comedy | The Sleepless Critic

REVIEW: Firecracker moments drive Hub Theatre Company of Boston’s ‘Burn This’

Posted on 4 Days Ago by The Sleepless Critic

A freak accident and a strange wake beg a lot of questions. Then suddenly, a combustible force enters Anna’s smoldering world and there is little she can do to stop it.

With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12^th season with Lanford Wilson’s Burn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21. This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission. All shows are at a pay what you can basis. Click here for more information and for tickets.

Steve Auger, Tim Hoover, Kiki Samko, and Victor L Shopov in Hub Theatre Company of Boston’s ‘Burn This’

Inside an upscale New York City loft apartment, Burn This delivers firecracker moments which starts as a slow burn. The one with the long fuse is Kiko Samko as Anna, an often saintly dancer who is experiencing a creative block after the death of her roommate, Robbie. With flirtatious flair and a dramatic persona that relieves some of the production’s tense moments, Steve Auger humorously portrays Anna’s other roommate, Larry. Anna is involved in a complicated relationship with Tim Hoover as wealthy screenwriter Burton who is struggling with his next screenplay. United in their grief over the loss of Robbie, they share hesitation about their future.

Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

With the audience situated on two sides of the stage, Justin Lahue’s elegant and spacious set design of an upscale loft apartment features a cluttered kitchen, modern furniture and a broad black and white staircase as well as elements of artistic flair including a shadow painting of a dancer. Distinct modern light bulbs hang from the ceiling and well-timed lighting by Emily Bearce bolsters the production’s warm and intense moments along with Asad Harwick’s occasionally startling sound design. Costume designer Nohely Roman blends sophisticated and athleisure leaning on silks and a (surely) designer black tracksuit, pinstripes, and lace in bold and classic colors.

Kiki Samko and Tim Hoover in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

Samko’s Anna is a complex character who shares a natural camaraderie with Auger and Hoover as they embark on some animated discussions about life and their artistic challenges. Hoover as Burton is sensitive and protective of Anna and they clearly share a sweet rapport. Anna is drawn to taking care of people and her patience and considerate nature does not always serve her well.

Kiki Samko and Victor L. Shopov in Hub Theatre Company of Boston ‘Burn This’ Photo credit to Tim Gurczak

Making a firecracker of an entrance is Victor L. Shopov as Robbie’s fast talking, furious, and often tumultuous brother, Pale and suddenly, Anna’s mostly predictable world abruptly experiences some chaos. Samko and Shopov possess some genuine chemistry and Burn This dives into extremes between calm and calamity in the form of Pale who infuses a lightning rod of energy into each appearance. In a gray suit, Shopov’s Pale is an all business workaholic while Samko’s Anna is meditative and nonviolent. Their encounters are fascinating and at times infuriating as Anna’s long fuse is perpetually tested to the point when you just want Anna to finally say enough while Samko and Shopov keeps the audience invested in the outcome. Samko’s horrified stares and Shopov’s potent audacity are much more than meets the eye and this unique connection delivers some surprising results.

Burn This is an exploration of loss, the confusion that ensues, and the journey of finding hope when all looks bleak. That journey can be uncomfortable but necessary in order to find the way through and Burn This lends some humor and hope, even in an uncertain future.

REVIEW: ‘Driving in Circles’ a winding and resilient concert journey at Boston Playwrights’ Theatre

Posted on 20 Days Ago by The Sleepless Critic

Now here is something refreshingly different.

Directed with energizing flair by Sam Plattus, innovative sound design by Gage Baker and cleverly written and performed by Jay Eddy, Boston Playwrights’ Theatre presents Driving in Circles live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Saturday, April 6. This new, deeply personal concert-style work is 100 minutes with no intermission. Click here for more information and for tickets.

Jordan Palmer Zach Fontanez and Jay Eddy in Driving in Circles Photo credit to Scornavacca Photography

Infusing storytelling, relatable humor, and a fascinating blend of hard hitting and uplifting original music, Everett-born Jay Eddy as Jill/Bill is a witty individual who has faced a daunting set of physical and emotional challenges at a young age. Eddy is raw, honest, funny, and self deprecating tackling trauma at its core as well as the aftershocks of these events demonstrated in a catchy opening number that explains how to survive an earthquake. Eddy counts backwards in time at the prevalent ages in which Eddy endured these hardships.

Jay Eddy on guitar in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Scenic designer Danielle DelaFuente with set construction by Carly Stegall has fittingly set up a highway rest stop with a dart board, colorful vintage license plates and vinyl records. A hanging pink bathrobe is just one of the significant Easter eggs shown on Eddy’s reflective journey. Wearing red eye shadow and white boots, Jay Eddy, keyboardist Jordan Palmer, and guitarist Zach Fontanez sport similar blue uniforms by costume designer Eric Tran as they perform on a staged road while lighting designer Kevin Fulton sets an atmospheric vibe including twinkling lights and multicolored linear array lights that illumine each performer’s space.

Jay Eddy sharing a humorous weather report in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Driving in Circles is essentially an emotionally-charged concert road trip through a variety of beautiful and traumatic events that have shaped Eddy’s life. It is powerful, sad, and disturbing at times, but is also hopeful, charming and lighthearted on this unpredictable road to healing. This is not lighthearted fare and the material is a bit too serious to be considered standup, but Eddy’s enthusiasm and interactive style is relatable, warm, sincere, and funny. Sharing home movies creatively projected by Maria Servellón, Eddy is not limited to the stage and engages the audience in a compelling manner that makes you feel a part of her journey brimming with detours, twists and turns on past road trips and misadventures that include destinations such as Seattle, Nashville, Vermont and Maine. Driving in Circles contains plenty of local references and Eddy shares a compelling and relatable tale getting lost on the road in what should have been a simple trip to the dentist.

Jay Eddy in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Eddy’s original electronic music is performed on the spot as lead vocals in a three piece band. Eddy is a master on the audio board expertly delivering vocals and sound effects while keyboardist Jordan Palmer and guitarist Zach Fontanez enhance this dynamic blend of lively songs. Eddy is a powerful, edgy and expressive singer and it is amazing to listen to it navigated through the audio board, but Eddy’s bare vocals are also incredibly affective. Shrill Woman, Time Traveler, Another Day, the soothing You’ll Feel Better with Fontanez delivering a notable guitar solo, uplifting The Dog Days of Summertime and hopeful The World is Ending Anyway are just a few highlights.

Jay Eddy in ‘Driving in Circles’ Photo Credit Scornavacca Photography

A perceptive work with plenty of heart, Driving in Circles is a powerful and original work about resilience and hope even through harrowing events. Eddy demonstrates music’s healing power through art as well as the music that helped Eddy cope from artists such as Simon and Garfunkel and Tom Petty. After all, Driving in Circles can still lead to beautiful destinations.

Jordan Palmer, Jay Eddy, and Zach Fontanez in ‘Driving in Circles’ Photo credit to Scornavacca Photography

REVIEW: The Company Theatre’s ‘A Gentleman’s Guide to Love and Murder’ less mystery and more refined humor

Posted on 26 Days Ago by The Sleepless Critic

How far would you go to get ahead in the world as well as get the object of your desire?

Co-directed drolly by Zoe Bradford and Sally Ashton Forrest with jolly musical direction by Robert McDonough, The Company Theatre takes a satirical look at the haves, the have nots, and the ones desperate to rise above their station in Robert L. Freedman’s musical comedy A Gentleman’s Guide to Love and Murder continuing live and in person at the Company Theatre in Norwell, MA through Saturday, March 30. This zany production is a lengthy 2 hours and 20 minutes including one intermission. Click here for more information and for tickets.

Ryan Barrow’s partially projected set with Dean Palmer Jr. is quite literally a vintage gold and marble stage within a stage boasting some elaborate backdrops with a portion of it used to set up some dark comedy including a towering chapel, royal mail, a floral garden adorned with English lavender, a positively pink aristocratic parlor, an aesthetically animated snow-covered ski resort and a dour grave site. Ostentatious and detailed rich velvet dresses, top hats, corsets, high boots, and lacy frills are just part of what Joe Michienzie costumes with specialty costume pieces by Kathryn Ridder use to authenticate the propriety of Edwardian England.

A grave event in ‘A Gentleman’s Guide to Love and Murder’ Photo by Zoe Bradford

The show opens with a juicy Warning to the Audience of more elaborate treachery and danger than the actual musical delivers. Leaning far more on humor and murder and less on mystery, what starts as a surprising discovery becomes a plot so thick and absurd that even a gentleman can not quite believe it. Down on his luck Monty suddenly discovers he just might be eighth in line in the revered D’Ysquith (emphasis on the DIE with a rat a tat ring to each family name) family to become the Earl of Highhurst Castle shortly after his mother’s death. Bonnie Gardner as kindly and direct Miss Shingle is the bearer of this questionably reliable news in You’re a D’Ysquith. Becoming an Earl would mean a massive fortune and a sterling reputation. How does a gentleman consider murder to win the object of his desires and become an Earl?

A Gentleman’s Guide to Love and Murder has a lively and engaging cast especially during a bit of humorous shuffling at Highhurst Castle and a comically grim scene for Why are all the D’Ysquiths Dying? This brand of refined humor right out of the BBC is tailor made for Anglophiles and though it is about love and murder, its satirical tone makes for a gallivant into the misdeeds of one Monty Navarro, depicted with a polished air and a hint of desperation by Justin Maloney. Maloney as Monty is a proper chap and is part narrator as he guides us through this fiendish journey, but he is more matter of fact than dangerous and it would benefit him to exhibit at least some hidden dastardly tendencies. Perhaps this is part of the absurdity of it all. Monty’s character is exemplified in a championing rendition of The Last One You’d Expect.

Justin Maloney and Dru Daniels Photo by Zoe Bradford

Dru Daniels, who dazzled as Lily in Company Theatre’s The Secret Garden, lends her wonderful vocals to depict Sibella Halliward, a status-hungry gold digger and the object of Monty’s desire. Prim and proper surrounded by extravagance, Sibella is a woman who knows what she wants but otherwise her feelings for Monty seem genuine. The numbers I’ve Decided to Marry You and That Horrible Woman alongside Stephanie Mann as Cousin Phoebe D’Ysquith boasts clever staging and one of the most exciting parts of the production.

Jason Denton meets the challenge of depicting a number of short lived characters where some work better than others, but the two characters that stood out was a buck toothed, architecture-obsessed Reverend Lord Ezekiel D’ Ysquith, and thick mustached fox hunter called Lord Adalbert D’Ysquith. With lively and dusty portraits in the background, Denton’s I Don’t Understand the Poor is heightened by Denton’s humorous delivery and madcap charm. Also Denton as Lord Adalbert D’Ysquith and Alyssa Norton as his Lady Eugenie’s passive aggressive banter is comic gold.

Alyssa Norton and Jason Denton Photo by Zoe Bradford

REVIEW: Heartache and longing compel Lyric Stage Company’s Irish drama, ‘Thirst’

Posted on March 16 by The Sleepless Critic

The calming bird calls and chiming crickets in perfect rhythm with the ocean waves combined with the whimsical with a hint of melancholy music score by David Remedios is a clever façade for what exists inside Tyrone’s American oceanside summer cottage. So much of this production is about what each person is hiding inside as miserly owner Mr. Tyrone insists on keeping the lights off.

Under Courtney O’Connor’s delicate direction and just in time for St. Patrick’s Day, Lyric Stage Company continues its 50^th anniversary season with Ronán Noone Irish drama Thirst live and in person at Lyric Stage in Boston, Massachusetts through Sunday, March 17. The show is two hours and 15 minutes including an intermission. Click here for more information and for tickets.

Michael Kaye and Aimee Doherty in ‘Thirst’ Photo by Mark S Howard

Set in 1912 within scenic designer Janie E Howland’s impressively functioning kitchen equipped with running water and a piping hot wood stove and heavy hanging black wrought iron pans as active as this trio of lonely and willful characters, Thirst delves into longing, heartache, and the inner turmoil that can very well define us all if we let it.

Michael Kaye Kate Fitzgerald and Aimee Doherty in ‘Thirst’ Photo by Mark S. Howard

Thirst focuses on two Irish immigrant servants and a widowed chauffeur employed by the Tyrone family who are restless about their future and longing for a better life seemingly just beyond their reach. Part unconventional love story, Thirst explores life’s challenges and the unique tie that binds this trio of characters to gradually understand each other.

Though it has a bit of a slow start, witnessing the unfolding of these multilayered characters helmed by Kate Fitzgerald who exuberantly embodies feisty, daydreaming, uproarious, and romantic Titanic survivor Cathleen, becomes an absorbing exploration for this trio to break free of their limitations and embrace happiness.

Kate Fitzgerald and Aimee Doherty in ‘Thirst’ Photo by Mark S. Howard

With a thick brogue under dialect coach Rebecca Gibel, Fitzgerald’s excitability and wondrous daydreams blended with her maturity and frankness well beyond her age is a stark contrast to Aimee Doherty as Cathleen’s disillusioned, secretive and practical Aunt Bridget. Doherty and Fitzgerald’s sweet and spicy rapport is as comical as it is bittersweet and their tendency to take things too far makes for some enthralling moments. It is particularly fascinating to watch a wonderful actress like Aimee Doherty’s depiction of tone deaf Bridget when renowned singer Doherty is anything but. Doherty has a particular flair during the production’s more lighthearted moments. Michael Kaye is increasingly endearing as poetic and protective Jack heightened in a moving monologue about life’s complications toward the end of the play. All of these characters have suffered grief and loss and it is touching to watch them argue, protect and encourage each other as they learn to understand each other’s innate struggles through humor and heartache.

Aimee Doherty in ‘Thirst’ Photo by Mark S Howard

Under Courtney O’Connor’s delicate direction and just in time for St. Patrick’s Day, Lyric Stage Company continues its 50^th anniversary season with Ronán Noone Irish drama Thirst live and in person at Lyric Stage in Boston, Massachusetts through Sunday, March 17. The show is two hours and fifteen minutes including an intermission. Click here for more information and for tickets.

REVIEW: Karin Trachtenberg’s ‘My Mother Had Two Faces’ examines the woman in the mirror

Posted on March 9 by The Sleepless Critic

They say beauty is only skin deep.

My Mother Had Two Faces explores beauty in all of its forms and how to accept the person in the mirror including the flaws on both the outside and on the inside.

Written by Karin Trachtenberg in a heartfelt performance and directed and developed by Jessica Lynn Johnson, The Rockwell presented the one woman self reflecting play, My Mother Had Two Faces: Reflections on Beauty, Aging, and Acceptance live and in person at The Rockwell in Somerville, MA through Sunday, March 3, but this production is currently touring. Karin will make her next stop at the United Solo Festival at Theatre Row on March 14 in New York City. The show is approximately 60 with no intermission. Click here for more information and here for further details and for tickets.

Karin Trachtenberg in ‘My Mother Had Two Faces’ Photo credit to Karin Trachtenberg

The magnifying mirror is beauty’s classic frenemy. It stands out on a vanity counter strewn with jewelry, makeup and all the items it takes for a person to enhance their best features. The magnifying mirror enlarges all the remarkable parts of the face, but is also unrelenting and unforgiving for all the parts that glaringly need improvement. For Karin’s Swiss mother, it was a beacon of hope and an essential part of her daily routine that gave into an illusion that goes back generations that women must look perfect in today’s society. As the show most poetically asks, ‘What does it mean to be seen by the envelope and not the letter?’

This revelatory production is not just about beauty, but it is a memoir about healing. As a ritual for Karin’s Buddhist faith, it is a therapeutic journey into the past to get better insight into Karin’s struggles in order to achieve enlightenment. My Mother Had Two Faces delves into important moments for Karin, her mother, and her family’s history while masking family trauma.

Karin and Lindt chocolate Photo credit to Karin Trachtenberg

Offering free Lindt chocolates as a tribute to Karin’s family heritage, My Mother Had Two Faces is an engaging, bare, honest, and sincere portrayal of the good, the beautiful and the horribly ugly with humor, joy, fear, grace, and anguish in the sting and string of life’s revelations. Accompanied by slideshows, photos and much more shared through a multimedia screen by 3 Cubed, Karin shares some of her mother’s reflections in a thick and playful Swiss accent and an occasional lighthearted free spiritedness. Dressed in black, Karin is a blank canvas for her mother and her own various idiosyncrasies, frustrations, hypocrisies, earnest dreams and more. It is an eye opening journey accompanied only by the wise, sensible, and logical musings of the woman in the mirror exploring her most wonderful and toughest experiences. Eric Bornstein’s expressive and finely-detailed masks are effective aides during the production with well timed lighting while sound and tech designer Bobby Raps rewinds the clock with a vintage soundtrack that includes the theme song to Mission Impossible and Edith Piaf’s Non je ne regrette rien (No regrets).

Karin Trachtenberg and Eric Bornstein’s masks Photo credit to Karin Trachtenberg

Karin paints a well rounded portrait of her enigmatic and glamorous mother and therefore making invaluable discoveries about herself and her family on this healing journey. It is funny and moving and may encourage you to take a closer look in the mirror at what makes a person who they are.

My Mother Had Two Faces: Reflections on Beauty, Aging, and Acceptance will next be at the United Solo Festival at Theatre Row on March 14 in New York City. The show is approximately 60 with no intermission. Click here for further details and for tickets.

REVIEW: Experience the magic and the gripping madness of Apollinaire Theatre’s ‘The Antelope Party’

Posted on March 6 by The Sleepless Critic

In a world gone mad, friendship is tested. How did it all go awry?

Eric John Meyer’s The Antelope Party is a multilayered production that dives behind the production’s kaleidoscopic colors into many shades of gray. Many suspicions rise and this tight knit group are stealthily on the hunt for answers.

Directed methodically by Brooks Reeves, The Apollinaire Theatre Company continues Eric John Meyer’s suspenseful The Antelope Party live and in person at Chelsea Theatre Works through Sunday, March 17. The show is two hours and fifteen minutes with one intermission and is not suitable for children. Click here for more information and for tickets.

Put away any preconceived notions of this show. It is much more than any advertisement can suggest. It is raw, funny, suspenseful, gloriously unconventional, thought provoking, and slippery in its intentions. What remain consistent are its views on friendship and its quest for uncovering truth.

Apollinaire Theatre Company The Antelope Party Evan Turissini Christa Brown and Brit Gardner Photo credit Danielle Fauteux Jacques

Cheerfully steeped in rainbow colored brightness and creative nostalgia elevated by a My Little Pony signature blanket, ebullient drapes, and authentic My Little Pony figurines lined up on a dresser, set designer Joseph Lark-Riley certainly knows how to transform a room or in this case, Demetrius Fuller as level headed Ben’s cozy apartment. This multilevel set has a brew shop and lamp lit park setting that leaves everything out in open unlike this enigmatic storyline that houses many secrets.

Apollinaire Theatre Company The Antelope Party Evan Turissini Christa Brown Brit Gardner and Demetrius Fuller Photo credit Danielle Fauteux Jacques

As impressive as the set design is Elizabeth Rocha’s vibrant and fancifully detailed Brony costumes and most notably, Christa Brown’s wonderfully distracting shimmering blue sneakers. Demetrius Fuller as Ben, Christa Brown as Maggie, Evan Turissini as Shawn, Brit Garner as Rachel, and Alex Leondedis as Doug gather together in Ben’s apartment as My Little Ponies or ‘bronies’ to speak minds freely and be heard, listen more than speak, and bond in harmony and understanding in an idyllic land known as Equestria. The group’s joyful camaraderie punctuated by galloping is endearing and hilarious. However, when Danielle Fauteaux Jacques arrives as newcomer Jean, something is off.

Apollinaire Theatre Company The Antelope Party Brit Gardner Christa Brown Demetrius Fuller and Evan Turissini Photo credit Danielle Fauteux Jacques

‘Pegasisters pump’, ‘going for a trot’, and ‘klopper’ are just some of the terminology used by self proclaimed Bronies or superfans of My Little Pony which is laid out in the production’s program. This type of fan base actually exists according to the 2012 documentary, Bronies: The Extremely Unexpected Adult Fans of My Little Pony that focuses on diehard fans of the 2010 series, My Little Pony: Friendship is Magic. However, this is only the tip of this intense and multidimensional iceberg that Eric John Meyer’s The Antelope Party systematically lays out set in a highly populated and high poverty stricken Western Pennsylvania mill town. Outside Ben’s apartment, we are not in Equestria anymore.

This show would not be as appealing if not for its powerful cast who delivers sharp comic timing with dramatic flair. They consistently translate what can at times be interpreted as silly to unmitigated believability. The Antelope Party weaves in My Little Pony, but also relatable fears, paranoia, obsession, powerful messages, and the fragility of true friendship.

Apollinaire Theatre Company The Antelope Party Evan Turissini as Shawn Photo credit Danielle Fauteux Jacques

Evan Turissini stands out as Pinky Pie or insecure wild card Shawn and Danielle Fouteaux Jacques as Jean. Turissini is all at once sympathetic and difficult while always longing for acceptance and Fouteaux Jacques delivers comical rationale at the most inopportune times. Christa Brown adds convincing bite to Rarity or overconfident and connected Maggie and Demetrius holds his own as Fluttershy or good natured Ben. Brit Gardner as Twilight Sparkle or conflicted Rachel and Alex Leondedis as Rainbox Dash or distant Doug round out this excellent cast.

The Antelope Party is a fascinating and introspective production in a world gone mad and should not be missed.

REVIEW: Glitzy ‘Pretty Woman the Musical’ is vivacious fun

Posted on February 29 by The Sleepless Critic

Based on the hit film adaptation starring breakout star Julia Roberts and then megastar Richard Gere, Pretty Woman put a fairy tale spin on a story about a clever prostitute who charms a rich guy. The film is produced by Disney no less and solidly directed by the late esteemed Garry Marshall. With natural elegance, pitch perfect comic timing, and tangible chemistry with Gere who she went on to star with in other film projects due to their thriving and bankable chemistry, Julia Roberts instantly became America’s Sweetheart at just 21 years old.

A lot of big box office movies adapt into musicals and Garry Marshall is behind Pretty Woman the Musical.

Directed with upbeat choreography by Jerry Mitchell, music by award-winning singer-songwriters Bryan Adams and Jim Vallance, and based on the book by Garry Marshall and J.F. Lawton, Pretty Woman the Musical continues live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 3. Click here for more information and for tickets.

Pretty Woman The Musical – Chase Wolfe and Ellie Baker credit Matthew Murphy for MurphyMade

Featuring Chase Wolfe as Edward and adorable Ellie Baker as Vivian creating their own winning chemistry, Pretty Woman the Musical is a feel good adaptation with some memorable musical numbers and includes the beloved and iconic moments that charged the 1990 romantic comedy classic.

Tall metallic palm trees with Hollywood store signs warmly lit by Kenneth Posner and Philip S. Rosenberg bring glitzy California to life by scenic designers David Rockwell and Christine Peters. The rolling set cleverly transforms from energetic city streets to picturesque elegance as silk drapes adorn a gold embroidered balcony with extravagant detailed furnishings including the film’s iconic black baby grand piano.

Pretty Woman The Musical – Bethany McDonald , Ellie Baker, and Taylor M. Sheppard credit Matthew Murphy for MurphyMade

From colorful street clothes to flowing runway fashion to majestic gowns that include Vivian’s iconic red dress, costume designer Gregg Barnes exacts the splashy nature and 80s vibe of this fantasy fairy tale. Commanded by Lauren Esser’s soaring vocals boasted by a powerful rock growl stepping in for Rae Davenport as Kit, fashion bursts onto the scene in the flashy number Rodeo Drive infused with a guitar-tinged rock n roll vibe oozing in the sophistication of many shoppers’ fondest dreams.

Pretty Woman The Musical – Adam Du Plessis credit Matthew Murphy for MurphyMade

One spectacular performer who does a lot of the heavy lifting is Adam Du Plessis as Happy Man. He not only delivers candid and fun-loving charisma to the neon glow of Hollywood Boulevard for What’s Your Dream, a catchy opening number with a tropic tinge, but watch for Du Plessis to pop up unexpectedly and delightedly in various sequences throughout the production boasting sharp comic wit and dynamic spontaneity. Whether in a colorful Hawaiian shirt under a flowing trench coat or dressed to the nines, Du Plessis has quite the range as Happy Man. He shares an endearing rapport with Connor Kabat depicting Giulio with scene stealing goofy sweetness reminiscent of night elevator operator Patrick Richwood from the film.

Ellie Baker has a lot to live up to and successfully makes the role her own through those signature red curls. Baker infuses a unique and goofier free spirit and effervescence to Vivian more playful than Roberts’s engaging portrayal. Julia Roberts had more of an established elegance in her role, even when she is trying to look tough. Baker has bubbly comic timing and a snigger as charming as her beautiful face. She performs a stirring rendition of This is My Life, created from one of Vivian’s monologues to Edward. She also delivers a heightened and powerful solo for I Can’t Go Back.

In a black suit, maroon tie, and a stubbly beard, Chase Wolfe portrays a more rugged, contemplative, and serious businessman in Edward apart from Richard Gere’s subtle charm. Wolfe offers a separate lightness to the role and shares playful chemistry with Baker particularly for You’re Beautiful. Edward’s character is developed further than in the film, especially during his insightful solo, Freedom which is a nice addition drawn from Edward’s monologue in the film to Vivian.

With thick pink eye shadow, studded black skirt and biker jacket, Lauren Esser’s distinct accent and tough facade as Kit uplifts Luckiest Girl in the World alongside Baker as Vivian and in the bright and catchy number, Never Give Up on a Dream. Kit’s spitfire persona and shoot-from-the hip attitude is a tougher version of Laura San Giocomo’s benchmark performance, but here Kit is a more established character and given a larger arc than in the film. She and Baker share a strong and protective bond evident from Kit’s first scene.

Pretty Woman The Musical – The Company of Pretty Woman The Musical credit Matthew Murphy for MurphyMade

Jason Alexander has said that his opportunity for George from Seinfeld came from Pretty Woman and it was a hard fought battle for him to play the role of Edward’s lawyer and friend, Phillip Stuckey. However, in this version, Mikey Marmann is more of what director Garry Marshall originally had in mind for Stuckey’s intimidating, slimy, and snarky persona and Ellie Barker as Vivian’s updated and more welcoming interactions with him are a little different this time around.

Whether it is Sara Wang’s astounding vocals or even the beautiful rendition of You and I which has an unmistakable Bryan Adams influence, Pretty Woman the Musical is an uplifting musical journey that will please fans of the film or anyone experiencing it for the first time.

Directed with upbeat choreography by Jerry Mitchell, music by award-winning singer-songwriters Bryan Adams and Jim Vallance, and based on the book by Garry Marshall and J.F. Lawton Pretty Woman the Musical continues live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 3. Click here for more information and for tickets.

REVIEW: Make time for The Huntington’s unique ‘Stand Up if You’re Here Tonight’

Posted on February 28 by The Sleepless Critic

In some ways, Stand Up if You’re Here Tonight seems to be about nothing and everything all at once.

With a magnificent and probably one of the most gracious introductions to a production, Stand Up if You’re Here Tonight delves into the art of theatre, the luxury of Netflix, love, loss, loneliness, comfort, and all the idiosyncrasies of life that may or may not drive a person crazy. Part standup, part existential crisis, and part play-within-a-play, this original comical theatrical experience is hosted by a man who has had just about enough.

Jim Ortlieb of The Huntington’s production of John Kolvenbach’s Stand Up If You’re Here Tonight, directed by John Kolvenbach; photo Nile Hawver. Running January 20 – March 23, 2024 at the Maso Studio, Huntington Theatre. Boston, MA 02115.

Written and directed shrewdly by John Kolvenbach, The Huntington presents Stand Up if You’re Here Tonight live and in person at the intimate and immersive Maso Studio at the Huntington Theatre in Boston, Massachusetts through Saturday, March 23. The production is general admission and runs 60 minutes with no intermission with a special happening at the end of the performance. Do not miss a moment of this show because it is worth it. Click here for more information and for tickets.

Introduced by breezy 60s lounge music and surrounded by various vintage furnishings including lit chandeliers, doorways off their hinges, a ladder, a metal bird cage, and what starts out as a wooden lectern by Kristine Holmes and Sam Galvao, Stand Up if You’re Here Tonight is unveiled with frenetic urgency and earnestness expertly navigated by host Jim Ortlieb.

In a gray suit making a casual entrance, Jim Ortlieb guides the surrounding audience into a performance so engaging and interactive that this critic barely has time to take notes which was a joy. Lighting designers M Berry and Makenna Harnden’s rhythmic and atmospheric lighting acted as its own character perfectly timed with the quick pace and tricky transitions that lead to the most unexpected places.

All of this production’s surprises will not be revealed here. With a welcoming grin and a dose of self awareness, Ortlieb delves into some of his own vivid memories, imagination, and experiences with relatable and sometimes dark humor, but what is most important is that audience is here, present, and in the present. Laugh and be moved. That is what really matters.

REVIEW: The Sudbury Savoyards presents Gilbert and Sullivan’s playfully witty farcical opera, ‘Princess Ida’

Posted on February 27 by The Sleepless Critic

Will it be love or war?

This is the question posed by King Hildebrand, grandly portrayed by Matt Tragert, as his kingdom anxiously awaits the arrival of Maria Bozich as fiercely independent Princess Ida.

Conductor Stephanie Beatrice with orchestra Photo by Sue Flint

With book by W.S. Gilbert, perceptive direction by Rebecca Graber, and compelling music by Arthur Sullivan conducted and musically directed by Stephanie Beatrice, The Sudbury Savoyards presents Gilbert and Sullivan’s timely farcical and romantic opera Princess Ida or Castle Adamant at Lincoln-Sudbury Regional High School in Sudbury, Massachusetts live and in person through Saturday, March 2. The show is two and half hours plus one 15 minute intermission and presented in three acts. Click here for more information and for tickets.

Maria Bozich as Princess Ida and Women of Castle Adamant in ‘Princess Ida’ Photo by Chris Pollari

Though the production takes place during the Middle Ages, costume designers Sue Flint and Donna Roessler infuse contemporary flair to medieval garb in colorful plaids, pinstripes, wool, silks, and converse sneakers. A few modern props by Nancy Powers include Michael González as Hilarion cradling a sacred wedding box and a humorous moment when a jolly popcorn box and streamers lightheartedly fly overhead. It lends to the innate playfulness of the production even as Gama’s sons adorn nearly identical letterman sweaters marked with their first initial to form G A S. Gama’s sons include Matthew Garber as Guron, Blair Eig as Arac, and Santo Mammon as Scynthius who form quite the sibling trio and get into various predicaments along the way.

Blair Eig as Arac, Matt Garber as Guron, Santo Mammone as Scynthius, and Matt Tragert as King Hildebrand in ‘Princess Ida’ Photo by Sue Flint

Princess Ida or Castle Adament delves into the story of two kingdoms bound together by a royal marriage and a vow from twenty years ago. Brad Amidon as proud and amiable curmudgeon King Gama must reunite his daughter Princess Ida to Michael González as Prince Hilarion or there will be consequences. In a blue suit and hat, Amidon’s sneers and mischievous snickers are a highlight as King Gama secretly delights in grumbling about everything demonstrated in If You’ll Give me Your Attention. Tenor Michael González lends warmhearted and soaring vocals to depict earnest Prince Hilarion. González, David Smyth as Florian, and Thai Johnson as Cyril form another comic trio as they embark on a wild journey where women rule punctuated by the catchy Gently Gently and later Johnson creating an amusing scenario for Would You Know the Kind of Maid.

Brad Amidon as King Gama in ‘Princess Ida’ Photo by Chris Pollari

Adorned in a lilac suit and boasting a powerful and shimmering vibrato, Maria Bozich leads several strong female characters with a driven and commanding presence as Princess Ida who expresses ideas of her own making a grand entrance with the mighty O Goddess Wise. In a striking detailed suit, Soprano Sara DeLong charismatically expresses her own plans as calculating and poised Lady Blanche with Come Mighty Must. Her daughter Melissa, portrayed by Sara Mitnik, proves a worthy conspirator and shines with the cast for Death to the Invader. Soprano Danielle Shevchenko is an apt Lady Psyche and Shevchenko is memorable with González, Smythe, Johnson, and Mitnik for The Women of the Wisest Wit.

David Smyth as Florian, Michael Gonzalez as Hilarion, and Thai Johnson as Cyril Photo by Sue Flint

Boasting strong vocals and witty banter, Princess Ida or Castle Adamant takes a spirited look at gender roles and the royal monarchy. There are points within this opera where one may have to suspend one’s disbelief to make room for the absurd and this is a lighthearted production that it is humorous enough to do so. When watching the production, the program is an invaluable resource in understanding scattered era terminology and following the plot.

Women of Castle Adamant in ‘Princess Ida’ Photo by Chris Pollari

With book by W.S. Gilbert and compelling music by Arthur Sullivan conducted and musically directed by Stephanie Beatrice, The Sudbury Savoyards presents Gilbert and Sullivan’s timely farcical and romantic opera Princess Ida or Castle Adamant at Lincoln-Sudbury Regional High School in Sudbury, Massachusetts live and in person through Saturday, March 2. The show is two and half hours plus one 15 minute intermission and presented in three acts. Click here for more information and for tickets.

REVIEW: New York City Indie Theatre Film Festival Short Films: Matthew Modine’s ‘I Am What You Imagine’, Ryan Spahn’s ‘Router,’ Don Castro’s ‘Your Blue Heart’ and more

Posted on February 18 by The Sleepless Critic

The eighth annual New York City Indie Theatre Film Festival is back this year and runs from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53^rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and for tickets.

Intermission

Ryan, portrayed by Michael Barringer, is smoking. In a white fur, a bun on top of her head, and large earrings, chatty Laura, portrayed with finesse by Laura Butler Rivera, has something to say about it.

In fitting black and white cinematography, Intermission is an unpredictable and seeming tongue in cheek foray into smoking. It is also a humorous and fascinating film featuring Rivera and Barringer who have peculiar chemistry. Rivera is mysterious, quirky and shrewd in a conversation with unexpected results.

Ryan Spahn’s Router

Hearing strange noises?

Being alone in the house can be creepy. A creak, shadows on the walls, and was that a scream? With intriguing cinematography by Thomas Brunot, just the glow of a cell phone to light the way and a cryptic message drives this twisty tale for a wifi signal. The wide eyes of Britt Vicars and a spooky and original score by Pablo Signori build the tension and reeling suspicion as Vicars inches her way in this battle through the dark.

Don Castro is LITO by the window in ‘Your Blue Heart’ Photo credit to NYCITFF and Don Castro

Don Castro’s Your Blue Heart

With expressive black glasses and red flip flops, Don Castro as Lito is making breakfast alone in the kitchen. Your Blue Heart is a moving journey into memory. Spoken in Filipino and shot in Woodside, Queens, Castro and Ron Flores as Rey have a sweet rapport featuring stirring and original music by Paul Aranus.

Kate Szekely in Still Photo credit to NYITFF and Kate Szekely

Ash Singer’s Still

The battle to be still with the jarring feeling of anxiety is overwhelming. Heart racing and breathing can be deafening. Still delves into the life of Kate Szekely who is arduously trying to shake that terrible feeling through various methods including the meditative phrase ‘I am surrounded by abundance.’ Composer Shira Bouskila and Somer Bingham’s haunting and unique sound composition ebbs and flows throughout the film in relatable unease, dread, and calm.

Matthew Modine’s ‘I am What You Imagine’ Photo by Adam Rackoff

Matthew Modine’ I Am What You Imagine

I am what you Imagine is a vivid, kaleidoscopic and visceral journey that explores the true meaning of life from the very beginning. With mesmerizing editing and visual effects by Terence Ziegler as well as surreal photography by Matthew Modine and Kevin Joseph Grossman, I am What You Imagine is a powerful film that should be experienced rather than explained and boasts a surprise ending.

Jeff Hathcoat and Ellen McQueen in ‘Late Sleeper’ Photo credit to NYITFF and Peter Hardy

Peter Hardy’s Late Sleeper

What happens to a late sleeper? A shadow sits at the window.

Filmed in black and white, Peter Hardy’s Late Sleeper delves into this concept with creepy creativity and intriguing results featuring Jeff Hathcoat and Ellen McQueen.