corruption

REVIEW: Featuring a stellar cast, a riveting and indelible ‘Parade’

Posted on by The Sleepless Critic

A blanket and balloon have never held greater meaning under Georgia’s magnolia trees and endless sunshine.

Taking place nearly 50 years after the Civil War in 1913, Max Chernin depicts Leo Frank, a quiet and disciplined Jewish Brooklynite who is working hard to build a life in Georgia with his Southern wife Lucille, portrayed by Talia Suskauer, when one harrowing night changes everything.  Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime. 

When truth is set aside, where is there to turn?

Winner of two 2023 Tony Awards for Best Revival of a Musical and Best Direction of a Musical by Michael Arden with evocative choreography by Lauren Yalango-Grant and Christopher Cree Grant, the national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23.  Based on a true story, this riveting production runs 2 hours and 30 minutes including one intermission.  Click here for more information and for tickets.

Max Chernin (center) and company in the National Tour of PARADE, photo by Joan Marcus

It is particularly significant that Parade is on tour in Boston due to Massachusetts’ foundational roots including its Cradle of Liberty nickname, but also timely because Parade’s Boston run occurs through Purim, a Jewish festival rooted in the Book of Esther celebrating a historic Jewish triumph over oppression.

This captivating musical is based on a gripping true story and evokes a wide range of emotions.  Like a parade, it spectacularly unfolds with an opening drum roll of The Red Hills of Home boasting gorgeous harmonies, splendor and Michael Arden’s acclaimed and seamless direction as well as Dane Laffrey’s moving and sweeping scenic design.   

Adorned in vivid bunting as lights descend from the ceiling, Dane Laffrey’s elaborate and rolling set transforms from a wide open field into a wooden courtroom blending Sven Ortel’s descriptive projection design of dramatic and documentary-style elements revealing historical photos of the real people, places and newspaper headlines as crucial dates trace the events of the story.  Billowing clouds and colorful landscapes stand out vividly between the black and white footage.  Susan Hilferty and Mark Koss impressively capture the essence of the era in pastels, frills, smocks, three piece suits, newsboy caps, parasols, and brimmed hats.   

The National Touring Company of PARADE, photo by Joan Marcus

Having seen Jason Robert Brown’s The Last Five Years, Brown has a gift for articulating a vast range of complex emotions and glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and from rueful to optimistic.  The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought provoking.

Max Chernin and company in the National Tour of PARADE, photo by Joan Marcus

Featuring a large and stellar cast of approximately 30 people with many of them portraying more than one role, I was blown away hearing the depth and resonance of this particular array of amazing and occasionally a cappella vocals under Charlie Alterman’s magnificent music direction.  Chernin’s vocals have a unique beauty as he embodies Leo’s stark loneliness and deft humor in How Can I Call this Home.  With gravitas and sincerity, Chernin is excellent as Leo as he shares his thoughts in melodious vocals and quiet candor especially during his remarkable ballad, It’s Hard to Speak my Heart.  He has elevating chemistry with Talia Suskauer as spirited and resourceful Lucille and they create powerful harmony for the lively and optimistic duet It’s Not Over Yet and a stunning rendition of All the Wasted Time.

Talia Suskauer and Max Chernin in the National Tour of PARADE, photo by Joan Marcus

Jack Roden is mesmerizing as Frankie Epps, especially during a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmonies to foreboding of a boy maturing in an instant.  Roden and Olivia Goosman as exuberant Mary Phagan share some endearing scenes for the catchy The Picture Show.

Olivia Goosman, Jack Roden and company in the National Tour of PARADE, photo by Joan Marcus

Griffin Binnicker shines as charismatic yet contentious Tom Watson as he leads the urgent Hammer of Justice and Michael Tacconi is notable as scandal thirsty reporter Brett Craig desperate to revive his career in the darkly playful hymnal Real Big News.

The National Touring Company of PARADE, photo by Joan Marcus

Parade’s layered and stirring choreography is demonstrated in the hypnotic turn and parallels of The Factory Girls to the mischievous spring of Pretty Music with impressive Chris Shyer as slick Governor Slaton jubilantly spinning ladies across the dance floor.  Another highlight is the clanking rhythms and chilling choreography of Feel the Rain Fall with Ramone Nelson’s commanding vocals as mysterious Jim Conley and the telling and satirical number Where will you Stand when the Flood Comes.

Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE, photo by Joan Marcus

Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking.  A haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of storytelling that is sure to stay with you long after the production is over. 

Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus

The national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23.  Click here for more information and for tickets.

REVIEW:  Umbrella Stage Company gets up close and personal with ‘Network’

Posted on by The Sleepless Critic

How far will anyone go for ratings?

It’s a mad world and UBS is here for it.

With compelling direction by Ashley Kelly Tata, adapted for the stage by Lee Hall and based on Paddy Chayefsky’s Academy Award-winning screenplay, The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3.  This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes.  Click here for more information and for tickets.

Set in September of 1975, UBS is a struggling television station drowning in the ratings.  Tensions are sky high as executives scramble to save it.   As a result, world weary veteran newsman and widower Howard Beale, a metamorphic portrayal by Bill Mootos, has been forced to retire after 25 years dedicating his whole life to his work.  In an act of desperation, Beale makes a shocking decision that impacts everyone around him. 

Bill Mootos stars as Howard Beale in ‘Network’ Photo by Jim Sabitus

Steeped in nostalgic glory, Network seamlessly rewinds the clock to a time where television was the world’s primary source for news, information, and entertainment.  From three piece suits to wrap dresses to Barrymore collars, costume designer Nancy Leary captures the essence of the 70s while Afsoon Pajoufar’s duel level retro studio set features vintage studio equipment, a line of wall clocks keeping track of various time zones all over the world and a multitasking wooden desk. 

The cast of ‘Network’ Photo by Jim Sabitus

 The towering UBS logo printed across SeifAllah Salotto-Cristobal’s projection screen can be distracting at times, but symbolically portrays the media’s monstrous influence on the world over anything else. Not only does it provide a window into nostalgic television but an intimate account into the characters’ reactions as if the camera is always rolling.   Featuring flashes of famous 70s commercials to searing headlines to classic TV shows like Laverne and Shirley, Salotto-Cristobal’s montages are overwhelming, rapid and impactful.  Even the television test signal can be unsettling.  Aubrey Dube’s audio design bring to life some particularly intense moments as well as satirical humor demonstrated in David Bowie’s meticulously placed Fame during a pivotal scene in the production. 

Blythe de Oliveira Foster as Diane and Bill Mootos as Howard Beale in ‘Network’ Photo by Jim Sabitus

Having worked through the Golden Age of Television, Howard Beale has seen the trends change into a darker tomorrow.  Mootos craftily transforms as alcoholic newsman turned influencer Howard Beale.  From a professional newsman straightening his tie, Mootos captures the derailment methodically from weary to anguish and everything in between struggling to learn what is really important.     

Workaholic Diane, ferociously portrayed by Blythe de Oliveira Foster, is a laser focused executive voracious for success and ratings that she flagrantly talks of immorality like she is ordering a drink at a bar.  Justifying unimaginable things hungry to accomplish her goals, Foster as Diane brings gall, gumption and a dark humor to her greediness that make her fascinating in her audacity.  Foster delivers some thought provoking scenes with Barlow Adamson who is impressive as tough yet rational Max and one of the few sympathetic voices of reason in this production.   Will McGarrahan also makes a lasting impression as menacing Arthur Jensen.   

Jennifer Bubriski as Sheila and Blythe de Oliveira Foster as Diane in ‘Network’ Photo by Jim

Network is a cleverly executed and gripping production that becomes so immersive that it may encourage you to contemplate whether anything has changed today or worsened especially in this digital age.  Network’s lighting is almost glaringly bright during show time and shadows take over behind the scenes depicting a darker reality.  Tata’s direction is invasive and revealingly up close and personal to expose the nature of many of the production’s themes including corporate greed, corruption, sensationalism, consumerism, scandal, violence and fame.  It is a barrage of ideas that are peeled away bit by bit and what is unveiled is both fascinating, alarming and not so unfamiliar before it reaches its shocking conclusion.  When has it all gone too far? 

Bill Mootos is “Mad as hell” and he’s “not going to take it anymore” as Howard Beale in a new stage adaptation of the 1976 classic film, ‘Network’ Photo by Jim Sabitus

The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3.  This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes.  Click here for more information and for tickets.

REVIEW: Facing corporate greed and corruption with a sprinkling of levity in Lyric Stage’s ‘Urinetown: The Musical’

Posted on by The Sleepless Critic

I went in skeptical. 

Having been invited to see this show years ago when a friend was in it, the title and premise lacked a certain initial appeal.  Yes, the show is about what the title suggests, but as narrator or maybe more like ringmaster Anthony Pires Jr as Officer Lockstock insists, ‘The setting is not Urinetown, just the name of this musical comedy.’  Janie E. Howland’s set is dingy in various shades of brown and littered with broken toilets and grime as undefined shapes pepper the stage. 

Anthony Pires, Jr and Paige O’Connor in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

And yet….

The set is a ruined landscape as one would imagine it would be for a musical comedy called Urinetown, but Mark Hollmann’s piano-infused music is suspenseful, foreboding, urgent and bright and Deb Sullivan’s mood-induced lighting design stands out.  As serious as some of the issues the show addresses are in a story about urination becoming a privilege for the rich and not a human right, the production’s satirical tone sits somewhere between not to be taken too seriously and a cautionary tale of oppression, corruption and more.

With thought provoking direction by Courtney O’Connor with lively choreography by Christopher Shin, The Lyric Stage Company opened its 50th anniversary season with musical parody Urinetown: The Musical live and in person at Lyric Stage Company in Boston, Massachusetts through October 20.  The action is not limited to the stage and run two hours with a 10 minute intermission.  Click here for more information and for tickets.

The cast of Urinetown: the Musical Photo by Nile Hawver

Taking place in an unknown city that suffers from a severe water shortage, Anthony Pires Jr as narrator and Officer Lockstock, Gabriel Graetz as Officer Barrell, and Lisa Yuen as rigid and business minded Penelope Pennywise, must enforce that each city resident pay a fee to urinate passed down by Christopher Chew as President and Owner of Urine Good Company’s Caldwell B. Cladwell.  When an incident takes place involving Remo Airaldi as Joseph “Old Man” Strong, Kenny Lee as Strong’s idealistic and determined son Bobby decides to do something about it.

Urinetown boasts a wealth of powerful vocals including Yuen’s stellar rendition of It’s a Privilege to Pee capped off by an astounding finale belt.  In rubber boots, fanny pack, and pigtails, Yuen brings depth to Pennywise who is caught between a rock and a hard place not unlike another survivor she portrayed earlier this year in Reagle Music’s South Pacific.  Pennywise must do what she thinks she must in fear of the alternative.

Lisa Yuen, Anneke Angstadt and James Turner in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Anthony Pires Jr is charismatic, engaging and a lifeline as Officer Lockstock who alternates between law enforcement and narrating the plot at various interludes.  Pires Jr’s self aware humor and sharp comedic timing adds levity to this bold satire that delivers its share of dark moments in a way that does not feel as heavy with Pires Jr at the helm.  The Cop Song, a duet with Graetz and Company, offers an inside look of what it’s like to enforce the law here to a cheerful beat.

Kenny Lee and Elliana Karris in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Elliana Karris depicts Cladwell’s rich, beautiful, compassionate, and idealistic daughter Hope who believes in change and shares an endearing rendition of Follow Your Heart with Bobby.  They are goofy, giddy and share each other’s wide eyed optimism and determination.  Kenny Lee is instantly likeable and impressive as Bobby who also longs to make a difference.  Paige O’Connor is excellent as precocious, street smart and conflicted Little Sally who shares some funny and fascinating scenes with Lee and Pires Jr throughout the production.

Christopher Chew and the cast of ‘Urinetown: The Musical’ Photo by Nile Hawver

With commanding vocals, Christopher Chew depicts threatening yet humorous adversary Caldwell B. Cladwell.  Chew strikes a delicate balance between scathing and corrupt with comic wit.  Cladwell could have easily delved into cartoon villainy, but Chew brings enough manipulative chutzpah to songs like Mr. Cladwell and Don’t Be the Bunny to make him a credible and worthy foe.

Musically directed by Dan Rodriguez, Urinetown features not only a number of songs in an array of styles, but also a variety of musical references which includes The Wizard of Oz, West Side Story and Les Miserables.  The cast’s moving rendition of Run Freedom Run and the seemingly peppy I See a River are both memorable.  As the band plays above the stage, it sheds some light as this skillful production delves into themes such as oppression, socialism, corporate greed, fear, corruption and freedom.  It’s also a strong metaphorical satire about something one would hopefully never have to go through.

If you can get past that, The Lyric Stage Company continues Urinetown: The Musical at Lyric Stage Company in Boston, Massachusetts through October 20.  Click here for more information and for tickets.

REVIEW: One con deserves another as South Shore Theatre Works continues with lively ‘Chicago the Musical’

Posted on by The Sleepless Critic

With the recent premiere of the highly-anticipated FX biographical miniseries, Fosse/Verdon about the sizzling creative and romantic partnership between legendary filmmaker and choreographer Bob Fosse (Sam Rockwell) and spectacular Broadway dancer Gwen Verdon (Michelle Williams), it seems Fosse and Verdon’s influence is still everywhere.  So, it is not surprising that South Shore Theatre Works (SSTW) is taking on what SSTW’s Executive Director and President Richard Bento called, “a dream production of mine to direct,” Chicago the Musical continuing through Saturday, April 20 at Abigail Adams Middle School in Weymouth, MA.  This show is not for young audiences.  Click here for more information and tickets.

One of Fosse’s most popular creations was a dark satire dealing with corruption and murder during the Jazz age called Chicago the Musical.  This Tony award-winning production continues to thrill audiences as one of the longest running Broadway musicals and its most recent 2002 film adaptation was the 2002 Academy award-winning film starring Renee Zellwegger (Roxie), Catherine Zeta-Jones (Velma) and Richard Gere (Billy Flynn) garnered a few Academy Awards.

SSTW's 'Chicago the Musical' cast

The cast of ‘Chicago the Musical’ Photo by Annabella Valle/South Shore Theatre Works

How has Chicago the Musical earned its longevity?  The proof is in its clever, satirical storytelling that isn’t afraid to occasionally shock, its sizzling choreography, memorable characters, catchy music, and its frank, timeless message about humanity.  With an impressive, semi-interactive fifteen-piece orchestra led by conductor Doug Gerber that elevates the action onstage plus additional songs not featured in its most recent film adaptation, this darkly humorous production is off to a good start.

With a modest set featuring vintage theatre lights that illuminate the stage, director Richard Bento keeps this production in classic Fosse form dressing his dancers in black. The close-knit, tight choreography by co-choreographers Richard Bento and Amy Valle Wallace includes some dance crazes of the Jazz Age that make for some visual sizzle.  Though the classic number Cell Block Tango needs a bit more snarl, clever Razzle Dazzle boasts some sleek staging.

This slideshow requires JavaScript.

Headlining this colorful cast is Stephanie Wallace as desperate, hot tempered and fast-living Roxie Hart.  With a great scowl and energetically navigating Roxie’s myriad of emotions, it is easy to see how Wallace relishes this character.  She is never better than during her natural and engaging signature song, Roxie Hart.

Jaclyn Cleary lends a mix of sharp sophistication and mayhem to Velma Kelly, a former dancer turned criminal.  Her wild, light eyes reveal a smugness and unsteadiness that will keep you guessing her next move.  Having seen Chicago the Musical quite a few times, I admire Jaclyn Cleary’s sleek vocals and not so by-the-numbers rendition of All That Jazz.  She and Matron Mama Morton, portrayed charismatically by Hanna Ford, have great chemistry.  They are two sides of the same coin in their rendition of Class.

Staring down her glasses with an ironically sophisticated air is Hannah Ford as Matron Mama Morton.  With a belt that certainly packs a punch, her rendition of When You’re Good to Mama clearly shows she knows how to pull some strings and depicts Mama in a different and refreshing way.

This slideshow requires JavaScript.

Wielding a cane, Aaron Stolicker masterfully navigates the cast and the audience as suave, shrewd, and debonair Billy Flynn, sharply dressed in a black tuxedo.  He’s full on smirking charm in the number, All I Care About is Love and quite the storyteller in his rendition of They Both Reached for the Gun, a complex, energetic number with strong choreography.  J. Merlo adds some humor and some serious pipes as journalist Mary Sunshine.

South Shore Theatre Works continues Chicago the Musical through Saturday, April 20 at Abigail Adams Middle School, 89 Middle Street in Weymouth, MA.  Click here fore more information, tickets, and how to support South Shore Theatre Works, an organization that recently celebrated its third anniversary.  Click here for more information about South Shore Theatre Works and its Executive Director and President, Richard Bento.