REVIEW:  Natural and supernatural lessons in Company One’s ‘Haunted’

What more could be haunting this haunted house?

Spiritually stuck in the Y2K era and in an often vacant house for the past 20 years, two indigenous brother ghosts long to rise to the great beyond and reunite with Creator and their ancestors.  However, something more is haunting this house beyond the antics they use to chase prospective home buyers away.   Using dance as escapism and as a way to cope, Bradley Lewis depicts an over the top Ash who never had the chance to grow up while older brother Aaron, portrayed with reticence by Chingwe Padraig Sullivan, carries a lot that he cannot move beyond as well.

Bradley Lewis, Katherine Callaway, Evan Turissini, Tanya Avendaño Stockler (Photo by Ken Yotsukura Photography)

Written, directed and choreographed by Tara Moses, Company One presents thought provoking horror comedy Haunted continuing live and in person in Rabb Hall at the Boston Public Library through Saturday, February 15.  The show runs approximately two hours with one 15 minute intermission and tickets are available at a pay what you can basis.  Click here for more information and for tickets.

Chingwe Padraig Sullivan, Katherine Callaway, Bradley Lewis (Photo by Ken Yotsukura Photography)

Y2K reigns supreme as two brothers are culturally frozen in time having never moved beyond Ash’s adoration of Britney Spears or Aaron rocking out to Creed since their deaths in 2003.  However, Danielle Delafuente’s scenic design reflects how frequently time marches on as books, furniture and portraits change as the brothers imagine and fret over an all too predictable future.   A nice touch is the ice film on the windows to indicate paranormal activity.  However, the brothers often play music and can make the living see things, yet it is a wonder why the living do not acknowledge when Ash plays one song after another.  Is the living so steeped in their world that they cannot hear or see what is playing on a boom box?

Elmer Martinez’s symbolic lighting and Aubrey Dube’s foreboding sound design builds intensity and keeps the lines of communication going embodying this unknown entity through flashing pink and purple lights, ominous chimes and illuminated images on the walls.

Evan Turissini (Photo by Ken Yotsukura Photography)

With the exception of the two brothers and JāQuan Malik Jones as Vincent, the remaining cast members portray a number of unlikable stereotypes.  From a righteous Quaker to a scholarly intellectual historian, Evan Turissini often portrays these shallow characters with a mix of dark humor and audacity while Katherine Callaway and Tanya Avendaño Stockler become increasingly more manipulative with each newcomer.  The ghosts often make assumptions everyone acts a certain way perhaps in fear of being disappointed.  It might have been more intriguing if Vincent and the brothers saw more than one side of these characters. 

Chingwe Padraig Sullivan, Katherine Callaway, Evan Turissini, Tanya Avendaño Stockler, Bradley Lewis (Photo by Ken Yotsukura Photography)

On the flip side, JāQuan Malik Jones delivers an impressive performance as level headed Vincent whose actions are anything but predictable.  Lewis as Ash and Sullivan as Aaron  share a likable rapport as paranormal brothers whose bickering and conflicts often stem from too much time together, but they also share a mutual respect partly due to this supernatural bonding time.

Chingwe Padraig Sullivan, JāQuan Malik Jones, Bradley Lewis (Photo by Ken Yotsukura Photography)

Haunted has some inconsistencies and may have benefited by a shorter run time, but offers a lot of educational insights into man’s connection to the land, indigenous culture, the Land Back movement, and how one can learn more and contribute to change.

Company One presents thought provoking horror comedy Haunted continuing live and in person in Rabb Hall at the Boston Public Library through Saturday, February 15.  The show runs approximately two hours with one 15 minute intermission and all tickets are available at a pay what you can basis.  Click here for more information and for tickets.

REVIEW:  Chuang Stage’s visionary ‘Nüwa in Fairyland’ explores the nature of love and belonging

Words matter.  Formalities matter.  Commitments matter.

Wise words firmly stated by Jen Alison Lewis as Maryanne in Brandon Zang’s Nüwa in Fairyland, an insightful coming of age tale that crosses imagination with a number of interweaving elements in order to bring consolation and understanding in the face of change.    

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage continues Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for the Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1.  This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission.  Pay-as-you-are tickets are available.  Click here for more information and for tickets.

Jen Alison Lewis and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Nüwa in Fairyland is primarily centered on the relationship between good natured, competitive, and playful Benji depicted by Trevyn Wong in an impressive and charismatic performance and Jen Alison Lewis as Maryanne, Benji’s protective and steadfast adopted mother.  Benji is starting to question his heritage beyond what he knows of his adopted life in America after seeing a documentary on China and Maryanne immediately feels anxious and uneasy.  Meanwhile, Bowen Huang movingly depicts a mystical creature frantically searching for a missing child.  There may be a connection here, but Nüwa in Fairyland explores a broader vision and branches out into fascinating territory and parallels that interweave imagination, reality and a certain Shakespearean play in order to cope with what is next.

Matt Goldstein, Trevyn Yong, and Jen Alison Lewis in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Navigating its various settings with precision while making the most of its theatrical space, Qingan Zhang’s ethereal and floral scenic design is highlighted by splendid translucent imagery and a sense of immersion due to Anna Drummond’s soothing and atmospheric sound design and Ashley Yung’s ambient lighting.  From feathers to crowns to capes to embroidered armor, Sandra Zhihan Jia’s costumes blend the fanciful with the contemporary while infusing a traditional Shakespearean influence. 

Jen Alison Lewis and Matt Goldstein in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

This capable cast has very good camaraderie and comedic timing as they find nuances not necessarily in the script which enhance certain sweet moments within the production.   A gleeful glance, an awkward gesture, and a delayed pause help to strengthen the bond within this small cast.  Henry Dolgoff as chatty and anxious Damian share several of these moments infatuated with Wong in an array of awkward and mixed signals.  Matt Goldstein as stern yet supportive Mr. Bailey and Lewis as Maryanne both share some soulful moments with Wong as Benji struggles with where he belongs.

Trevyn Wong and Henry Dolgoff in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

However, Bowen Huang shines as stunning Nüwa in an intense, sage and sympathetic performance.  Spoken in both Chinese and English, Huang is expressive, passionate, brave, and empowered with a wonderful charisma and zealousness convincingly drawing others to her plight in an unfamiliar place.   The cast collectively explores the bonds of love in a thought provoking and multi-layered journey while both Huang and Lewis uniquely and beautifully discover the unforeseen and unyielding expectations of motherhood.

Bowen Huang and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage presents Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1.  This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission.  Pay-as-you-are tickets are available.  Click here for more information and for tickets.

REVIEW:  ‘Music from the Sole’ made an uplifting Boston debut with Celebrity Series of Boston

With upbeat rhythms and sweeping and intricate grace, Music from the Sole:  I Didn’t Come to Stay is such a lively and fervent celebration, one can only wish this group would extend their visit to Boston.  Cheerful and exuberant lighting brighten the stage as the onstage band creates an eclectic blend of house, jazz, samba, Afro-Brazilian and funk in an inviting journey of smooth and invigorating rhythms capable of uplifting any mood.

Music from the Sole Photo credit to Robert Torres

With captivating choreography by Leonardo Sandoval combined with the dancers’ skillful improvisation, Celebrity Series of Boston presented Music From the Sole:  I Didn’t Come to Stay from Thursday, January 11 through Saturday, January 13 live and in person at New England Conservatory’s Plimpton Shattuck Black Box Theatre in Boston, Massachusetts.  Music from the Sole is currently on tour.  This semi-immersive dance celebration is approximately one hour with no intermission.  Click here for more information, click here for Music from the Sole’s upcoming events, and here for what is next for Celebrity Series of Boston.

Music from the Sole Photo credit to Robert Torres

NEC’s Plimpton Shattuck Black Box Theatre has an attractive set up with a raised stage without a bad seat in the house.  In an array of pulsating rhythms, Music from the Sole made a refreshing and breezy entrance from the wings of the intimate theatre and moving through the crowd, the group encouraged the audience to respond to what they saw in any way that moved them.  Music from the Sole’s compelling performance made moving in some way to the beat irresistible.  The show’s mesmerizing and skittering tap dancing resembled a rollicking train as their soles hit the floor and also featured the graceful pitter patter of bare feet that slid and glided in an array of intricate maneuvers.  One notable performance featured Ana Tomioshi’s swift footwork enhanced by a radiant smile as her shadow lit up against what resembled a glowing orange sun before the other dancers joined in a drum-laden beat.   

Music from the Sole Photo credit to Robert Torres

When the dancers composed of dance captain Ana Tomioshi, Naomi Funaki, Orlando Hernandez, Roxy King, Gerson Lanza, Leonardo Sandoval, Lucas Santana, and Gisele Silva collectively took the stage, it was an effervescent and energetic excursion.  Their collective enthusiasm was contagious and a joy to watch.  If only every job could be met with such zeal.

Music from the Sole Photo credit to Robert Torres

Kathy Kaufmann’s integral lighting set the excitement and warmth of each performance in a varying array of purples, pinks, greens, oranges, blues and reds while Dede Ayite’s bright and multicolored costume design lent to the festive nature and depicted the culture in lime green pants, pastels, bright island-inspired patterns, feathers, and stripes.  The crackling and smooth sounds of the five piece band composed of Josh Davis, Magela Herrera, Noe Kains, Gregory Richardson, and Jennifer Vincent melded together seamlessly as the dancers moved in harp, guitar, and bass-infused rhythms creating their own unique expressions as they clapped, leapt and stomped to the beat.  Some members of Music from the Sole are both instrumentalists and dancers and it was exciting to see what combination of dancers and musicians would take the stage next.

Music from the Sole Photo credit to Robert Torres

With captivating choreography by Leonardo Sandoval combined with the dancers’ skillful improvisation, Celebrity Series of Boston presented Music From the Sole:  I Didn’t Come to Stay from Thursday, January 11 through Saturday, January 13 live and in person at New England Conservatory’s Plimpton Shattuck Black Box Theatre.  Music from the Sole is currently on tour.  This semi-immersive dance celebration is approximately an hour with no intermission.  Click here for more information, click here for Music from the Sole’s upcoming events, and here for what is next for Celebrity Series of Boston.

REVIEW: Embrace SpeakEasy Stage Company’s illuminating ‘English’

Learning a new language brings all kinds of emotions to the surface.   One is swept out of one’s own element and that can be as exciting as it is daunting. It can also become a long and awkward struggle to capture the essence of a new culture while steeped in a new language. Though one is gaining something new, one might also be losing a bit of themselves.

Thoughtfully directed by Melory Mirashrafi, Speakeasy Stage Company continues Sanaz Toossi’s English at Calderwood Pavilion in Boston, Massachusetts live and in person through Saturday, November 19.  The performance reviewed was audio described and one hour and 45 minutes with no intermission. Click here for more information and tickets.

The company of English. From left: Deniz Khateri, Josephine Moshiri Elwood, Lily Gilan James, Zaven Ovian, and Leyla Modirzadeh. Photo by Nile Scott Studios.

One of the most fascinating messages in SpeakEasy Stage Company’s English is the realization that one can learn many languages, but can only know one. That one native language is the foundation for all the rest.  In learning to speak a new language, it can reshape what comes naturally.

English delves into the lives of four students living in Iran who are learning the English language for TOEFL, a standardized test that stands for Test of English as a Foreign Language. The production is mostly in the English language with no subtitles.  It takes a moment to catch on, but Mirashrafi cleverly depicts when characters are speaking in their native tongue.

Leyla Modirzadeh as Roya in SpeakEasy’s production of English. Photo by Nile Scott Studios.

This multi-generational cast has various and deep seated reasons for learning English and this production resonates universal truths of having to learn a new language whether by choice or necessity. English does explore the political climate of learning English in Iran, but what is most memorable are the hardships, victories, competitiveness, and the often flustered frustration of learning a peculiar new facet of life.  Each individual demonstrates a different degree of longing to belong. It is not difficult to relate to this small and dynamic cast in their obstacles, earnestness, but most importantly, in the strength in who they are.  Deniz Khateri depicts complicated Marjan, who seems to firmly place herself in the world of the language she teaches. In a multi-layered performance, Khateri as Marjan is engaging and encouraging, but also firm and mysteriously guarded.  She lends to the show’s tension and subtle humor and has unique chemistry with each student. Lily Gilan James portrays wide-
eyed and optimistic Goli with effervescent candor. She stands on her own mistakes while earnestly articulating the nature of her wishes. 

The company of English. From left: Deniz Khateri, Josephine Moshiri Elwood, Lily Gilan James, Zaven Ovian, and Leyla Modirzadeh. Photo by Nile Scott Studios.

Leyla Modirzedeh as wise and headstrong Roya is strongly urged to learn English to communicate with new members of her long distance family.  A sympathetic character, Modirzedeh powerfully evokes Roya’s sincerity and her struggle between her heritage and this new way of communicating.   Zaven Ovian depicts Omid with easygoing charm and he shares some compelling scenes with Khateri as Marjan and with witty, outspoken and understandably frustrated Elham, a standout performance by Josephine Moshiri Elwood.  Elham is a complex individual who is as compassionate as she is bold and is often hardest on herself.

Josephine Moshiri Elwood as Elham in SpeakEasy’s production of English. Photo by Nile Scott Studios.

Nina Vartanian’s culturally sound and vivid costumes pop in Janie E Howland’s realistic classroom staging and enhanced by an elegant, multicolored portrait in teal, orange, red, brown, and beige.   

English is an honest, straightforward, warmly funny, and universally relatable journey of discovering a new language and in all of its difficulties, deciding whether or how to embrace it.  See English and embrace its life lessons. 

Deniz Khateri (left) and Zaven Ovian in SpeakEasy’s production of English. Photo by Nile Scott Studios.

SpeakEasy Stage Company presents Sanaz Toossi’s English live and in person at the Calderwood Pavilion in Boston, MA through Saturday, November 19.  Click here for more information and for tickets.

REVIEW: ‘Chabe,’ ‘Conversations with Female Clowns,’ ‘Dictionary’ and ‘Por Mi Hija’ explore various aspects of love and connection at The New York City Indie Film Festival

The New York City Indie Film Festival concluded on June 19 after approximately a week of screenings at the Producers Club in New York City.  It featured a variety of films from shorts to narratives to documentaries curated with common themes.  At this festival, Sleepless Critic had the opportunity to see screenings on music, small businesses, love and connection, and much more which will be explored in future articles.  Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it first launched in 2010.  Click here for more information.

Photo credit to Jeanne Denizard

Curated by Lucie Guillemot, this narrative film collection explored different aspects of love and connection.  Directed by John Tsiavis, Chabe is a vivid short film about Isabel Gomez, a woman who assists in a cataracts surgery project for a Mexican indigenous tribe.  Rich in unique color and told through Isabel’s eyes, the film evokes Isabel’s sheer joy in helping others and the complex process of this tribe’s journey from dark to light.  Chabe made me long to see more on it all.

Isabel Gomez in ‘Chabe’ Photo credit to NYC Indie Film Festival

Directed insightfully by Clare Redden and Joseph Pulitzer, Conversations with Female Clowns is a surprising look at connection through laughter from a unique perspective.  Reflected through a group of female clowns, it explores not only the incentive for a woman to become a clown, but the societal and personal norms as a female that seem to relate all too well to this profession.  It sheds light on the idea of clowning from a new angle with an opportunity to see these female clowns in action.  From a hospital clown to a member of the Big Apple Circus, Conversations with Female Clowns is an eye opening and humbling experience about what it truly means to be funny.

Director and writer Clare Redden of ‘Conversations with Female Clowns’ Photo credit to NYC Indie Film Festival

Dictionary explores the ODU concept of the seven stages of love in vignettes.  A tribute to the Indian culture, Aishwarya Sonar has a great deal to convey in the screening’s brief time frame and writer, director, and producer Elena Viklova aptly evokes the fleeting and sacred power of love in each frame.  From the warm bloom of attraction to the stillness of grief, Sonar elevates each stage in dynamic subtleties.

‘Dictionary’ by Elena Viklova Photo credit to NYC Indie Film Festival

Por Mi Hija (For My Daughter) is an immersive Spanish language film that addresses familial love and the dream of what is thought to be a better life.  Written, directed, and produced by Fernando Rodriguez who dedicated this film to his wife and kids and based on two true stories, Por Mi Hija is a stirring account that examines what creates a fulfilling life in an unconventional way. 

Christopher Bustos as Leo and Daniela Vidaurre as Emma are young newlyweds living a happy life surrounded by family in Mexico when they receive life changing news that prompts Leo to seek success in California.  Bustos and Vidaurre depict a strong and relatable couple with endearing chemistry as they face moving and realistic trials and tribulations while Luciana Elisa Quiñonez shines as imaginative and sweet Luciana. 

Christopher Bustos, Daniela Viduarre, and Luciana Elisa Quinonez in ‘Por Mi Hija’ Photo credit to NYC Indie Film Festival

The real strength in this film lies in its unconventional timeline and how it manages expectations and reality.  The various parallel scenes between Leo and Emma including having a meal or riding in a car are gripping as it is weaved into the film’s progression and there is a dreamlike quality looking into the past as well as a hazy, ethereal ambiance of the future. This particular style enhances the film’s poignant message while achieving a balance between the lighthearted and tense moments.  It also embodies what the characters cannot quite see at the time until the film’s stunning revelation.

Chabe, Conversations with Female Clowns, Dictionary and Por Mi Hija were all part of Narrative 14 at the New York City Indie Film Festival which continued through June 19.  Click here for more information on this annual festival and its winners.

REVIEW: Christmas Revels 50th virtual anniversary delivers mirth, merriment, and reflection

For what marks its 50th year, Christmas Revels has been entertaining audiences by delving into vast cultures and recreating historical moments and holiday traditions with drama, dance, humor, and song.  Christmas Revels made its debut in 1971 and though it is limited to the screen this year, this engaging production brought a mix of new material while glimpsing some of their best performances in their long history. 

Father Christmas makes an appearance in The Christmas Revels annual “Mummers Play” Photo courtesy of Revels

Having never seen Christmas Revels before, it was a lot to take in and quite a feat to encapsulate the best moments in such a broad time frame.  Catching glimpses of some of their special guests, returning favorites, and new faces was an innovative way to recap a half century of productions, but it also had me longing to see more, especially as I glimpsed some of their best, most enduring performances.

Christmas Revels is still available to stream on-demand through Thursday, December 31.  Click here for more information and how to support future Revels productions.  The 50th Anniversary of Christmas Revels is also available as a 2-CD set.  Click here for more information.

Statues: Paula Plum as James Otis and Richard Snee as Josiah Quincy Photo courtesy of Revels

Harvard University’s Sanders Theatre is as majestic and welcoming as ever even as it fills for a virtual audience.  The dark, wooden stage is softly-lit with two stately, marble Greek statues sitting on each end as a grand, dimly-lit bronze chandelier floats overhead.  Hosted by acting dynamos Paula Plum and Richard Snee as James Otis and Josiah Quincy who were immortalized as those legendary statues on the Harvard University stage and the only souls who have seen every Revels performance and then some, Christmas Revels blends humor, stirring moments, and a wistful trip down memory lane to witness some of Revels’ earliest performances as it gradually became what it is today.  

From humorous moments to joyful carols such as 1984’s Yorkshire Here We Come A Wassailing, Go Tell it On the Mountain with Janice Allen and Joy to the World featuring choruses from Christmas past and virtual Christmas present, and a serene Dona Nobis Pacem featuring renowned cellist Yo-Yo Ma, Christmas Revels does not predictably explore its past in sequence, but in clever moments such as merging a past and more recent performance of a song  by various performers, setting a different tone to its enduring meaning.

Yo-Yo Ma with Audience: Cellist Yo-Yo Ma performs the peace round “Dona Nobis Pacem” with members of the Revels Virtual Audience Photo courtesy of Revels

One of the best and most exciting examples of this was in 1997’s and 2015’s Lord of the Dance featuring David Coffin, Neena Gulati, and Patrick Swanson as they explored eastern and western Hindu traditions.  Audience members were on their feet as enthusiastic performers led audience members to spill out into the Sanders Theatre’s lobby singing along.  1993’s Kukko dance featuring the Karelian Folk Ensemble stood out as one of the more exotic cultures while 1997’s Niska Banja featuring the Revels Women, New England Romanian Ensemble, and Cambridge Symphonic Brass Ensemble revealed beautiful and distinctive garb.  2007’s Shopsko, choreographed by Petre Petrov with Mladost Folk Ensemble, The Village Band, and Cambridge Symphonic Brass Ensemble offered memorable upbeat and bustling Bulgarian dance. 

Johnny Nichols, Jr. and Carolyn Saxon perform the spiritual “Hold On” in a segment linked to Maya Angelou’s poem “Still I Rise”, exploring the ongoing journey towards justice and equality Photo courtesy of Revels

 Janice Allen and the Silver Leaf Gospel Singers took the stage in 2000 for a stunning, acapella version of Amazing Grace while 1986’s impressive Appalachian Clogging with Ira Bernstein and the Big Gap String Band and Jean Ritchie delivered a captivating Kentucky folk carol, Christ Was Born in Bethlehem.  Another indelible moment rested in a powerful medley of 2000’s Underground Railroad featuring Sheila Kay Adams and Janice Allen, Jordan Ashwood, and Cyrus Brooks, Silver Leaf Gospel Singers, Roaring Gap Chorus, Rocky River Children, Carolyn Saxon, and Johnny Nichols, Jr.

Christmas Revels’ ever changing repertoire is too numerous to mention every highlight, but there are plenty of surprises.

The detailed, rustic sets and the meaningful, meticulous costumes ranged from festive to humorous to haunting.  It was marvelous to witness the virtual technology that was such a big part of this production.  The virtual choir delivered moving, crisp carols and seeing the creators including founder John Langstaff and Revels Directors Patrick Swanson and George Emlen united in present time without actually being onstage provided some comfort that technology can still make some things possible. 

Christmas Revels is still available to stream on-demand through Thursday, December 31.  Click here for more information and how to support future Revels productions.  Click here for more information on The 50th Anniversary of Christmas Revels available as a 2-CD set.