dance

REVIEW:  Witnessing transformation in Gloucester Stage and Teatro Chelsea’s dramedy ‘The Hombres’

Posted on by The Sleepless Critic

Julián seems lonely and misunderstood, but not for long.

Ricardo “Ricky” Holguin delivers a moving performance as gay Latino yoga instructor Julián who has always been intimidated by macho men.  When he realizes he has to deliver a message to a group of construction workers above the yoga studio, he must face his fear to unexpected results.

Directed affectingly by Armando Rivera with sweeping choreography by movement designer Nathaniel Justiniano, Gloucester Stage Company and Teatro Chelsea co-presents Tony Meneses’ dramedy The Hombres continuing at Gloucester Stage in Gloucester MA through September 22 before concluding at Chelsea Theatre Works from September 27 through September 29.  The show runs 100 minutes with a 15 minute intermission.  Click here for more information and for tickets.

Jaime José Hernández, Luis Negrón and Arthur Gomez in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

A group of Latino construction workers composed of Arthur Gomez as Héctor, Jaime José Hernández as Beto, and Luis Negrón as Pedro are working above a New Jersey yoga studio.  This fascinating trio shares an easygoing and amusing rapport sharing dirty jokes, intriguing stories or fantasizing how good life must be for the gringos (people who are not Latino) working in the city.  In impressive glowing neon hard hats and jackets by Chelsea Kerl with vivid lighting by John Holmes, they strut and occasionally goof off while on break looking down at the city and the yoga studio does not go unnoticed. 

Ricardo “Ricky” Holguin and the cast of Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

Rivera cleverly overlaps the construction and yoga studio scenes depicting how vastly different these environments are until they inevitably collide.   Scenic designer Kristin Loeffler makes the most of the stage as it highlights these contrasting worlds structurally connected featuring candles, incense, crystal and brass offering bowls, yoga blocks and mats while movable scaffolding and various pieces of equipment adorn the background.   Julian Crocamo’s catchy sound design, highlighted by metal clanging infused rhythms and meaningful club and ruminating music, is a lively addition to this tale.

Ricardo “Ricky” Holguin and Patrick O’Konis in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

In a bandana and loose and flowing clothes, Julián seems tuned in and often empathetic towards others.  An aspiring dancer, Julián is caring, funny, unassuming, sensitive, a bit of an over thinker and an amazing listener often finding himself engaging in other people’s problems and connecting to those around him more often by circumstance than by his own will.   Patrick O’Konis portrays conflicted and friendly yoga member Miles who is also a bit of an enigma.  Holguin is wonderful navigating the trepidation within Julián’s encounters with others with a mix of caution and relatable humor. 

Ricardo “Ricky” Holguin and Arthur Gomez in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

Arthur Gomez as Héctor is earnest, vulnerable, and frustrated with his life and longs to make a change.  Gomez’s Héctor thinks Julián may have the answers to his problems.   The connections established in this show are stirring, heartwarming, and complex as it explores the lives and struggles of these Latino men.  Julián often expresses himself through dance which leads a number of uplifting and humorous situations.

Ricardo “Ricky” Holguin and Luis Negrón in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

The Hombres is a well paced production with a captivating cast as each character undergoes some sort of mental, physical or spiritual transformation.  Even in its unpredictable turn of events, it is a hopeful show that explores friendship, brotherhood, and what is truly means to be a real man.

Directed affectingly by Armando Rivera with sweeping choreography by movement designer Nathaniel Justiniano, Gloucester Stage and Teatro Chelsea co-presents Tony Meneses’ dramedy The Hombres continuing at Gloucester Stage in Gloucester MA through September 22 before concluding at Chelsea Theatre Works from September 27 through September 29.  Click here for more information and for tickets.

REVIEW:  Love takes a spectacular turn in Reagle Music Theatre of Greater Boston’s picturesque ‘An American in Paris’

Posted on by The Sleepless Critic

Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo.  An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.

With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

Adam Hochberg (Jared Troilo) and Lise (Samantha Barnes) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo Credit Robert Pascucci

By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world.  Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.

A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance.  In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable.  Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm.  It’s simple and yet absolutely extraordinary.

Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance.  Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background.  Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals.  From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.    

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron.  However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill.  Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.

Pictured Lise Dassin (Samantha Barnes) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother.  They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck.  Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.

Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives.  It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me. 

Pictured l to r Milo Davenport (Rebekah Rae Robles) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Credit Robert Pascucci

With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance.  Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up.  It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad.  Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.

Pictured_ l to r- Jerry Mulligan (Jack Mullen), Adam Hochberg (Jared Troilo), and Henri Baurel (Christopher Lewis) in Reagle Music Theatre ‘An American in Paris’ Photo credit Robert Pascucci

Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight!  Get swept up in this beautiful musical as soon as you can.

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

REVIEW:  Company’s One’s ‘Hoops’ take on greater meaning

Posted on by The Sleepless Critic

Not to be mistaken for basketball, Hoops are jewelry individuals wear as a fashion piece, display cultural or ancestral significance or to make a statement as Bronx-born Puerto Rican Jennifer Lopez once fiercely remarked during a comedy sketch on The Tonight Show, ‘Don’t make me take off my Hoops!’  It served as a warning to host Jimmy Fallon that Lopez was not to be messed with.

Hoops can add subtle and delicate elegance or stand out as its own remarkable, not-to-be-missed fashion statement.  I love my own hoops.  Whether formal or casual, they go with everything and fit in for every occasion.  Produced in all patterns, colors, and sizes, Hoops are unmistakable and certainly have a way of expressing themselves.

So it is no secret that this topic is right up my alley.

L to R Tiffany Santiago, Kaili Y. Turner, and Karimah Williams in Hoops Photo by Ken Yotsukura Photography

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA.  This semi-interactive production is free with pay-what-you-want options, contains some adult language and is a dense 90 minutes with no intermission.  Click here for more information and for tickets.

Brandie Blaze in Hoops Photo by KenYotsukura

Lively and pulsing rhythms greet the audience as multi-talented DJ Brandie Blaze spins tunes by local Boston artists as the production begins.  This is not the kind of show where one watches and remains silent.  The audience is encouraged to get up and dance, clap and show their enthusiasm as Blaze introduces this fervent cast who uniquely take the stage in their own style.

Part dance party, part testimonial and reflections, and part history lesson with a mix of comedic scenarios, the cast of Hoops share personal experiences, coming of age stories, and dig in deep into the idea that a piece of jewelry can make such an impact. Whether it is to feel closer to their family through an heirloom or to build confidence for an intimidating event, each individual has an original reflection on how their hoops made a difference in their lives.  Sometimes the production gives hoops a bit too much credit, but it is effective serving as a reminder that they had the courage and power to get through these challenges within themselves.

L to R Albamarina Nahar and Tiffany Santiago in Hoops Photo by Ken Yotsukura Photography

The cheerful, hoop-inspired set design by Payton Tavares with Grace Kroeger has a bit of a ‘90s feel featuring bursts of neon green, pink, yellow and blue with dripping paint decorated on blocks.  The DJ Booth is stylish and cozy featuring embellished shelves, vinyl, and flowers lining the walls.  Each character decked out in their own signature pair of hoops, Erica Schoenberg’s colorful, urban and summer-inspired costumes makes each individual stand out as they portray various roles.

Elijah Brown in Hoops Photo by Ken Yotsukura-Photography

In large and sparkling hoops, affable Brandie Blaze hypes up the audience by singing and rapping to Blaze’s original music.  Sharp and upbeat choreography by Jenny Oliver keeps the show exciting as  Elijah Brown, Albamarina Nahar, Tiffany Santiago, Kaili Y. Turner, Karimah Williams and Beyoncé Martinez not only break out into dance, but collaborate well together onstage sharing a spectrum of stories and anecdotes about sharing hoops, breaking hoops, status, generational wealth and their own individual journeys.

L to R Brandie Blaze Kaili Y. Turner Tiffany Santiago Karimah Williams and Albamarina Nahar in Hoops Photo by Ken Yotsukura Photography

Funny, upbeat, and poignant, Hoops is a meaty exploration about feeling good about oneself while taking on the weight of the world with flourish.

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA.  This semi-interactive production is free with pay-what-you-want options and is a dense 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Boston Ballet ‘Spring Experience’ an extraordinary awakening

Posted on by The Sleepless Critic

Dancers seemingly lie dormant, fires burn, a multi-limbed creation, and athletic feats from a Barre to calypso-inspired rhythms is just a portion of the imagery demonstrated in Boston Ballet’s 60th season closer, Spring Experience.   It embraces the eclectic and the unusual while ever bringing ballet to another level.

Ken Ossola’s ‘The Space Between’ photo by Liza Voll; courtesy of Boston Ballet

The Boston Ballet presents Spring Experience live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, May 19.  The production is approximately two hours and 15 minutes with two intermissions.  Click here for more information and for tickets.

Boston Ballet in Ken Ossola’s The Space Between; photo by Rosalie O’Connor; courtesy of Boston Ballet

A suspenseful world premiere, a carefully orchestrated Barre experience fueled by James Blake’s innovative works, and a provocative fan favorite create an exceptionally curious and intense set of performances. 

Boston Ballet in Ken Ossola’s The Space Between; photo by Rosalie O’Connor; courtesy of Boston Ballet

The Space Between builds a steady anticipation through its urgent and haunting piano-infused rhythms as dancers lie dormant or may be in sleeping state.  As each dancer comes to life and two perform an elegant pas de deux, Choreographer Ken Ossola’s highlights the speed and agility of the dancers in a combination of freestyle and synchronized movements to horn-infused rhythms enclosed on a sloped and curved midnight blue landscape, part of Benjamin Phillips’s multi-color schemed set design brightened by Brandon Stirling Baker’s transformative headlights.  Women dancers appear defiant as they prowl, jostle and swing with the push and pull of being navigated by men to the electronic hissing of Mischa Santora’s electronic rhythms.  Adorned in Lisa Dezmelyk’s translucent costumes in floral and shimmering patterns, the group leaps and align together which includes María Álvarez, Lia Cirio, Chyrstyn Fentroy, Seo Hye Han, Abigail Merlis, Chisako Oga, Haley Schwan, Jeffrey Cirio, Tyson Ali Clark, Paul Craig, Daniel Durrett, John Lam, Daniel Rubin, Gearóid Solan, Schuyler Wijsen, and Patrick Yocum.  The Space Between culminates into a grand finale with a new moving creation.

Ken Ossola’s ‘The Space Between’ photo by Liza Voll; courtesy of Boston Ballet

In Blake Works III (The Barre Project), the Barre highlights this performance steeped in synthetic vocal rhythms as María Álvarez , Graham Johns, Lia Cirio, Sangmin Lee, Ji Young Chae, Gearóid Solan, and Tyson Ali Clark showcase their contact with it.  Simply staged with a black back drop and Barre, María Álvarez and Graham Johns perform a playful and lively pas de deux into lifts, twists, and tight leaps.  William Forsythe’s urgent and slinky choreography navigate the zip, zing and hip hop tempo of James Blake’s catchy tunes showcasing each dancer’s athletic prowess gripping the Barre.  A particular highlight is moving to the tender and haunting rhythms of James Blake’s romantic Lullaby for the Insomniac and 200 Press.  Dancers demonstrate tight and urgent leaps in funky rhythms and at what point, letting the arms do the walking on the Barre at fascinating angles in an edgy and eclectic display.

Ji Young Chae in William Forsythe’s Blake Works III; photo by Liza Voll; courtesy of Boston Ballet

The final piece is still one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Jiří Kylián‘s Bella Figura Photo by Liza Voll; courtesy of Boston Ballet

 Jiří Kylián and Ken Ossola’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow.  In many ways, it bucks tradition as the dancers float and slide between closing curtains as one dancer, topless, wraps herself in only a black stage curtain.  The curtain seems to have a mind of its own as it frames, shrinks, and chases the dancers.  Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away.  As fires burn, Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements.   It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect.  In gathering rich red skirts which is part of Joke Visser’s bold costume design, topless men and women looking the same glide along the stage.  It is a memorable, distinctive performance as the piece continues even as the music concludes.

Boston Ballet in Jiří Kylián’s Bella Figura; photo by Rosalie O’Connor; courtesy of Boston Ballet

 The Boston Ballet presents Spring Experience live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, May 19.  The production is approximately two hours and 15 minutes with two intermissions.  Click here for more information and for tickets.

REVIEW:  The Huntington’s intensely funny and revealing ‘John Proctor is the Villain’

Posted on by The Sleepless Critic

In a small southern town, everyone seems to know everyone else’s business and in high school, rumors run amok.  However, which ones are actually true and which ones are just talk? 

With meticulous direction by Margot Bordelon, The Huntington presents Kimberly Belflower’s dark comedy John Proctor is the Villain live and in person at the Calderwood Theatre in Massachusetts through Sunday, March 10 as well as a virtual program option through Sunday, March 24.  This show is not appropriate for children and is 100 minutes with no intermission.  Click here for more information and for tickets.

Left to right: Brianna Martinez, Jules Talbot, Victoria Omoregie, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Set in a rural Georgia high school in 2019, girls are coming into their own and through The Crucible, are discovering their own power.  When Jules Talbot as studious, serious, anxious and outspoken Beth Powell wishes to start a feminist club, the faculty is somewhat hesitant.  With Brianna Martinez as Ivy, Victoria Omoregie as Nell, Haley Wong as Raelynn Nix, and Japhet Balaban as cool teacher Mr. Smith to back Beth and tie the club into the curriculum, the club is underway.  Feminism fosters power and ignites change and this ambitious and likable group thinks that is just what this small town needs.

Left to right: Olivia Hebert, Japhet Balaban in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Kristen Robinson’s detailed and edgy scenic design unveils a colorful classroom complete with academic notes, green chalkboard, raised stadium-style classroom seating, and transfiguring walls enriched by Aja M. Jackson’s flashy, rhythmic and radiant lighting.  Jackson’s lighting seamlessly aligns with Sinan Refik Zafar’s lively sound design that weaves in pop tunes from the darker sides of Pink, Lorde, Britney Spears and Taylor Swift. 

Left to right: Japhet Balaban, Isabel Van Natta, Victoria Omoregie, Brianna Martinez, Benjamin Izaak, Jules Talbot, Maanav Aryan Goyal, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

John Proctor is the Villain presents a different and intriguing perspective to The Crucible that plays out in various ways within this Georgia High school.  The stiff raised hands, the quick paced teen dialogue, frenetic excitement and nervous energy of this group of teens solidly depicts the atmosphere and nature of high school while Zoe Sundra’s distinct costume design enriches each character’s individuality.  The production has plenty of giddy and playful moments that cement some close knit friendships and yet it never loses sight of tackling its serious topics.

Left to right: Isabel Van Natta, Jules Talbot, Victoria Omoregie, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Kimberly Belflower’s juicy script holds many stunning revelations and the tables turn many times over as the tale intensifies, but  John Proctor is the Villain also notably dives into broken relationships, reputation, and discovering one’s authentic self.  Some of the characters have an air of superficiality and mystery perhaps because they are gradually learning who they truly are.  Benjamin Izaak as cocky Lee Turner and Maanav Aryan Goyal as earnest Mason Adams seem more emotional than these focused teen girls. 

Left to right: Victoria Omoregie, Jules Talbot, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Isabel Van Natta is memorable as complicated and unpredictable Shelby who has returned to school under mysterious circumstances.  Van Natta and Haley Wong as unconventional and courageous Raelynn share some dynamic and fascinating scenes together.  In black star stockings with a matching purple and black dress, Victoria Omeregie charismatically portrays frank, stylish, and sometimes tough Nell Shaw.  Japhet Balaban cleverly portrays engaging, charismatic, and popular teacher Carter Smith who seems the most transparent and shares a charming camaraderie with his students. 

With meticulous direction by Margot Bordelon, The Huntington presents Kimberly Belflower’s dark comedy John Proctor is the Villain live and in person at the Calderwood Theatre in Massachusetts as well as a virtual program option through Sunday, March 10.  This show is not appropriate for children and is 100 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Boston Ballet’s  ‘Winter Experience’ anticipates the bloom of spring

Posted on by The Sleepless Critic

Warm up with the beauty of Boston Ballet’s Winter Experience.

Boasting two world premiere performances, the Boston Ballet masters two bright, thrilling, and contemporary performances with an enchanting classic ballet in four scenes.  These performances provide much needed thrilling warmth as the world anticipates the bloom of spring.

As part of its 60th season, The Boston Ballet presents Winter Experience including the world premiere of To Be One, the return of Petal, and the world premiere of Mikko Nissenen’s Hungarian ballet Raymonda live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 3.  The production is two hours and 15 minutes with one intermission.  Click here for more information and for tickets.

2B One Photo by Rosalie O’Connor Photography

The world premiere of To Be One and the return of Petal are bold and unfold with finesse.  To Be One boasts Helen Pickett’s sharp and vigorous choreography with Brandon Stirling Baker’s pristine lighting to brilliantly capture each dancer’s sheer athleticism to the urgent and anticipatory dance rhythms by Swedish composer Mikael Karlsson.

2B One Photo by Rosalie O’Connor Photography

Sara Marhamo Kirk’s shimmering and translucent garments  add a modern lucidity bathed in luminous shifting color backdrops.  Lauren Herfindahl, Sage Humphries, Kyra Muttilainen, Chisako Oga, Alainah Grace Reidy, Graham Johns, Ángel García Molinero, Yue Shi, Gearoid Solan, Schuyler Wijsen, and Patrick Yocum perform to piano and violin-infused rhythms  with at times short, pithy and lithe movements.  The energy became so intense that at one point, the collective dancers seem like they are competing with each other in a lively circle.

Boston Ballet in Helen Pickett’s Petal, photo by Liza Voll, courtesy of Boston Ballet

Steeped in Brandon Stirling Baker’s vibrant colors and a sonic, violin-tinged score which evokes a soothing, building joy, Helen Pickett’s flourishing choreography make Petal an elegant and radiant journey.  Amid consistent and warm colors, the agile and jovial cast leaps and spins breezily to form into intriguing pairs.  Pickett’s scenic colors transform from brilliant yellow to a warm orange to a bold pink while allowing Nete Joseph’s pastel costumes to remain distinctive on each landscape. Kaitlyn Casey, Lauren Herfindahl, Abigail Merlis, and Chisako Oga seem to thrive with the athletic support of Henry Griffin, Graham Johns,  Ángel García Molinero, and Lawrence Rines Munro.  Lifting them up and guiding them to the chiming and urgent rhythms of Phillip Glass, John Cocteau, Susan Marshall and Thomas Montgomery Newman’s Elizabeth Chooses a Career, each pair learns how to support each other in order to grow.  They float, tumble, sway, and spin as each female learns to soar.

María Álvarez and Boston Ballet in Helen Pickett’s Petal, photo by Liza Voll, courtesy of Boston Ballet

Mikko Nissenen reimagines Marius Petipa’s original choreography for the world premiere of the classic Raymonda:  A Ballet in four scenes.  Set in medieval times, Raymonda is a magnificent and royal affair featuring a large cast and Robert Perdziola’s exquisite and meticulously detailed costume design ranging from guards in chain link silver armor and black boots to blue, gold, and black feathered costumes to white and gold garments with refined floral sleeves.   My’Kal Stromile stands out with large black petal sleeves and a red sash as Master of Ceremonies. 

Cast of Raymonda Photo by Rosalie O’Connor Photography

There is a fanciful spark to this intriguing love story filled with beauty and grace to the whimsical and sophisticated harp infused score by Alexander Glazunov.  The elegant cast performs a captivating waltz surrounded by Nicholas Kostner’s whimsical marble set pieces.

Raymonda Photo by Rosalie O’Connor Photography

Viktorina Kapitonova, who has depicted the title role in Boston Ballet’s Cinderella, is the perfect fit for delicate, fair, and confident Raymonda.  Her rhythmic entrance is a balance of grace and boldness intensified by a spicy Hungarian clap.  The Vision scene is a particular highlight.  Maria Rubin as La Dame Blanche rises from the misty haze in an intricately detailed white gown.  Kapitonova has endearing chemistry with Lasha Khozashvili as fiancé Jean De Brienne and Brandon Stirling Baker’s atmospheric lighting creates a silhouette in orange as they entwine into a tender embrace.

Viktorina Kapitonova as Raymonda Photo by Rosalie O’Connor Photography

The full company is a triumphant celebration in gold crowns, though Raymonda does run a little long in presentation.  A quick paced array of mostly variations demonstrates the refined cast’s joy with sweeping sparkle.  Some of the highlights include Daniel Durrett, Sun Woo Lee, Ángel García Molinero and Gearoid Solan in a technically impressive performance, Lia Cirio takes the stage in a complex and exuberant performance,  Kapitonova  as Raymonda performs a display of jubilance and elegance in playful leaps, and Lasha Khozashvili ‘s variation is highlighted by extraordinary leaps.

Raymonda Photo by Rosalie O’Connor Photography

As part of its 60th season, The Boston Ballet presents Winter Experience including the world premiere of To Be One, the return of Petal, and the world premiere of Mikko Nissenen’s Hungarian ballet Raymonda live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, March 3.  The production is two hours and 15 minutes with one intermission.  Click here for more information and for tickets.

REVIEW: Optimism knows no bounds in radiant and enchanting family classic, ‘Annie’

Posted on by The Sleepless Critic

No one delivers plunky optimism quite like Annie. 

Even in the worst of circumstances, Annie can always find a silver lining which can be demonstrated in a moment when a homeless person complains of empty pockets to which Annie responds, ‘At least you got pockets.’

Set designer Wilson Chin has beautifully captured a classic and overcast New York landscape with rolling fog over the towering Brooklyn Bridge that illustrates Annie’s signature phrase that the sun will come out tomorrow.  Blending costume designer Alejo Vietti’s gradually bursting hues in 30s-era fashion, Phillip Rosenberg’s rich and colorful lighting, and Chin’s transformative and exceptional rolling set design, Annie is absolutely right.

Julia Nicole Hunter as Grace Farrell Christopher Swan as Oliver Warbucks and Rainier “Rainey” Treviño as Annie and cast Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

Generations have grown up with some version of little orphan Annie who by chance meets gruff billionaire tycoon Oliver Warbucks during Depression-era New York.  It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope.  As the brilliant orchestra chimed its first triumphant, horn-infused notes beautifully orchestrated by Dan Delange, the national tour of Annie proves this steadfast musical favorite never goes out of style.

With innovative direction by Jenn Thompson, snappy choreography with a swing era twist by Patricia Wilcox, and remarkable Music Direction by Jennifer Christina, Annie continues at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, February 11.   Click here for more information and for tickets.

Rainier “Rainey” Treviño as Annie Mark Woodard as FDR as cast Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

What is such fun about Annie is although the tale remains the same, there is always room to perform it a little differently each time.  Having seen the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn, and Albert Finney, it is easy to forget the stage musical version sticks to the storyline for the most part, but also contains additional songs.  A group of homeless New Yorkers offer a spirited version of Hooverville, which dials into social injustices during the Great Depression.  Christopher Swan as dapper, tough-minded tycoon Oliver Warbucks pays tribute to the Big City with N.Y.C. before later performing a touching rendition of You Won’t Be an Orphan for Long.  These are just a few of the additional songs included in the stage version of the musical.

From wealthy city shoppers to house staff to radio personalities during the Golden Age of Radio to government officials including FDR depicted with warmhearted humor and gravitas by Mark Woodard to the glittering Radio City Rockettes, this delightful ensemble fueled by euphonious vocals seamlessly enhances the lighthearted atmosphere of this captivating production including You’re Never Fully Dressed Without a Smile a particular highlight with Kaleb Jenkins as a stellar Burt Healey.

Rainier “Rainey” Treviño as Annie with Sandy Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

Donning straight red hair, burgundy cardigan, and black boots, Rainier “Rainey” Treviño delivers spunky charm as Annie, her stirring vocals navigate through various renditions of Maybe, each version implying new meaning and later a soaring rendition of her signature song, Tomorrow that is sure to bring a lot of smiles.  Treviño shares some endearing chemistry with Daddy Warbucks and Julia Nicole Hunter as Grace.  Annie’s trusty dog Sandy is a ringer for the dog in other adaptations and the pair establish themselves as immediate kindred spirits.

Stefanie Londino as Miss Hannigan in the 2022 company of ANNIE. Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

Stefanie Londino relishes in the fiery role of sarcastic and snarky Miss Hannigan making a wobbly yet grand entrance as only Miss Hannigan can.  In a multi-patterned dress with curly brown hair and a thick Brooklyn accent, Londino makes the role her own while certain inflections wonderfully resemble Carol Burnett’s delivery.

Rainier “Rainey” Treviño as Annie and the cast Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

Londino’s sharp, comedic timing and a powerful belt never shines brighter than during the hilarious number, Little Girls as the orphans mischievously make their presence known in various surprise antics.  The orphans skillfully navigate the memorable number It’s a Hard Knock Life as buckets slide and brooms glide in a rhythmic chorus.  With Jade Smith’s standout performance as adorable Molly, the orphans are strong, talented, and enchanting.

In a wide brimmed hat, Jeffrey T. Kelly conveys sleazy charisma as ‘Rooster’ and Samantha Stevens articulates shrill and seeming airhead with panache.  They make quite a pair especially joined by Londino in a rollicking rendition of Easy Street.

With soaring and silvery vocals and a sophisticated dual toned blue suit, Julia Nicole Hunter elegantly depicts Grace Farrell, Oliver Warbucks’s levelheaded secretary.  Hunter participates in a frequent battle of wills with Stefanie Londino as Miss Hannigan and their smug verbal exchanges are a riot.

Don’t wait for tomorrow to see this marvelous Annie.  With innovative direction by Jenn Thompson, snappy choreography with a swing era twist by Patricia Wilcox, and remarkably musically directed by Jennifer Christina, Annie continues at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, February 11.   Click here for more information and for tickets.

REVIEW: Lexus Broadway in Boston presents sizzling and spectacular ‘Moulin Rouge the Musical’

Posted on by The Sleepless Critic

Moulin Rouge is sizzling, romantic and grand scale entertainment perfect just before Valentine’s Day.

Boasting Derek McLane’s lavish and sophisticated heart-shaped sets fueled by Justin Townsend’s vivid lighting so vibrant that could be its own character and Catherine Zuber’s edgy, timely and shimmering costumes, Moulin Rouge the Musical is a glorious spectacle right from the start blending its unique delivery of a multi-generational jukebox musical soundtrack as well as lively and athletic choreography that makes an immediate impact.

The cast of the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

 Nothing less could be expected from director Baz Luhrmann, who is not only behind the 1997 frenetic film of the same name in which the musical is based on starring Nicole Kidman and Ewan McGregor, but has a creative hand in the musical’s signature style.  Filled with popular songs of its time, Moulin Rouge has always been a lavish and wild celebration of desire, the rigid social class divide and first love, but somehow Moulin Rouge the Musical harnesses these rich themes on a considerably larger scale and it is nothing short of a feast for the eyes.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4.  The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children.  Click here for more information and for tickets. Click here for Moulin Rouge’s national tour schedule.

Not only does Moulin Rouge The Musical contain a wide range of sharp and slinky choreography by Sonya Tayah, but features distinct characters with powerful vocals that make lasting impressions. Robert Petkoff brings enthusiasm, poetic and flamboyant charisma to Moulin Rouge’s nightclub master of ceremonies Harold Zidler starting with an incredible first appearance in Welcome to the Moulin Rouge further embellished by a fierce foursome who sang Christina Aguilera, Pink, Lil Kim, and Mya’s Lady Marmalade first made famous combined with an even catchier and colorful Can Can Can.

Adéa Michelle-Sessoms and Jennifer Wolfe in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Sarah Bowden as Nini is a sensational dancer and alongside Danny Burgos as Santiago sure know how to turn up the heat.  Burgos and Bowden make a sultry and flirtatious pair especially in the catchy and cathartic Backstage Romance with the cast featuring music from Lady Gaga, Britney Spears, and the Eurthymics.

Gabe MartInez as Santiago and Libby-Lloyd as Nini in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

In a top hat and thick mustache, Andrew Brewer is cunning as distinguished and wealthy businessman The Duke of Monroth.  He seems good to be true and has an agenda all his own.  Nick Rashad Borroughs as Toulouse-Lautrec performs a wonderful and moving rendition of Nature Boy and shares warm and humorous camaraderie with Christian Douglas as Christian and Danny Burgos as they advise Christian about life at the Moulin Rouge.

David Harris as The Duke of Monroth in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Christian Douglas is captivating as naïve, charming, and idealistic Christian.  Christian is a promising American artist and songwriter longing for his big break.  At the Moulin Rouge in Paris, he sets eyes on Moulin Rouge’s confident, complex, and ambitious main attraction Satine, portrayed splendidly by Gabrielle McClinton.  McClinton, decked out in a black and diamond ensemble, proves herself a versatile showstopper in The Sparkling Diamond singing snippets from Beyonce, Madonna, Marilyn Monroe and Rihanna with over the top dramatic flair, sensuality, and commanding vocals.  Douglas and McClinton bring gorgeous harmony together for Elephant Love Medley featuring Come What May and Silly Love Songs.  Christian also performs a haunting and fiery rendition of El Tango de Roxanne.

Courtney Reed as Satine in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Moulin Rouge the Musical offers many exciting surprises that will not all be revealed here.  The swift and complex orchestration by Music Director Andrew Graham and sound designer Peter Hylenski uniquely integrates a selection of hit songs with unpredictable humor and drama.  It is a fast paced firecracker of a love story that is as edgy as it is moving.  Don’t miss the chance to see Moulin Rouge The Musical.

The cast of the North-American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4th.  The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children.  Click here for more information and for tickets. Click here for Moulin Rouge the Musical’s national tour schedule.

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

Posted on by The Sleepless Critic

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:  Anything goes in Ryan Landry’s ‘The Rocky Menorah Christmas Show’

Posted on by The Sleepless Critic

Three chrome microphones, two slaying reindeer and one Mrs. Grinchley describes just a fraction of Ryan Landry’s wild tale as The Gold Dust Orphans presented The Rocky Menorah Christmas Show which recently ended its run on December 23 live and in person at the Iron Wolf Theatre at the Lithuanian Citizens Association in South Boston, Massachusetts.  This vintage-style Rocky Horror musical parody was strictly for adults containing graphic nudity and is 90 minutes with one intermission.  Click here for more information and the full advisory.

From ugly holiday sweaters to antler ears to twinkling light necklaces to candy cane shirts, it was a festive and dynamic crowd that attended The Rocky Horror Menorah Christmas Show.  Refreshments and merchandise were available at the theatre and envelopes were taped to the back of each seat for donations.

TURN AROUND: Taryn Lane as Janet and Eric McGowan as Brad, Briana Scafidi, Alex Davis, Kaedon Gray, and Spookey as the Snow Cone Dancers Photo by Michael von Redlich

The Gold Dust Orphans are known for delivering their own take on vintage films indicated by the retro black and white tube TV which illustrated each theme that was happening onstage through various film montages from Bambi to The Shining.  This is The Rocky Horror Picture Show with a holiday twist, but do not expect to hear the songs known from the popular film.  Though the story’s characters, a portion of the costumes, and set up are similar which included the signature glittering lips, A Rocky Menorah Christmas Show featured original music with a jingle bell twist by Tad McKittrick and Tim Lawton parodying a number of popular songs by Patti Smith, David Bowie, Meatloaf, Bonnie Tyler, Taylor Dayne, Joe Cocker and the Go-Gos.

Welcome comedic local references varied from quips about North Shore Massachusetts accents to local landmarks to host puppets ‘GBH’s Jim Braude and Margery Eagan bringing clever humor to their signature banter.  Additionally, The Brookline Sisters, a vintage trio of glittering backup singers in red, green and yellow composed of Tad McKittrick, Lizette Morris and Gina Carmella, acted as commentators and semi-narrators throughout this production.

To be clear, never been a fan of The Rocky Horror Picture Show in any of its various forms.  After several attempts, still not a fan.  Rocky Horror Picture Show is considered a cult classic, but in the Tim Curry-iness of it all, Clue is the preferred cult classic in this critic’s book.

BRAD&JANET: Eric McGowan as Brad Keebler and Taryn Lane as Janet Winky Photos by Michael von Redlich

Sure, The Rocky Horror Picture Show 1975 film was risqué and banked on shock value not particularly relevant to the story and this show is similar in that regard.  The Rocky Menorah Christmas Show focuses on two Christian elves decked out in fluffy pink and blue that spring a flat on their sled and their only hope is to get help at a mysterious and ice laden castle.  Janet, depicted by Taryn Lane, is an insufferable, demanding, melodramatic, and superstitious know-it-all while Brad, portrayed by Eric McGowan, is a henpecked, timid, and dimwitted follower. 

Ryan Landry as Mrs. Grinchley dons convincing green makeup and depicts the mastermind of this particular operation accompanied by ghoulish companions Kiki Samko as maid Fuchsia and Joey Pelletier as Butler Gift Wrap.  Though at first this Grinch can be a mean one, Murphy’s Grinchley is a candid and bawdy creature that runs the moral compass of this zany universe.   Political and religious ribbings and commentary run as amok as this lusty and at times darkly humorous tale takes shape.

GRINCHLEY: Kaedon Gray and Briana Scafidi as the Snow Cone Dancers, Ryan Landry as Mrs. Grinchley Photo by Michael von Redlich

Directed by Kiki Samko and choregraphed by Briana Scafidi, the cast collectively delivered strong vocals and are skilled dancers especially in the athleticism and impressive stunts performed by Spookey in a Speedo and sunglasses featured in 20th Century Boy.  This semi-immersive and interactive show occasionally breaks the 4th wall and the characters sometimes are not limited to the stage.

FUCHSIA & GIFTWRAP: Kiki Samko as Fuchsia and Joey Pelletier as Gift Wrap Photo by Michael von Redlich

The Rocky Menorah Christmas Show is fast paced, but especially in the second half, starts to lose focus and hits a fork in the road in more ways than one.   From a dirty Santa to blow up astronauts to demons to ghouls to tap dancing reindeer to a blow up yellow monster, anything goes and this cast does not leave much to the imagination.  While the show does not seem to take itself seriously, when it does toward the end, its strong message seems a strange extra in this wild parody.

The Gold Dust Orphans presented The Rocky Menorah Christmas Show which recently ended its run on December 23 live and in person at the Iron Wolf Theatre at the Lithuanian Citizens Association in South Boston, Massachusetts.  This vintage-style Rocky Horror musical parody was strictly for adults containing graphic nudity and is 90 minutes with one intermission.  Click here for more information and the full advisory.