Well, that escalated quickly. One bold move brings an awful lot to light inside this English summer cottage and it’s not quite the morning after anyone was expecting.
Playfully directed by Michael Hammond, Company Theatre continues Sandy Rustin’s romantic comedy, The Cottage live and in person at the Company Theatre in Norwell, Massachusetts. This quick paced production is not limited to the stage, contains some mature humor and runs approximately two hours with an intermission. Click here for more information and for tickets.
The cast of Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford
The Cottage debuted onstage in 2013 and though this production is set in England, it toured domestically until it made its Broadway debut in 2023 directed by Jason Alexander. Though it takes place in the 1920’s, this amusing production also dryly comments on some aspects of the 20s from a contemporary perspective.
Tackling love and marriage, The Cottage centers on Emilee Leahy as relentlessly optimistic and fanciful Sylvia who is enjoying a summer affair in 1923 with Joe Rich as distinguished barrister Beau, but this tale is much more than a romantic love triangle. This engaging comedy picks up immediately and the plot thickens so quickly, I was concerned the show would run out of steam early. However, The Cottage has a wealth of twists and turns in store and it is amazing how much people learn from one another when things truly hit the fan.
Emilee Leahy in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford
Matching coordinated day hats and coats, flowing silk garments, three piece suits, suspenders and lace embellishments are just a few of the glamorous 20s pieces from Kiera O’Connor’s upscale costume design. Sally Ashton Forrest’s swing jazz-inspired sound design and Ryan Barrow’s ornate and detailed art deco dual level set stylishly rewinds the clock to 1923 complete with rotary phone, Victrola, piano, wooden stairwell, delicate silk flowers, rural paintings and family portraits on vintage pastel floral wallpaper, glamorous furniture and multicolor Persian rugs. Dean Palmer Jr.’s warm pastel-toned lighting embellishes the cottage’s welcoming charm and dramatically heightens the impact of each revelation as the tale unfolds.
Joe Rich in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford
This engaging cast boasts great comic energy and work well together with Rustin’s sharp and quick-witted script. In all of its comic and escalating chaos, this capable cast kept it together with finesse. With singsong vocals, naiveté and a flower blossom in her hair, Emilee Leahy shines as Sylvia who is not to be underestimated. Leahy especially demonstrates a charming depth to Sylvia as her confidence is shaken. Joe Rich as Beau and Timothy Pick as good humored Clark share considerable rapport and lighthearted banter. Rob Gullicksen brings thrill to unpredictable Richard while Elizabeth Nelson-Childs as formidable Marjorie and Jaqueline Hausman as game loving Dierdre are also impressive in their contrary roles. Each role also manages a degree of sympathy even among this group of flawed and insecure characters.
Rob Gullicksen, Emilee Leahy and Joe Rich in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford
Lies and misjudging is just a portion of this romantic comedy’s intensifying plot and this beloved cottage contains its own share of secrets. Overall, it is a fun, flirty and lighthearted production and it is refreshing to see something not to be taken too seriously.
Company Theatre continues Sandy Rustin’s romantic comedy, The Cottage live and in person at the Company Theatre in Norwell, Massachusetts. Click here for more information and for tickets.
Two brothers on different paths are connected in a transformative tale exploring the nature of faith, virtue, honesty and what truly matters. From Victor Hugo, author of the classic novel, Les Miserables, The Hunchback of Notre Dame certainly knows how to tug at the heartstrings while delivering an epic and compelling tale.
Insightfully co-directed by Zoe Bradford and Sally Ashton Forrest with resonating musical direction by Robert McDonough, The Company Theatre Center for the Arts presents gothic musical classic, The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday August 17. The action is not limited to the stage and runs a lengthy but well paced two hours and 50 minutes with one intermission. Click here for more information and for tickets.
Salvatore Guillermo Garcia, Peter S. Adams and the cast of Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Jacob French as Young Claude Frollo is determined to join the priesthood while his brother Jehan, depicted by Charlie Solari, would rather lead a hard partying lifestyle with the local gypsies. It’s a tale that bears some resemblance to The Prodigal Son parable. Young Frollo, who considers himself holy and righteous, is appalled by his brother’s actions and the results are destined to change both their lives.
Jacob French, Dru Daniels, and Charlie Solari in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Disney’s The Hunchback of Notre Dame was released shortly after The Lion King and Pocahontasin 1996 and is considered part of the Disney Film Renaissance spanning from 1989 to 1999. Having recently re-watched Disney’s The Hunchback of Notre Dame, do not go into the Company Theatre thinking it is strictly a staging of the Disney musical. Faithful to elements of the 1996 Disney adaptation with Alan Menken and Stephen Schwartz’s amazing and unforgettable music soundtrack and Victor Hugo’s 1831 classic gothic novel sporadically revealed through multiple narrators, The Company Theatre assembles a powerful and inspirational tale of virtue and humility in the face of cruelty and obsession.
Salvatore Guillermo Garcia, Peter S. Adams and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Set in 1492 Paris, Salvatore Guillermo Garcia leads the cast in riveting form as quiet and gentle hearted Quasimodo who acts as Notre Dame Cathedral’s bell ringer and is kept in the bell tower visited solely by Peter S. Adams as manipulative Dom Claude Frollo. Starved for company and overjoyed by any shred of attention, Quasimodo anticipates The Feast of Fools, an exciting France feast day celebrated by the clergy during the Middle Ages and perhaps an opportunity to be accepted for a day.
Set designer Ryan Barrow replicates the regal stone pillars and the gold signature Notre Dame Cathedral bells brought to life by its harmonious chiming. However, the jewel in this detailed set is a multicolored stained glass cathedral dome above the wooden balcony which lighting designer Dean Palmer Jr. brilliantly enhances and bathes the set in an array of colors rooted in the stain glass during the production.
Company Theatre’s ‘The Hunchback of Notre Dame’ set Photo by Zoe Bradford
So much of The Hunchback of Notre Dame hinges on its ability to capture this complex production’s powerful hymnal ambiance and The Company Theatre does that in spades not only through its strong lead vocals, but through twenty-two additional choir members consistently enhancing the action onstage. It is at times “blow your hair back” powerful and expressive, the production’s thunderous and harmonious voices exhilarating right from its magnificent opening number, The Bells of Notre Dame. I was visibly moved many times.
Peter S. Adams in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Peter S. Adams as Dom Claude Frollo and Dru Daniels as Florika are both lauded operatic talents who collaborated in Company Theatre’s wonderful The Secret Garden. Adams delivers a more measured performance as Don Claude Frollo, a manipulative and righteous priest. Firm and commanding, Adams brings additional dimension to the role and his exchanges with Garcia as Quasimodo are as fascinating as they are bittersweet. His rich rendition of Hellfire and Esmeralda is bold yet tormented, exposing momentary glimpses into his shielded angst. Dru Daniels also embellishes every moment she has onstage with her magnificent vocals as Florika.
Salvatore Guillermo Garcia with Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Costume Designer Kiera O’Connor has assembled an assortment of vibrant and multi-colored costumes as well as traditional vestments similar to the Disney adaptation and its time period, but adorned in Parisian masquerade masks, the shimmering and imaginative gargoyles are the ones that truly shine. Sally Ashton Forrest’s unique, playful, ballet-inspired and symbolic choreography impressively drive Anne Martland as Hugo the Playful, Mel Carubia as Victor the Reasonable, and Gilbert Dabady as Laverne the Nurturing Gargoyle as they advise and keep Salvatore Guillermo Garcia as lonely Quasimodo company. Paired with these intricate and sparkling ensembles, they provide not only comic relief, but work together to articulate distress, comfort, amusement and more while acting as a respite and community sanctuary for Quasimodo in the bell tower.
David J. Kim and cast in The Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
With a knowing smile, David J. Kim portrays stealthy showman and deemed King of the Gypsies, Clopin Trouillefou. Kim’s smooth delivery and complicated demeanor makes him a charming enigma. Kim leads the revelers in an animated rendition of Topsy Turvy and with Lopes, Roussell, Adams and Garcia in a spellbinding Rhythm of the Tambourine.
Celena Lopez and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Celena Lopes gives a mesmerizing performance as frank, saucy, compassionate, resourceful and headstrong Esmeralda, a role voiced for the Disney adaptation by a charismatic actress known for spirited female characters, Demi Moore. Lopes performs an incredible rendition of the hopeful ballad, Someday with Jack Roussell as seemingly bombastic, egotistical and regal Phoebus de Martin and shares charming chemistry with Garcia. However, Top of the World and stirring God Help the Outcasts is where Lopes is at her best.
Jack Roussell and cast in the Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Salvatore Guillermo Garcia offers a paramount performance as Quasimodo, a role in which he dedicates to his late mother. The sheer physicality and understated performance boasted by sterling vocals he delivered as Jean Val Jean in Academy of the Company Theatre’s previous production of Les Miserables make him the perfect choice for this role. Garcia embodies Quasimodo’s humble naiveté, trepidation, loneliness and yearning as well as the soft glow that passes over Garcia’s shy and meek features. From the wondrous ache of Out There and tender Heaven’s Light to the soaring Made of Stone, Garcia caps off this meaning musical experience worth witnessing for yourself.
Celena Lopes, Salvatore Guillermo Garcia, Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
The Company Theatre Center for the Arts presents The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday, August 17. Click here for more information and for tickets.
Think of something so exciting and beloved to you that it may even teeter beyond reason.
To Annie Wilkes, a particular book series by Paul Sheldon is so real to her and brings immense joy to her lonely existence. That is until she encounters that author face to face.
Sharply directed by Michael Hammond on the eve of Stephen King’s 50th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.
Company Theatre presents ‘Misery’ Carol Laing Stearns as Annie Wilkes and Joe Siriani as Paul Sheldon Photo by Zoe Bradford
Fear not.
Misery is written by Stephen King, but is much more of a psychological thriller than horror, with only a few squeamish exceptions.
King’s well known books such as The Shining, Carrie, Pet Cemetery, Salem’s Lot and It are tales that might conjure up a nightmare or two, but Misery rides much more on tension than gore. It also could stand as a personal account for King. Though the book takes place in snowy Colorado, director Michael Hammond wisely added a more personal touch by moving the production to fellow New England state Maine where several of King’s novels are set and where King himself resides. Oh, and Misery is also about an author and his number one fan.
Aside from being a horror mastermind, King is an intuitive observer of the dark recesses of the human condition which is one of the keys to his long term success. It is wonderfully evident in The Body (King’s novella that became the film, Stand by Me), The Shawshank Redemption, The Green Mile, and Hearts in Atlantis. Misery does not address supernatural or mythical monsters, but is a cautionary tale of obsession, loneliness, isolation and infamy while also delving into two characters tied together by literature deep in the woods of Silver Creek, Maine.
Company Theatre presents ‘Misery’ with Joe Siriani as Paul Sheldon Photo by Zoe Bradford
Misery is also popular as the acclaimed film that shot first time leading actress Kathy Bates to stardom and to her first Academy Award in 1990. Famous novelist Paul Sheldon, portrayed by James Caan, gets into a car crash in a snow storm. Former nurse Annie Wilkes, portrayed by Kathy Bates, rescues him and takes him to her remote cabin to recover. Buster, depicted by Richard Farnsworth, is investigating Paul Sheldon’s mysterious disappearance.
A trio of pivotal actors drives this intense and mysterious tale led by Carol Laing Stearns as Annie Wilkes. King drew inspiration from a real person for Wilkes and Stearns makes confiding, matronly, condescending and delusional Annie Wilkes her own, though Stearns’s drawl and some inflections resemble Bates’s depiction. Stearns delivers a chilling performance as she partakes in psychological gymnastics with Joe Siriani as famed author Paul Sheldon. The two have potent adversarial chemistry and though tough guy James Caan was known for his powerful and fierce acting roles, Joe Siriani depicts Paul Sheldon as a more sympathetic, self effacing, yet moody character. A particular highlight is Stearns and Siriani’s darkly humorous depiction of Sheldon’s agonizing writing process which surely drew on King’s own experiences and Stearns’s quick thinking in handling a technical issue. Peter S. Adams amplifies the production’s dire tension as suspicious, yet affable Buster who pops in from time to time.
The Company Theatre presents ‘Misery’ with Carol Laing Stearns as Annie WIlkes and John Stamos as Barkley
With weathered floral wallpaper, a large wooden cross, vintage candelabra, and dark floor paneling, set designer Ryan Barrow reflects Wilkes’s fondness for the past in a detailed, rustic, dilapidated and functional remote cabin with complete front porch surrounded by evergreen trees. Scattered about the cabin are Easter eggs from the book and film including a couple of pig statues in the dining room and bedroom. Dean Palmer Jr’s dynamic lighting demonstrates not only extreme weather conditions and the passage of time through a secluded window, but a creepy foreboding subtly lurking throughout the production. Sally Ashton Forrest’s darkly humorous sound design is peppered with vintage classic tunes that articulate each scene and along with Cathy Torrey’s regional costume design including plaids and boots and realistic makeup, these elements complete the stark isolation prevalent in the deep woods of Maine.
As a book lover, writer, and someone who has loved something that teeters beyond reason, Stephen King’s Misery is a suspenseful and dark tale of what happens when that love goes awry.
Company Theatre presents ‘Misery’ Carol Laing Stearns as Annie Wilkes and Joe Siriani as Paul Sheldon Photo by Zoe Bradford
Sharply directed by Michael Hammond on the eve of Stephen King’s 50th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.
The title track is more than catchy. Not only may it inspire humming the hook long after the show is over, but it’s a clever tribute to a saint that was motivated to accomplish her mission from God at all costs. It’s inspirational, fiery, and sung with a rock growl by Liza Giangrande, a charismatic actress with a dynamite vocal range who also portrayed Jo in Greater Boston Stage Company’s Little Women the Musical last year and received an Eliot Norton Award nomination for her performance. Giagrande was definitely born to do this.
Liza Giangrande and cast in Company Theatre’s Born to Do This: The Joan of Arc Rock Opera Photo by Mike Scott
Giangrande does a spectacular amount of heavy lifting for this role which contains a large repertoire of original musical numbers with a large cast that take her from Domremy, France to the City of Orleans at the age of 16 to attempt to accomplish what no woman has before.
With book and lyrics by Zoe Bradford and co-directed by Zoe Bradford and Sally Ashton Forrest, music and lyrics by Melissa Carubia with collaborator Michael Hammond and musically directed by Robert McDonough, Company Theatre unveiled the world premiere of Born to Do This: The Joan Of Arc Rock Opera live and in person at Company Theatre in Norwell, MA continuing through August 20. Click here for more information and for tickets.
Company Theatre’s Born to Do This: The Joan of Arc Rock Opera cast Photo by Mike Scott
Illustrations, painted detailed backdrops of the French countryside, and dank dungeons with wrought iron gates by Ryan Barrow are illuminated by lighting designer Dean Palmer Jr. with visual projections by Logan Puleikis. Purple lighting, flaming lanterns and intermittent celestial brightness blended with dynamic visual projections of a gorgeous church altar, a brilliant starry sky, luminescent flames and lit church windows create the mysterious and humble atmosphere of the Middle Ages.
Francesca Miele and Dru Daniels in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott
Born to Do This: The Joan of Arc Rock Opera tells a broad and epic historical tale that delves into Joan Of Arc’s life, but also explores the Hundred Years’ War between France and England. The show has an uplifting overture and begins with a glimpse into one of Joan of Arc’s victories before rewinding the clock back to her childhood. Francesca Miele depicts the younger version of Jeanne with effervescent charm, determination, and chiming vocals. Miele and Anne Martland share some sweet scenes together as Jeanne’s conflicted and compassionate mother with the beautiful number, Angels All Around.
Zion Amparo and Francesca Miele in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott
The enigmatic manner in which Jeanne learned of God’s mission is peculiar and fascinating involving Dru Daniels as Nanette and Zion Amparo as St. Michael. It is unimaginable, and yet so clear and extraordinary. It would have been nice to have seen Amparo’s encounters with Jeanne more often just to see the progressive building of that bond. Amparo soars for the number One Life and the angels’ presence during battle scenes were a beautiful touch. Laird LaCoste is enchanting as Henry IV as he flaunts around playfully for the adorable number, The King with Two Crowns oblivious to the weight of his future accompanied by Kevin Groppe as the Duke of Bedford and Bishop Cauchon by Steve Dooner who both deliver impressive performances especially for Sold for a King’s Ransom. Giangrande and Dooner create some riveting tension, especially later in the production.
Salvatore Guillermo, Garcia, Shane Smith, Peter S Adams, and Braden Misiaszek in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott
However, this show has its uneven moments and does not fit squarely as a rock opera. The music is considerable with a weighty storyline and would like to have known some of the characters better. With so many other cast members traditional and faithful to the era in boots, plain garments, and royal vestiges, some of the other costumes in leather, feathers, sneakers, and eyeliner are so contemporary, they seem out of place. For example, in the number, Nobody Parties Like a Bastard, the party scene seems to not quite fit with the mood and manner of the rest of the production.
Kaileigh E Bumpus Liza Giangrande and Dru Daniels in Company Theatre’s ‘Born to Do This: The Joan of Arc Rock Opera’ Photo by Mike Scott
Jeanne is trying to accomplish a tremendous mission which makes an indelible impact, breaks societal norms, and the production makes it as plain as day that Jeanne is doing what is considered a man’s job. It is critical to the story, but is emphasized much more than Jeanne’s accomplishments which weren’t as clear. What warrior Joan of Arc accomplished being different is also what made her special, extraordinary, and the very reason this musical was created. Her adversity and faith becomes her greatest strength.
Greatness isn’t always understood, and her destiny was built on exactly who she was and stands as a testament to the good she accomplishes at such a young age and an inspirational life that should never be forgotten.
With book and lyrics by Zoe Bradford and co-directed by Zoe Bradford and Sally Ashton Forrest, music and lyrics by Melissa Carubia with collaborator Michael Hammond and musically directed by Robert McDonough, Company Theatre unveiled the world premiere of Born to Do This: The Joan Of Arc Rock Opera live and in person at Company Theatre in Norwell, MA continuing through August 20. Click here for more information and for tickets.
Before cell phones, the internet, and alternate forms of digital communication invited people to text and talk on a computer screen as an alternative to seeing someone in person, Hair highlights the value of in person camaraderie, especially when things seem to be falling apart. Set in war torn 1968 and focusing on a tribe of hippies that could possibly be drafted, emotionally and physically holding onto each other helps them cope in a world gone mad.
Company Theatre’s ‘Hair’ Shane Cunniff-of Quincy and Gilbert Dabaddy of Rockland Photo courtesy of Zoe Bradford/Company Theatre
Directed astutely by Zoe Bradford with bold musical direction by Robert McDonough, Company Theatre continues the 1960’s rock musical Hair through August 21 live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts. This show has mature themes and not appropriate for children. Click here for more information and for tickets.
What is so prevalent in Company Theatre’s production of Hair is the natural camaraderie between cast members tackling a work that requires the cast to engage so closely and without reservations. Hair is at times an immersive experience with some interaction with the audience and cast members occasionally marching down the aisles. An entire cast warmly together onstage is uplifting albeit still a tad bit strange to witness. It provides an escape from the world today with social distancing still not quite a thing of the past.
Company Theatre’s ‘Hair’ Julia Violet of Hanover Janaysia Gethers of Weymouth Elizabeth Nunnery of Hanover Shane Cunniff of Quincy and Tim Bevens of Hingham Photo courtesy of Zoe Bradford/Company Theatre.jpeg
Though the musical took place almost 55 years ago, there are clearly some parallels with contemporary society. In a world with increasing protests, questions on gender, environmental concerns, women’s lib, the realities of war, racism, social injustice and societal division, Hair addresses many of these issues through song, humor, activism, and somberness. It also features some silly and sometimes unnecessary content, but the intrinsic nature of its most popular songs give it a poignancy and relevance that the musical isn’t always given enough credit for.
Hair takes place, as the famous song proclaims, in the Age of Aquarius where one is destined for either greatness or madness. With all the turmoil in the world, Hair seems to be embracing a bit of both. From Aquariusto Easy to Be Hard to Good Morning Starshine to Let the Sunshine In to its memorable title track, Hair delivers an energetic and steady stream of versatile music almost from beginning to end.
Company-Theatre-Hair-Peter-Kirby-of-Norwell portrays Claude and Julia Violet of Norwell as Sheila the protest leader Photo courtesy of Zoe Bradford/Company Theatre
Not only does this young cast have strong vocals, but they also fit naturally into this era having done meticulous research with Bradford on the time period. Some historical footage is sporadically shared during the production. Charismatic Nolan Donato as Berger, the Tribe’s outspoken leader, is an engaging storyteller for the catchy song Donna. Fun-loving Peter Kirby as mysterious Claude delivers a humorous rendition of Manchester, England, but Claude’s inner turmoil is what truly brings out Kirby’s dynamic performance. Kirby also shines with the Tribe for I’ve Got Life. Julia Violet is wonderful as the free spirited Sheila and offers a moving rendition of Easy to Be Hard. Wearing slick 60s sunglasses, Jeff John-Phillipe as Hud candidly leads the Tribe in an affecting Colored Spade and later alone for Abie, Baby. Shawn Verrier gets a lot of laughs as historical and controversial Margaret Mead.
The-Company-Theatre’s ‘Hair’ Jeff Jean Phillipe as Hud Peter Kirby as Claude and Shawn Verrier as Margaret Mead Photo courtesy of Zoe Bradford/Company Theatre
Love triangles are rampant and depicted quite humorously featuring Julia Violet as Sheila, Olivia Valianti, Emma Bergman, Amelia Kirshon, and Cate Healey in I Believe Love. He’s in love with her and she’s in love with him and he’s in love with someone else. Sally Aston Forrest’s funky and flowing choreography is at its best for the psychedelic Walking in Space enhanced by Dean Palmer Jr’s florescent lighting.
From beads to fringe to bell bottoms to slick 60s sunglasses to multi-pattered and flowing garments, costume designer Hannah Schuurman with set designer Ryan Barrow creates that groovy 60’s vibe featuring an embellished 60s theme truck, beaded passageways, and oriental rugs lining the stage.
Company Theatre’s rock musical Hair shows an era where people are anxious about the future and wondering where their destiny lies. It does not stray too far from today’s struggles, but peace, love, and happiness are not a thing of the past. Depicted by this young cast in a powerful, emotionally-charged rendition of Let the Sunshine In, perhaps the most important thing is holding onto each other.
Company Theatre’s ‘Hair’ Berger leader of the Tribe portrayed by Nolan Donato of Scituate and Sheila the protest leader portrayed by Julia Violet of Norwell Photo courtesy of Zoe Bradford/Company Theatre.jpeg
Company Theatre continues the 1960’s rock musical Hair through August 21 live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts. This show has mature themes and not appropriate for children. Click here for more information and for tickets.
The one thing more magnificent then Joseph’s dream coat is the tale behind it. An interactive, endearing, and humorous production, Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat has been entertaining audiences for over 50 years with its exuberant story and its versatile and brilliant music by the Academy Award-winning team of Andrew Lloyd Webber and Tim Rice. Joseph’s music offers a wide spectrum of music genres for any taste from calypso to rock and roll which accompanies the unique retelling of a sacred tale of treachery and unceasing hope.
Photo courtesy of Zoe Bradford/Company Theatre
A tale so wonderful that it needs three narrators, Academy of the Company Theatre (ACT) presents Andrew Lloyd Webber’s wondrous and family-friendly musical comedy Joseph and the Amazing Technicolor Dreamcoat continuing at the Company Theatre in Norwell, MA through Sunday, May 1. The production is almost sold out. Click here for more information, tickets, and for classes that ACT has to offer.
Cate Healey, Gilbert Dabady, and Elizabeth Nunnery as Narrators with Tim Bevens as Joseph Photo courtesy of Zoe Bradford/Company Theatre
Based on the Book of Genesis and set in the land of Canaan and Egypt, Joseph and the Amazing Technicolor Dreamcoat explores the incredible journey of Joseph and his brothers as Joseph struggles to discover his destiny. It is very much a collaborative, ensemble piece featuring three engaging narrators portrayed by Gilbert Dabady last seen in ACT’s Les Miserables, Cate Healey, and Elizabeth Nunnery as they share Joseph’s tale not only with the audience, but with the surrounding and energetic young cast gathered onstage. Dabady, Healey, and Nunnery all have powerful and very different voices that complement each other throughout the performance.
Brothers – Corin O’Neill – Abington, Jay Feeney- Hansen, Henry Jacobs – Norwell, Colin SanGiacomo – Norwood, Roland Schulze – Hingham, Matthew Porro – Hanover, Tim Bevens (Joseph) – Hingham, Ben Cavallo Smith-Hingham and cast Photo courtesy of Zoe Bradford/Company Theatre
With a sweet smile and unassuming demeanor, Tim Bevens portrays humble, yet forthright dreamer Joseph with instant likability from his first opening number, a warm and melodious rendition of Any Dream Will Do. Bevens delivers a compelling performance as a naïve outsider, his versatile vocal range effortless for the soothing Any Dream Will Do to stirring Close Every Door, his tone heart rendering and sympathetic.
Wearing a white beard, Jacob Yates takes on the mostly silent role of Jacob, Joseph’s devoted father. Yates makes the most out of this role with an amusing walk and some physical humor. Led by Charlie Flaherty’s standout portrayal as Joseph’s smirking and sneaky brother Reuben, One More Angel in Heaven depicts the united camaraderie not only by Joseph’s eleven brothers, but from the cast, all in on a little secret. Another excellent number that depicts the brothers’ united front is delivered by Ben Cavallo-Smith as Judah and his brothers for Roland Schulz as Benjamin, a catchy, amusing song called Benjamin Calypso.
Combining blue, glitter, and gold into dazzling Egyptian attire, Sal Garcia, who was last seen as Jean Val Jean in ACT’s Les Miserables, makes a grand entrance in suave sunglasses and a bouffant hairstyle as Pharaoh, complete with shimmering gold sneakers. Garcia shows off his comedic talent and charisma in the show stopping number Song of the King, combining the essence and high energy of a certain king not to be revealed here and Jack Black. It is fun to watch Garcia in a role where he can let loose.
Sal Garcia as Pharaoh Photo courtesy of Zoe Bradford/Company Theatre
The transformative lighting by Dean Palmer Jr. ranges from a lone spotlight to doubling for the hot, desert sun to flashing, multicolored spotlights for Go Go Go Joseph to the warm candlelight and modest staging of Close Every Door. Though most of the sets are colorful and fun, there is something special about the translucent, simple staging for Close every Door by candlelight, letting Tim Bevens’s poignant rendition speak for itself without distractions.
Elsa Hancock-Happ – Rockland, Calvin Jacobs – Norwell, Reese Warshaw – Hingham, Izzie Donnelly – Hingham, Nora Joyce – Weymouth, Silvia Thompson – Hingham, Tim Bevens – Joseph – Hingham, Laird Lacoste and cast Photo courtesy of Zoe Bradford/Company Theatre
Among the vibrant and bold costumes by John Crampton and Alison Gordon is the famous coat in yellow and green and ochre… Joseph’s magnificent, flowing, and sparkling coat is a head turner decked out in multi-colored stars on the back. The cast wearing sunglasses, an unusual camel, and cute Egyptian “beetles” among the crowd on a unconventional journey to Egypt are just a few of the subtle, cheerful touches added to this lighthearted production that certainly has its share of stirring and difficult moments, but with far more uplifting and spirited ones, it’s difficult to feel down for long.
Tim Bevens (Joseph) and cast Photo courtesy of Zoe Bradford/Company Theatre
Directed by Zoe Bradford with lively choreography by Sally Ashton Forrest and musically directed by Melissa Carubia, Academy of the Company Theatre (ACT) presents Andrew Lloyd Webber’s wondrous and family-friendly musical comedy Joseph and the Amazing Technicolor Dreamcoat continuing at the Company Theatre in Norwell, MA through Sunday, May 1. The production is almost sold out. Click here for more information and for tickets.
Amid set designer Ryan Barrow’s quaint, warmly-lit, Tudor-inspired cottages of 1595 London is a Renaissance rock star…and the ones he left behind. Company Theatre’sSomething Rotten has something new to say about something olde and what it truly takes to be remembered.
Slickly directed by Zoe Bradford with zealous musical direction by Steve Bass, Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is not recommended for young children and runs approximately two hours with a brief intermission. Click here for more information and tickets.
Director Zoe Bradford and the cast of ‘Something Rotten’ Photo courtesy of Zoe Bradford/Company Theatre
The phrase, Something Rotten, calls to mind a number of references, but primarily this alludes to the one and only William Shakespeare, London’s resident celebrity. While music was prevalent in 1595, writers were the real stars of their time and Shakespeare, charismatically portrayed with plenty of ego, prowess, and smirking, flamboyant charm by Brad Reinking, was a legend. Surrounded by Shakespeare’s Bard Boys (watch their expressions as he speaks), Reinking’s stage presence is an eclectic cross between Prince and Elvis.
Christopher Spencer as Nigel Bottom, Brad Reinking as Shakespeare, and Donny Norton as Nick Bottom Photo courtesy of Zoe Bradford/Company Theatre
In the glow of stardom, there must be a few naysayers and no one does it better than Donnie Norton as cynical and struggling writer Nick Bottom who once worked with that famous Bard. Nick’s level of griping is prevalent in the catchy number, God,I Hate Shakespeare, but what makes the song particularly interesting it is also embodies relevant reasons some people do not care for Shakespeare’s writing. Norton as Nick Bottom is so good at the role that payoff is big when he finally shows a trace of optimism. Christopher Spencer also shines as idealistic, impressionable, and head-in-the-clouds Nigel, Nick’s little brother and fellow writer. Spencer’s best moments as Nigel is when he shows reason and aptitude, though his giddy chemistry with Emily Lambert as wide-eyed yet steadfast Portia is also wonderful to watch.
Emily Lambert as Portia and Christopher Spencer as Nigel Bottom Photo courtesy of Zoe Bradford/Company Theatre
Something Rotten is often self aware and its irreverent brand of humor brought to mind the classic comedy of Mel Brooks in musicals such as in the Tony award-winning The Producersor Young Frankenstein. Sally Ashton Forrest’s notable choreography boasts some splashy and humorous dance sequences including tap dancing and even a glorious kick line.
Elizabeth Cole Sheehan’s gleaming, colorful, and historically-faithful costumes cross the pond between regal classical to edgy contemporary adorned in gold-embroidered velvet, puffed sleeves, and leather.
Welcome to the Renaissance Photo courtesy of Zoe Bradford/Company Theatre
Something Rotten features some powerhouse vocals, especially from these forward-thinking leading ladies in jolly ol’ England. Emily Lambert as Portia lifted her soaring soprano vocals for the gospel-inspired, We See the Light and the sweet and cheeky duet, I Love the Way with Spencer’s Nigel. Melissa Carubia as spunky, confident, and loyal to a fault Bea is also ahead of her time, her dynamic vocal range on display for the groundbreaking number, Right Hand Man. With quirky comedic charms fueled by a mix of Catherine Tate and Jennifer Saunders, Janis Hudson is perfectly smashing as royally-dressed Lady Clapham.
Janis Hudson as Lady Clapham Photo courtesy of Zoe Bradford/Company Theatre
With bright, inquisitive eyes and a mischievous and knowing grin, Christopher Hagberg is a scene stealer as Thomas Nostradamus who leads with Norton in the funniest and most brilliant number of the show, A Musical tailor-made for literary and musical lovers everywhere.
Donnie Norton as Nick Bottom and Christopher Hagberg as Thomas Nostradamas Photo courtesy of Zoe Bradford/Company Theatre
Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show runs approximately two hours with a brief intermission. Click here for more information and tickets.
Though I’m not a fan of The Crown, the intriguing Oscar-nominated Spencer is new on Hulu and I was too curious about the polarizing acting abilities of Kristen Stewart to miss this film. Not only does the film focus on the tension, the princess’s fragility, and her deteriorating marriage, but what is deemed a fable of a tragedy taught me a bit about the monarchy’s strict regime before heading out to see the Company Theatre’s production of The Audience.
Directed by Steve Dooner and the inspiration behind the Netflix’s hit drama The Crown, Company Theatre presents Peter Morgan’sThe Audience through Sunday, February 20 at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is 2 hours and 15 minutes including an intermission. Click here for more information and tickets.
Carol Laing Stearns as Queen Elizabeth II with Pembroke Welch Corgis Gregory and Laci Photo courtesy of Zoe Bradford/Company Theatre
The Audience is named after an important room inside Buckingham Palace where Queen Elizabeth II discusses a wide range of topics with various Prime Ministers over the Years. As Queen, she must live up to certain standards to have these meetings on a certain day for a certain length of time and keeping discussions strictly to Cabinet, Parliament, and Current Affairs. Needless to say, conversations often take a turn in unexpected directions. The show delivers light and subtle humor throughout the production, but this is mostly a historical drama.
Carol Laing Stearns portrays the sharp and coolheaded English monarch with sophistication, grace, and underlying prowess (with her royal corgis in tow). She dryly describes herself as “a postage stamp with a pulse,” but we all know better. Stearns has a natural and likable presence, but also stoic and headstrong. She rarely lets her emotions get the better of her, even when she is commenting on it. It is interesting to see the quirks and tenacity, navigating her age progression well. However in a rare moment, thanks to the keen lighting design of Dean Palmer. Jr, the spotlight shines on Stearns in a moment of vulnerability, and it is difficult not be entirely moved by it.
Carol Laing Stearns as Queen Elizabeth II Photo courtesy of Zoe Bradford/Company Theatre
Ryan Barrow’s elegant set is flanked with wall-to-wall gold trim, historical portraits, and a sparkling chandelier shining overhead. Charismatic Rama Rodriguez as Equerry acts as half narrator and half historian, sharing the relevance of this special room and its astute history. From a tartan skirt to the dapper suits on each Prime Minister to the very replica of Queen Elizabeth II’s white dress and royal sash symbolizing her position as the Dame Grand Cross of the Royal Victorian Order, costume designer Elizabeth Cole Sheehan has a meticulous eye for historically-accurate regal flair.
The depiction of Elizabeth II’s flashes of childhood is handled in a unique and insightful way though at first it can be a little confusing. Young Elizabeth, portrayed as a precocious and inquisitive old soul by Samantha LeBretton, struggles with her destiny and the separation of her public and private figure. Although she is unsure of her place exactly, she feigns surefootedness, but not without questions.
Carol Laing Stearns as Queen Elizabeth II Photo courtesy of Zoe Bradford/Company TheatreJulie Dennis as Margaret Thatcher Photo courtesy of Zoe Bradford/Company Theatre
Chris DiOrio as Harold Wilson is the most sympathetic among the Prime Ministers while Julie Dennis as Iron Lady Margaret Thatcher comes in like a lion and remains one. The tension between Stearns and Dennis as a compelling Thatcher is quite thrilling to witness as two people with much in common can barely agree. DiOrio as Wilson thrives in the role, his strong Northern accent only accentuates his likability.
Among the many political, social, and personal topics addressed, the clash between royal rituals and traditions with modernization and talk of the end of the monarchy is always looming. However, The Audience presents a bigger picture and depicts just why Queen Elizabeth II’s, who just celebrated her Platinum Jubilee this month and is the longest reigning English monarch in history, secret to her longevity reaches far beyond her wit.
Company Theatre’s ‘The Audience’ is the inspiration behind Netflix’s ‘The Crown’ Photo courtesy of Zoe Bradford/Company Theatre
Company Theatre presents Peter Morgan’s The Audience through Sunday, February 20 at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is 2 hours and 15 minutes including an intermission. Click here for more information and tickets.
In her good works, her loving and encouraging persona, and perhaps in a misbehaving microphone, Company Theatre’s beloved co-founder Jordie Saucerman’s presence was unmistakably felt in Jordie A Celebration of Life and Concert continuing through Saturday, November 6 at 7:30 PM. This dynamic tribute is held live onstage with no intermission at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information.
Courtesy of Zoe Bradford/Company Theatre
Though there are moments of tearful recollections, this thoughtful, Mardi Gras-inspired tribute brought more joy than sadness not unlike Jordie herself. She made an indelible mark not only in theatre and film, but her humor, drive, and generous nature made her an unforgettable presence in the lives she encountered, especially in children that often felt alone and misunderstood. Her discernment, treatment of others, and her endless bowls of chicken soup and treats allowed them to shine.
Young Jordie Saucerman Photo courtesy of Zoe Bradford/Company Theatre
A large cast that included Academy of the Company Theatre (ACT) students paid warmhearted tribute to Jordie with hit Broadway tunes, pop and uplifting gospel songs, captivating dance numbers, and personal stories. Composed of present and former students that she fondly referred to as family and those whose lives she touched over her 49 years in the arts, needless to say the stage was full.
Some highlights included a poignant montage of film clips capturing Jordie’s wonderful life, including her telling first and final reflections. A stirring homily from Cathy Torrey and insightful, ballet-inspired choreography created by Jordie’s wife and Company Theatre choreographer Sally Forrest led in song by Paula Markowitz depict how beautiful she was inside and out.
Ballet-inspired tribute Photo courtesy of Michael Hammond/Company Theatre
The Company Theatre presents Jordie A Celebration of Life and Concert for one more show on Saturday, November 6 at 7:30 p.m. Click here for more information.
In Jordie’s memory, The Company Theatre has created The Jordie Saucerman Forever Fund. Click here to contribute to her legacy.
Just prior to the pandemic, an award-winning, intriguing production not only made its debut but closed in one night on the Company Theatre stage in Norwell, Massachusetts over a year ago. Onstage as the meaty role of Bruce, Company Theatre’s Director of Development Michael Hammond experienced that incredible and bittersweet night and what it meant to the cast of the musical memoir Fun Home. Click here for our full podcast conversation.
Aimee Doherty as Alison, Michael Hammond as Bruce, and Riley Crockett as Small Alison Photo courtesy of Zoe Bradford/Company Theatre
The Company Theatre is offering a chance to see Fun Home for the full run they had originally intended in October. Michael talks about his experience as Bruce, his favorite part of theatre, and a secret upcoming project.
Click here for Sleepless Critic’s Fun Home review and here for tickets and further information about the Company Theatre.
Sleepless Critic: So you’ve been in theatre since you were a kid and now that we have had the pandemic, what was your favorite part of the theatre before and was there a change in your favorite or what you miss the most when we had a break?
Michael Hammond: I think we take a lot for granted in life. We forget how much fun it is to sing with an orchestra or to perform on a beautiful set someone built. Ryan Barrow does amazing sets at Company Theatre and it’s thrilling to perform on one of his sets. It’s thrilling to perform with Steve Bass conducting an orchestra and thrilling to perform Sally Forrest’s choreography under Zoe Bradford’s direction.
I think we take that for granted in some ways and as much as I enjoy it and maybe as I got from show to show to show, I think I just liked performing specific roles for the experience of getting to know a new cast. I did a Christmas show at Company Theatre and just recharged my energy to be around such beautiful people and exciting kids and talent. You’re in a flow and you are doing shows and enjoying it.
The cast of Company Theatre’s ‘A Christmas Carol’ Photo courtesy of Zoe Bradford/Company Theatre
You get what you get out of it, but when the pandemic was coming, I was doing Fun Home with an extremely talented cast. Riley Crockett was playing the youngest Alison. I was re-experiencing theatre through her eyes and she had never been on a big stage or performed with an orchestra which is shocking because she is so talented. She would ask me, ‘Are you nervous for your solo tonight?’ I would say, ‘I am a little.’ She would say, ‘Good, now you know how I feel.’ Ok, she needs a little more support and encouragement in that moment.
Then we were standing on top of a staircase and we were about to walk down for our first entrance and she said, ‘Michael, I’ve never performed on a set like this. This is a big deal.’ I said, ‘Yes, it is a big deal. You are right. This is a beautiful experience and you’re about to sing live with an orchestra for the first time in a big theatre on a beautiful set.’ It made me look at what we are doing and not take it for granted.
So we were fortunate to open and close Fun Home on the exact same night because the pandemic had really hit. That day everyone was cancelling their performances but we went on because we had a feeling this would be it. I’m so glad we did because it was one of the most exciting and electric experiences of my life. People were rebellious and excited. They knew this might be the last time they ever saw this show and Fun Home is not a super positive and happy experience.
Riley Crockett as Small Alison and Michael Hammond as Bruce
Photo courtesy of Zoe Bradford/Company Theatre
SC: It is melancholy.
MH: Right, but the audience treated it like it was a rock concert!
SC: Yes, I was there to review your first and final performance. I felt so comfortable and wonderful and I had saw this show in Boston before. What I liked about watching this particular show is that you can make it so different every time you perform it. The parts can be portrayed very differently and you can do so much with the show. In a way, if you had to say goodbye to theatre for awhile, I felt like that was such a poignant thing to do in that moment.
MH: It was. It was one of the most beautiful experiences I think I ever had and it was just so bittersweet because it was the last show with Jordie. How thrilled and grateful am I that I got to have Jordie’s final show be Fun Home and I got to be a part of it. It was just such a fantastic experience and she loved the show. It was such a joy to go through that process with her.
SC: It is one of those shows that sneak up on you unexpectedly. You’re experiencing the show and you enjoy it, but once it’s over, it is really thought-provoking.
MH: I saw it on Broadway and loved it. I thought that I don’t necessarily need to see it again. It was beautiful and moving and I think of it like a beautiful film. You watch it and then you watch another film. When this opportunity came around to work on the show, I have such a great appreciation for it. I think it’s just one of the greatest things ever written where you’re dissecting and it personally and really in the trenches on it. It’s so much more brilliant than I realized.
SC: It has such multi-layered performances as well.
MH: I was thinking today that there were so many things about Bruce, I almost feel like I just left my body. I personally couldn’t be any part of this character because it just wasn’t anything like me. Sometimes I think about it and it feels really difficult to do it again because I remember it as ‘What did I even do?’ I feel like something else took over and performed the role for me.
SC: I don’t often see you play parts like that. Not to reveal anything, but your character is very complicated.
MH: Then to hear compliments like you should do roles like that more often is such a compliment because people think of me as a song, dance, and musical theatre man. Not that I shy away from roles like that, but it was very gratifying to play that part especially opposite such a talented cast. It’s unbelievable.
SC: I know you’ve written a few works with Jordie and Zoe over the years. Please tell us how that came about.
MH: I co-wrote Paragon Park the Musical with Zoe, Jordie, Sally, and Michael Joseph for the first production and Steve Bass for the second who worked on the music. I love amusement parks and I loved Paragon Park. I went there so many times in my life.
When I heard that Zoe and Jordie were thinking of writing a musical about Paragon Park, I selfishly just wanted to see it. I had no inkling that I would be involved or that they would want me involved. I just wanted to see that production so it got mentioned many times over the years and one summer I designed a poster Paragon Park the Musical coming summer of whatever year it was. It was a long time ago.
Zoe Bradford – Director, co-writer, and Company Theatre co-founder Photo courtesy of Company Theatre
Michael Hammond, Paragon Park the Musical co-writer and George A. Dodge in 2019 production Photo courtesy of Company Theatre
One day Zoe decided years after the poster even to start doing some research. She said, ‘Why don’t you come with me? We’ll get lunch.’ We went to the Hull Library which was incredible. They put us in a private room and provided us with access to microfiche, boxes of memorabilia, and photographs. They were so generous. It just snowballed from there. We just couldn’t stop. We were researching and loved what we found. It did not end up being the musical we thought we were going to write because the ideas we had in mind turned out to be completely not true. It all got shifted.
We thought maybe there was this seedy underbelly to the park and that once the park was closed, things happened at night. It was going to be dark and mysterious and then we find out from the park owners that ‘Oh no, we locked that place, sealed it like a drum at 11 pm, and went out for Chinese food.’ Nothing happened at the Park after hours. So much for that, but the Stone Family provided us with so much information that we were able to write a really interesting and factual musical. It was 80% true except for the love story we incorporated.
SC: Not only did you write it the first time around, but when it came back around, you got to star in it too.
MH: I did and it was a thrill! The nicest feeling about that show and being in it is to be putting on a costume and as I’m by myself getting dressed, I would hear people walk down the hallway singing the songs or they would say that they get to do that scene they love now. There was so much positivity and to realize we wrote a show that was really fun to perform. Some of the kids were in Ragtime and we used to make these funny backstage videos. So I said, ‘Why don’t we make videos during Paragon Park?’ They said, ‘Michael, you and Zoe wrote a show where there is no time to make videos. When would we do that?’ It was nice to know we had a hand in creating this really fun experience. It was quite thrilling to be able to perform something that I helped write.
Michael Hammond in Company Theatre’s ‘Paragon Park the Musical’ Photo courtesy of Zoe Bradford/Company Theatre
SC: Please tell me about the projects you are working on now and upcoming projects.
MH: I’m devoting all my time to Company Theatre and Zoe and I thought, ‘Why not write another musical?’ It’s a completely different project from Paragon Park and we can’t quite announce yet what it is, but Zoe is incredibly inspired by this project.
Watching her, it’s almost like she is channeling something like I’ve never seen. She’s a beautiful artist and I’m obsessed with the way she draws and paints. So she just took out a magic marker and a gigantic pad of paper and drew what she saw in her head for the plot of this show and it was quite impressive to watch. Her ideas are flowing through her. It is unbelievable so we’re hoping that will probably be the summer of 2023.
A celebration of life for Company Theatre co-founder Jordie Saucerman. Visit companytheatre.com to learn how to be part of this tribute. Photo courtesy of The Company Theatre
Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts, is presenting Fun Home in October as well as devoting a night to their late co-founder, Jordie Saucerman, in November. Click here for more information and check back to find out about Company Theatre’s mystery original production.
