december | The Sleepless Critic

REVIEW: Fueled by a mesmerizing soundtrack, witness The Huntington and SpeakEasy Stage Company’s quietly stirring ‘The Band’s Visit’

Posted on 2 Days Ago by The Sleepless Critic

Imagine longing for a phone call from a loved one or the act of just mustering up enough courage to speak to a girl. Imagine welcoming a group of strangers to your table and into your private home for the night because they are in need of a place to stay. Think about that kind of selflessness and hospitality freely given without a second thought. These seemingly small acts of kindness make a big impact in The Band’s Visit.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage Company presents The Band’s Visit by Itamar Moses through December 17. The show is 90 minutes with no intermission. Click here for more information and for tickets.

The Band’s Visit made its Broadway debut in 2017 with Tony Shaloub as Tewfiq and went on to win multiple Tony Awards. Much of this acclaimed show hinges on its eclectic and spellbinding music soundtrack which ties the band and the locals together, particularly essential when they are feeling misunderstood. This multi-talented onstage band certainly can jam especially for the numbers Soraya and Haj-Butras and receives some additional hidden accompaniment which is delightedly revealed in an unexpected way.

Set in 1996 in a small Israeli town located in the middle of the Negrev Desert where nothing unusual ever seems to happen, the townsfolk are dazzled by a traveling and stranded Egyptian band wearing distinguished, powder blue uniforms by Miranda Kau Giurleu. The Band’s Visit is an unconventional and unassuming musical that quietly and most assuredly will open hearts and minds to the little things in life that are sometimes overlooked.

The Band’s Visit unveils heartache and hope in such a remote land that the locals may sometimes feel forgotten. Many aspects of Jimmy Stubbs and Wilson Chin’s nostalgic scenic design fondly rewinds the clock using iconic pieces of nostalgia while also evoking the isolated nature of the town which includes a towering lamp post, a phone booth richly and authentically detailed with fingerprints and grime on its plastic cover, and a deserted blue street with yellow stripes. One of the most memorable scenes recreates a retro roller skating rink equipped with multicolored lights, disco ball and DJ.

Jennifer Apple, Brian Thomas Abraham; Photo by T Charles Erickson

This production has many surprises and this intriguing cast is no exception. Brian Thomas Abraham wonderfully portrays modest orchestra leader Tewfiq. Abraham’s reserved Tewfiq expresses his art with charisma, but offstage, he is a man of few words. Guarded and mysterious, Abraham shares fascinating chemistry with Jennifer Apple, a natural as feisty divorcee Dina especially for the beguiling numbers Omar Sharif and Something Different. Stunning in a gorgeous red flowing burgundy frock, Apple captures Dina’s resilience and yearning for happiness beyond what this small town can offer but something is holding her back. Apple’s bright smile and intense, determined nature is particularly notable in a scene stealing incident slicing watermelon in It is What it Is.

Marianna Bassham, Andrew Mayer, Robert Saoud, James Rana, Jared Troilo; Photo by T Charles Erickson

Mariana Bassham, who has a history of impactful roles including a starring role in SpeakEasy Stage’s People Places and Things from 2022, is impressive alongside Jared Troilo as Iris, Itzik’s long suffering and resentful wife. Even in an uplifting scene involving household instruments, Bassham’s vacant expressions and fatigue is the picture of indifference and discontented heartache as she stares into the abyss of a life unfulfilled. Troilo’s Itzik is warm and helplessly optimistic despite his family’s circumstances. Troilo has a powerful voice which is understated for this particular performance for a quietly tender Itzik’s Lullaby.

Noah Kieserman, Mac Ritchey, Jared Troilo; Photo by T Charles Erickson

The Band’s Visit also offers a mix of lighthearted comedic moments. Jesse Garlick shines as awkward and bewildered Papi for the zany number Papi Hears the Ocean as Josephine Moshiri Elwood as self effacing Julia looks on. Kareem Elsamadicy is much more than meets the eye as Haled for the smooth and lovely rendition of Haled’s Song about Love. Emily Qualmann as Anna and Fady Demian as Zelgar make an entertaining pair of partiers and Noah Kieserman delivers gorgeous vocals with the cast for the enthralling number, Answer Me.

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage presents The Band’s Visit by Itamar Moses through December 17. The show is 90 minutes with no intermission. Click here for more information and for tickets.

REVIEW: The Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

Posted on 13 Days Ago by The Sleepless Critic

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton. Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history. Very likely taking place at the historic Old South Meeting House which is also celebrating its 300^th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard.

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis, Phillis in Boston offers a unique and heartfelt perspective of this courageous woman. In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries. Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it. Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae. S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream. Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley. Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest. With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

REVIEW: Front Porch Arts Collective serves up a spirited and resonating ‘Chicken and Biscuits’

Posted on December 20 by The Sleepless Critic

‘Family is a loaded word.’

Spoken by one of the characters in Chicken and Biscuits by Douglas Lyons, this statement perfectly encompasses the essence of this spirited family dramedy. The holidays tend to bring out family dysfunction in rare form and Front Porch Arts Collective has it covered with Chicken and Biscuits delivered just in time for the holidays on December 9.

Judgment is passed at every angle and tensions run high as one family must reunite for a funeral honoring the family patriarch. As Jacqui Parker as Baneatta’s opening scene suggests, the power of prayer may be the only way for this family to get through this complicated day.

Matriarch Beneatta Jacqui Parker contemplates the family’s happy future in Front Porch Arts Collectives production of Chicken and Biscuits PHOTO credit Ken Yotsukura

Hosted by Suffolk University, Front Porch Arts Collective ventured into their first solo show in residence with The Huntington with Chicken and Biscuits at the Modern Theatre in Boston, Massachusetts through January 8. Directed reflectively by Lyndsay Allyn Cox, Chicken and Biscuits is one hour and 45 minutes with no intermission. Click here for more information and for tickets.

Everyone is part of the congregation in Modern Theatre’s modest sized theatre without a bad seat in the house. Set inside a sunlit church in Connecticut, one of the beautiful highlights of Erik D. Diaz’s transformative set design include the tree lined and then colorful stained glass windows with authentic hanging sanctuary lamps. Anna Drummond’s dynamic sound design lent to the heart and humor of the production while M. Berry’s exceptional lighting varied from somber to uplifting and every mood in between as revelations unfold. With fine details by Earon Chew Neasley, Zoe Sundra’s striking costumes which includes dignified hats varying from elegant to over the top, embellish each character’s distinct personalities. Prop master Lauren Corcuera’s intricate details completed the hospitable atmosphere, especially those homestyle chicken and biscuits.

Reginald Robert Cornelius preaches a sermon in Front Porch Arts Collectives production of Chicken and Biscuits PHOTO credit Ken Yotsukura

Though this production delves into grief and family dysfunction, it also delivers a wealth of high spirited comedy and stirring moments from a cast of vibrant characters. It does not take long to grasp that Father and Grandfather Bernard Jenkins was the glue that held this family together. His loss has touched each family member in a unique way while a few of the family members have their own unique ideas on how to celebrate his life.

Filled with quiet consternation, Jacqui Parker portrays compelling Baneatta who is just barely holding it together as she and her optimistic and charismatic husband Robert Cornelius as Reverend Reginald Mabry prepare to attend the service. Baneatta has a unique effect on each family member and Parker carries that aura with a certain gravitas. Though she and her husband appear to be opposites, Cornelius and Parker are impressive as a longtime married couple comfortable with each other’s idiosyncrasies. Cornelius has a natural charisma and delivers a particularly noteworthy and powerful performance as easygoing Reginald, especially as he addresses the congregation with a rousing sermon.

From her razor red fingernails to her curve hugging blue dress, Thomika Bridwell depicts outrageous and outspoken hairstylist Beverly Jenkins with Lorraine Kanyike as La’Trice Franklin, Beverly’s smirking aspiring rapper daughter, not far behind. Bridwell and Kanyike’s snappy comedic dialogue and chemistry make for some ludicrous and entertaining moments as they proudly march to the sound of their very own drummer. Fiercely protective and flirtatious, Beverly’s scene stealing personality is a force to be reckoned with while Kanyike, in a pleather vest and revealing pants, exudes La’trice’s confident, attention seeking demeanor which also contains a grain of insightful teenage wisdom.

L to R Mishka Yarovoy Thomika Bridwell and Adrian Peguero in Front Porch Arts Collectives Chicken Biscuits PHOTO by Ken Yotsukura

Mishka Yarovoy delivers an empathetic and endearing performance as Logan, who longs for as little as the family getting his name right and Adrian Peguero as conflicted Kenny mourns a grandfather who understood him best. However, Sabrina Lynne Sawyer stands out in a stellar performance as serious, distinguished, and multi-faceted Simone who struggles and strives for perfection.

Anxiety, gossip, bickering, and a few surprises are inevitable at most family gatherings whether it is on a holiday, a family reunion, or even at a family funeral. Chicken and Biscuits, named after Bernard’s favorite meal, can also provide comfort, grace, and love as long as everyone can sit together, take a breath, and listen.

REVIEW: The Company Theatre is up to magic and mischief in family-friendly ‘Matilda the Musical’

Posted on December 3, 2022 by The Sleepless Critic

Not even a Willy Wonka candy coated confection could properly prepare one for what the Company Theatre has in store onstage.

With book by Dennis Kelly and music and lyrics by Tim Minchin, The Company Theatre’s Matilda the Musical is a holiday-themed whirlwind of caricatured adults and rage-filled adolescence while at its core, an inspiring story of an extraordinary girl in a peculiar and unique world that could only come from renowned storyteller Roald Dahl’s innovative imagination. Add Lindsay Hoisington’s eye popping costumes that share their own story along with set designer Ryan Barrow’s striking, festive colors and Matilda the Musical made a refreshing debut from Company Theatre’s more traditional annual holiday fare.

Diana Lee as Lavender and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Inventively directed by Zoe Bradford with dynamic Music Direction by Melissa Carubia, The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18. Click here for more information and for tickets.

With a string of renowned children’s books that includes classics such as James and the Giant Peach and Charlie and the Chocolate Factory, it is easy to see award-winning author Roald Dahl’s trademark characterizations, sardonic humor, and peculiarities within a morally driven subtext delivered in Dahl’s Matilda, a novel published almost 35 years ago. Matilda went on to become a bonafide hit with children and adults and it was not long before a 1996 film adaptation arrived featuring Danny DeVito and his real life wife Rhea Perlman. In 2012, Matilda became a Tony award-winning Broadway musical before Netflix recently premiered Matilda the Musical featuring Emma Thompson around Thanksgiving. Like most theatrical adaptations, nothing is quite like the experience of seeing it live.

Mischief during the holidays in Company Theatre’s ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Expectations were skewed immediately with the darkly comedic and infectious opening number, Miracle where cute, wild, and blatantly naughty children zip around a Christmas tree fueled by Brad Reinking’s athletic, energetic, and fist pumping choreography. Keep an eye out for some amazing feats by Ben Cavallo-Smith and others.

Ben Cavallo-Smith and cast in ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Imagination and mischief run wild in Roald Dahl’s tale of an extraordinary girl making her way through a peculiar world. Roald Dahl tugs at the heartstrings in this absorbing children’s tale, but not before displaying a wealth of less than savory characters making Matilda’s life arduous. It is a darkly humorous tale guaranteed to delight children more than the grownups.

Annie Jones as Mrs. Phelps and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Clad in black and white, precious and precocious Matilda, portrayed with determination and quick wit by Reese Racicot, is one of the very few characters standing out in an ostentatious world where television is more important than cracking open a book. Racicot immediately charms from the spunky number, Naughty to mastering the heady lyrics in Quiet, punctuated by her light and airy vibrato. Racicot has a sweet rapport with Annie Jones as enthralled librarian Mrs. Phelps, who delights in Matilda’s significant and imaginative stories as well as Miss Honey, portrayed endearingly by Jennifer Beth Glick. With delicate and powerful vocals, Glick shines depicting Miss Honey’s quiet strength and good natured humbleness, especially for the tender and moving number, My House with Salvador Guillermo Garcia.

Brad Rafferty as Rudolpho, Emilee Dennis Leahy as Mrs. Wormwood and Jennifer Beth Glick as Miss Honey Photo credit to Zoe Bradford/Company Theatre

The adults are about as tempestuous and spoiled as their children. Matilda’s scheming con artist father Mr. Wormwood, portrayed with a sneer and manipulative glee by Todd Yard is not to be outdone by his equally shortsighted, narcissistic, and ballroom dancing wife and Matilda’s resentful mother, Mrs. Wormwood, depicted by Emilee Dennis Leahy with the sort of flirtatious, chaotic humor reminiscent of Jennifer Coolidge. Accompanied by Brady Rafferty as egotistical Rudolpho, Leahy demonstrates limber dance moves and a wild cha cha in the shimmering and comically shallow number, Loud. Never have a pair claimed to know so much know so little. Oliver Dunn as Matilda’s conspiring brother Michael Wormwood seems to be following in their stealthy footsteps as Yard and Dunn open Act II with humorous improvisation and vaudeville inspired number All I Know.

Todd Yard as Mr. Wormwood and Oliver Dunn as Michael Wormwood Photo credit to Zoe Bradford/Company Theatre

Matilda the Musical is not without its dark moments and that is exemplified in Matilda’s iron fisted headmaster, Agatha Trunchbull. A fearful and miserably barreling adversary depicted enthusiastically by Christie Reading, Trunchbull is a force to be reckoned with, but against these lively students, anything is possible highlighted by the brilliant and ironic number, When I Grow Up.

Christie Reading as Miss Agatha Trunchbull, Jennifer Beth Glick, and the students Photo credit to Zoe Bradford/Company Theatre

The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18. Click here for more information and for tickets.

REVIEW: Central Square Theater brings Lloyd Suh’s ‘The Chinese Lady’ to light

Posted on November 26, 2022 by The Sleepless Critic

Afung Moy is majestic, idealistic, and beautiful. In 1834, she has set foot on American soil from China at just 14 years of age to share her background, culture, and experiences. However, the details behind her arrival as well as her time and purpose in the United States is where the real story lies.

Directed impressively by Sarah Shin and in partnership with the Chuang Stage, Central Square Theater reveals a little known yet impactful figure in Lloyd Suh’s The Chinese Lady live and in person at Central Square Theater in Cambridge, Massachusetts through December 11. This semi-interactive production is 90 minutes with no intermission. Click here for more information and for tickets.

Sophorl Ngin as Afung in ‘The Chinese Lady’ Photo credit to Nile Scott Studios.

The Chinese Lady is gripping from the start and much of that is due to its two powerful leads that at first share amiable banter, humor, and building tension. With bright and expressive eyes, Sophorl Ngin depicts Afung Moy with compelling curiosity as she gradually discovers the life that has been set out in front of her. Ngin’s sweet and understated ingenuity beams adorned in exquisitely-detailed gold embroidered lavender and lilac attire crowned with a colorful guan by costume designer Sandra Zhihan Jia.

Scenic designer Qinan Zhang has a meticulous eye for detail and each piece of furniture and prop provides a significant purpose. Nothing in this vast room is just for show. Translucent curtains blanket the room and add a mysterious quality to the space. Steel structures hang above a Chinese floral blossoms arrangement and the matching end tables and chair quickly become essential to this historical account.

Jae Woo as Atung and Sophorl Ngin as Afung Photo credit to Nile Scott Studios

From China’s history of inventing tea to the gruesome details of foot binding, Ngin delivers her lines pragmatically and with a cheery glow, treating her time onstage at first an adventure with delusions of grandeur. With a wide eyed countenance, Ngin brilliantly depicts Afung from her imaginative humor and naivete to the subtle evolution in her ripened demeanor, weary walk, and her conflicted style of speaking as years gradually progress. The Chinese Lady is confronted with the ugly side of humanity and lays it bare as her time slowly fades into a land she has little choice but to adapt to it.

Ngin as Afung and Jae Woo as her older translator and guide Atung illustrate their absorbing camaraderie as they embody their complex characters, particularly exemplified in a chilling scene with the President. This intense and carefully executed scene is riveting and difficult to witness, but punctuates the sheer marvel of these two together onstage. Jae Woo portrays Atung as mysterious, subdued, polite, and unassuming as he keeps himself as minimal as the furniture. He is kind, protective, and squarely knows his place, but hints at a painfully buried intensity. Woo handles this complicated and austere character with tight lipped finesse in spite of or more hauntingly, because of all he has been through.

Sophorl Ngin as Afung and Jae Woo as Atung Photo credit to Nile Scott Studios

The Chinese Lady is best experienced without revealing the true nature of the story. Afung’s endearing personality provides a temporary distraction of what is actually happening onstage. Director Sarah Shin and author Lloyd Suh’s clever unfolding of historical and contemporary events and the actors’ subtle navigation in their performances on issues that are anything but subtle are weaved into a striking and message driven historical work that peels away that subtlety piece by piece and by the final act, leaves everything astonishingly and unsettling bare.

Central Square Theater reveals a little known yet impactful historical figure in Lloyd Suh’s The Chinese Lady live and in person at Central Square Theater in Cambridge, Massachusetts through December 11. This semi-interactive performance is 90 minutes with no intermission. Click here for more information and tickets.

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

Posted on December 29, 2020 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Americana Theatre Company’s David Friday and Nick Mitchell talk ‘It’s a Wonderful Life: A Live Radio Play’

Posted on December 6, 2017 by The Sleepless Critic

Over 70 years ago, despair, hardship, hope, and generosity encompassed a holiday tale that quickly became a film classic. Based on Philip Van Doren Stern’s short story, The Greatest Gift, Frank Capra’s It’s a Wonderful Life became an annual family tradition for generations and The Americana Theatre Company is bringing back this popular, unique retelling of this beloved story suited to the film’s time period. With a small cast inhabiting over 40 roles with a Christmas Eve setting, It’s a Wonderful Life: A Live Radio Play is performed as a 1940s radio play with a cast of just five actors. The show runs from Wednesday, December 6 through Saturday, December 16 at Plymouth Center for the Arts in Plymouth, Massachusetts. Click here for more information and tickets.

A few cast member from Americana Theatre Company’s ‘It’s a Wonderful Life: A Live Radio Play’ through December 16 Photo courtesy of Americana Theatre Company

Managing Director of the Americana Theatre Company David Friday and Director Nick Mitchell discuss the inspirational transformation of It’s a Wonderful Life into an interactive, onstage, and in-studio live radio show.

Sleepless Critic: What I like so much about It’s a Wonderful Life: A Live Radio Play is the nostalgic 1940s setting fits right in line with the time period of the film. How did this idea come about?

Nick Mitchell: Radio plays have taken off and a lot of companies are doing live, mock radio plays by bringing in the effects and the different voices from the actors. It was only a matter of time before authors got a hold of pieces like It’s a Wonderful Life. Two different versions of the script are available for It’s a Wonderful Life that is a formatted radio play. The one we’re using is by Joe Landry who condensed it into anywhere from 40 actors, but five are recommended and five is what we are going with.

SC: Those five actors will play 40 roles as I understand.

NM: Yes, indeed. George Bailey is played by Jesse Sullivan, Emily Turner Marsland as Mary. They play just those roles, but Josh Nicholson, David Friday, and Erin Friday, the Director of Education for Americana Theatre, play everybody else.

SC: I understand your voices will be enhanced with microphones, sound effects, and there will also be an authentic ‘Applause’ sign.

NM: The ‘Applause’ sign is funny. David made this fully working sign. I kept thinking during the rehearsal process whether it is bright enough for the audience to see it. However, audiences have responded to it the minute that sign lit up. It was fun to watch.

Cast of It’s a Wonderful Life In Studio Photo courtesy of Americana Theatre Company

SC: It also makes it more interactive for the audience too.

DF: The opening speech of the show explains to the audience that the broadcast will be in a radio studio. Other performances of this show have to be done on a large stage and broadcast on the radio to a different venue. In the opening speech, the announcer says that people at home are going to be able to hear you so laugh, applaud, cry, and it will all be part of the show. It really tries to get everybody involved including our stage manager. He can be seen in the production booth window. We added that nice little twist.

SC: Have there been any surprises during this show’s run such as unexpected reactions to certain scenes?

DF: It’s one of my favorite movies of all time. I see it every year just like most people do and get a little misty when I watch it. At the end of one evening’s performance, quite a few audience members were crying or very close to it. It is good for us. It just tells us we’ve been able to capture the spirit of the original film.

It’s nice and I’ve actually seen a couple of online Facebook comments that people can’t wait to go home and watch it. They enjoyed the show and want to watch it because the show recaptured something in a way that they have never seen it and want to go back and relate it to what they know. People even thinking that way is a large victory for us.

SC: What is the best reason one should come see the production?

NM: In this digital age, we get entertainment where and when we want it with a push of a button. I think at this time of year, a show and format like this reminds us to set aside some time with people that mean something to us and be entertained. In the process, see how many lives we’ve touched in the meantime.

SC: It’s a live show so anything can happen.

NM: It will, believe me.

It’s a Wonderful Life: A Live Radio Play continues through Saturday, December 16 at Plymouth Center for the Arts, 11 North Street in Plymouth, Massachusetts. Reserve tickets by clicking here or call 1-508-591-0282. Tickets will also be available at the door. Follow the Americana Theatre Company of Facebook for more information about this amazing theatre company and future productions.

Holiday Pops makes annual return to Symphony Hall with sing-a-long carols, holiday cheer, and Santa Claus

Posted on November 30, 2017 by The Sleepless Critic

The spirit of the season comes knocking as the Holiday Pops make their way to Symphony Hall bringing sing-a-long carols and brimming with holiday cheer. For over 20 years, decking out Symphony Hall has become an annual Boston tradition, seeped in the luminous sights and sounds of the season and welcoming audiences from near and far. At the helm once again is renowned maestro Keith Lockhart to conduct Holiday Pops 2017 from Tuesday, December 5 and continuing through Christmas Eve. Cap off the year and return to Symphony Hall for a special New Year’s Eve Party featuring the Boston Pops led by returning bandleader Bo Winiker. Click here for more information and for tickets.

Keith Lockhart leads the Holiday Pops Photo courtesy of Stu Rosner/BSO

Holiday Pops features approximately 40 evening and matinee performances featuring an array of beloved carols, storytelling, and a traditional holiday sing-along. Morning kid matinees are also available which includes photos with Santa and much more. Children under 2 get in free. Kicking off on December 2, The Holiday Pops will also be on the road touring New England with Keith Lockhart and Santa in tow for The Boston Pops Holiday Tour. Click here for tour dates and locations.

Bring Holiday Pops home with the Boston Pops all-live CD. Savor the sounds of the season right in the living room with A Boston Pops Christmas: Live from Symphony Hall, virtually bringing the listener right through the Symphony Hall doors to enjoy a time-honored Christmas tradition for the entire family.

With Keith Lockhart leading the Boston Pops, A Boston Pops Christmas: Live from Symphony Hall features a gorgeous Christmas medley from American Idol finalist Melinda Doolittle along with audience favorites such as Dr. Seuss’s How The Grinch Stole Christmas, The Twelve Days of Christmas, Sleigh Ride, The Christmas Song, Rudolph the Red-Nosed Reindeer, and Merrily We Sing Along.

Photo courtesy of Bo Winiker

Click here for tickets, call SymphonyCharge at 888-266-1200, and are also available at the Symphony Hall Box Office, 301 Massachusetts Ave, Boston, Massachusetts. A Boston Pops Christmas: Live from Symphony Hall CD is available through ITunes, Amazon, and Amazon MP3.

A beloved, annual musical tradition, Reagle Music Theatre of Greater Boston presents ‘ChristmasTime’

Posted on November 25, 2017 by The Sleepless Critic

Photo courtesy of Reagle Music Theatre of Greater Boston

The Nativity Photo courtesy of Reagle Music Theatre of Greater Boston

Raggedy Ann Photo courtesy of Reagle Music Theatre of Greater Boston

Carolers Photo courtesy of Reagle Music Theatre of Greater Boston

Teddy Bears Ballet Photo courtesy of Reagle Music Theatre of Greater Boston

Adorned in brightly lit snowflakes, sparkling, emerald Christmas trees and wreaths around the Robinson Theatre stage and festively lined with wooden embroidered angels, Reagle Music Theatre of Greater Boston brings back their masterful, musical theatrical production of ChristmasTime for two weekends from Friday, December 2 through Sunday, December 10. Click here for more information.

With an enormous cast of nearly 200 consisting of adults and children from Massachusetts representing two dozen regional towns, ChristmasTime is a musical revue accompanied by a live orchestra. The sets and costumes are adorned with festive flair and audiences will witness classic family favorites come to life such as ‘Teddy Bears Ballet’ Radio City Music Hall’s ‘The Parade of the Wooden Soldiers,’ and ‘The Living Nativity’ as well as captivating dance performances. The show blossoms into a sweet dedication to the Christmas season.

This annual celebration has a strong following, so purchase tickets now. Each show will be held at Reagle Music Theatre, 617 Lexington Street in Waltham, Massachusetts on Saturdays and Sundays December 2, 3, 9, and 10 at noon and 4 p.m. One Friday evening performance will be held on December 8 at 7 p.m.

‘Night Fever: An Evening of the Bee Gees’ January 14 Photo courtesy of Reagle Music Theatre of Greater Boston

Reagle Music Theatre of Greater Boston will kick off the New Year with Night Fever: An Evening With the Bee Gees for one day only on Sunday, January 14 at 2 p.m. Click here for more information and tickets or call 781-891-5600. Tickets are also available at the theatre box office and Reagle gift cards make a great present for the holidays. Make Christmastime a family holiday tradition. Follow Reagle Music Theatre of Greater Boston on Twitter and Facebook for all their upcoming events.

Illuminated by candlelight, Saint Anselm College celebrates the season with their 18th annual DecemberSong

Posted on December 16, 2016 by The Sleepless Critic

Photo courtesy of Keri McAndrews For more of her work, visit photosbykeri.com. Nativity scene set up at Saint Anselm College.

Photo courtesy of Keri McAndrews For more of her work, visit photosbykeri.com. Photo of Saint Anselm College Alumni Hall.

Photo courtesy of Keri McAndrews For more of her work, visit photosbykeri.com. Cross situated over the altar inside the Abbey Church.

Photo courtesy of Keri McAndrews For more of her work, visit photosbykeri.com. The domed acoustic ceiling inside the Abbey Church.

A vast, gorgeous, brightly-lit Christmas tree sits at Davison Hall, signaling the start of one of Saint Anselm College’s one of the most highly anticipated times of the year. In a whirlwind of seasonal events such as their charitable program, Christmas Giving Tree Project to their annual Gingerbread Decorating Contest, it is no wonder that collegemagazine.com hailed Saint Anselm College as the top college with Christmas spirit. Adorned in Christmas wreaths and a variety of festive decorations strewn up by students and staff alike, Saint Anselm College revels in this exciting and joyful season. Click here for more on Saint Anselm College located in Manchester, New Hampshire and follow them on Facebook.

Also a time of contemplation and community in the Benedictine tradition, the community, students, colleagues, and alumni cherish gathering each year at The Abbey Church to celebrate DecemberSong, a free event by candlelight, at the start of the advent season. Featuring the Saint Anselm Abbey Choir, this year’s DecemberSong service took place on a peaceful, clear, and chilly Saturday evening on December 3 at Saint Anselm Abbey Church, 100 Saint Anselm College Drive in Manchester, Massachusetts at 7:30 p.m.

Brick laden and adorned with an amber jeweled cross floating aloft the altar, the Abbey Church offers a warmth and subtlety in its surroundings. Overhead is a domed, carefully detailed acoustic ceiling that gathers light and reverberates sound. A full house greeted the Saint Anselm Abbey Choir when they entered the church dressed in black in white, each carrying a single lit candle. Their voices lift and resonate, greeting the church with Bach’s Wachet auf, ruft uns die Stimme. What followed was an evening of well known advent songs such as O Come, O Come, Emmanuel and Ave Maria, traditional Christmas songs such as The First Noel and Handel’s Hallelujah Chorus, and in between inspirational readings, prayer, and sacred scriptures shared by candlelight. Readings included A Christmas Hymn by Martin Luther, advent hymns, and Susan Cherwien meditations. Led by Director of Liturgical music Eric J. Bermani and accompanied by Brother Andrew Thornton, DecemberSong published the words and music of the evening’s songs to encourage audience participation.

First envisioned by Director Emeritus of the Choir, Father Bede Camera O.S.B, this year marks DecemberSong’s 18^th year and the Saint Anselm Abbey Choir will celebrate their 30^th anniversary in 2017. Click here for further information about the Saint Anselm College Choir.