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REVIEW: Fueled by a mesmerizing soundtrack, witness The Huntington and SpeakEasy Stage Company’s quietly stirring ‘The Band’s Visit’

Posted on 2 Days Ago by The Sleepless Critic

Imagine longing for a phone call from a loved one or the act of just mustering up enough courage to speak to a girl. Imagine welcoming a group of strangers to your table and into your private home for the night because they are in need of a place to stay. Think about that kind of selflessness and hospitality freely given without a second thought. These seemingly small acts of kindness make a big impact in The Band’s Visit.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage Company presents The Band’s Visit by Itamar Moses through December 17. The show is 90 minutes with no intermission. Click here for more information and for tickets.

The Band’s Visit made its Broadway debut in 2017 with Tony Shaloub as Tewfiq and went on to win multiple Tony Awards. Much of this acclaimed show hinges on its eclectic and spellbinding music soundtrack which ties the band and the locals together, particularly essential when they are feeling misunderstood. This multi-talented onstage band certainly can jam especially for the numbers Soraya and Haj-Butras and receives some additional hidden accompaniment which is delightedly revealed in an unexpected way.

Set in 1996 in a small Israeli town located in the middle of the Negrev Desert where nothing unusual ever seems to happen, the townsfolk are dazzled by a traveling and stranded Egyptian band wearing distinguished, powder blue uniforms by Miranda Kau Giurleu. The Band’s Visit is an unconventional and unassuming musical that quietly and most assuredly will open hearts and minds to the little things in life that are sometimes overlooked.

The Band’s Visit unveils heartache and hope in such a remote land that the locals may sometimes feel forgotten. Many aspects of Jimmy Stubbs and Wilson Chin’s nostalgic scenic design fondly rewinds the clock using iconic pieces of nostalgia while also evoking the isolated nature of the town which includes a towering lamp post, a phone booth richly and authentically detailed with fingerprints and grime on its plastic cover, and a deserted blue street with yellow stripes. One of the most memorable scenes recreates a retro roller skating rink equipped with multicolored lights, disco ball and DJ.

Jennifer Apple, Brian Thomas Abraham; Photo by T Charles Erickson

This production has many surprises and this intriguing cast is no exception. Brian Thomas Abraham wonderfully portrays modest orchestra leader Tewfiq. Abraham’s reserved Tewfiq expresses his art with charisma, but offstage, he is a man of few words. Guarded and mysterious, Abraham shares fascinating chemistry with Jennifer Apple, a natural as feisty divorcee Dina especially for the beguiling numbers Omar Sharif and Something Different. Stunning in a gorgeous red flowing burgundy frock, Apple captures Dina’s resilience and yearning for happiness beyond what this small town can offer but something is holding her back. Apple’s bright smile and intense, determined nature is particularly notable in a scene stealing incident slicing watermelon in It is What it Is.

Marianna Bassham, Andrew Mayer, Robert Saoud, James Rana, Jared Troilo; Photo by T Charles Erickson

Mariana Bassham, who has a history of impactful roles including a starring role in SpeakEasy Stage’s People Places and Things from 2022, is impressive alongside Jared Troilo as Iris, Itzik’s long suffering and resentful wife. Even in an uplifting scene involving household instruments, Bassham’s vacant expressions and fatigue is the picture of indifference and discontented heartache as she stares into the abyss of a life unfulfilled. Troilo’s Itzik is warm and helplessly optimistic despite his family’s circumstances. Troilo has a powerful voice which is understated for this particular performance for a quietly tender Itzik’s Lullaby.

Noah Kieserman, Mac Ritchey, Jared Troilo; Photo by T Charles Erickson

The Band’s Visit also offers a mix of lighthearted comedic moments. Jesse Garlick shines as awkward and bewildered Papi for the zany number Papi Hears the Ocean as Josephine Moshiri Elwood as self effacing Julia looks on. Kareem Elsamadicy is much more than meets the eye as Haled for the smooth and lovely rendition of Haled’s Song about Love. Emily Qualmann as Anna and Fady Demian as Zelgar make an entertaining pair of partiers and Noah Kieserman delivers gorgeous vocals with the cast for the enthralling number, Answer Me.

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage presents The Band’s Visit by Itamar Moses through December 17. The show is 90 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Boasting a superb and jovial cast, Boston Lyric Opera’s Boston-based ‘La Cenerentola (Cinderella)’ conjures practical magic

Posted on 17 Days Ago by The Sleepless Critic

This Cinderella keeps it local and conjures a bit more practical magic.

Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola (Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12. Click here for more information and for a closer look at Boston Lyric Opera’s new season.

Move over glass slipper and fairy godmother and hello fashionistas and Amazon drivers. Cinderella is getting the city treatment with a few contemporary twists, but keeping its sparkling delivery and timeless moral message from a modern penthouse apartment overlooking the city of Boston.

ANGELINA (CECELIA HALL) MAKES HER ENTRANCE TO THE ROYAL BALL IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

The Emerson Cutler Majestic Theatre’s ornate theatrical setting is so fitting for Jenna McFarland Lord’s sophisticated and elaborate set design featuring two towering lit lamp posts. From a pristine, lightly furnished penthouse apartment to a starlit, fantasy masquerade garden party embellished with vines chasing the walls, a wrought iron staircase, and twinkling lights, Lord builds up the fanciful spirit of this modern fairy tale.

La Cenerentola, spoken in Italian with English subtitles, is a spin of the traditional fairytale Cinderella and centers around an imaginative woman who lives with the Baron and his two daughters and must cater to their every whim. When Don Ramiro shows up at the Baron’s doorstep, change just might be in the air.

DON MAGNIFICO, (BRANDON CEDEL, L.) IS THE WICKED STEPFATHER TO TISBE (ALEXIS PEART, C.) AND DANA LYNNE VARGA IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

However, some things haven’t changed in soprano Dana Lynne Varga as Clorinda and mezzo soprano Alexis Peart as Tisbe, Cinderella’s self-absorbed, scornful, and gold digging wicked stepsisters who can barely see beyond their mirrors (or in this case, their phones and selfie rings). The duo possesses certain regality in their bookend statures, if it was not for their disdain for others. Feathers, diamond encrusted bowties, crushed velvet, lace, and floral embroidery is just a portion of Trevor Bowen’s glittering, extravagant and fanciful costume design. Cecelia Hall as Angelina seems to simply float in her idyllic emerald gown. Don Magnifico, otherwise known as The Baron depicted with scene stealing glee by bass baritone Brandon Cedel, shares his daughters’ conceitedness decked out in rings, an earring, and carefully coiffed hair. Cedel waltzes around the apartment in self congratulatory bliss unless something or someone ruffles his flawless feathers. Though Cedel’s Baron does have a threatening side, Cedel spends much more time as a humorous ham as he flirts and shows off fun loving comic charm.

ANGELINA (CECELIA HALL) DREAMS OF A NEW LIFE FAR FROM WHERE SHE LIVES IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

In suspenders and doo rag cap, mezzo soprano Cecelia Hall gracefully portrays modest, tactful, and compassionate Angelina with agile vocals, shining especially in the production’s quieter moments. A sidelong glance, demure blush, and a barely concealed impish smile and gaiety escape her while she tends to her endless household duties, especially in the charismatic presence of tenor Levy Sekgapane as Don Ramiro. Sekgapone’s dazzling vocals and captivating rapport with Hall make for some of the production’s most delightful moments and Ferretti’s libretto wisely delves further into Ramiro’s persona than other Cinderella productions.

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Hall also shares a sweet camaraderie with bass baritone James Demler through a good deed as humble and quick witted Amazon driver and part narrator Alidoro. Both Demler and Levi Hernandez as Dandini are immediately likable from the start. Demler’s gravitas and commanding vocals deliver some wondrous surprises while baritone Hernandez’s soaring vocals as Dandini show they are much more than meet the eye.

Gioanchino Rossini’s urgent rhythms, quick pacing, and playful, melodic dialogues enchant while the lightning speed of some of the libretto demonstrate the collective and extraordinary skill of this engaging cast. With a few more refreshing twists and turns than in Cinderella’s traditional tale, Boston Lyric Opera’s La Cenerentola (Cinderella) embarks on a humorous and jovial journey while emphasizing the power of love and grace in all circumstances.

REVIEW: Hub Theatre Company of Boston’s ‘Book of Will’ is storytelling at its best

Posted on October 30 by The Sleepless Critic

‘Good stories make for good lives.’

Just one of the many insightful musings that Lauren Gunderson injects into The Book of Will which is a rollicking, meaty and glorious tribute to Shakespeare and storytelling. Get thee to The Book of Will!

Lauren Elias and the cast of Hub Theatre Company of Greater Boston’s ‘The Book of Will’ Photo by Hub Theatre Company of Boston

Directed exquisitely by Bryn Boice, Hub Theatre Company of Boston continues Lauren Gunderson’s The Book of Will live and in person at The Boston Center for the Arts through Sunday, November 12. The show is approximately two hours with one intermission and always, a pay what you can production. Not a bad seat in the house. Click here for more information and for tickets.

The show begins with a comedic flourish and keeps its energetic pacing throughout the production. It is three years after Shakespeare’s death and a group of men gather and contemplate Shakespeare’s genius as well as the butchery and liberties that some theatres have taken since to depict his work over a pint at a tap house next to the famous Globe Theatre in London. How to keep Shakespeare’s work alive the way it should be remembered?

Jessica Golden and the cast of Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston

The Book of Will offers commentary on many aspects of Shakespeare’s work and delivers some Shakespeare references and quotes passionately, but it is not necessary to be a Shakespeare fan to enjoy the humor and sheer love of the written word and theatre.

The famous skull and brethren in Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston

The cast has crackling chemistry with commanding as well as shrewd comedic timing. No one is afraid to go too far for a laugh or to capture meaningful moments. Some of the performers take on dual roles which will not be revealed here.

Jessica Golden and Cleveland Nicoll are an adorable young couple while Laura Rocklyn and Brendan O’Neill are powerful and wise as they deal with challenging aspects of their long term marriage. Rocklyn and O’Neill evoke a different form of endearing relationship. Rocklyn, Nicoll, and O’Neill later share a powerful and beautiful sequence, especially demonstrated by O’Neill, as Nicoll and O’Neil contemplate the meaning of love and life. Rocklyn is just one of many wise and wonderful female characters in this production.

Cleveland Nicoll’s shows off sharp comedic timing through his scene stealing expressions, eye rolls, stubbornness and outrage while Dev Lutra delivers a commanding and charismatic performance as Burbridge, the head of the King’s Men. John Blair also offers a fascinating performance as Poet Laureate and Shakespeare’s ‘frenemy’ Ben Johnson.

Hub Theatre Company of Boston’s ‘The Book of Will’ set Photo by Hub Theatre Company of Boston

Payton Tavares’s straightforward set design features a timely wooden half moon stage, two tables and surrounding stools with barrels in the background and enhanced by rope. Ellie De Lucia’s authentic Elizabethan era costumes feature gold trimmed vests and buttons, silky grand gowns, Venetian breeches, wingtip shoes, spectacles, corsets, peasant blouses with some rich colors and patterns.

What else is there to say but see this wonderful production that shall bring as much joy as it will stir the soul.

REVIEW: Imaginary Beasts conjures a boisterous ‘The Spider and the Fly’

Posted on October 29 by The Sleepless Critic

With a collection of zany characters such as a Moth, a Praying Mantis, a Gossamer Fairy, Figment, a Land Octopus, and a sleepy constable named Bluebottle, it is clear that The Spider and the Fly has no shortage of zealous imagination.

With so many productions that rely on the zip and zing of digital effects, CGI, and AI, it is exhilarating to see director Matthew Woods solely rely on homespun creativity and audience interaction to bring to life a vivid and unpredictable gothic children’s tale.

Imaginary Beasts ‘The Spider and the Fly’ cast Photo by Matthew Woods

Directed artfully by Matthew Woods, Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 live and in person at Chelsea Theatre Works in Chelsea, Massachusetts. The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up. Click here for more information and for tickets that are quickly selling out.

Blending vintage with the contemporary, The Spider and the Fly is quite the inquisitive adventure with lots of high jinks, scheming, plotting, sleuthing, and memorable and poetic dialogue that delivers a meaningful message about inspiration, friendship, and doing what is right. A panto is a form of wintertime family entertainment in the UK that weaves in puns, wordplay, jokes, and more. The Spider and the Fly is somewhat a panto within a panto as the cast embarks on an ardent journey to inspire a writer inside the writer’s own head.

Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and the Fly’ Photo by Matthew Woods

Brooks Reeves relishes in the part of King Cumbercrown who will stop at nothing to stop the Panto from happening, even if it means corrupting everyone in his path. Reeves is up to no good and his scheming and crafty behavior is such fun to watch as Reeves’s blue face scowls and sneers at the any sign of happiness and joy behind hypno spiral goggles.

The black and purple painted set design by Jason Taschereau has a vintage and mesmerizing quality while Cotton-Talbot-Minkin’s captivating and colorful costumes exude a gothic, fanciful and vintage edge with a dash of steam punk. As the look is inspired by silent films, outrageous patterns combine with bow ties, top hats, sparkling converse sneakers, lace, corduroy, pearls, flowered shoes and boots. Though it is gothic, it is not scary, but creative, inviting, and imaginative.

Laura Detwiler as the Great Author and Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and The Fly’ Photo by Matthew Woods

The continual audience engagement fuels this wild tale that does meander and veer off course occasionally, but it is difficult to notice with such a lively cast of characters that weave in some random contemporary pop and winking adult references. The Wednesday dance challenge, Rhianna, and random television show references are just a few examples.

Jamie Semel as Young Woodby and Evan Turissini as Madame Bijou in Imaginary Beasts ‘The Spider and the Fly’

Some of the cast depicts more than one role. Evan Turissini is all drama and also relishes in the part of lovelorn, flirty, and attention-seeking Madame Bijou, especially while vying for the attention of Bluebottle, portrayed with British flair by Colin McIntire. Sophia Yael Koevary as Daisy Mae and Jamie Semel as Young Woodby share some sweet scenes. With choreographer Laura Detwiler’s dynamic choreography, Camille Charlier as the Gossamer Fairy and Lindsay Eagle as The Ghost of Mary Whosie-Whatsit perform a harmonious rendition of Mills Brothers’ The Glow Worm. Another memorable tune comes straight from the audience as the cast invites the crowd to believe in a spark, depicted by Erin FM and navigated by Beth Owens.

For a show about inspiration, The Spider and the Fly doesn’t need much coaching as it delves into this exciting production with a quick pace with lots of heart.

Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 at Chelsea Theatre Works in Chelsea, Massachusetts. The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up. Click here for more information and for tickets that are quickly selling out.

REVIEW: Sparkle and charm fuel Titusville Playhouse’s ‘The Prom’

Posted on September 26 by The Sleepless Critic

Having been invited to The Prom for the second time this year, it seemed best to celebrate this time around in a frilly dress. It was especially appropriate catching a show while away on vacation and with Jordyn Linkous’s festive and glittery wig and costume design, it was easy to fit right in.

Innovatively directed and creatively staged by Niko Stamos with lighthearted choreography by Jordyn Linkous, Titusville Playhouse presents musical dramedy The Prom live and in person in Titusville, Florida through October 1. This show contains some strobe lighting and special effects. It runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

Mandy Kerridge as Dee Dee Allen, Steven J. Heron as Barry Glickman and cast in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry. Inspired by a true story, anxious Emma, depicted with self effacing humility by Delaney Sue McGough, invites a date to the Prom with none other than Myanell Enriquez as popular Alyssa, the daughter of the head of the Parent Teacher Association. Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town. The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana. The Prom delivers plenty of humor ranging from silly to satirical with a sincere and underlying message about helping others.

Mandy Kerridge as Dee Dee Allen and Delaney Sue McGough as Emma Nolan in ‘The Prom’ Photo credit to Titusville Playhouse

With extraordinary music direction by Spencer Crosswell, The Prom boasts strong vocals from an amiable cast. Glamour takes center stage with Mandy Kerridge as Dee Dee Allan, a self absorbed and award-winning actress. Kerridge’s impressive vocal range and wonderful belt is on full display for It’s Not About Me and The Lady’s Improving. Along with Steven J. Heron as warm, lovable, and lauded actor Barry Glickman, Danny Sanchez as no nonsense PR rep Sheldon, Corey Evans as openhearted Trent, and Sarah Ruth Joyner as inspirational Angie Dickinson, these seemingly shallow thespians bring some humorous moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lit with soft and cheerful multicolored lighting by Davis Vande Steeg , The Prom features a dynamic set design by Niko Stamos including a digital screen that transforms settings in an instant including the store front of a 711, a monster truck rally, and the glittering festivities of a Prom. Some clever staging includes the transformation of an Applebee’s to a balcony seat during a beautiful rendition of We Look to You as well as veiled and translucent staging for the number, Tonight Belongs to You.

Steven J. Heron as Barry Glickman and the Executive and Artistic Director of the Titusville Playhouse and Delaney Sue McGough as Emma in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone. It is positive throughout, even in the face of Emma’s most difficult challenges. McGough’s chiming vocals in forlorn yet earnest number Just Breathe is a compelling revelation while Holly Fuller’s tight lipped delivery proves fitting for tough and immutable antagonist Mrs. Greene. Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Cast photo Photo credit to Titusville Playhouse

The Prom contains a wealth of welcome, inside Broadway humor and references as well as notable choreography including a sweet rendition of You Happened and the Fosse-inspired choreography of Zazz. The Prom provides a message driven and sparkling escape to fun and frivolity if only temporarily from the realities of life.

Titusville Playhouse presents The Prom live and in person in Titusville, Florida through October 1. This show contains some strobe and special effects and runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

REVIEW: Dive under the sea with Reagle Music Theatre of Greater Boston’s magical ‘The Little Mermaid’

Posted on August 3 by The Sleepless Critic

Sebastian is right.

Life under the sea is better than anything we have up here especially if it is Reagle Music Theatre of Greater Boston’s lively and family-friendly production of Disney’s The Little Mermaid. Having witnessed Disney’s 1989 classic The Little Mermaid several times, one of the many reasons to see Reagle Music Theatre’s stage version is it contains additional songs and scenes while still delivering all the beloved dialogue, music, and costumes from the 1989 film. It was refreshing to see that The Little Mermaid has so much more to say.

Directed and choreographed exuberantly by Taavon Gamble with buoyant music direction by David Coleman, Reagle Music Theatre of Greater Boston presents Disney’s The Little Mermaid through Sunday, August 6 live and in person at the Robinson Theatre in Waltham, Massachusetts. This production is 130 minutes with a fifteen minute intermission. Click here for more information and for tickets.

Ariel (Kayla Shimizu) and Sebastian (Davron and ensemble perform ‘Under the Sea’ in Reagle Music Theatre’s Disney’s The Little Mermaid. Photo by Herb Philpott

Less than 35 years after the release of Disney’s 1989 classic film and not too long after the release of Disney’s live action remake The Little Mermaid this year, Reagle Music Theatre of Greater Boston has chosen a grand time to bring this land and sea classic to life onstage. Some will recognize the set pieces and settings from the 1989 film, but Reagle’s production also boasts a great deal of originality as well.

From shimmering fins to uniquely- shaped, brilliantly colored costumes adorned with carefully structured headdresses, Emerald City Theatrical delivers Caribbean charm in all of its animated splendor. Tony Ferrieri’s layered aquatic scenic design combined with Franklin Meissner Jr’s impressive lighting enhances the complexion and depth of the production’s kaleidoscopic waves, transforming from welcoming to at times threatening along a backdrop steeped in puffy clouds.

King Triton’s Kingdom Disney’s The Little Mermaid presented by Reagle Music Theatre thru August 6 in Waltham Photo by Herb Philpott.

Based on the Hans Christian Anderson tale and the Disney film, The Little Mermaid is about a curious mermaid princess named Ariel, depicted with vibrant charm and soaring vocals by Kayla Shimizu, who falls in love with not only a human prince, but the world on land. She is offered a way to escape the sea, but will she take it?

Ariel (Kayla Shimizu) singing Part of Your World in Reagle Music Theatre’s ‘The Little Mermaid’ through August 6. Photo by Herb Philpott

The Little Mermaid boasts a completely lovable cast led by Ariel, portrayed with enthusiastic, wide eyed wonder by Kayla Shimizu. Shimizu’s compelling performance and powerful vocals are remarkably reminiscent of Jodi Benson, the actress who voiced Ariel in the 1989 film. Shimizu shines with splendid renditions of Part of Your World, The World Above and If Only. Shimizu shares captivating moments with Ray Robinson as amiable and refined Prince Eric, sweet camaraderie with endearing Kenny Lee as shy, friendly and adorable Flounder and brave, streetwise, and frank Jack Mullen as seagull Scuttle. Having depicted Will Parker in Reagle’s previous musical, Oklahoma, Mullen again demonstrates his sharp comic wit and jubilant dance moves in a hilarious rendition of Positoovity.

Positoovity from Disney’s The Little Mermaid presented by Reagle Music Theatre in Waltham. Photo Herb Philpott.

A vision in deep, sparkling red, Davron S. Munroe is exemplary as strict and critical crab Sebastian who assists King Triton, portrayed with wise regality by Cristhian Mancinas-Garcia. In a display of bursting color and enchanting merriment, Munroe’s calypso-infused rendition of Under the Sea is stupendous and Kiss the Girl not only has tender charm, but delivers a humorous and delightful depiction of twilight, especially as frogs look on.

Sibling rivalry has never been more fun as showcased through Ariel’s mersisters consisting of Kindred Moore, Aimee Coleman, Joy Clark, Ellie Lauter, Aubrie-Mai Rubel and Olivia Foght. They are gorgeous beauty queens who gossip, laugh and try to upstage each other. They perform a catchy, 50s style rendition of She’s in Love with Flounder where even the fishy puns are cute.

Kenny Lee as Flounder and the Mersisters perform ‘She’s in Love’ from Disney’s The Little Mermaid presented by Reagle Music Theatre in Waltham. Photo Herb Philpott.

Rich Allegretto as Grimsby is also impressive as Prince Eric’s traditional yet sympathetic advisor and Teddy Edgar as deranged and passionate Chef Louis is hilarious even in a brief appearance for a marvelous rendition of Les Poissons. Edgar’s menacing eyes and passion for food make every moment count!

Katherine Pecevich as Ursula and Eels in Reagle Music Theatre’s Disney’s The Little Mermaid thru August 6. Photo by Herb Philpott.

A trio of dastardly proportions takes shape in Katherine Pecevich as Ursula and Ursula’s two lurking and smirking neon electric eel henchmen portrayed by Miki Grubic as Flotsam and Alan Cid as Jetsam. With wild hair and a black and purple glittering gown, Pecevich’s slippery manipulations and brash, yet shrewd machinations match whatever Cid and Grubic have in their co-conspiring minds. Even though Ursula is the main attraction, Cid and Grubic’s functioning and eye catching costumes do a bit of their own scene stealing. However, Pecevich’s charisma shines in a devious rendition of Poor Unfortunate Souls, her husky vocals only second to her maniacal laughter.

REVIEW: The Huntington’s epic generational saga ‘The Lehman Trilogy’ a wealth of ideas within a whirlwind of talent

Posted on July 11 by The Sleepless Critic

It all begins with a dream.

Spanning over 150 years and three generations, The Lehman Trilogy’s vast and epic saga infused with Mark Bennett’s melodic retro-inspired original music featuring solo musician Joe LaRocca enhances a trilogy of versatile, pliable, dynamic, and unforgettable talent in three chapters embodying a wide range of characters on their able shoulders. Timed perfectly in the month of July, three Bavarian Jewish immigrant brothers take on America searching for the perfect business venture that personify their vision starting in Montgomery, Alabama and beyond.

Based on a true story and the bestselling book of the same name with fascinating direction by Carey Perloff, The Huntington continues Stefano Massini’s The Lehman Trilogy live and in person at The Huntington Theatre through Sunday, July 23. The production is three hours and 35 minutes with two intermissions. Click here for more information and for tickets.

Joshua David Robinson, Firdous Bamji, Steven Skybell ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Decked out in top hats and tailored black suits embroidered with symbolic imagery on the back by Dede Ayite, it is difficult to fathom how these three actors navigated such an extensive yet detailed story including narration, mastering accents, contorting faces, changing mannerisms, and role changes at the drop of a hat all while making it look so seamless. It is even difficult to imagine such an epic production has been performed twice in one day as scheduled occasionally during the production’s run.

From meager beginnings to extraordinary meaning that spring to life as Steven Skybell as determined and confident Henry Lehman disembarks from a ship with only a mere suitcase in his possession in awe of America. It sounds like a story shared by many immigrants with nothing but a dream, but it’s the chutzpah, persistence and the resilience in everything that makes this particular tale shine. Business through love, children, and every chaos in-between to attempt what seems impossible. Points in history that transformed the United States and yet Lehman stands unrelenting to their dream. Each vision altered to suit what is needed next in the world.

Joe LaRocca, Steven Skybell, Firdous Bamji ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

What stunning innovation can spring from a modest factory! Sara Brown’s unassuming wooden warehouse metaphorically transforms through lifelike, mesmerizing and moving projections including illuminating rain, peerless rooftops, and surprising entryways created imaginatively by Jeanette Oi-Suk Yew and fueled by lighting designer Robert Wierzel.

Steven Skybell, Firdous Bamji ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Also noteworthy are the clever scene transitions especially in the third chapter such as the pop of a champagne bottle to the start of a race. It is in these careful details by Carey Perloff that keep up the show’s swift pace.

The show has a sleek sophistication and insightfulness that translate into lessons about navigating life itself. It is lengthy but justified in the expansive history of these visionary brothers. The real draw is not only the talent, but the evolution of this narrative tale. One valuable life lesson is it is not in failure, but how to respond to it that really matters. Mastery leaves no room for shortsightedness, but thrives on evolution and the answer to every problem is there. One just needs to spot it.

Firdous Bamji, Joshua David Robinson ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Steven Skybell as inquisitive, bright eyed and headstrong Henry Lehman, Joshua David Robinson as strategic Emanuel Lehman, and introduced with a sheepish half smile Firdous Bamji as Mayer Lehman form a trilogy of talent. They navigate these challenging roles with humor, discipline, and fervor and it is astounding to witness these actors onstage exchanging different countenances of various ages and genders, taking over narration, and moving the stories like, not by accident, a well oiled machine. However, the tale is also infused with all the humor, heart, camaraderie and determination demonstrated in groundbreaking and strategic fashion that never becomes ineffective or silly. It is smart, moving and detailed in a way that relates to anyone who has tried, failed, and has resolved to start again.

Based on a true story and the bestselling book of the same name with fascinating direction by Carey Perloff, The Huntington continues Stefano Massini’s The Lehman Trilogy live and in person at the Huntington Theatre through Sunday, July 23. The production is three hours and 35 minutes with two intermissions. Click here for more information and for tickets.

REVIEW: Reagle Music Theatre of Greater Boston kicks up its heels with Rodgers and Hammerstein’s classic ‘Oklahoma!’

Posted on June 30 by The Sleepless Critic

From the first few divine notes of the show’s opening number, Oh, What a Beautiful Morning captured vividly by Jared Troilo’s charismatic Curly, Troilo creates one morning not to be missed. Reagle Music Theatre of Greater Boston’s Oklahoma! combines top notch choreography, a jubilant cast, and an interactive set that invites the audience to settle into its own home on the range.

Reagle Music Theatre’s ‘Oklahoma’ Aunt Eller Carolyn Saxon and Ensemble Photo credit Robert Pascucci

With luminous direction and exceptional choreography by Rachel Bertone, Reagle Music Theatre kicks off their summer musical season with the stomping fun of Rodgers and Hammerstein’s musical classic, Oklahoma! continuing live and in person through July 2 at the Robinson Theatre in Waltham, Massachusetts. Click here for more information and for tickets.

With its wealth of historical references weaved into Rodgers and Hammerstein’s classic soundtrack capturing the spirit of the time, it is no wonder that Oklahoma! won the Pulitzer Prize for musical composition in 1944 and is still thriving after 80 years.

Musically directed and conducted by Dan Rodriguez, Reagle Music Theatre delivers the production’s joyous zest for life, the thrill of camaraderie, timeless messages as well as dark, tense and suspenseful moments. Rodgers and Hammerstein wrote their second musical, Carousel shortly after Oklahoma’s success and both shows share some of the same themes. Reagle Music Theatre delicately weaves its joyous moments with themes of loneliness, temptation, and obsession effectively especially through its powerful chorography and soundtrack, balancing this timeless tale.

Based on Lynn Riggs play, Green Grow the Lilacs, a colorful and rustic set rewinds the clock to the Oklahoma Indian Territory just after the turn of the century, equipped with softly flickering lanterns, vintage photographs, wooden fences, prairie landscapes, a wooden and winding fence, and interactive props hanging from the walls. Franklin Meissner Jr.’s evolving lighting gradually becomes its own character, effectively transforming the mood from a soft rising sun to a nightmarish hue.

Emerald City Theatrical wonderfully captures the authenticity of the time with cheerful costumes from plaids to pinstripes as well as richly colored bandanas, suede stirrups, leather vests, cowboy boots, and pastel puffed sleeved dresses with stylish Victorian boots.

Reagle Music Theatre’s ‘Oklahoma’ Curly (Jared Troilo) and Laurey (Kayla Shimzu) Photo credit Robert Pascucci

Ruggedly dressed in suede chaps with a button down shirt, leather vest, and cowboy boots, Jared Troilo’s Curly McLain has an imaginative streak and an innate zest for life albeit infused with an occasional bit of overconfidence. Whether engaging Kayla Shimizu as Laurey in a whimsical carriage ride during the imaginative The Surrey with the Fringe on Top or musing about life in Oh What a Beautiful Morning, Troilo puts his heart into Curly delivering an inspired performance. Troilo also has a sweet rapport with Carolyn Saxon who brings wise sensibility and playfulness to Aunt Eller through her considerable grin, yet she is a woman not to be trifled with.

Reagle Music Theatre’s ‘Oklahoma’s’ Aunt Eller and Curly Photo credit Robert Pascucci

In a fishtail braid and striped overalls, Shimizu depicts headstrong and practical Laurey with sass, strong vocals, and introspective charm. The production more clearly examines nonconformist Laurey who wants to do anything but what is traditionally expected, yet still yearns for a big love. Through refined, twirling and ballet-infused choreography that combines the traditional with the contemporary topped with lace lined parasols, Many a New Day illustrates that contrast as Laurey longs for her own path.

Reagle Music Theatre’s ‘Oklahoma’ Laurey and Girls (Out of My Dreams) Photo credit Robert Pascucci

Jack Mullen has many standout moments showing off rodeo and dance skills as fun loving, somewhat hotheaded, and spontaneous Will. Will’s rendition of Kansas City has never been more fun with lively vocals and slick choreography as The Territory Boys stomp, tap, and perform various stunts.

Oklahoma’s Ado Annie (Rebekah Rae Robles)and Will Parker (Jack Mullen) Photo credit Robert Pascucci

A vision in pink, Rebekah Rae Robles depicts excitable Ado Annie with a feigned wild-eyed innocence and childish mischievousness. With a glimmer in her eye, Robles’s chemistry with both Will and Johnny Gordon as bewildered peddler Ali Hakim has its own distinct charm. Wearing a green suite, Gordon as Ali Hakim cleverly balances this dynamic character with comedy and slyness. Rick Sherburne also makes a lasting impression as Andrew Carnes, Ado’s intimidating and overprotective father, especially during the number, The Farmer and the Cowman.

Reagle Music Theatre’s ‘Oklahoma’ Dream Laurey and Jud Daniel Forest Sullivan. and Girls Photo credit Robert Pascucci

Daniel Forest Sullivan brings a deeper sadness to skilled hired hand and loner Jud residing in a one room smokehouse. Sullivan masters this role in its quieter moments, amplifying each scene’s tension and making his character that much more mysterious. His scenes with Curly are somber and powerful even through Jud’s twisted judgment. With an unmistakable laugh, Caitlin Zerra Rose as Gertie Cummings is a great deal of frivolous fun.

Reagle Music Theatre’s ‘Oklahoma’ Dream Ballet Dream Laurey (Nicole Volpe) and Dream Curly (Joel Douglas) Photo credit Robert Pascucci

However, the biggest reason to see Oklahoma! is Bertone’s stellar choreography from the powerful and symbolic ballet Out of My Dreams to the snappy excitement of its title track. The show exemplifies the closeness and camaraderie of simpler times. It captures the joy of being in one another’s company which has become more precious in the last couple of years. The entire cast captures the distinct spirit of Oklahoma! in all its sweeping joy.

Reagle Music Theatre kicks off the summer musical season with Rodgers and Hammerstein’s musical classic, Oklahoma! continuing live and in person through July 2 at the Robinson Theatre in Waltham, Massachusetts. Click here for more information and for tickets.

REVIEW: Teatro Chelsea hits close to home with compelling family dramedy ‘619 Hendricks’

Posted on June 28 by The Sleepless Critic

When a house is chock full of memories, sometimes it is difficult to let go.

Shortly after the death of brothers Nesto and Richie’s parents in Laredo, Texas, the aptly titled 619 Hendricks is an address which holds the livelihood of Nesto and Richie’s immediate futures, but for very different reasons.

Directed thoughtfully by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1. Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish may have been at an advantage. This bilingual production is 100 minutes with one 10 minute intermission. Click here for more information and for tickets.

Cristhian Mancinas Garcia as Richie and Juan Carlos Pinedo-Rivera as Nesto in ‘619 Hendricks’ Photo credit to Teatro Chelsea

619 Hendricks is an affecting and sincere dramedy of a vibrant Latino family with some tough decisions ahead of them. It achieves a delicate balance of sentimentality and practicality as Nesto and Richie discuss the future of their family house which will be financially split between the two of them. Scenic designer Payton Tavares creates an appropriately tattered atmosphere including intricately torn brick walls and strips of blue wallpaper under vintage photographs perhaps symbolizing the house’s need of repair is not just external. The intimate manner in which the audience is situated offers a uniquely exclusive peek into this house of many secrets. 619 Hendricks explores grief, jealousies, stubbornness, sibling rivalry, and desperation as the show teeters between humor and tension even occasionally within a single statement.

Juan Carlos Pinedo-Rivera as Nesto, Juan Pedro Paniagua as Tio Chago, and Cristhian Mancinas Garcia as Richie in ‘619 Hendricks’ Photo credit to Teatro Chelsea

This lively cast captures a natural and animated familial rhythm as they lovingly tease and chide each other as they roam the house. Nesto and Monica Risi as wise and tolerant Marta make an amiable pair striving to do what is best for their family. Juan Pedro Paniagua as Tio (Uncle) Chago and Eliza Guzman-Hostas as Tia (Aunt) Carolina provide a refreshing lightheartedness as they humorous banter while the brothers discuss a topic that is all too universally familiar within families, especially after a loved one has passed.

Two brothers are at odds over the family house, but the house is just the tip of the iceberg. Their family issues run deep and the drama unfolds steadily and consistently as tension mounts. Nesto and Richie have contrasting temperaments which make their bickering, needling, and manipulations that much more explosive. Nesto, portrayed with a big personality and even loftier ideas by Juan Carlos Pinedo-Rivera, thinks he has a fool proof plan for the house while Richie, portrayed with sympathetic and quiet introspection by Crishian Mancinas Garcia, is not so sure. With Felix Ramos as business minded agent Hector’s added pressure, determined Pinedo-Rivera and Garcia deliver meaty performances as they cut each other to the quick, a consequence of fighting for the upper hand at any cost. The fights are genuine, tense, and so universally familiar that it is easy to relate to their situation in all of its complications.

Cristhian Mancinas Garcia as Richie in 619 Hendricks Photo credit to Teatro Chelsea

Directed by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1. This bilingual production is 100 minutes with one 10 minute intermission. Click here for more information and for tickets.

REVIEW: Gloucester Stage examines love’s good, bad, and funny side in Noel Coward’s ‘Private Lives’

Posted on June 21 by The Sleepless Critic

Two pairs of British honeymooners embark on a luxurious beachside vacation without a care in the world…until their exes come into view. Then panic sets in.

Directed with vintage finesse by Diego Arciniegas, Gloucester Stage presents the amusing and at times hilarious romantic comedy, Private Lives live and in person at Gloucester Stage in Massachusetts through June 25. The show is presented in three acts and is approximately two hours with two intermissions. Click here for more information and for tickets.

Gloucester Stage’s ‘Private Lives’ Gunnar Manchester as Elyot and Katie Croyle as Amanda Photo Credit to Jason Grow

Seeing an ex can be excruciating, embarrassing, and depending on the circumstances in which it ended, a resentful experience. Every individual is different, but unless one parts way in a resplendent and amicable manner resembling a typical Reese Witherspoon romantic comedy where everyone is cheerfully and most times unrealistically understanding, seeing an ex can take the wind out the sails and become a harrowing and at best, brief and awkward experience. During what should be the happiest time in these honeymooners’ lives, encountering a complicated ex can spell disaster.

Gloucester Stage’s ‘Private Lives’ Serenity S’rae as Sibyl Photo Credit to Jason Grow

Private Lives may be a bit outdated in some of its thinking, but the nature of love remains the same. It boasts Noel Coward’s snappy dialogue that resembles 1940 classic comedy His Girl Friday about ten years before that film existed. Set in the 1930s, Private Lives features gorgeous classic love songs designed by Eric Hamel and possesses the charm of times gone by including marvelous vintage couture and outdoor wear by Nia Safarr Banks and landline telephones back when no one could identify who was on the other end of the line until it was picked up. Refreshingly, not a cell phone in sight. Another bright facet of Private Lives is Izmir Ickbal’s elegant scenic design that matches the show’s pristine sophistication from matching French-style furniture and grand piano to a pristine marble patio, balustrades, and lush greenery.

Gloucester Stage’s ‘Private Lives’ Stephen Shore as Victor and Katie Croyle as Amanda Photo Credit to Jason Grow

Essentially though, it explores the good, the bad, and the ugly side of love. The patterns of falling in and out of love while learning from what went wrong. When it comes to love on a scale of when it’s good, it’s perfect, but when it becomes ugly, watch out.

Gloucester Stage’s ‘Private Lives’ Jennifer Bubriski as Louise Photo Credit to Jason Grow

Each character has an eloquent speaking style and sophistication in manner, tone, and behavior evident even in chatty, young, and impressionable Sibyl depicted with vigor and excitable humor by Serenity S’rae. S’rae as Sibyl is not to be underestimated and her scenes with Gunnar Manchester as Elyot are full of idealistic expectations. Manchester certainly has the charisma for it as brooding, mysterious and a gambler in every sense of the word Elyot. While his motives are often in question, Elyot is a fascinating sort that never walks blindly into a situation. Katie Croyle embodies headstrong Amanda with wit and cynicism, yet still idealistic about love and hoping she has outsmarted her past. Stephen Shore, who shares a passing resemblance to Matt Damon, depicts chatty, protective, yet heart on his sleeve Victor while Jennifer Bubriski portrays Louise, a comedic bystander in this situation with perfectly timed, deadpan one-liners. The cast have compelling chemistry as well as quick witted comedic timing. Each character also demonstrates various outlooks on love, but will it serve them well?

Gloucester Stage’s ‘Private Lives’ Stephen Shore as Victor Serenity S’rae as Sibyl and Gunnar Manchester as Elyot Photo credit to Jason Grow

Energetic, tense, and with plenty of engaging physical and absurd humor, Private Lives is a smart, lighthearted, and hopeful romantic comedy about searching for love that is perfect in its imperfection.

Gloucester Stage presents the amusing and at times hilarious romantic comedy, Private Lives live and in person at Gloucester Stage in Massachusetts through June 25. The show is presented in three acts and is approximately two hours with two intermissions. Click here for more information and for tickets.