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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 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.

REVIEW: Gloucester Stage Company’s ‘Ms. Holmes and Ms. Watson – Apt 2B’ a puzzling comedy

Posted on September 27 by The Sleepless Critic

Sherlock has always had its passing comical moments.

Though considered a mystery-crime drama, Sherlock Holmes has delved into quirky territory featuring an eccentric lead in Sherlock Homes and his various idiosyncrasies. Holmes is a deductive and egocentric genius who considers emotion irrelevant and crosses paths with Dr. Watson who is reasonable, but also carries emotional weight in various situations. They are both brilliant in their own way and together, a force to be reckoned with.

Gloucester Stage Company’s production of Ms. Holmes & Ms. Watson – Apt. 2B, by playwright Kate Hamill in Gloucester, MA. The production is directed by Rebecca Bradshaw, and stars Erin O’Sullivan and Ms. Sherlock Holmes; Breezy Leigh as Dr. Joan Watson; Stephen Shore as Inspector Lestrade, Elliot Monk, and Others; and Grace Experience as Irene Adler, Mrs. Hudson, and Others. © 2025 Shawn G. Henry • 978-590-4869 GSC-250903-Holmes+Watson_351

Directed by Rebecca Bradshaw, Gloucester Stage Company continues Kate Hamill’s comedic murder mystery spoof Ms. Holmes and Ms. Watson – Apt 2b live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, September 27. This wild production features adult humor and is a lengthy two hours and 15 minutes with a 15 minute intermission. Click here for more information and for tickets.

Based on numerous stories and four novels by Sir Author Conan Doyle, the legend of Sherlock Holmes has been adapted many times which includes satire and parodies, but this classic tale tends to be at its best through its thrilling, haunting and suspenseful moments as the mystery unfolds. That is when I think Ms. Holmes and Ms. Watson – Apt 2B is also at its best.

Set in London in the spring of 2021, Stephen Shore performs multiple roles including a chilling Narrator. As Shore’s face illuminates in an eerie glow while Shore’s charismatic and elegant vocals start to reveal the tale, I was excited for what was in store. Shore is a talented and charismatic presence standing out in this production.

However, even with its scattered suspenseful moments, this production is mostly a quirky pop cultured peppered comedy where freelance detective Sherlock meets Dr. Watson in the contemporary world to solve a mystery.

Kristin Loeffler’s sliding set boasts that classic Sherlock fireplace with twin bookcases, skeleton and wooden doors illuminated by Deb Sullivan’s evocative and ghastly red lighting as well as Julian Crocamo’s ticking and classical sound design.

I appreciated the dynamic between Breezy Leigh as excitable and frank New Yorker Ms. Watson who seems firmly planted in the contemporary world while aside from new age meditation and vaping, Eryn O’Sullivan’s Sherlock seems in every other way from the past rebuffing technology and relying solely on the mind and the written word for everything. O’Sullivan brings an over the top cryptically calm detachment, frequent disdain and pretension while Dr. Watson is so excitable and squeamish, it became difficult to believe that Ms. Watson was ever a level headed doctor.

The production delivers major characters from the classic Sherlock novels featuring some enviable costume selections by Chelsea Kerl, especially displayed in Grace Experience’s red velvet suit and fabulous bejeweled shoes. Portraying multiple roles, Grace Experience zings from a peculiar cockney-accented housekeeper to a bold and clever seductress while having a great time in each swift transformation.

However, I still longed for more thrills and less clutter. Ms. Holmes and Ms. Watson Apt. 2b feature a murder mystery, but comedy is king in this production and among so many comedic distractions, it became difficult to get invested in the mystery. While it has some self aware humor and creative silliness in a certain train scene, it seems to meander too often without striking a real balance between humor and suspense. As a fan of Kate Hamill’s great work most recently in The Odyssey and Austen’s Emma, I was just longing for something more.

Gloucester Stage Company continues Kate Hamill’s comedic murder mystery Ms. Holmes and Ms. Watson – Apt 2b live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, September 27. Click here for more information and for tickets.

REVIEW: Humility and humanity shine in Company Theatre’s moving ‘The Hunchback of Notre Dame’

Posted on August 7, 2025 by The Sleepless Critic

Two brothers on different paths are connected in a transformative tale exploring the nature of faith, virtue, honesty and what truly matters. From Victor Hugo, author of the classic novel, Les Miserables, The Hunchback of Notre Dame certainly knows how to tug at the heartstrings while delivering an epic and compelling tale.

Insightfully co-directed by Zoe Bradford and Sally Ashton Forrest with resonating musical direction by Robert McDonough, The Company Theatre Center for the Arts presents gothic musical classic, The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday August 17. The action is not limited to the stage and runs a lengthy but well paced two hours and 50 minutes with one intermission. Click here for more information and for tickets.

Salvatore Guillermo Garcia, Peter S. Adams and the cast of Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Jacob French as Young Claude Frollo is determined to join the priesthood while his brother Jehan, depicted by Charlie Solari, would rather lead a hard partying lifestyle with the local gypsies. It’s a tale that bears some resemblance to The Prodigal Son parable. Young Frollo, who considers himself holy and righteous, is appalled by his brother’s actions and the results are destined to change both their lives.

Jacob French, Dru Daniels, and Charlie Solari in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Disney’s The Hunchback of Notre Dame was released shortly after The Lion King and Pocahontas in 1996 and is considered part of the Disney Film Renaissance spanning from 1989 to 1999. Having recently re-watched Disney’s The Hunchback of Notre Dame, do not go into the Company Theatre thinking it is strictly a staging of the Disney musical. Faithful to elements of the 1996 Disney adaptation with Alan Menken and Stephen Schwartz’s amazing and unforgettable music soundtrack and Victor Hugo’s 1831 classic gothic novel sporadically revealed through multiple narrators, The Company Theatre assembles a powerful and inspirational tale of virtue and humility in the face of cruelty and obsession.

Salvatore Guillermo Garcia, Peter S. Adams and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Set in 1492 Paris, Salvatore Guillermo Garcia leads the cast in riveting form as quiet and gentle hearted Quasimodo who acts as Notre Dame Cathedral’s bell ringer and is kept in the bell tower visited solely by Peter S. Adams as manipulative Dom Claude Frollo. Starved for company and overjoyed by any shred of attention, Quasimodo anticipates The Feast of Fools, an exciting France feast day celebrated by the clergy during the Middle Ages and perhaps an opportunity to be accepted for a day.

Set designer Ryan Barrow replicates the regal stone pillars and the gold signature Notre Dame Cathedral bells brought to life by its harmonious chiming. However, the jewel in this detailed set is a multicolored stained glass cathedral dome above the wooden balcony which lighting designer Dean Palmer Jr. brilliantly enhances and bathes the set in an array of colors rooted in the stain glass during the production.

Company Theatre’s ‘The Hunchback of Notre Dame’ set Photo by Zoe Bradford

So much of The Hunchback of Notre Dame hinges on its ability to capture this complex production’s powerful hymnal ambiance and The Company Theatre does that in spades not only through its strong lead vocals, but through twenty-two additional choir members consistently enhancing the action onstage. It is at times “blow your hair back” powerful and expressive, the production’s thunderous and harmonious voices exhilarating right from its magnificent opening number, The Bells of Notre Dame. I was visibly moved many times.

Peter S. Adams in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Peter S. Adams as Dom Claude Frollo and Dru Daniels as Florika are both lauded operatic talents who collaborated in Company Theatre’s wonderful The Secret Garden. Adams delivers a more measured performance as Don Claude Frollo, a manipulative and righteous priest. Firm and commanding, Adams brings additional dimension to the role and his exchanges with Garcia as Quasimodo are as fascinating as they are bittersweet. His rich rendition of Hellfire and Esmeralda is bold yet tormented, exposing momentary glimpses into his shielded angst. Dru Daniels also embellishes every moment she has onstage with her magnificent vocals as Florika.

Salvatore Guillermo Garcia with Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Costume Designer Kiera O’Connor has assembled an assortment of vibrant and multi-colored costumes as well as traditional vestments similar to the Disney adaptation and its time period, but adorned in Parisian masquerade masks, the shimmering and imaginative gargoyles are the ones that truly shine. Sally Ashton Forrest’s unique, playful, ballet-inspired and symbolic choreography impressively drive Anne Martland as Hugo the Playful, Mel Carubia as Victor the Reasonable, and Gilbert Dabady as Laverne the Nurturing Gargoyle as they advise and keep Salvatore Guillermo Garcia as lonely Quasimodo company. Paired with these intricate and sparkling ensembles, they provide not only comic relief, but work together to articulate distress, comfort, amusement and more while acting as a respite and community sanctuary for Quasimodo in the bell tower.

David J. Kim and cast in The Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

With a knowing smile, David J. Kim portrays stealthy showman and deemed King of the Gypsies, Clopin Trouillefou. Kim’s smooth delivery and complicated demeanor makes him a charming enigma. Kim leads the revelers in an animated rendition of Topsy Turvy and with Lopes, Roussell, Adams and Garcia in a spellbinding Rhythm of the Tambourine.

Celena Lopez and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Celena Lopes gives a mesmerizing performance as frank, saucy, compassionate, resourceful and headstrong Esmeralda, a role voiced for the Disney adaptation by a charismatic actress known for spirited female characters, Demi Moore. Lopes performs an incredible rendition of the hopeful ballad, Someday with Jack Roussell as seemingly bombastic, egotistical and regal Phoebus de Martin and shares charming chemistry with Garcia. However, Top of the World and stirring God Help the Outcasts is where Lopes is at her best.

Jack Roussell and cast in the Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Salvatore Guillermo Garcia offers a paramount performance as Quasimodo, a role in which he dedicates to his late mother. The sheer physicality and understated performance boasted by sterling vocals he delivered as Jean Val Jean in Academy of the Company Theatre’s previous production of Les Miserables make him the perfect choice for this role. Garcia embodies Quasimodo’s humble naiveté, trepidation, loneliness and yearning as well as the soft glow that passes over Garcia’s shy and meek features. From the wondrous ache of Out There and tender Heaven’s Light to the soaring Made of Stone, Garcia caps off this meaning musical experience worth witnessing for yourself.

Celena Lopes, Salvatore Guillermo Garcia, Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

The Company Theatre Center for the Arts presents The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday, August 17. Click here for more information and for tickets.

REVIEW: Spectacular and heartfelt, experience the magic of North Shore Music Theatre’s stellar ‘The Wizard of Oz’

Posted on July 18, 2025 by The Sleepless Critic

There’s no place like home or Oz, especially when it comes to North Shore Music Theatre’s immersive production of The Wizard of Oz.

With Matthew Stern’s splendid music direction and featuring rarely heard full versions of The Wizard of Oz’s classic numbers including Over the Rainbow and If I Only Had a Brain, The Wizard of Oz focuses on a sweet Kansas farm girl and her trusty dog who find themselves in a strange land with no idea how to get home and a witch suddenly in their wake.

Creatively directed by Robert W. Schneider with Brianna Fallon’s lively choreography and Alex Berg’s robust sound design, North Shore Music Theatre continues beloved musical, The Wizard of Oz live and in person through Sunday, July 20 at North Shore Music Theatre in Beverly, Massachusetts. The action is not limited to the stage and runs two hours and twenty minutes including an intermission.

Not only is this theatre in the round experience family friendly, but tailored to be universally enjoyed by all ages with plenty of refreshing surprises and originality as if you are seeing this classic again for the first time. Click here for more information and for tickets.

Bridget Delaney (Dorothy Gale) and Bug Minnie (Toto) in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Opening with Pamela Hersch’s encompassing and picturesque projections which unveil a unique and moving message before this classic tale begins to unfold, it was easy to see that North Shore Music Theatre’s The Wizard of Oz is going to be one for the ages. In braids and a gingham sepia dress, Bridget Delaney as Dorothy vocally glides through the full version of Harold Arlen’s Over the Rainbow and her luminous performance suggests a certain Judy Garland appeal. A beautiful soprano, Delaney embodies Dorothy with unrestrained curiosity and a determined spirit, yet careful not to let her impulsiveness get the better of her. Her endearing interactions with her little dog Toto, portrayed with impressive poise by Bug Minnie, make them a delightful pair.

Ethan Carlson (The Scarecrow) and Bridget Delaney (Dorothy Gale) with the cast of “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Featuring a couple of songs and a few characters not included in the 1939 film, North Shore Music Theatre keeps this classic musical with a lion’s share of freshness and surprises. For example, though the Jitterbug number is not included in the final 1939 film, it is an inviting and catchy jazz-inspired addition as black, yellow and white striped creatures invade the stage with stealthy and humorous intensity.

Sean Bell (The Tin Man) with Sarah Crane, Jessica Minter, Caitlin Wilayto in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

I cannot say enough about costumer Travis M. Grant with wig and hair designer Rachel Padula-Shuflet creating an incredible array of vintage and vibrant ensembles crucial to artfully transform each scene and Fallon’s inventive chorography, especially evident in its exhilarating and surreal tornado sequence. Poppies swirl elegantly, trees chat animatedly, and snow materializes with a graceful flourish. Jack Mehler’s dynamic lighting includes the vivid yellow brick road thrillingly or hauntingly enhances Ryan M. Howell’s meticulously executed and imaginative set.

The cast of “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

The Wizard of Oz’s large and captivating cast is an exuberant and enthusiastic bunch that elevates each memorable scene and may appear from anywhere around the venue. Astute comic quips and improvisational moments including clever pop culture references give this classic an updated feel without taking away from the musical’s poignancy and heartfelt timelessness. In a sparkling ball gown in various shades of pink and surrounded by adorable munchkins, Kerry Conte’s bright vocals and warm and nurturing demeanor veer away from the egotistical, vivacious and chipper voiced diva established in other iterations of Glinda. This epic musical also boasts remarkable dual roles that will not be revealed here, but are surprisingly brilliant casting choices for this classic tale.

Kerry Conte (Glinda) and the cast of Munchkins in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Decked out in a amazing black gown peppered with glimmering red sparkle, Michele Ragusa’s unpredictable Wicked Witch delivers a mischievous cackle and is depicted occasionally a bit more humorously, putting a lighter spin on the character. Ragusa clearly relishes the role in an energetic and intimidating performance. David Coffee amiably captures the mysterious, well meaning, and avid storytelling Professor Marvel.

Michele Ragusa as The Wicked Witch in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Ethan Carlson is an expert tumbler and his pliable body and warmth make him a wonderful Scarecrow. Sean Bell as Tinman and E. Mani Cadet as Cowardly Lion both deliver endearing and humorous performances and this trio truly make the characters their own. Cadet’s spirited demeanor and quick wit make the number, If I Were King of the Forest a lot of fun and baritone Bell brings charismatic charm in a tender rendition of If I Only Had a Heart. With Delaney as Dorothy, this quintet develop a lasting and compelling camaraderie that ring especially true during the numbers We’re Off to See the Wizard, Merry Old Land of Oz, and huddled together for Lions and Tigers and Bears.

Ethan Carlson (The Scarecrow), Sean Bell (The Tin Man), Bridget Delaney (Dorothy Gale), and E. Mani Cadet (The Cowardly Lion) in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Simply put, it is one of the best staged versions I have ever seen and was moved several times during the production. North Shore Music Theatre’s The Wizard of Oz is a magical, spirited and unforgettable musical journey that still profoundly resonates to everyone young at heart.

Dash down this yellow brick road and immerse yourself in North Shore Music Theatre’s production of The Wizard of Oz which continues through Sunday, July 20 live and in person at North Shore Music Theatre in Beverly, Massachusetts. Click here for more information and for tickets.

REVIEW: Her struggle for power in Apollinaire Theatre’s ‘Hedda Gabler’

Posted on March 14, 2025 by The Sleepless Critic

It’s becoming quite a day and Hedda Gabler has just about had enough.

Intolerant, impatient, and excruciatingly bored, Parker Jennings brings spark to Hedda Gabler, an entitled general’s daughter who settled for her husband because she felt like she was running out of options. Some of Parker’s best moments depict the phony and tight smile forcing its way across her lips in public before glowering when no one is looking.

Directed by Danielle Fauteux Jacques, Apollinaire Theatre Company continues Hedda Gabler live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, March 16. Henrik Ibsen’s classic psychological thriller runs approximately one hour and 45 minutes with no intermission. Click here for more information and for tickets.

The cast of Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Gazing out into Hedda’s world from one solitary angle, it becomes clear that the audience is limited exclusively to Hedda’s single-minded perspective in this dark tale. Set in the 1890s, Hedda Gabler focuses a full day inside the drawing room of the Tesman villa in Kristiania, Norway. Joseph Lark-Riley’s tense and chilling sound design infused with a mix of ominous and soft flickering lights by Danielle Fauteaux Jacques enlivens some of the idle chatter and gossip exchanged during the production. Lark-Riley also delivers a sophisticated set full of dainty flowers, bookcases, and a vintage piano sitting center stage as cast members alter the set from scene to scene. Elizabeth Rocha’s delicate and finely detailed costumes reflect the Victorian era in distinguished three piece suits, florals, silks, and extravagant lace.

Parker Jennings as Hedda and Conall Sahler as Tesman in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Each character is either onstage or sitting on the sidelines, but the most significant impact is Parker as Hedda’s constant presence even prior to making her first appearance. She is always looming in the background within the audience’s vantage point needing our constant attention.

After just returning from a six month honeymoon, newlyweds Conall Sahler as sweet and well meaning yet tedious academic Tesman and Parker Jennings as Hedda are hosting a visit with Paola Ferrer as kindly and uncomfortably intrusive, but perhaps not by societal standards, Julianna. Earnest, kindhearted and generous, Julianna has a strong bond with her nephew Tesman and strives to make him happy.

Paola Ferrer as Julianna and Conall Sahler as Tesman in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Having never read or seen this Ibsen classic before, Hedda Gabler takes a bit to get going, but nothing quite prepares you for Parker’s instantly unsettling entrance. In a white ruffled sundress, Parker is certainly a vision as Hedda and can barely muster a smile for Ferrer’s Julianna even in the face of Julianna’s warm generosity.

Hedda Gabler is a psychological thriller from the perspective of Hedda Gabler who sees her world as monotonous and it seems the most scandalous parts of the production take place outside this villa and merely discussed by members of the cast. Ibsen’s classic is a brilliant portrait of a selfish and shrewd narcissist and the show has suspense, but if the audience is witnessing Hedda’s world from her perspective, the production’s more stagnant scenes seem meant to appear that way. Even with Cristhian Mancinas-Garcia as cunning Brack and Joshua Lee Robinson as impressionable Lovborg, the stakes do not seem as convincingly high as they should be.

Cristhian Mancinas-Garcia as Brack, Joshua Lee Robinson as Lovborg, and Ann Carpenter as Berta in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

A juggernaut of outbursts and fury, Parker’s Hedda is pivotal to this role because she carries the brunt of the tension and Parker has quite a challenge to keep this tension teetering and unstable. Disappointed in Tesman and their life together, Hedda longs for an act of spontaneous beauty and will stop at nothing to stir up thrills in her life, whatever the cost.

Parker Jennings as Hedda and Kimberly Blaise MacCormack as Thea in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

This period piece squarely delves into the limitations of a Victorian woman. Expected to get married, have babies, and settle down into a subservient existence, Hedda wishes for something more and sets her own path way ahead of her time.

Apollinaire Theatre Company continues Hedda Gabler live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, March 16. Henrik Ibsen’s classic psychological thriller runs approximately one hour and 45 minutes with no intermission. Click here for more information and for tickets.