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REVIEW: Lavishly dancing through France in Sullivan Rep’s ‘Can-Can’

Posted on October 11 by The Sleepless Critic

Freedom through dance is only part of the story in Cole Porter’s Can-Can.

Considered one of Cole Porter’s later musicals, Can-Can debuted in 1953 before being adapted into a 1960 film starring Frank Sinatra and Shirley MacLaine and some of its ideas make it identifiable to its 60s timeframe. It’s Alright by Me, I Love Paris, and C’est Magnifique are a few of the Cole Porter American Standard songs that are part of the Great American Songbook.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11. The action is not limited to the stage and set up like a dance hall. It runs approximately three hours with an intermission. Click here for more information and for tickets.

Carly Evans and Can-Can dancers in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Taking place in Montmartre, France, Carly Evans aptly portrays shrewd and stealthy businesswoman Pistache who knows just how to live under the radar until her girls are caught by the French authorities for lascivious dancing. The lively dancers coyly perform the satirical number, Maidens Typical of France.

Can-Can features two powerful leads in Carly Evans and Anthony Rinaldi and Dan Sullivan’s flowing, unbridled and meticulous chorography certainly make a great impression. Anthony Rinaldi is conflicted as Judge Aristide, torn between justice and his growing affection for saucy Pistache. Rinaldi and Evans make some beautiful music together and are certainly capable of mastering these individuals on the opposite sides of the law. Evans as Pistache shows off her hardnosed business sense impressively for Never Give Anything Away and Rinaldi soars in the catchy number, It’s Alright with Me.

Anthony Rinaldi and Carly Evans in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Dan Sullivan’s often lavish and splashy 1890s French forward fashion costumes by Judi Olson include bowler hats, lace, velvet, ruffles, saloon-style gowns, bustles, three piece suits, detailed parasols and top hats with Pistache’s elegant emerald green peacock gown as a particular highlight shown later in the production.

The cast of Sullivan Rep’s ‘Can-Can’ Photo credit to Sullivan Rep

This musical features grand dance numbers that are often flirty and playful even occasionally including a French accordionist. Can-Can explores love, the nature of dance, societal expectations, censorship, skewed media, the law and the art of being an artist. A.J. Lyman as Bulgarian sculptor Boris, Andy Ross as Theophile, Ryan Pereira as Hericule, Dom Pappagallo as Etienne, Hannah Shihdanian as Model and Rinaldi as Aristide have a good natured camaraderie and perform a standout number that takes humorous and lighthearted jabs at the nature of being an artist is Never Never Be An Artist.

Sullivan Rep Can Can Anthony Rinaldi and cast Photo credit Sulivan Rep

Dream Ballet has been popular in grand musicals such as Broadway Melody in Singin’ in the Rain, Louise’s Ballet in Carousel, and The Prologue in West Side Story which usually enhances or advances the plot of the musical. Though performed with ballet-inspired athletic zeal, Garden of Eden Ballet didn’t seem to advance the plot in a meaningful way other than being controversial during that time.

Sullivan Rep boasts powerful leads, vivacious dance numbers and features elegant attire, yet the musical itself has its setbacks. Clocking in at approximately three hours, some of the musical’s plot points seem filler and unnecessary to the progression of the story and some of the love connections and satirical outcomes didn’t quite make sense such as in If You Loved Me Truly.

Garden of Eden Ballet in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

With that in mind, Sullivan Rep vibrantly brings Cole Porter’s Can-Can to life with an enthusiastic cast and memorable music.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can-Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11. Click here for more information and for tickets.

REVIEW: Get swept off your feet by Hingham Civic Music Theatre’s ‘Kiss Me Kate’

Posted on April 30 by The Sleepless Critic

‘But for my bonny Kate, she must with me.’

Set in Baltimore, love and show business collide in more ways than one in the Cole Porter musical, Kiss Me Kate. A Shakespeare play within a musical with plenty of backstage drama, David Daly as Fred/Petruchio and Sara Daly as Lilli/Katherine shine portraying exes onstage, but they are married in real life.

Sara and Dave Daly and Steve Dooner in ‘Kiss me Kate’ Photo by Pat Sherman

Well timed shortly after Shakespeare’s birthday and shrewdly directed by Steve Dooner, Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at the Sanborn Auditorium at the Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4. Click here for more information and for tickets.

Justin Maloney and Joel Leonard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Musically directed by Sandee Brayton with exuberant choreography by Diana Byrne Gossard, this enchanting musical is approximately 2 hours and 30 minutes with one intermission. Hingham Civic Music Theatre has dedicated their season to the memory of Violet (Vi) Villani.

Sara and Dave Daly in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

When a literary and music genius join forces, a Golden Age musical is born. Kiss Me Kate boasts memorable Cole Porter classic tunes such as So in Love, Too Damn Hot, Wunderbar and Brush Up Your Shakespeare while infusing elements of Shakespeare’s Taming of the Shrew to create a romantic comedy for the ages. Cole Porter’s music often reflects a jazz and bluesy feel as demonstrated in this play within a play’s self aware opening number, Another Opening/Another Show.

Kate Emily Crosta and Andy Gossard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Playful, charming, and imaginative, Kiss Me Kate tells the story of director, producer and star of Taming of the Shrew Fred, portrayed by David Daly, who is working with ex-wife Lilli, depicted by Sara Daly, a fading Hollywood star reluctantly turning to theatre and co-starring in his production. Lilli is engaged to systematic and orderly General Harrison Howell, portrayed by Andy Gossard who seems to relish the role. I’ve always considered Katherine in Taming of the Shrew a woman ahead of her time and Sara impressively takes on this dual role as Lilli and Katherine as headstrong and fearless women with minds of their own. David brings lots of charm and earnestness to his dual role as Fred and Petruchio. Boasting soaring vocals, it is delightful to watch David and Sara who share great chemistry onstage. They perform a lovely and intense duet of Wunderbar and deliver sweet renditions of So in Love.

Emily Crosta and Justin Maloney in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman

Another adorable couple who make melodious harmony together is Justin Maloney as Bill/Lucentio and Emily Crosta as Lois Lane/Bianca. Maloney as Bill and Crosta as Lois make a captivating pair delivering a couple of coy and lighthearted duets including Why Can’t You Behave and Always True to You in My Fashion, the latter especially flirty and entertaining. Fred, Lilli, Bill and Lois collaborate for a humorous rendition of the upbeat classic, We Open in Venice.

Dave and Sara Daly, Justin Maloney and Emily Crosta in ‘We Open in Venice’ in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman

Also offering some scene stealing comic relief are Brendan Smith and Connor O’Brien as the Two Men. Tough and goofy with a hilarious strut in top hats and canes, these sharply dressed men perform a knowing Brush Up Your Shakespeare, advising the audience how to use Shakespeare to woo women.

Brendan Smith and Connor O’Brien in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Costume designer Ashley Buckeridge skillfully blends period pieces such as classic Juliet and romantic Renaissance attire in delicate patterns to the iconic post World War II era making a splash in coordinated polka dots, lace, silk, button down trousers and brimmed hats.

John Crampton and cast in Hingham Civic Music Theatre’s ‘Kiss me Kate’ Photo by Pat Sherman

From tap to traditional renaissance to swing dancing, Diane Byrne Gossard’s joyful and lively choreography is a particular highlight as John Crampton as smooth Paul leads a playful rendition with this enthusiastic cast in a whistling and horn-infused number, Too Damn Hot.

Hingham Civic Music Theatre’s ‘Kiss me Kate’ cast Photo by Pat Sherman

Kiss Me Kate delves into a number of romantic high jinks including the war of the sexes and it is fascinating to see this topic resonate from the Renaissance to Post War II era to today with spirited flair.

John Crampton and Madison Pratt in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4. Click here for more information and for tickets.

REVIEW: A toast to Patti Lupone’s fabulous ‘A Life in Notes’ presented by Celebrity Series of Boston

Posted on April 9, 2024 by The Sleepless Critic

To say it was an honor to witness Patti Lupone’s brilliance onstage is an understatement. Having won three Tony Awards and two Grammy Awards, this Julliard-trained American Theater Hall of Famer from Long Island has proven time and again she is a master of her craft and it is easy to see why through her personal musical memoir A Life in Notes.

Conceived and warmly directed by Scott Wittman with inspiring music direction by Joseph Thalken, Celebrity Series of Boston presented Patti Lupone: A Life in Notes live and in person at Symphony Hall in Boston, Massachusetts for one night only on April 2. The show was 2 hours including one intermission and is touring around the country. Click here for more information and here for what is up next during Celebrity Series of Boston’s exciting season.

Patti Lupone and Brad Phillips Photo credit Robert Torres/Celebrity Series of Boston

Accompanied by pianist Joseph Thalken and Brad Phillips on strings, Patti Lupone made an endearing emotional entrance having been greeted by a roaring standing ovation from the audience. Donning a glimmering flirty black suit and sparkling earrings before later stepping into a shimmering showstopper with flowing cape, Lupone launched into a heartfelt and stirring rendition of Leon Russell’s A Song for You. The opening number was just the first of several touching moments during this production.

Part autobiography and part love letter to her fans, A Life in Notes is a beautiful tapestry of music which includes American Standards and Broadway that have made an indelible impact on this mezzo-soprano’s life and career so far. Humble and gracious, Lupone is a sharp and avid storyteller sharing her personal experiences while reflecting on valuable life lessons. She delivered each refreshing number with a mix of charisma, wit, style and creativity as the tale behind the song unfolds sharing her reflections on growing up on Long Island before establishing her decades -long career. Bathed in luminous purple, orange and gold lights, Lupone took the stage in front of a baby grand piano topped with a large bouquet of elegant roses as Thalken and Phillips provided accompaniment and smooth harmony to Lupone’s exceptional vocals.

Patti Lupone and Joseph Thalken Photo credit Robert Torres/Celebrity Series of Boston

As a fan who hoped to hear Sondheim’s Ladies Who Lunch in which she offered with all the incomparable passion and attitude that this song suggests, her selections covered some of her most memorable numbers and a few unexpected gems. Andrew Lloyd Webber and Tim Rice’s distinctive Don’t Cry for Me Argentina on strings sounded as epic as it did when she originated the role as Eva Peron in Evita. Lupone cheekily shook to Bagdasarian and Saroyan’s upbeat Come On-A My House and boasted fiery vocals for Jules Stein and Stephen Sondheim’s commanding Some People. Shelton’s yearning Lilac Wine and catchy Jameson and Feller’s Summertime, Summertime captured her experiences falling in love.

Patti Lupone Photo credit Robert Torres/Celebrity Series of Boston

Patti Lupone’s exciting life has had its tumultuous times living during the age of the Atomic Bomb and the turmoil of the 60s as well as building her success in New York City. She took the time to movingly pay tribute to loved ones as well as those who have passed away. Lupone’s pliable vocals and amazing range shine for Cole Porter’s Every time we Say Goodbye as well as for a darkly humorous, saucy and surprising rendition of Jerry Lieber and Mike Stoller’s Ready to Begin Again, which after hearing it for first time, has become of my favorite numbers. All of Patti Lupone’s personal touches, reflections, and compelling music selections made for a wonderful evening worth celebrating.

REVIEW: Celebrity Series of Boston presented John Pizzarelli Trio and Veronica Swift for Nat King Cole tribute and more on Valentine’s Day

Posted on February 22, 2020 by The Sleepless Critic

Since Jazz and love doesn’t follow a set of rules, they came together for Valentine’s Day.

Love lit up Harvard University’s Sanders Theatre in Cambridge, Massachusetts on Valentine’s Day as Celebrity Series of Boston presented ‘For Centennial Reasons: 100 Year Salute to Nat King Cole’ on Friday, February 14 at 8 p.m. Whether longing for love, falling in love, or losing in love, Veronica Swift and the John Pizzarelli Trio brought a jazz-infused twist to classic love songs and American Standards from Gershwin, Billie Holiday, Cole Porter, and especially Nat King Cole for one night only.

Veronica Swift and pianist Julius Rodriguez Photo credit: Robert Torres

John Pizzarelli Trio with John Pizzarelli, bassist Mike Karn and pianist Isaiah Thompson Photo credit: Robert Torres

Veronica Swift and John Pizzarelli are currently on tour. Click here for Swift’s upcoming shows and here for John’s future tour dates. Click here for more on Celebrity Series of Boston and their upcoming events.

Festive purple curtains embellished Sanders Theatre’s beautiful, softly-lit stage. Dressed in an effervescent pink jumpsuit that changed shades in different lighting, jazz vocalist Veronica Swift kicked off the evening with a drum-infused rendition of Cole Porter’s breezy classic, Let’s Do It (Let’s Fall in Love). Each musician had an opportunity to show off their stellar talent which included pianist Julius Rodriguez, bassist Phillip Norris, and drummer Aaron Kimmel.

Swift offered a casual, low key presence as she shared childhood stories of growing up touring with her jazz singer mother, Stephanie Nakasian and her father, bebop pianist Hod O’Brien. Swift’s versatile set had its share of joyous and stirring moments which included a poignant version of Ella Fitzgerald’s Everytime We Say Goodbye dedicated to her father as her voice swelled in quiet emotion. She skimmed the scales in an electrifying version of Billie Holiday’s Come Rain or Come Shine and an anguished Prisoner of Love.

Veronica Swift and pianist Julius Rodriguez Photo credit: Robert Torres

At just 25 years old, she is a spirited and contemplative performer. Jazz aficionados would appreciate her natural ability for scatting showcased in a fast paced, ebullient rendition of Billie Holiday’s I Can’t Believe that You’re in Love with Me. Though I am not a big jazz fan, it is easy to appreciate the liberties jazz takes to transform these classics into a refreshing, eclectic new sound.

With a great deal of humor, a relaxed atmosphere, and in a sharp gray suit, avid storyteller John Pizzarelli delved into the history of Nat King’s Cole music while sharing some of his own history along the way. He revitalized a few of Nat King Cole’s hits and shared a few anecdotes in tribute to Nat King Cole’s centennial. American Jazz singer-songwriter and musician Nat King Cole was one of the most successful artists on Capital Records’ roster and his music has inspired generations.

Pizzarelli is currently on tour for John Pizzarelli Trio’s most recent album For Centennial Reasons: 100 Year Salute to Nat King Cole. The title seems a subtle play on Nat King Cole’s I Love You (For Sentimental Reasons) which Pizzarelli performs tenderly later in the show. Aside from Pizzarelli who can no less shred on guitar, Pizzarelli was joined by spectacular musicians Isaiah Thompson on piano and Mike Karn on bass. The John Pizzarelli Trio’s collective sound had the rhythm of a moving train. Each piece came alive as the instruments seem to “chat” with each other especially during Hit That Jive, Jack and a lively rendition of Honeysuckle Rose.

Celebrity Series of Boston presented the John Pizzarelli Trio and Veronica Swift at Sanders Theatre.

Bassist Mike Karn, John Pizzarelli, and pianist Isaiah Thompson Photo credit: Robert Torres

The trio explored Lorraine as Pizzarelli shared a legendary story about how the song turned Nat King Cole from a pianist into a singer, though it is a rumored tale. Nat King Cole was part of the Nat King Cole Trio and it was nice to see Pizzarelli reflecting that with his own John Pizzarelli Trio, each member getting their own chance to shine.

Pizzarelli’s delivered an uplifting set which included a few love songs. His guitar hummed during a cheerful rendition of Nat King Cole’s Make Believe as lightning fast pianist Isaiah Thompson commanded the keys. Pizzarelli showed off his side winding guitar style in his own song titled Nat King Cool and his scatting skills during Nat King Cole’s Frim Fram Sauce. The evening’s lighthearted vibe continued with the humorous Save the Bones for Henry Jones, the vibrant I Would Do Anything for You, and one of Nat King Cole’s most popular singles, Straight Up and Fly Right.

John Pizzarelli, bassist Mike Karn, and pianist Isaish Thompson Photo credit: Robert Torres

Swift returned to the stage for a few Gershwin classics that included a wistful Someone to Watch Over Me. She and Pizzarelli delivered a wonderful rendition of They Can’t Take That Away from Me, I Got Rhythm, and their lauded encore Route 66.

As a big Nat King Cole fan, I would have liked to have heard Nat King Cole’s Stardust and his mega-hit Unforgettable, but it simply didn’t fit into an evening consisting of mostly the brighter side of love and its boundless possibilities.

Celebrity Series of Boston is just getting 2020 started with a number of performing arts musicians that includes Bobby McFerrin, Milos, the Jason Palmer Quartet, Lyon Opera Ballet, and the return of Alvin Ailey. Click here for the full list of upcoming events.

REVIEW: Seeped in silvery, eclectic rhythms, Celebrity Series of Boston presented a joyous, sold out Sergio Mendes and Bebel Gilberto concert for Bossa Nova’s 60th anniversary

Posted on October 31, 2019 by The Sleepless Critic

Catchy, invigorating rhythms have never had a better reception than at Grammy award-winning Brazilian great Sergio Mendes and popular Brazilian singer Bebel Gilberto’s sold out concert to celebrate 60 years of Bossa Nova on Friday, October 18 at the Berklee Performance Center in Boston. Presented by Celebrity Series of Boston, an enthusiastic crowd rejoiced in the exhilarating, eclectic rhythms that surely left them humming a tune or two long after the show was over.

Click here to find out where Sergio Mendes and Bebel Gilberto will perform next on their tour. Click here for more about Celebrity Series of Boston and all of their upcoming events.

Dressed in a floral, black trimmed dress that delivered a certain sparkle with silver, sky high heels, Bebel Gilberto, who descends from a long line of Brazilian and jazz greats including her late father, Joao Gilberto, who wrote the Grammy award-winning tune, The Girl from Ipanena, kicked off the celebration. Accompanied by renowned guitarist Guilherme Monteiro and drummer Leo Costa, Bebel swept onto the stage with catchy, low key rhythms. Her smooth, slinky vocals opened with Wave written by Antonio Carlos Jobim and Frank Sinatra recorded this popular song in English in 1969.

BebelGilberto-credit Vicente de Paulo(3)

Bebel Gilberto Photo credit: Vicente de Paulo/Celebrity Series of Boston

Most of Bebel’s songs were in Portuguese, but as she engaged the crowd through song and personal reflections, she said she is Brazilian-American. She dedicated a few songs to family members, stating family is everything. Her set was a mix of jazz and serene rhythms as she whistled and scatted onstage.

Even if Portuguese is not a familiar language, the beats and rhythms linger in Bebel’s crisp, clear, and captivating vocals. She invited the crowd to sing and clap along as she covered some of her father’s hit songs such as the humorous O Pato (The Duck), the upbeat rhythms of Saudade vem Correndo, and Udiu, a song that Bebel said mirrors how her father played guitar.

Warm and charismatic, Bebel delivered a lighthearted, invigorating version of her own hit, So Nice (Summer Samba) and performed a lighter, more upbeat version of Just One of those Things, dedicating the classic Cole Porter hit to her parents. After playfully applying lipstick onstage, she ended her set with Samba Da Bencao, dedicating the mystical, romantic rhythms to Boston.

The celebration heated up as Grammy award-winning Sergio Mendes appeared onstage, greeted with a rousing applause. Along with his vocalist wife Gracinha Leporace and Katie Hampton, Sergio promised the crowd a musical journey through 60 years of Bossa Nova music and he certainly delivered.

Referring to the renowned musicians onstage as “the best band he ever had” while simultaneously playing piano and conducting the band, Sergio was accompanied by drummer Leo Costa, guitarist Kleber Jorge Pimenta, bassist Andre De Santanna, keyboardist Scott Mayo, and percussionist Gibi.

Dressed in his signature white Cuban Hat and suit, Sergio delved into the history of Bossa Nova, opening with a rousing rendition of Magalenha as the crowd clapped wildly. He followed it with the lighthearted and colorful tune, Waters of March, composed by Antonio Carlos Jobim as Katie Hampton and Gracinha Leporace swayed and effervescently sang, “It’s the end of the strain/It’s the joy in your heart.”

Sergio Mendes Photo credit: Vincente De Paulo/Celebrity Series of Boston

Sergio kept the evening lively, sharing songs that ranged from romantic and stirring to breezy and joyous with drum-infused rhythms. In a flowing sea green dress and charcoal leggings, Gracinha passionately sang O Que Sera by Chico Buarque. Hip hop veteran and vocalist Harrell Harris (H2O) sang a lovely duet with Katie Hampton for Sergio’s 80s hit, Never Gonna Let You Go as guitarist Kleber Jorge Pimenta performed an amazing guitar solo.

One of the most thrilling parts of the evening was a freestyle jam session which included a berimbau and percussionist solo seeped in the rhythms of Rio de Janeiro. Many of the musicians are multi-instrumentalists and it was fascinating to watch the instruments seemingly “speak” to each other.

The concert featured unique spins on popular songs such as Gracinha and Katie’s spirited, piano-infused duet of the Beatles classic, Fool on the Hill. Gracinha also lends her powerful vocals to an eclectic version of Dusty Springfield’s James Bond theme song, The Look of Love.

Sergio Mendes capped off the evening on a high note with two of his most popular songs. H2O returned to the stage as the band performed Mas Que Nada, a 1966 hit song that became popular again when Sergio collaborated on the song with Will.i.am and The Black Eyed Peas. H2O is an incredible talent, adding a boost to an already electric lineup. Saving the best for last, Bebel returned to the stage with the entire ensemble for a sensational version of Sergio’s most popular song, Pais Tropical, enhanced with bright rhythms and Scott Mayo’s thrilling saxophone. After 60 years, Bossa Nova still puts joy in the heart.

Click here to find out where Sergio Mendes and Bebel Gilberto are performing next. Click here for Celebrity Series of Boston’s wonderful 2019-20 season and upcoming events. For updates and more, follow Celebrity Series of Boston on Facebook, Twitter, and Instagram.

REVIEW: Little Theatre of Stoughton’s ‘Anything Goes’ a zany musical comedy on the high seas

Posted on August 31, 2019 by The Sleepless Critic

The Little Theatre of Stoughton showed off its sea legs with Cole Porter’s musical comedy classic, ‘Anything Goes’ that ran one weekend and concluded on Sunday, August 18 at Stetson Hall in Randolph, Massachusetts. Directed and choreographed by Christina Maggio with music direction by Jesse Alling, this Tony Award-winning musical boasted a number of legendary composer Cole Porter’s hit songs while revealing a high seas tale of mistaken identity, lurking gangsters, and complicated romance. Click here for more on the Little Theatre of Stoughton and check back for their upcoming events.

It was a lively, cheering crowd that greeted the cast in the final performance of this show, offering a short applause as each main character first took the stage. Having never seen a production of ‘Anything Goes’ before, it was surprising to see just how many Cole Porter classics came from this 1934 musical. You’re the Top, Let’s Misbehave, I Get a Kick Out of You, De-lovely, and the title track are just a few of the American Standards that have been covered by contemporary music artists and live on today.

Little Theatre of Stoughton Anything Goes aboard the ship

Nate Haywood as Billy Crocker (bottom center) and cast Photo courtesy of the Little Theatre of Stoughton

‘Anything Goes’ could very well have also inspired the 1977 television show, The Love Boat because comedy and complex romance runs amok on the SS American where Nate Haywood as Billy Crocker will do virtually anything for a laugh. Earnest, charming, and complex, Haywood was well-fitted for the role as a man of many faces who wore many hats.

The show has its share of silly moments and Haywood’s scenes with Will Candler as boisterous and demanding Mr. Whitney prompted more than a few laughs. Haywood’a agile vocals struck a few beautiful harmonies with romantic, optimistic, and forthright Hope, portrayed by Sarah Palmer, a lovely high soprano.

Little Theatre of Stoughton Anything Goes Hope, Billy, and Angels

Sarah Palmer as Hope Harcourt and Nate Haywood as Billy Crocker Photo courtesy of Mikayla Williams Photography/Little Theatre of Stoughton

Haywood’s vocals were also a great match for Stephanie Wallace’s charismatic and clever nightclub singer Reno during the sweet and playful number, You’re the Top. Wallace was exemplary as Reno, whether solo or accompanied by her elegant Angels, portrayed by Abigail Merchant, Caroline Tobin, Isabelle O’Connor, and Kelli Neville who were all dressed in bold, vintage gowns. Wallace’s smooth and soulful vocals soared through a spirited I Get a Kick out of You and a cheeky version of Let’s Misbehave accompanied by Matt Maggio’s seemingly stuffy, proper, and amusing Sir Evelyn Oakley. Both Maggio and Wallace have wonderful comic timing and playful chemistry.

Little Theatre of Stoughton Anything Goes Hope, Billy and the cast

Sarah Palmer as Hope Harcourt, Nate Haywood as Billy Crocker, and the Reno’s Angels Photo courtesy of Little Theatre of Stoughton

With a squeaky high voice and party-loving ways, Whitney Lloyd as Bonnie and Kevin Fortin as smarmy, cool headed Moonface make a great, albeit a bit clichéd pair.

With captivating choreography by Christina Maggio, this bustling musical certainly showed off its sea legs for a few showstopping dance numbers including a dazzling, adrenaline-soaked tap routine during the title track, Anything Goes. From there, the choreography certainly hit next level status with the spinning and lively number Blow Gabriel Blow and lighthearted Heaven Hop.

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The Little Theatre of Stoughton will soon announce its 62nd season. Click here for more on the Little Theatre of Stoughton and get their latest updates on Facebook.

Kristin Chenoweth, making her Celebrity Series of Boston debut on April 30, talks favorite roles, latest album, and more

Posted on April 28, 2017 by The Sleepless Critic

From a church choir soloist to an Emmy and Tony award-winning actress and singer, Kristin Chenoweth has been dazzling audiences on film, television, and on stage with her dynamic range and powerful vocals for over 20 years. Currently promoting her sixth album, The Art of Elegance, she will be making her Celebrity Series of Boston debut for ‘An Intimate Evening with Kristin Chenoweth’ at Symphony Hall on Sunday, April 30 at 7 p.m. The evening will include a selection of her most popular songs, pop, American standards, and Broadway tunes. Click here for more information and for tickets.

Kristin Chenoweth talks about some of her favorite and most challenging roles, the inspiration behind her Grammy-nominated album, and a few surprises she has encountered along the way. Click here for more on her upcoming projects.

Celebrity Series 1739-Kristin-Chenoweth-Credit-Bryan-Kasm

The Art of Elegance with Kristin Chenoweth Photo courtesy of Bryan Kasm

Sleepless Critic: You’re an actress, singer, Broadway performer, and voiceover artist. You sang in church at an early age. Was singing your first love?

Kristin Chenoweth: My first love was ballet. I wanted to be a ballerina, but I didn’t have the flexibility in my feet. I was so glad I had that training at a young age because I began to hear classical music and then I wanted to take piano. I think I was about eight years old when I had my first solo in church and that’s kind of when things shifted for me.

SC: You will be exploring a number of genres during your upcoming concert. Pop, songbook classics, Broadway, a bit of everything you’re known for. What kind of music do you enjoy listening to?

KC: I love all kinds of music and I shift in and out and change a lot. Right now, I’m listening to a lot of Linda Ronstadt. I get on these kicks and I’ll just listen to something over and over and it shifts all the time. There are so many artists I admire, but that’s what I am doing right now.

SC: Have you ever had a role that you had certain expectations of and you ended up totally surprised by on Broadway or otherwise?

KC: Absolutely, I think playing the female lead in Promises, Promises. I knew it would be a challenge for me to play her, but it was really surprising how much I fell in love with her and came to really understand her. There’s a big part of me who really knew who this person was. It might not have been what fans wanted necessarily, but it is important as an artist to not always do what is expected. The part scared me and that is how I knew I needed to do it.

SC: You won a Tony as Sally Brown in You’re a Good Man Charlie Brown. What has been your favorite role so far?

KC: On Broadway, it is definitely Lily Garland in On the 20^th Century. It was a role that required a lot of my own skill set and it is an operetta with tons of movement and high brow comedy. I probably never worked harder, but it was extremely gratifying.

SC: You have such a great vocal range. Was there a note that you discovered you could hit that took you by surprise?

KC: I remember being in a voice lesson while at Oklahoma City University. My teacher was vocalizing with me. I didn’t study voice growing up. I just sang in choir and was in drama in high school. That was my training, so I never had a voice lesson. When I went to OCU, she vocalized with me up to a high F sharp above high C. I knew that was high, but I couldn’t believe it.

For many years, I sang arias that required a high F and I noticed it’s maybe not there like it used to be. I would say I am living in more of the D or E flat area, but that was a crazy high note.

SC: When a song is particularly challenging, how do you overcome it?

KC: It’s so funny, we were just talking about one of the songs from Promises, Promises the other day with Michael Orland, my music director on this tour. The song is called, Knowing When to Leave by Hal David and Burt Bacharach. I just told him that it hammered away at my voice eight times a week because it is very repetitive in an area of my voice that is what we call passaggio. That song scared me.

Finally in rehearsals, I thought less about being note perfect and more about the character. I find that when you let go, you really think about what you are singing and mean what you are singing. It hasn’t always gone that way and I don’t always make the right decisions, but that is when you let go, you can get there. That song was a big challenge for me and to this day, I think it’s hard, but I worked on it, wrote it down, lived it, and warmed up to it. Who knows? Maybe I’ll pull it out again.

SC: The Art of Elegance is your latest album. What was the inspiration behind it and why did you choose American songbook classics this time around?

KC: Basically, I made a list of a bunch of songs and it kept pointing to this era. I love the lyrics. I love the melody of its time and they are some of the greatest songs ever written by composers such as Gershwin and Cole Porter. I didn’t know The Very Thought of You very well. I think I heard it a couple of times and then I really started to investigate the song. That happened a lot on this album and now, of course, I just feel like I want to do a part two.

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