Hamill’s The Odyssey last year and this summer, Matt Damon leads an all star cast in Christopher Nolan’s new adaptation of The Odyssey. The Odyssey explores several significant themes including war, temptation, survival, and redemption, but it is not necessary to refresh yourself on Homer’s work to appreciate this musical. Its focus is less on the plot and its exclusive focus is on Penelope’s perspective, Odysseus’s clever, steadfast, and powerful wife who holds onto hope for Odysseus’s return while touching upon a few themes from Homer’s classic work. Penelope also explores the relatable nature of waiting and looking for answers while facing an unknown future.

Ethan Wood, Dan Rodriguez, Aimee Doherty, Kett Lee in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Illuminated in warm pastels and elegant and detailed oceanic ripples by Karen Perlow, Janie E. Howland’s wooden, wicker and stone set has certainly created a beautiful and inviting sanctuary for Aimee Doherty as Penelope in her Ithaca Cliffside abode in vibrant teal adornments. Mikayla Reid’s breezy costumes further captures the musical’s carefree Grecian façade with the onstage orchestra adorned all in white and Doherty stands out in a flowing burgundy jumpsuit. The manner in which the intimate orchestra take the stage accompanied by Alex Berg’s soothing and sweeping sound design provides comfort and solace and Doherty’s occasional interactions with them feel more like a collaboration than exclusively a one woman musical.

Aimee Doherty, Ethan Wood, Dan Rodriguez in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

However, Penelope’s heavy heart has much to consider in deep reflection in her soaring vocals as she waits for her husband’s homecoming. This musical takes its time, but in a gradual unfolding without dragging. Every moment builds with care. Doherty’s Penelope is clever, frank, graceful, charming and is all too aware of her place in the world in the Bronze Age, even with the show’s contemporary flair. She remarkably evokes her thoughts and a myriad of complex emotions while quietly inviting you on this journey. Doherty’s tense stillness, quiet anticipation, vulnerability and stark loneliness are palpable as her eyes flicker and in a jolting movement, her feelings may sweep over you as well.

Marissa Licata, Aimee Doherty, Dan Rodriguez, Ethan Wood in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

As much as the musical is about the anguish of waiting and suffering as depicted in the frustrating Prayer and poignant number Lose My Mind, Penelope also provides its share of raw and humorous moments in both dialogue and song as demonstrated in the cheeky Drunk Iliad. Funny, soothing, and earnest, Penelope unveils the wonder of the ordinary even if the waiting is the hardest part.

REVIEW: Arlekin Players Theatre’s mesmerizing ‘The Dybbuk: Between two worlds’ returns

Posted on November 15 by The Sleepless Critic

Someone is laughing.

Its cadence echoes into a peerless and infectious glee that troubled Khonen, depicted by Andrey Berkovskiy, finds irresistible. It does not take long to see that Khonen will go to the ends of the earth and beyond seeking that voice chiming in its ethereal splendor.

Unique, haunting, funny, charming, spiritual, and exceptionally creative, The Dybbuk: Between two worlds remains a mesmerizing must-see theatrical experience.

I never use the term ‘must see’ lightly, but it nonetheless fits this particular production in all of its unexpected and immersive twists and turns set exclusively inside a Jewish synagogue. Brimming with unconventional creativity and cultural tradition, The Dybbuk is a spectacular journey and a dark tale steeped in meticulously timed and atmospheric special effects as it unveils a thrilling and enchanting piece of ancient Jewish folklore.

Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues the Elliot Norton Award-winning The Dybbuk: Between two Worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16. This semi-interactive and well timed theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.

The Dybbuk: Between two worlds tackles love, marriage, faith, life, death, grief and the in between as well as the significance of a synagogue that still stands after all the turmoil it has endured. As the play observes describing a synagogue, ‘The walls are damp with tears.’ A synagogue can be the center of sorrow or great joy and community, but above all, it is a sanctuary of hope when all seems lost.

What makes this production so exciting, beautiful and so downright impressive is this complex and powerful classic tale is wrapped in a riveting experience. The Dybbuk is a grand and exhilarating journey, but it also depicts sweet moments of simplicity from Andrey Berkovskiy as restless Khonen and Yana Gladkikh as innocent Leah with finesse. Both characters shine in their perspective roles but Berkovskiy’s wondrous curiosity, playfulness, mischievousness, passion and anguish boast a spellbinding charisma. While his good intentions radiate in the smallest of gestures, Berkovskiy’s wide eyed wonder of this world and his boldness are often at odds as he agonizes over his fate. In long braids and ribbons, Gladkikh as sweet Leah demonstrates a beautiful vulnerability and conflict in her delicate and porcelain like features infused with a soothing and melodious voice that she also uses to sing. Gladkikh’s Leah is delightful, innocent, romantic, and naïve sharing with Berkovskiy a captivating, giddy, and endearing playfulness in a situation that is eternally complicated.

This enthusiastic cast blends intensity and humor and although this is an ancient tale, Golyak strings together elements of the traditional and the contemporary. Wearing a string of pearls and a black dress, Deb Martin commands the stage as Leah’s grandmother with a rigid frame yet bold and heightened awareness. Shrewd and protective with a dry sense of humor, Martin as Frade is not to be underestimated while Robert Walsh brings broad cynicism and dark humor to stubborn Sender.

Robert Walsh in ‘The Dybbuk’ Photo by Irina-Danilova

The Dybbuk’s immersive and unpredictable setting is fueled by ingenious creativity in Jeff Adelberg’s luminous lighting design in shadows and glowing stars seamlessly paired with Fedor Zhuravlev’s robust and occasionally manually created sound that animates this dark, mystical and ancient world filled with rustic crystal chandeliers and scaffolding that sit beneath a vast skylight by scenic designer Igor Golyak with Sasha Kuznetsova. The Dybbuk’s emotive light and sound deliver an ominous quality, humor, and awe-inspiring surprise nothing less than magical. The transformation of a simple piece of plastic is just a sample of the inventive flair that helps to piece together this often poetic tale.

Anna Furman, Olga Aranova, and Yana Gladkikh Photo by Irina-Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16. Click here for more information and for tickets.

REVIEW: Shadow Play in Actors’ Shakespeare Project’s ‘Macbeth’

Posted on October 26, 2025 by The Sleepless Critic

The white coats are not to be trusted.

Ominously directed by Christopher V. Edwards and boasting MacKenzie Adamick’s searing sound design, Actors’ Shakespeare Project continues William Shakespeare’s Macbeth live and in person at the Dorothy and Charles Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, October 26. This classic production is not limited to the stage, is semi-interactive, and runs approximately two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Omar Robinson and Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth.’ Photo by @benjaminrosephotography

Set during the dire 1960s Cold War, this is a production built in shadows playing on the walls, materializing from hidden corners and creeping along the stage. With an alarming array of red glare and sparks, Elmer Martinez’s eerie lighting design not only enhances Adamick’s affecting sound design, but embellishes Macbeth’s menacing plot focusing on a Scottish general named Macbeth, portrayed with charismatic cunning by Omar Robinson, who is enticed by power when he is told he is destined to be king. Alongside Brooke Hardman who impressively depicts traumatized, bitter and ruthless Lady Macbeth with a fiery vengeance, this dangerously ambitious duo set out to fulfill their seeming destiny. What make Robinson and Hardman’s joint performances stand out is in the love and the inner turmoil Robinson as Macbeth and Hardman as Lady Macbeth share in the soft and crumbling moments that manages to elicit a consistent element of sympathy during their mounting struggles.

Claire Mitchell, Amanda Esmie Reynolds, and Jade Guerra in Actors’ Shakespeare Project’s ‘Macbeth’ Photo Photo by @benjaminrosephotography

In Marissa Wolf’s mix of elegant and edgy retro-style uniforms, costumes and wigs, Jade Guerra, Amanda Esmie Reynolds, and Claire Mitchell form a diabolical trio who administer various forms of agony rather than casting spells. They participate in their own form of dark treachery in collective actions that manipulate various characters. They are gleeful and petty as psychedelic and harrowing projections by Sue Rees emphasize their psychological and hallucinogenic hold on others. Bold, darkly funny, and chilling, the weird sisters are unsettling whether they are quietly observing, swarming a character or plotting their next move.

Many cast members aptly depict dual roles and Mitchell and Reynolds alongside Chingwe Padraig Sullivan also make a dangerous impact during the production.

Jesse Hinson, Omar Robinson, and Dennis Trainor Jr. in Actors’ Shakespeare Project’s ‘Macbeth’ Photo by @benjaminrosephotography

Jesse Hinson portrays a dual role warmly as Macbeth’s right hand man Banquo and as an enigmatic doctor sporadically appearing during the production. It is easy to see the easy camaraderie between Hinson and Robinson as they consult and confide in each other.

Actors’ Shakespeare Project always had a talent for articulating Shakespeare’s dialogue with precise authenticity and a contemporary edge. With Actors’ Shakespeare Project’s Romeo and Juliet, the expressive nature and the contemporary veil over the dialogue worked well and had a natural flow.

However, this Macbeth doesn’t land as well leaving little to interpretation during a brief tangent that spells out and struggles to connect an array of cultural references during a distracting Porter scene. In the middle of the Cold War, this tangent yanks me out of the illusion and breaks the fourth wall which made it difficult to reconnect to the action after this contemporary detour.

Shakespeare’s Macbeth is an incredibly powerful tale and stands as a classic for a reason. It has stood the test of time with a gripping plot, resonating lessons and impactful moments potent enough to allow its content and rising shadows speak for themselves.

Jesse Hinson and Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth’ Photo by @benjaminrosephotography

Actors’ Shakespeare Project continues William Shakespeare’s Macbeth live and in person at the Dorothy and Charles Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, October 26. Click here for more information and for tickets.