december | The Sleepless Critic

REVIEW: American Repertory Theater’s world premiere an imaginative and optimistic ‘Wonder the Musical’

Posted on January 20 by The Sleepless Critic

A violet pixelated galactic sky is marvelously portrayed from a spaceship bed and that is only the beginning.

Garrett McNally delivers a moving portrayal as inquisitive Auggie whose vibrant imagination spans the vast cosmos. Born with Treacher Collins Syndrome, Auggie’s world has always been limited to home schooling. However, when Auggie is about to attend fifth grade, Alison Luff as Auggie’s practical mother Isabel insists he attend public school. With guarded optimism, Auggie ventures apprehensively on this new journey.

Nathan Salstone, Garrett McNally, and members of the cast of Wonder.
Photo: Hawver and Hall

Insightfully directed by Taibi Magar with Katie Spelman’s enchanting choreography and Ryan Cantwell’s uplifting music direction, American Repertory Theater (A.R.T.) continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. This family-friendly and engaging production is approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

In 2012, R.J Palachio’s first novel Wonder became a New York Times best seller before it was adapted into a heartwarming 2017 film of the same name starring Julia Roberts, Owen Wilson and Jacob Tremblay. It seems only natural that this remarkable story has now been warmly transformed into a compelling musical.

Wonder Production Photo Nathan Salstone, Javier Muñoz, Alison Luff, Garrett McNally, and Kaylin Hedges in Wonder.
Photo: Hawver and Hall

Though Wonder is not based on a true story, Auggie’s story draws from real life experiences of individuals who struggle with this craniofacial condition. It tackles bullying, prejudice, empathy and kindness, but what sets this intriguing musical apart is how it delves into perspectives. Auggie may be the central figure in this musical, but a large part of the story focuses on each character’s perspective and the unexpected struggles of those who seem to have it better than Auggie at first glance. Learning to walk in another’s shoes has never been so important.

Set designer Matt Saunders with lighting designer Bradley King richly articulates this glowing musical’s significant themes symbolically through a multicolored and animated pixilated landscape rhythmically peppering a revolving stage. These pixels can enhance, enliven and moderate the musical’s weightier scenes, but particularly illuminating Auggie’s amazing cosmic universe. Imaginative backpacks, colorful streamers, expressive T-shirts and detailed, fanciful costumes are just a sample of Linda Cho’s exuberant costume design.

Wonder Production Photo Alison Luff and Garrett McNally in Wonder.
Photo: Hawver and Hall

Wonder boasts its share of feel good moments featuring a strong cast. The chiming pop-infused score with lyrics and music by A Great Big World with Cody Spencer’s robust sound design keeps the show hopeful and optimistic even in the face of its heavier and poignant moments. Alison Luff as Isabel, Javier Muñoz as Nate, Kaylin Hedges as Via and Garrett McNally share a natural tight-knit chemistry facing the world as Hedges as Via affectionately calls her family ‘our little galaxy.’ There is a quiet earnestness built into this family when they step aside for one another. Hedges brings an affinity to this complex role with quiet yearning as Via through soaring vocals who consistently puts Auggie first in her solo, Around the Sun. Luff and McNally share a stirring bond in a fiddle-laden and powerful rendition of You are Beautiful.

Led by Melvin Abston as energetic Mr. Tushman, Beecher Prep School teachers share an idyllic infectious glee, enthusiasm, and occasionally lovable awkwardness as they navigate the curriculum with verve and charm.

Wonder Production Photo
Garrett McNally and Donovan Louis Bazemore in Wonder.
Photo: Hawver and Hall

Skylar Matthews charismatically shines as excitable and precocious theatre student Charlotte, especially during her engaging solo, You Didn’t Hear it From Me as she waltzes across the stage. Donovan Louis Bazemore seamlessly navigates conflicted Jack who brings warmth and sincerity to the number, Shoes. Paravi shows off sharp comedic timing while lightening a heartfelt moment with Hedges.

Garrett McNally (Auggie) and the cast of A.R.T.’s world-premiere production of Wonder bow in front of the Opening Night audience.

Nathan Salstone is no ordinary Moon Boy. From the exciting 3-2-1 Blast Off and throughout the production, Salstone’s mellifluous vocals and reflective demeanor with Auggie brilliantly elevates each scene.

Wonder is an intuitive, imaginative and heartfelt creation that celebrates the value of loyalty and friendship while sharing significant life lessons prevalent for all ages. You may step away from Wonder the Musical seeing a brighter world too.

American Repertory Theater continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. Click here for more information and for tickets.

REVIEW: ‘Twas the Night Before’ by Cirque du Soleil a jubilant, vibrant and distinctive Christmas wonder

Posted on December 27 by The Sleepless Critic

This soot-covered and shimmering Luis Tapia as Santa sure is full of surprises.

Putting its own pop and dance-infused twists on a number of Christmas Carols and illuminated by Nicolas Brion’s dazzling lighting design, Twas the Night Before by Cirque du Soleil unveils an icy winter wonderland full of stunts, sparkle, and incredible feats including striped bunnies and nine not-so-tiny reindeer. It also emphasizes family and the true meaning of Christmas.

Photos : Michael Last
Costumes : James Lavoie
Cirque du Soleil 2022

Twas the Night Before is Cirque du Soleil‘s first Christmas show. Boasting Vinh Nguyen’s upbeat choreography to Jean Phi-Goncalves’s music compositions and Paul Bisson’s clever music direction, it took the stage live and in person as part of its national tour at the Boch Center Wang Theatre in Boston, Massachusetts through December 14 and continues in Chicago, Il through Sunday, December 28. The semi-interactive, family-friendly production is approximately 85 minutes with no intermission. Click here for more information and for tickets.

As snow pours outside through a picture window, Marion Thomer as inquisitive Isabella, wearing in pink headphones, thinks she has outgrown some of her family’s beloved Christmas traditions and is too engrossed in her music to listen to Nicolas Pulka as her father. When Isabella is whisked away into a mysterious wintry world away from her family, her eyes are opened to a new world and what is truly important.

Twas the Night Before masters the gleeful giggling and excitement of the season as each cast member carries wonder and intensity demonstrating their vast talents. Brion’s masterful lighting design is pure artistry as this enlivened stage glows and sparkles bathed in multicolored dancing lights that seem to have a mind of their own.

Twas the Night Before by Cirque de Soleil shares a faint similarity in some aspects with The Nutcracker such as discovering a new world including disco king (Jesse Ferreira Da Silva) and queen (Melanie Lester Ferriera Da Silva) grooving nimbly on roller skates in epic feats while Isabella dives into Santa’s world integrating segments from Clement Clarke Moore’s iconic poem. Aside from these faint similarities, Twas the Night Before jubilantly springs to life as its own vivid and unconventionally pastel-inspired creation.

Photo: MSG Entertainment
Costumes : James Lavoie
Cirque du Soleil 2022

From the horn-infused Jingle Bells to Jolly Old Saint Nicholas, Jean Phi-Goncalves delivers bright, catchy, echoing and driving rhythms to the majority of the production’s rhythms seamlessly in sync to the action onstage. Angels we Have Heard on High and other more spiritual hymns seem a little odd to put to dance, but Oh Come Emmanuel and Joy to the World are executed with stirring and exceptional zeal.

A luminous pile of presents, an angular slide, striped bunnies, winter gear, colorful pajamas and disco ball are just a few of the distinctive sights in Geneviève Lizotte’s silvery winter landscape enhanced by James Lavoie’s exuberant costume design.

The plot and silly humor in the production make for some sweet moments, but it is second to a wealth of awe-inspiring performances difficult to single out from Jesse Ferreira Da Silva and Melanie Lester Ferriera Da Silva’s daring and death defying disco dance to acrobat Katarina Sobinkovicova as Ava twisting in a hotel cart to the spinning feats of Elena Suárez Pariente to Nikolas Pulka navigating an Arial Lamp to the amazing and competitive hoop diving reindeer. Each spirited act is demonstrated with intensity, merry exhilaration and spectacle culminating in a beautiful finale and tribute to the season.

Photo: Errisson Lawrence
Costumes : James Lavoie
Cirque du Soleil 2022

Twas the Night Before by Cirque de Soleil delivers the awe and skill one would expect from Cirque to Soleil with added zip and zeal of the festive Christmas season and stands a shining holiday treat fitting for the whole family.

With upbeat choreography by Vinh Nguyen, Twas the Night Before by Cirque du Soleil took the stage live and in person as part of its national tour at the Boch Center Wang Theatre in Boston, Massachusetts through December 14 and continues in Chicago, Il through Sunday, December 28. Click here for more information and for tickets.

REVIEW: Rich harmonies and driving rhythms fuel the Man in Black’s powerful concert tribute in Merrimack’s Repertory Theatre’s ‘Ring of Fire: The Music of Johnny Cash’

Posted on December 21 by The Sleepless Critic

Lone static from an antique transistor radio symbolically rewind the clock to kick off this show and nothing but rich harmonies follow it.

Multi-instrumentalists Jenna Fawcett, Patrick Dinnsen, Nathan Yates Douglass, Andrew Frace and Celeste Vandermillen combine their marvelous music talents to deliver a Johnny Cash concert tribute that combines significant excerpts of Cash’s life, his activism, and his pearls of wisdom as a musician ahead of his time. No particular individual portrays Johnny Cash or other parts, but everyone offers their shared talents for an array of Cash’s dynamic and often storytelling hits including gospel, country and rock n roll that has made a legendary impact during his life and beyond.

Created by Richard Maltby, Jr. and conceived by William Meade, Merrimack Repertory Theatre presented concert tribute, Ring of Fire: The Music of Johnny Cash through December 14 at live and in person at Merrimack Repertory Theatre in Lowell, Massachusetts. The semi-interactive and occasionally sing-along production not limited to the stage ran approximately two hours including a 15 minute intermission. Click here for more information and for further details on Merrimack Repertory Theatre’s 47th season.

Andrew Frace, Jenna Fawcett, Nathan Yates Douglass, Patrick Dinnsen, and Celeste Vandermillen in MRT’s ‘Ring of Fire’ Photo by Meg Moore/megpix.com

Bronze, old-fashioned theatre lighting and a wood-infused down home, dual level, country barn stage complete with rocking chair and an array of leather strapped hanging guitars from banjo and electric to acoustic faithfully depict Nashville’s Grand Ole Opry and Cash’s country upbringing by set designer Shelley Barish.

Make no mistake though, Ring of Fire does not limit itself to just guitar, but washboard, harmonica, train whistle and amazing twirling bassist Nathan Yates Douglass also bring a genuine flavor to this style of music. Subtle nuances such as duck tape spread on an acoustic guitar also lend to the show’s faithful authenticity.

Andrew Frace, Jenna Fawcett, Celeste Vandermillen, Patrick Dinnsen, Nathan Yates Douglass in MRT’s ‘Ring of Fire’ Photo by Meg Moore/megpix.com

Sound designer David Remedios and lighting designer Brian J. Lilienthal dramatically combine to create tension in pounding thunderstorms and ominous lighting during the darker times of Cash’s life from his poverty-stricken upbringing, the tragedies, the triumphs, and meeting the love of his life.

Shades of country and western-tinged gray, black, blue and red dominate Amanda Gladu‘s coordinating costumes enhance the tone of this production. What I really enjoyed about the concert was its ability to slip seamlessly into this particular era in music from the 30’s to the 50s and beyond. Plain faced and natural, each skilled musician has a charismatic and warm quality that highlights how learned they are about this time frame. It truly made me feel like we were all back in time captured in its down home simplicity.

With slicked back hair, Andrew Frace depicts a few of Cash’s fresh faced hits and Patrick Dinnsen lends his deep baritone to songs such as for the insightful Man in Black. A fiddle-laden and guitar-tinged moving acapella lullaby captures The Sweet By and By. This group can jam and richly harmonize for the autobiographical and catchy Five Feet High and Rising and hymn-infused Daddy Sang Bass. Sunday Morning Comin’ Down captures a darker and pivotal period in Cash’s life, but the production also has its lighthearted and silly moments in Celeste Vandermillen as young June Carter on ukulele and her hilarious antics onstage. Songs that showcases Cash’s sillier side and skilled storytelling such as Dirty Old Egg Sucking Dog and the famous A Boy Named Sue are a lot of fun.

Andrew Frace, Nathan Yates Douglass, and Celeste Vandermillen in MRT’s ‘Ring of Fire’ Photo by Meg Moore/megpix.com

Of course, this talented quintet share great chemistry and narrated Cash’s significant and uplifting moments including some of his greatest hits such as Cry, Cry Cry, Get A Rhythm, Big River, I Walk the Line, its title track and Jenna Fawcett’s June Carter when Cash and Carter unite in marriage. Fawcett’s Far Side Banks of Jordan in its deep and acapella rhythms stood as one of the production’s most impactful moments.

Co-directed and musically directed by Karen Oster and co-directed and choreographed by Correy West, Merrimack Repertory Theatre delivered a powerful tribute to the Man in Black which was as moving as it was upbeat and humorous to remember a man who transcends generations and beyond.

Merrimack Repertory Theatre presented concert tribute, Ring of Fire: The Music of Johnny Cash through December 14 at live and in person at Merrimack Repertory Theatre in Lowell, Massachusetts. Click here for more information and for further details on Merrimack Repertory’s 47th season.

REVIEW: A feast for the eyes on a grand scale with North Shore Music Theatre’s merry musical treat, ‘A Christmas Carol: A Musical Ghost Story’

Posted on December 16 by The Sleepless Critic

Set in London 1843, A Christmas Carol is the classic tale of Ebenezer Scrooge, a wealthy, penny-pinching old miser who has no use for Christmas until his past comes back to haunt him on Christmas Eve. Only second to this tale are the amazing things I have heard about North Shore Music Theatre’s legendary production over the years.

Since 1989, North Shore Music Theatre has carved out a wonderful annual tradition retelling this thrilling Charles Dickens classic, A Christmas Carol: A Musical Ghost Story. What I was unprepared for was how exhilarating the experience would be.

Absorbingly directed and whimsically choreographed by Kevin P. Hill with inventive Music Direction by Milton Granger, Bill Hanney’s North Shore Music Theatre continues A Christmas Carol: A Musical Ghost Story through Sunday, December 21 live and in person at North Shore Music Theatre in Beverly, Massachusetts. This family-friendly theatre-in-the round musical experience is 2 hours and 20 minutes including one intermission. Click here for more information and for tickets.

The cast of ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Haunting, immersive, and meaningful, A Christmas Carol: A Musical Ghost Story is a frequent holiday tradition with good reason. So much more than the Charles Dickens classic, North Shore Music Theatre mixes Christmas Carols, storyline twists, and calls on two athletic, infinitely energetic, and mischievous spirits invisible to the real world portrayed by Amy Bransky and Risa Michina to accompany Tommy Labanaris as an enigmatic magical narrator to unveil this thought-provoking tale of charity, compassion, and redemption. Labanaris’s charismatic vocals as narrator soothes while navigating the stage like a riveting magician.

Tommy Labanaris (Narrator) and Ainsley Moulton (Tiny Tim) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Clocks glow, bookcases float, streets fog and mist, a weather woodstove smokes, windows and lampposts frost and a transparent wrought iron door and ornate chandeliers are all part of the innovative rising and descending set pieces by Howard C. Jones. Wondrous winter landscapes including snow covered rooftops, driving downpours, and festive, timely projections enhanced by twinkling, cheerful and ominous lighting by Jack Mehler as well as heightened special effects not limited the action just onstage engulf you in the unpredictable world of Charles Dickens.

Detailed bustles, pea coats, shimmering Victorian-era dresses in an array of patterns, flowing robes, cloaks, feathered hats and top hats are just a glimpse into Rebecca Glick’s stylish period costumes which certainly helps make A Christmas Carol a feast for the eyes. The uplifting overture, orchestrated by Milton Granger and arranged by Alby Potts and James Woodland, is tinged in popular Christmas carols, a preview of the wealth of carols and additional songs added to this festive production. The floating, live orchestra which includes a harp and recorder, are carefully spread out in sections around the theatre above and below the stage.

God Rest Ye Merry Gentlemen, Here we Come A-Wassailing, Ding Dong Merrily on High, We Wish You a Merry Christmas, and We Saw Three Ships are some of the famous Christmas Carols featured in with original songs that brighten this haunting tale.

Kevin Patrick Martin (Bob Cratchit) and David Coffee (Ebenezer Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

North Shore Music Theatre’s production of A Christmas Carol also sets itself apart by weaving in the beauty of the season within the excitement of its joyous ensemble cast led by David Coffee as miserly Ebenezer Scrooge. Coffee adds traces of sadness in Scrooge’s frank and daring boldness as a damaged soul. Scrooge toils, scowls, and his dire sense of humor is not lost on his cheerful and generous nephew Fred, portrayed with jubilant warmth and perpetual optimism by Henry Thrasher who delights in pushing his uncle’s buttons in a wide smile. In spectacles and a sour huff, Coffee is best showing hints of melancholy beneath his insistent resistance to kindness. However, his overall interpretation becomes jollier as the show progresses as his arms stubbornly sway to music, offering as increasingly lighthearted Scrooge while observing glimpses of his complicated life.

Kevin Patrick Martin portrays humble, guarded, and sympathetic Bob Cratchit while Daniella Dalli depicts loyal, patient and occasionally exasperated Mrs. Cratchit in a moving performance. Martin and Dalli deliver heartwarming and stirring moments with their large and lovely family including sweet Fiona Kelly as Tiny Tim as their voices lift for We Wish You a Merry Christmas. Kelly charms Martin and Coffee instantly with We Saw Three Ships. The joyfulness in the Cratchit household, despite their circumstances, perhaps mirror the life Scrooge might have had with Caroline Siegrist as steadfast Belle and what might have been.

Caroline Siegrist (Belle) and Nathan Haltiwanger (Young Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Grandly adorned in a gorgeous lit crown, veil and glittering pristine gown and glowing porcelain features, Daniella Dalli delivers warmth and angelic soprano vocals as the Ghost of Christmas Past, especially for the soaring number, Dream within a Dream. Serene and gentle, she brings out thawing in Scrooge’s curmudgeonly soul.

Daniella Dalli (The Ghost of Christmas Past) an David Coffee (Ebenezer Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Majestic in a crown of holly, carrying a staff with and an air of warm yet firm benevolence, Davron S. Monroe skillfully glides across the stage boasting his signature melodious timbre as charismatic, jolly and larger-than-life Ghost of Christmas Present and as half of a pair of mirthful philanthropists alongside returning Russell Garrett. Alongside Davron, Violet Black and Joseph Hobbib captivate as foreshadowing spirits.

Davron S. Monroe as The Ghost of Christmas Present in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

As green lanterns glow, Mark Worth is remarkably ghoulish as Jacob Marley with some very impressive special effects. A ghastly presence with gravelly vocals and chains that seem to go on for miles, Worth as Marley does a marvelous job as a tortured and distressed soul boasted by extraordinary special effects that never overwhelm Worth’s powerful performance. The silence is deafening as Nathan Haltiwanger delivers a veiled and mesmerizing Christmas Yet to Come. I most assuredly cannot leave out Cheryl McMahon’s marvelous return as expressive and hilarious Mrs. Dilber.

David Coffee (Ebenezer Scrooge) and Mark Worth (Jacob Marley) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Even those most familiar with this classic tale will encounter some welcome twists and surprises. If the holiday season is not spreading the merriment that is should be this year, North Shore Music Theatre’s A Christmas Carol will certainly restore that heartwarming feeling, indeed.

Cheryl McMahon (Mrs. Dilber) and David Coffee (Ebenezer Scrooge), both will be celebrating their 31st production of ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

A Christmas Carol: A Musical Ghost Story continues at North Shore Music Theatre live and in person in Beverly, Massachusetts through Sunday, December 21. Click here for more information and for tickets.

REVIEW: Unlocking memories inside The Huntington’s stirring and remarkable ‘Fun Home’

Posted on December 12 by The Sleepless Critic

It’s funny what you recall in life.

Memories can be tricky. As time goes by, perspective changes as a person grows, transforming a memory and gradually revealing details once never considered or understood before. Alison’s home seals in cartoonist Alison Bechdel’s intimate memories as she writes her memoirs through her work, ruminating on her childhood and upbringing to discover what makes her feel like she is stuck in life. Alison uses cartoons because drawing as a child, she recalls, ‘I need real things to draw from because I don’t trust memory.’

Five-time Tony award-winning musical Fun Home explores different perceptions of reality within the Bechdel household. They wrestle with it, deny it, but ultimately, must come to terms with it. Based on Alison Bechdel’s graphic novel memoir with complex direction by Logan Ellis, Taavon Gamble’s dynamic choreography and Jessie Rosso’s compelling music direction, The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. This poignant musical deals in some mature themes and runs 1 hour and 40 minutes with no intermission. Click here for more information and for tickets.

Lyla Randall and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin

The Huntington is known for its extraordinary sets and Fun Home is no exception. Beneath a delicately adorned chandelier, Fun Home takes an intimate look inside a family seemingly full of zeal and an antique house so tidy and flawless in all its finery flanked with towering bookshelves, a fireplace, grand piano, detailed wallpaper and richly placed stained glass, it neatly hides any cracks and crevices underneath. Tanya Orellana’s rolling sets meticulously combines Gothic Victorian-style details with Pennsylvania’s natural beauty in a portrait landscape of trees. While Fun Home unveils the Bechdel family’s complicated world piece by piece, it may also quite symbolically depict Alison’s increasing ability to see the forest for the trees.

Sarah Bockel in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Led by and musically directed by Jessie Rosso, this intimate, seven piece orchestra sits through an open piece of “sky” carved into the backdrop in a soothing, fiddle-laden soundtrack which blends light, airy, and melancholy. From its opening song, It All Comes Back to the Flying Away finale, Jeanine Tesori’s captivating musical numbers hold a spectrum of rich and multi-faceted meaning. The catchy, Partridge Family-inspired with a hint of Jackson 5 grand number, Rainbow of Love is a particular highlight, enhanced by matching reflective and fringed retro costumes, just a portion of Celeste Jennings’s colorful and era exacting costume design.

Sarah Bockel and Lyla Randall in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin

With its share of comedic and uplifting moments, Alison looks back on her relationship with her enigmatic and intellectual father Bruce and her traveling and ill at ease mother, Helen. Alison is the only individual that outwardly transforms in this piece, thanks to the exceptional work of Maren Phifer in for Lyla Randall as adorably precocious and impressionable Small Alison in braids and overalls who springs to life in an ingenious manner. Phifer performs an impeccable and chiming version of Ring of Keys and shines with Odin Vega as Christian and Caleb Levin as John in the darkly humorous title track, Fun Home in impressive harmony. Maya Jacobson aptly depicts naïve, anxious, excitable, yet awkward Medium Alison while Sushma Saha is walking confidence as cool and collected Joan.

Caleb Levin, Odin Vega, Lyla Randall in Fun Home; Directed by Logan Ellis; Photo by Marc J Franklin

With black rimmed glasses and short dark hair, Bockel slips into Alison’s wounded façade, a mature, jaded and intellectually-driven individual. With a dark sense of humor, Bockel is an omnipresent narrator on this emotional journey evoking confusion, warmth, sorrow, and frustration realizing every fine detail of Alison’s younger years while struggling to build strength into each new discovery.

Sushma Saha and Maya Jacobson in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Director Logan Ellis strives to examine the physical and intellectual similarities between Alison and Nick Dukart as Alison’s father and it is fascinating to witness their side by side similarities. Duckart allows Bruce’s flaws override what is often viewed as an overtly sympathetic performance. He skillfully lays bares the many sides of Bruce as a critical businessman and showman with a refined intellect, and perpetually occupied to become an expert on most everything. Seemingly a friendly, strict, and hardworking family man, Bruce is also secretive, unsettling, dazed and closed off. Duckart’s melodious and affecting baritenor vocals captures Bruce’s complex and unspoken feelings in each number, including the poignant song Pony Girl, but most notably in his harrowing rendition of Edges of the World.

Sarah Bockel and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Each Alison is earnest in portraying their wrought frustration in every moment they attempt to identify and make a genuine connection to him, but especially in the bittersweet song, Telephone Wire. Duckart depicts Bruce with a defensive irritability yet tempered with overpowering warmth for Alison which encapsulates some of the brighter moments in the musical.

Duckart and Jennifer Ellis as Alison’s conflicted musician mother Helen share tense and affective moments together and it is easy to see Helen’s teetering vulnerability within each argument and in all the weighted and lonely moments where Ellis imagines her life should be.

Unassuming, overwhelmed, and misunderstood surrounded by outward perfection, Ellis’s Helen lives her life distancing herself from reality putting others first reflected in the heartrending and beautiful number Days and Days, a number in which Ellis brought me to abrupt tears.

Jennifer Ellis in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Some things cannot be fixed. Painful and difficult times as well as those joyful moments might not have been as once imagined. The key is to learn from it and take the next step.

The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. Click here for more information and for tickets.

REVIEW: A thrilling race against time in wondrous ‘Harry Potter and the Cursed Child’

Posted on December 2 by The Sleepless Critic

This production boasts a great deal of elaborate presentation and what an amazing presentation it is!

John Tiffany’s innovative direction, Gareth Fry’s robust sound design and a gleaming set by Christine Jones paves the way for more than a little magic as Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20. This exciting production runs two hours and 50 minutes with one intermission and some dark imagery may not be appropriate for children. Click here for more information and for tickets.

David Fine, Adam Grant Morrison, and Maren Searle in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Set Designer Christine Jones’s sterling and multi-dimensional set boasts gleaming wood and fine detail with stars and moons etched into a dome trim. Featuring spinning clocks, animated books, vaulted ceilings and swerving grand staircases, this sliding set follows its own meticulous rhythm integrating shadows which brilliantly capture the essence of Hogwarts and the iconic events of the beloved series and films. Capes swing in succession to its own mesmerizing beat in sharp and sweeping choreography that enhances the swift pace of this production.

The cast of ‘Harry Potter and the Cursed Child’ Photo By Matthew Murphy

The spellbinding and pulsating special effects by Jamie Harrison as well as the nostalgic return of beloved places and characters are the essential reasons why anyone, but especially Harry Potter fans, will delight in this show. As an avid Harry Potter fan having read the all the books including this screenplay and witnessed all the films, Harry Potter and the Cursed Child’s Easter eggs and recognizable spells are all familiar and welcome territory. A wizard disappearing into a mailbox, characters drifting through walls, and haunting characters looming larger than life is just a glimpse into the stupendous magic that takes place live onstage.

‘Harry Potter and the Cursed Child’ national cast Photo By Matthew Murphy

Seeing magic during recorded films is one thing, but to witness this magic materialize onstage is more than exciting. It is a thrill each and every time.

Starting during Harry Potter and the Deathly Hallows epilogue, Harry, Ginny, Ron and Hermoine are at King’s Cross Station sending their children on the Hogwarts Express as new students to Hogwarts much like when Harry, Ron and Hermoine embarked on the Hogwarts Express for the first time years ago.

Much like J.K. Rowling’s beloved book series, this topsy turvy plot contains themes of family love, enduring friendship, and coming of age love that materializes between Adam Grant Morrison as Albus and David Fine as Scorpius. It also focuses on parenting, reputation and the consequences of one’s actions. Its winding plot is just intriguing enough to revel in the appearances of these characters and goes to great lengths to stretch the plot for the purpose of justifying revisiting all these iconic places through a time turner.

David Fine and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

The production brings together both generations as Juliana Nightingale remarkably portrays mysterious Delphi Diggory and Larry Yando as sympathetic Amos Diggory urges Nick Dillenberg as Harry Potter to bring back Amos’s son Cedric using a time turner. When Harry refuses, Albus and Scorpius see it as an opportunity to prove themselves as great wizards.

Nightingale, Fine, and Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

What I did feel like the production lacked is the amount of time given to other students at Hogwarts. So much time was dedicated to the OG characters that aside from acquaintances, Albus and Scorpius seem to be the only two people that truly connect in Hogwarts which is hard to believe at such a large university with numerous cast members. Perhaps this is due to the shortening of the production which was once divided into two parts and clocked in at over four hours.

Fine is exuberantly expressive, anxious and excitable as Scorpius Malfoy. Fine defines Scorpius with bursts of chatter and bravery infused with an occasional unhinged edge while Morrison as Albus Severus Potter is more introspective and resentful trying to live up to his father’s image.

David Fine in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Tom Felton may have returned in his OG role as Draco Malfoy on Broadway, but Ryan Hallahan is certainly up to the task in menacing and sarcastic ways punctuated by a delightfully upturned sneer and rich vocals as Draco. Hallahan’s Draco is an impressive adversary and protective father to David Fine as Scorpius while infusing traces of Draco’s own father, Lucius.

Dillenburg as Harry Potter is well suited for the role, though the character has become more egotistical and stubborn thinking he knows best which makes for fascinating scenes with Trish Lindstrom as softer spoken Ginny. Lindstrom amiably demonstrates Ginny’s maturity and bolder practicality, especially as she tempers Harry’s anxieties.

Matt Harrington amusingly captures quirky, outspoken, and underestimated Ron who provides more than a few playful moments. He also shares some sweet scenes with Rachel Leslie as shrewd and determined Hermoine.

David Fine, MacKenzie Lesser-Roy, and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Some actors in this large cast take on multiple roles with finesse. MacKenzie Lesser-Roy as giddy, giggling, bold and flirtatious Moaning Myrtle is an over the top scene stealer and unrecognizable in a dual turn as serene Lily Potter. Katherine Leask closely exacts Maggie Smith’s glorious timbre and cadence as firm, yet compassionate Professor McGonagall with winking good humor before stepping into the shoes of one of Harry Potter’s perilously disdainful villains not to be revealed here. Larry Yando impressively takes on the challenge of triple roles though some land better than others.

Wands abaze in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Twists, turns, rumors and revelations abound in this elaborate production tailor made for Harry Potter fans and for those who truly enjoy onstage wizardry! Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20. Click here for more information and for tickets.

REVIEW: Sullivan Rep capped off their premiere season with a heartwarming ‘Annie’

Posted on December 27, 2024 by The Sleepless Critic

The power of tomorrow.

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks during Depression-era New York in 1933. It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope. As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Sullivan Rep proves this steadfast musical favorite never goes out of style.

To cap off their first season of New Beginnings and Opportunities, Sullivan Rep brought back this beloved musical classic to a sold out audience for most of its run. Directed warmly by Dan Sullivan, Annie continued its successful run through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts. The music was two and a half hours including an intermission. Click here for more information.

Charlotte Kuong and Leah Hudson in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

Part of what makes Annie such fun to produce 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 the late great Albert Finney, it is easy to forget the stage version sticks to the storyline for the most part, but also contains additional songs. Sullivan Rep also added some welcome candid quips to the show such as ‘Some were from the Bronx, Miss,’ and ‘Just think…New Jersey’ for added humor as well as a touching moment when all the orphans harmonize for the final phrase in the number Maybe for added resonance.

Rather than utilizing the Windsor Club stage itself, Dan Sullivan made the most of the space for Annie by performing it at eye level in the auditorium to create an immersive experience featuring a pared down set the cast set up and took down with each scene. From a startling lightning storm to a red glowing stove to colorful and festive cheer, lighting director Erik Fox kept the show’s optimistic spirit in check throughout the production.

The Orphans perform ‘It’s a Hard Knock Life’ in ‘Annie’ Photo courtesy of Sullivan Rep

Wearing thick scarves, layers and period hats, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today. In a pinstriped suit and silk tie, Todd Yard boasted soaring vocals as workaholic and tough-minded New York City billionaire tycoon Oliver Warbucks as he paid tribute to his beloved city with N.Y.C. before later performing a stirring rendition of Something was Missing which is just a couple of the additional songs included in the stage version of the musical, but not in the film. N.Y.C. had a skip in its step featuring piles of presents, special appearances by Mr. Peanut and Santa Claus and a wowed city newcomer who delivered stunning vocals in her brief appearance during the song.

Charlotte Kuong and Todd Yard in Sullivan Rep’s ‘Annie’ Photo courtesy of Sulliva Rep

In a fur lined coat and lilac heels, Temma Boudreau charmingly depicts elegant Grace Farrell, Oliver Warbucks’s levelheaded secretary and shares a few sweet moments of her own with Kuong. Boudreau’s breezy yet professional demeanor fit in well with Yard’s no nonsense moxie.

Donning a straight red haircut, Charlotte Kuong depicted a bit more restrained version of Annie still infused with cleverness, earnestness and charm. Her strong and clear vocals were most prominent during the numbers Maybe with adorable Leah Hudson as Molly as well as the show’s signature song, Tomorrow. She also shared some endearing moments with Yard as Oliver Warbucks and charming him into seeing New York City with her was a particular highlight.

Temma Boudreau and Charlotte Kuong in ‘Annie’ Photo courtesy of Sullivan Rep

The orphans’ version of Fully Dressed is adorable and sure to make you smile. Sound designer Andrew Mulholland successfully rewound the clock featuring vintage radio programs and an always entertaining look at how radio created sound effects in the 30s.

In curlers and a whistle that she makes the most of during the show, Carly Evans depicts a sarcastic and matter of fact Miss Hannigan. While some actresses sink their teeth into what can be considered an over the top role, Evans instead downplayed Miss Hannigan as exasperated, dark and moody showing off her strident vocals for Little Girls as the orphans demonstrated their knack for pushing her buttons. Cristhian Mancinas-Garcia as Hannigan’s conman brother Rooster and Melissa Paz as bleached blond Lily St. Regis make an amusing, sleazy pair and with Evans, a trio of conspiratorial adversaries. Paz is a powerful singer and looked like she enjoyed portraying a woman who can’t sing. Some of the rollicking chorography of Easy Street offered some subtle nods to the film version.

Brian Higgins as FDR and cast in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

From select city shoppers to matching uniformed house staff to government officials, this enthusiastic ensemble cast enhanced the joy in this classic tale highlighted by Brian Higgins as a jovial and charismatic FDR, Robert Orzalli as Drake with a twinkle in his eye, Anthony Rinaldi stood out as jocular radio announcer Bert Healey, and the gum chewing, New Yorker Boylan Sisters were a treat.

Sullivan Rep capped off their season with Annie through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts. Click here for more information and what is in store next season.

REVIEW: Reflections and camaraderie navigate Midwinter Revels’ uplifting ‘The Selkie Girl and the Seal Woman: A Celtic and Cabo Verdean Celebration of the Solstice’

Posted on December 22, 2024 by The Sleepless Critic

Island waves and a Celtic touch navigate two interpretations of a classic folk tale.

Directed with ruminating holiday cheer by Debra Wise and versatile music direction by Elijah Botkin, the 54^th annual Midwinter Revels presents The Selkie Girl and the Seal Woman: A Celtic and Cabo Verdean Celebration of the Solstice live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday, January 12, 2025. This traditionally interactive production is approximately two hours 30 minutes with one intermission. Each performance has a sponsor and dedication noted in the program. Click here for more information and for tickets.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Athéna-Gwendolyn Baptiste

This year’s Midwinter Revels occasionally takes to the seas sharing interconnected stories of identity, culture, traditions, ancestry and much more. Aiden Parkinson portrays a cynical Celtic poet while Cedric Appolon and Kortney Adams depict a family of New Bedford newcomers from Cabo Verde who receive a mysterious package and Candida Rose Baptista is a beautiful yet elusive stranger that unleashes a new perspective.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Andrew Burke-Stevenson Kortney Adams and Aiden Parkinson

Jeremy Barnett’s festive and inviting set is steeped in the spirit of the season with illuminated lanterns, strings of old fashioned multicolor bulbs and white lights adorned on garlands and wreaths by lighting designer Jeff Adelberg as well as detailed shelves packed with a variety of books and knickknacks. Featuring a number of traditional and contemporary Cape Verdean and Celtic instruments, the intimate Cambridge Brass Ensemble onstage orchestra beautifully delivers a wide array of music genres including Celtic, jazz, and Cabo Verdean tunes as well as a mix of moving, humorous and traditional Midwinter Revels carols for sing-along such as an a cappella SILENT NIGHT led by David Coffin who hosts with his usual welcoming charm and good humor.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus

Ugly Christmas sweaters, street wear, velvet vests, plaids, wild patterns and period pieces are only a fraction of the convivial costuming by Heidi Hermiller weaved into this large cast. Candida Rose Baptista stuns in a gold embroidered royal blue draped gown as she shares unique, uplifting and memorable Cape Verdean tunes such as SÓ SABI sing along and later the catchy and uplifting Batuku tune FAMILIA, DESPEDIDA & SIMA NOS È SO NOS along with the Sea Change Chorus amid beautiful fish and island projections.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Lourenco “Pelé” Fernandes, José Lúis “JL” Spencer, and Candida Rose Baptista

One of the best parts of the production is the spooky number Skin and Bones performed by flashlight that may bring you a chill. David Coffin and Mary Casey also take the stage for an amusing and eloquent a cappella version of the Irish folk number THE HUMORS OF WHISKEY and step dancer Rebecca McGowan impressively shares her spellbinding skills peppered into the production.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus and Rocky Road Children’s Chorus

Uniquely creating the motion and depths of the high seas, the adorable The Rocky Road Children with harmonious fiddler Liz Hanley perform the ORO MA BHADIN lullaby. The Rocky Road Children also shine for The WREN SONG while keeping the beat with sticks accompanied by bodhrán Abe Finch and David Coffin on recorder. David Coffin, accompanied by a trio of musicians called the Bailemian Band performs a wonderful rendition of THESTAR OF THE COUNTY DOWN.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Straw Men Mummers

Parkinson performs a stirring rendition of OISÍN AND TÍR NA NÓG and shares some reflective scenes with Appolon and Adams as they gradually learn from each other in shared experiences.

It was fascinating to witness the variations upon this symbolic and metaphorical Selkie story which share significance with each other in their own way from an Irish and then a Cape Verdean perspective. Rather than delving into a traditionally streamlined plot this year, this musical production spends more time in camaraderie and fellowship sharing individual fables and tales while celebrating the Winter Solstice and holiday season with warmth and comfort. Bringing a number of traditions together, the Midwinter Revels make merry the spirit of the season with reflections, humor and hopefulness in its own charming way.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley David Coffin and the cast of Midwinter Revels

Midwinter Revels presents The Selkie Girl and the Seal Woman: A Celtic and Cabo Verdean Celebration of the Solstice’ live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday January 12, 2025. Click here for more information and for tickets.

REVIEW: Theater Uncorked’s ‘The Lion in Winter’ a resonating roar in deceit and dysfunction

Posted on December 14, 2024 by The Sleepless Critic

“Oh, what a tangled web we weave when first we practice to deceive.”

Here lies the marrow when royalty, family, power and possibly love collide in The Lion in Winter, a historical drama that may itself be fictional, but a number of conflicts in the production within this real life monarchy are based on historic events. This famous quote from Scottish poet Sir Walter Scott may be cautionary in nature and The Lion in Winter seems like a cautionary tale in some familial aspects, but these wildly tangled webs are far beyond fixing and are need of a reckoning.

With scrupulous direction by Allison Olivia Choat, Theater Uncorked presents James Goldman’s rarely performed drama The Lion in Winter live and in person at Boston Center for the Arts at the BCA Plaza Theatre in Boston, Massachusetts through Sunday, December 15. The production contains adult themes and is approximately two hours with one intermission. Click here for more information and for tickets.

Sehnaz Dirik center Thain Emrys Bertin James Honaker and Finian Ross in Theater Uncorked’s ‘The Lion in Winter’ Photo Credit: Gary Ng

The Lion In Winter has been adapted into an Academy Award-winning 1968 film starring Peter O’Toole as King Henry II and Katherine Hepburn as Eleanor of Aquitaine. Though both actors were nominated for Academy Awards, Katherine Hepburn won for Best Actress. The Lion in Winter was also later adapted into a lesser known TV movie in 2003 starring Sir Patrick Stewart as King Henry II and Glenn Close as Eleanor of Aquitaine.

Set designer Leonard Chasse delivers medieval festive hauling out the holly for Christmas adorning gold and red velvet tables, a regal coat of arms on the wall and a pair of keenly lit crosses while candlelight by lighting director Erik Fox not only casts ambient light, but adds a foreboding quality to much of the production.

Finian Ross and Sehnaz Dirik in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

Theatre Uncorked does dysfunction well. They certainly made a case for the Eliot Norton award-winning Who’s Afraid of Virginia Woolf last year diving into extreme marital dysfunction and this year, a royal battle as three sons vie to become the next King of England as Christmas approaches in 1183. Anthony Mullin as Henry II has high hopes for one son, but Sehnaz Dirik as recently imprisoned Queen Eleanor of Aquitaine has other plans. It shares some similarities with Shakespeare’s King Lear and the play is even mentioned during the production. However, nothing is as it seems and the crown and succession feels like a smaller detail in the grand scheme of this family’s maladies.

Like Who’s Afraid of Virginia Woolf, The Lion in Winter visits some of the darkest places of the human condition, and not only reflects the frustration in a toxic marriage but explores neglect, betrayal, grief, mortality, oppression, war and an unscrupulous hunger for power. It also has its share of satirical humor in its veiled slights, quips, and deadpan style of manipulation. Each member of the family is playing a long game to achieve each of their desired objectives and as soon as you think you have a grasp of what is happening, the tables turn.

Anthony Mullin and Sehnaz Dirik in Theater Uncorked’s ‘The Lion in Winter’ Photo Credit: Gary Ng

The Lion in Winter boasts two powerful leads in Anthony Mullin as charismatic and egotistical King Henry II and Sehnaz Dirik as Queen Eleanor. Complicated does not begin to describe their relationship and like Who’s Afraid of Virginia Woolf, King Henry II and Queen Eleanor’s relationship have many layers in their decades long marriage and one cannot think of how dangerous it can be to know someone all too well. Mullin’s clever and shrewd King Henry to Dirik’s witty and scheming Eleanor put on more than a game face fueled by their passion and stubbornness vying for the upper hand in everything. Dirik is a natural at Eleanor’s underlying vulnerability behind her machinations with only the audience the wiser.

Micah Livesay and Matthew Zahnzinger in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

Micah Livesay is sympathetic as loyal and susceptible Alais as she struggles in her twisted role while Matthew Zahnzinger as Alais’s egotistical brother Phillip stealthily bides his time on his next move as King of France.

The sons seem like pawns and wish I had a deeper understanding of who they are. All longing for love more than anything else and acting out about it in distinctive and destructive ways. Finian Ross as impressionable John, James Honaker as calculating Geoffrey and Thain Emrys Bertin as complex yet valiant Richard all work best while conspiring with each other.

Matthew Zahnzinger James Honaker and Finian Ross in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

The Lion in Winter is a bit lengthy contemplating the game more than it builds tension, though it is intriguing to see how each move plays out. Whatever this family has next up their sleeve, it is certainly far from a Norman Rockwell Christmas.

Theater Uncorked presents James Goldman’s rarely performed drama The Lion in Winter live and in person at Boston Center for the Arts at the BCA Plaza Theatre in Boston, Massachusetts through Sunday, December 15. The production is approximately two hours with one intermission. Click here for more information and for tickets.

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

Posted on January 3, 2024 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 20^th Century Boy. This semi-immersive and interactive show occasionally breaks the 4^th 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.