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REVIEW: Midwinter Revels brilliant ‘The Feast of Fools’ blends hope and laughter in the darkest of times

Posted on December 23, 2023 by The Sleepless Critic

Dragon battles! Reindeers dance! Kings and Fools! Hope in darkness.

This year’s annual Midwinter Revels is titled The Feast of Fools: A Medieval Celebration of the Solstice, and though fools may be onstage, not even a fool would miss this production.

Showing fresh ingenuity and as immersive as ever, The Feast of Fools delivers as much reveling as insightfulness into medieval hierarchy, the contemporary world we live in, and and the importance of eternal peace in this unpredictable world.

L to R: Vincent Ernest Siders (The King), Laurel Swift (Boney), René Collins (Folly), Eliza Rose Fichter (Fiasco), Roger Reed (Flop), and members of the Midwinter Revels Solstice Chorus Photo by Paul Buckley

Directed cleverly by Patrick Swanson and Debra Wise while seamlessly musically directed by Elijah Botkin, Midwinter Revels joyfully presents The Feast of Fools: A Medieval Celebration of the Solstice through December 28 live and in person at Sanders Theatre in Cambridge, Massachusetts. The December 16^th performance was dedicated to ‘GBH’s legendary and beloved Brian O’Donovan who passed away this year. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

An apt and enthusiastic master of ceremonies, veteran reveler David Coffin grandly declared, ‘We are all here to sing!’ He vigorously prepares the audience pre-production for an afternoon of sing-along carols and interactive fun in the spirit of the season.

David Coffin and the cast of Midwinter Revels: The Feast of Fools Photo by Paul Buckley

Accompanied by lively fiddle and horn-infused rhythms performed by the onstage Sting and Buzzy Walking Band, scenic designer Jeremy Barnett warmly sets the stage with an inviting red glowing wooden fireplace festively adorned with garland and pewter mugs hanging on both sides of the mantel. The Yule Log and a Christmas Star are pivotal pieces in this exciting tale and keys to a bright New Year.

Costumes Supervisor Dexter Wadsworth and costume designer Heidi Hermiller deliver a splendid and kaleidoscopic vision of medieval and festive garb from villager to soldier and jester to royalty in gold embroidered velvet, silver and gold detailed armor, shiny red and black scales, a blue-hued pair of enormous ethereal wings, and much more.

This particular production featured Jeff Adelberg’s gorgeous and luminous lighting for a moonlit night, in a glowing red fire, gleaming lanterns, a haunting twilight on a vastly creative voyage, and in a dazzling solstice flame. Illuminated by gleaming lanterns, Gabriel’s Message is a moving and glorious moment in this touching production.

L to R: René Collins (Folly), Athéna-Gwendolyn Baptiste (Angel), and Laurel Swift (Boney) Photo by Paul Buckley

Rene Collins as Folly, Eliza Rose Fichter as Fiasco, and Roger Reed as Flop form a comical and jovial trio of fools with affable camaraderie who declare they must present The Feast of Fools celebration much to the King’s accommodating dismay. Where love, joy, peace and hope metaphorically take center stage, the trio wears bright, distinctive, and zany costumes as they navigate this symbolic and exciting tale with juggling and more.

L to R: Eliza Rose Fichter (Fiasco), Vincent Ernest Siders (The King), René Collins (Folly), and Roger Reed (Flop) Photo by Paul Buckley

The talented Evergreen Children have a larger role in this tale as their angelic falsetto voices partake in carols, games, puppetry and more. Some of the particular highlights include a beautiful rendition of Lees Wais’ Wassail with David Coffin on recorder and Karen Burciaga on rebec. Roger Reed not only portrays dimwitted and mustachioed Fop, but pops up in additional roles including a mischievous and expressive participant in a children’s game of Old Roger is Dead before taking on a silent, silly, yet fascinating role later in the production. Charismatic Rene Collins later demonstrates some unique skills and magnificent courage facing an intriguing domestic beast.

L to R: René Collins (Folly) and Heather Koerber Nunes (Dragon) Photo by Paul Buckley

Wearing animal hats including crow, cow, and sheep, The Evergreen Children chime for an adorable rendition of There was a Pig Went out to Dig and a significant illuminating shadow puppet show for the King, portrayed with a charismatic baritone laugh by Vincent Ernest Siders. His regal, playful and natural gravitas is a bit scene stealing, even without a crown. His poignant yet hopeful recitation of the Shortest Day was delivered with full throated gracefulness and one of the most memorable parts of this production.

Accompanied by a concertina, The Pinewoods Morris Men literally revel with bells on in an interactive Morris Dance, an intricate and rhythmic Upton stick dance, and the traditional Mummers Carol.

Andrew Conant, Ewan Swanson, and the cast of Midwinter Revels: The Feast of Fools Photo by Paul Buckley

Soloist Barbara Allen Hill provided rich vocals in various parts of the production including O Cruor Sanguinis chant, the instrumental hymn Dies Irae and in a stirring arrangement by John Fleagle’s Winter Wakeneth.

Having never been swept up in the moment of the production, it was exhilarating to participate in the interactive and traditional Lord of the Dance as revelers and audience members joined arms in the halls dancing jubilantly into intermission and in the lobby of the Sanders Theatre.

The Midwinter Revels Solstice Dancers Photo by Paul Buckley

From Sing We Noel to the Peasant Dance to the Traveler’s Prayer to the Village Bransle Ding Dong Merrily on High to the marvelous Lord of the Dance dynamically choreographed by Susan Dibble, the Midwinter Revels will have everyone on their feet to ring in a wondrous New Year.

Directed cleverly by Patrick Swanson and Debra Wise while seamlessly musically directed by Elijah Botkin, Midwinter Revels joyfully presents The Feast of Fools: A Medieval Celebration of the Solstice through December 28 live and in person at Sanders Theatre in Cambridge, Massachusetts. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

REVIEW: Toting brilliant performances, Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf?’ a twisty, no holds barred stunner

Posted on December 13, 2023 by The Sleepless Critic

George and Martha are unhappy.

As they say, nothing good happens after 2 a.m. In the early morning hours in 1961, George and Martha arrive home from a faculty party, but their evening is far from over. Theater UnCorked offered an up close and personal peek into the brewing chaos of their living room as astonishing events begin to unfold on the grounds of this small New England college.

Nimbly directed by Ben Delatizky, Theater UnCorked presented Edward Albee’s Tony and Pulitzer Prize-winning drama Who’s Afraid of Virginia Woolf for one weekend only from December 6-10 live and in person at the BCA Plaza Black Box Theatre in Boston, Massachusetts. This show is divided in three parts, is a meaty 2 hours and 30 minutes with two intermissions, and is appropriate for mature audiences. Click here more information and for more on Theater UnCorked’s upcoming performances.

The cast of Theater UnCorked’s ‘Whos Afraid of Virginia Woolf’ Photo Credit: Gary Ng

Who’s Afraid of Virginia Woolf was also famously adapted into a 1966 Academy Award-winning motion picture starring powerhouse couple Elizabeth Taylor and Richard Burton as well as Sandy Dennis and George Segal. While all four actors were nominated for Academy Awards, only Taylor and Dennis won for Best Actress and Best Supporting Actress.

The show opens with Martha dramatically recalling one famous Bette Davis quote, but another Bette Davis quote, ‘Fasten your seatbelts! It’s going to be a bumpy night!’ might be more accurate. Her husband, George is not amused.

Each member of this small cast depicts their characters with searing finesse. Edward Albee’s renowned and controversial script adds a darkly comedic tone to these multifaceted characters and the events that follow. At times, the show is sympathetically funny and at others, one cannot help but laugh nervously at the growing tension. This moving, complex, and raw production successfully hinges on Albee’s meticulous pacing and critical chemistry between each of these dynamic characters.

Brooks Reeves as George and Shana Dirik as Martha in Theater Uncorked’s ‘Who’s Afraid of Virginia Woolf’ Photo credit: Leonard Chasse

Without a bad seat in this intimate theatre, the audience was nearly immersed in the action onstage. Mike Mcteague’s horn-infused sound design maintains a foreboding tension and melancholy between each scene while Sehnaz (Shana) Dirik’s scholarly and sophisticated retro set and props include a wet bar, large bookcases, globe, couch and dark wooded vintage style end tables with ashtrays seemingly right out of the 60s. Popular albums of the era and turntable are on display and a particularly notable Sinatra album, My Way is cheekily front and center. Even the doorbell has a vintage and nostalgic chime. From darkly bold to flowered pastels, Richard Itczak’s multicolor costume design accentuates each character’s unfolding disposition.

The 60’s set of Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf’ Photo Credit Gary Ng

Who’s Afraid of Virginia Woolf is lengthy, but anything but boring. These are highly intelligent and substantial individuals who share cerebral conversations, each with a veiled agenda. With a condescending cackle, Sehnaz (Shana) Dirik portrays vivacious but worn Martha. Dirik has remarkable chemistry with her perceptive and calculating Associate Professor husband, George, depicted by Brooks Reeves. Reeves has a talent for bringing to life complicated characters with a dark underbelly and he and Martha teeter from malevolent to bickering to seeming adoration at the drop of a hat. Brooks and Dirik deliver powerhouse performances because Albee’s script invites no less. The physicality, the endurance, and the sheer energy that it takes to capture these characters can be exhausting and yet, Brooks and Dirik are more than up to the challenge. At one point, Reeves and Dirik are so invested in the sheer magnitude of this twisty production that one cannot help but be moved by the tracks of Reeves’s tears and Dirik’s wild yearning.

Brooks Reeves as George Shana Dirik as Martha Anthony Rinaldi as Nick and Brooke Casanova as Honey in Theater Uncorked’s ‘Whos Afraid of Virginia Woolf’ Photo credit: Gary Ng

Anthony Rinaldi portrays affable department professor Nick while Brooke Casanova depicts naïve Honey, a polite married couple from the Midwest. Both comically reflect what the audience might be thinking at first and at one point, Casanova as Honey is literally clutching her pearls. They make an amiable and fascinating pair as their motivations gradually come to light in unexpected ways.

Who’s Afraid of Virginia Woolf has many layers and one cannot think of how dangerous it can be to know someone all too well. George and Martha have been together for 23 years and they know exactly which button to push for what they want. Some marriages do not always have the other’s best interest at heart and this coupling for the ages.

REVIEW: Well suited for the holiday season, The Huntington’s ‘The Heart Sellers’ a true Friendsgiving

Posted on December 12, 2023 by The Sleepless Critic

For some, the holidays can be the most wonderful time of the year and for others, the loneliest. What good fortune to find someone to make the holidays brighter.

Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’s The Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.

Judy Song, Jenna Agbayani; photo by T Charles Erickson

It seems like destiny that Luna and Jane should meet. On Thanksgiving Day 1973, imaginative Korean chatterbox Luna, exuberantly portrayed with an infectious smile by Jenna Agbayani, invites quiet Filipino Jane, depicted with reserved and humorous wit by Judy Song, to her apartment shortly after meeting that day. Not only do they happen to be wearing the same colorful coat from Kmart, but they also see a familiarity in each other that they cannot quite place.

Agbayani as Luna warmly exclaims, ‘We have nothing so it is not a mess!’ Scenic and costume designer Junghyun Georgia Lee’s modest one bedroom studio apartment impressively rewinds the clock to the 70s featuring wood paneling, a burnt orange couch, retro wallpaper and dated appliances. The apartment has quite a realistic and detailed appearance right down to the dingy surface on the sliding glass doors. Lee’s retro costumes add cheerful splashes of color to the setting.

Jenna Agbayani, Judy Song; photo by T Charles Erickson

This dynamite duo has crackling and good humored chemistry that make the show a treat. It is not only in what they say, but the way they communicate without words. Agbayani and Song exhibit sharp physical comic timing in an overwhelmed glance, awkward mannerisms, and relatable reactions to the other’s way of life. Song as Jane is exceedingly polite and timid, but her expressions often give away what she really thinks.

Both are immigrant housewives who have never heard of Thanksgiving before and it is endearing to watch them share a genuine interest in each other’s stories, dreams, memories, how they are adjusting to life away from home, and in their fervent attempts to celebrate together.

With more than a generous helping of heart and humor, The Heart Sellers also comes with a great deal of realizations and reflections questioning where these two women belong in their new world during a pivotal time. They are important questions still addressed today.

The Heartsellers stands as a lively, wonderful and worthy visit centered on friendship. Bring a friend, a date, or a loved one because this is one story meant to be shared.

REVIEW: Company Theatre delivers an inspiring and ever enchanting Rodgers and Hammerstein’s family-friendly musical, ‘Cinderella’

Posted on December 10, 2023 by The Sleepless Critic

The Company Theatre proves that magic does not just come from a wand in Rodgers and Hammerstein’s Cinderella.

Boasting more magic than other popular adaptations, Cinderella brings to light the virtues of being humble, loyal, generous, and yearning to make a difference in the world. What is wonderful about this adaptation is Rodgers and Hammerstein invites the audience to root for the Prince as much as Cinderella herself.

Resourcefully co-directed by Zoe Bradford and Sally Ashton Forrest with lively musical direction by Steve Bass, The Company Theatre continues Rodgers and Hammerstein’s Cinderella live and in person at the Company Theatre in Norwell, Massachusetts through December 17. Based on the book by Oscar Hammerstein II and a new book by Douglas Carter Beane, this family-friendly musical is approximately two hours with one intermission and appealing for all ages. Click here for more information and for tickets.

Cinderella’s Glass Slipper Image by Zoe Bradford

The Company Theatre always has a way to make the holidays a bit brighter with their December show. Whether bathed in starlight or snow, Ryan Barrow’s moving set fluctuates from a modest village landscape including towering forest, rustic well and a vine crept stone wall to glimmering and fanciful surroundings featuring a large golden clock, a sophisticated marble staircase, pristine white florals, crystal chandeliers, and a gold embroidered living room. Dean Palmer Jr’s warm lighting and Ellie De Lucia’s radiant costume design eloquently depicts the musical’s mid to late 1800s setting through illuminating candlesticks and lanterns, opulent gowns, and gold embroidered suits and vests.

Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein create a robust fairy tale with Cinderella that features characters fleshed out much more soundly than other adaptations. The only adaptation that may come close is the imaginative 1998 film based on the Charles Perrault fairytale, Ever After: A Cinderella Story starring Drew Barrymore.

Cinderella features an exuberant cast in this smart and warmhearted fairytale. Prince Topher, portrayed with shrewd charisma by Sean Donnelly, is valiant, humble, good humored, and protective, proving his virtue in every aspect of his performance. What is wonderful about these characters is it is not just understood who they are. They are not stereotypes, but consistently showing their mettle by growing and transforming in significant and unpredictable ways.

Emily Lyons as Charlotte, Melissa Carubia as Gabrielle, and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Could an ugly stepsister have her own love interest? In this story, anything is possible. Rather than a rehash or a contemporary twist, this twist is rather timeless. It has much more to offer than the often simplistic style of Cinderella’s tale.

Cinderella focuses on a humble young girl who is a servant to her wicked stepmother and ugly stepsisters. However, when the kingdom announces a masked ball for Prince Topher to find a wife in order to become king, every maiden in the kingdom is clamoring for an invitation.

Donnelly’s Prince Topher is handsome, generous, and a practical dreamer that protects his kingdom from any threat that comes its way. However, he also questions his place in the world, knowing he has much more to offer than his lot in life as King as expressed insightfully in the upbeat Me, Who I Am in a compelling duet with Melissa Paz as Cinderella. Both also shine for the lyrically rich number Ten Minutes Ago. Donnelly depicts Topher with dignity and sincerity, making it easy to root for such a character on his own virtues. He shares some complex scenes with Christopher Hagberg as Sebastian who spends his time raising the Prince and overseeing the kingdom. Status conscience and mysterious, Sebastian provides a unique vision of the Prince’s future.

Wearing a kerchief and simple blue skirt, Ella, who is nicknamed Cinderella, is witty, selfless and compassionate. A bright and soaring soprano, Paz as Cinderella works without complaining and tolerating every cruelty she encounters without repayment. She is also obedient under the most ridiculous of demands. She befriends adorable and comical puppet woodland creatures who bop to the music, sing along, and every once in awhile, scene steal in their own right.

Emily Lyons as Charlotte, Vickie Gerard-Culligan as Madame, and Melissa Carubia as Gabrielle in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Cinderella’s ugly stepsisters are not a pair of braying bookends, as some adaptations suggest. They are individuals with their own goals in mind. Melissa Carubia portrays awkward, bashful yet clever Gabrielle and Emily Lyons depicts narcissistic and brutally frank Charlotte. Both have excellent comic timing. Lyons shines in an array of humorous quips for the animated Stepsister’s Lament. Obsessed with status and wealth, Vickie Gerard-Culligan as status hungry Madame is often flagrant and nonchalantly cruel as she wraps herself in her own little world. Gerard-Culligan reveals a fascinating side to Madame briefly in a delightful rendition of Lovely Night with Gabrielle, Charlotte, and Cinderella, but is always focused on exactly what she wants.

Vickie Gerard-Culligan as Madame and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Ryan Rappaport delivers a zealous performance as purposeful revolutionist Jean-Michel, but could not help but think of him at times as a character missing from Les Miserables. He is determined to change the world and every change starts at home. With playful and powerful vocals, Joey Thordarson is a riot as distinguished town crier Lord Pinkelton, gleeful in his important work.

Always amazing Dru Daniels as Marie is much more than she seems, delivering inspiring showstopper There’s Music in You and the catchy signature tune, It’s Possible.

Dru Daniels and Melissa Paz in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein’s Cinderella offers timeless and rich commentary on this classic tale with a beautiful and important message about believing in the impossible. Even adults may shed a happy tear or two.

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

Posted on December 1, 2023 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 delivers 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 intensity 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 expression 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 in 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 November 20, 2023 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, 2022 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.