drama | The Sleepless Critic

REVIEW: Teatro Chelsea’s ‘Fade’ a tense cautionary tale

Posted on July 10, 2024 by The Sleepless Critic

Tanya Saracho’s Fade proves the daily grind should always contain some chic choreography.

Accented by Desiree Salvo’s multicolored and club-inspired lighting and Armando Rivera’s intense and Latin-inspired upbeat rhythms, two people energetically tackle their workday. These eclectic and lively dance breaks provide a clever reprieve and gradually become more meaningful afterhours inside a television station where drama takes a front seat.

Directed thoughtfully by Armando Rivera with playful chorography designed by Movement Director Audrey Johnson, Teatro Chelsea presented Tanya Saracho’s Fade live and in person at Chelsea Theatre Works through Sunday, June 30. Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish have a bit of an advantage. This partially bilingual show was approximately 100 minutes with no intermission and contained explicit language. Click here for more information and for more on Teatro Chelsea’s upcoming performances.

Luz Lopez and Cristhian Mancinas-Garcia in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

The intimate manner in which the audience is situated offers a uniquely exclusive peek into Rivera’s detailed set design complete with commercial carpet, notes scribbled on a white board, a personalized bulletin board and functioning office equipment. Fade turns the tables a bit to focus on an individual who is not necessarily a likable figure. Mexican-born novelist Lucia (Lus-sea-a), portrayed with fiery anxiousness by Luz Lopez, is the new scriptwriter at a television station and is not quite sure where to begin. When Lucia meets quiet yet observant Mexican-American custodian Abel (A-bell) in an absorbing portrayal by Cristhian Mancinas-Garcia, she seemingly sees a like minded individual, but they soon realize that they are not exactly on a united front.

Lucia, feeling under qualified and insecure, is chatty, nosy, and opinionated as she rants about how unfair life has been for her living in California. She is anxious about success and blames everyone but her own abilities for the work she has done. To some points, she is justified working in a primarily white male environment. She jumps to conclusions, is a sneaky rule breaker and hotheaded while Abel is mysterious, reserved and reluctant to speak with her. However, their conversations progress from awkward to tense as focused, humble, and patient Abel cannot help but politely comply as Lucia uses guilt and pressure in order to have her way.

Lopez delivers a convincing and bold portrayal as Lucia who would be easy to sympathize with if she was more respectful of Abel’s wishes. Lopez’s Lucia is dramatic, persuasive, and a clear spark exists between her and Mancinas-Garcia as Abel. Mancinas-Garcia’s Abel is an immediately sympathetic character, forthright, and brutally honest which seems to be good for Lopez’s Lucia. However, delving into everything from family to politics and everything in between, things get complicated the more they learn about each other.

Cristhian Mancinas-Garcia and Luz Lopez in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

Luz Lopez and Armando Rivera make a visually compelling statement in Lucia’s clothing which reflects her gradual character transformation from low key basic attire to lavish and flattering accented with a patterned scarf while Mancinas –Garcia’s Abel’s uniform remains the same.

There lies a twist in this tale and it is startling even if it is one you might see coming. A tense workplace drama tempered by some comedic and upbeat flair, Fade tackles many topics including intuition, integrity and where you place your trust.

REVIEW: SpeakEasy Stage Company and Front Porch Arts Collective’s introspective ‘A Strange Loop’ clever from the start

Posted on May 23, 2024 by The Sleepless Critic

A Strange Loop’ is quite the existential crisis in one serious brainstorm.

Usher dreams of becoming a musical theatre writer. In hopes of brighter prospects, Usher works as an usher on Broadway for Disney’s The Lion King musical but feels stuck. Stuck in a pattern and flooded with self loathing and self defeatist thoughts over the pressure to be brilliant and accepted, Usher needs to overcome a great deal in order to create something great.

With Maurice Emmanuel Parent’s versatile direction and David Freeman Coleman’s complex music direction with expeditious choreography by Taavon Gamble, SpeakEasy Stage Company in co-production with Front Porch Arts Collective continues Michael R. Jackson’s Pulitzer Prize and Tony award-winning dark musical comedy satire A Strange Loop though Saturday, May 25 live and in person at Calderwood Pavilion in Boston, Massachusetts. This unique and multifaceted production has explicit language, adult themes, and runs 100 minutes with no intermission. Click here for more information and for tickets.

Kai Clifton (center) and the company of A STRANGE LOOP. Photo by Maggie Hall Photography

To say this production is multi-layered is an understatement. It focuses on a queer black writer writing a musical about a queer black writer writing a musical about a queer black writer. Usher, in a vivid, poignant and moving portrayal sung beautifully by Kai Clifton, is not only dealing with writer’s block but is overwhelmed by unpredictable, wild, unhinged, uninhibited, and punishing thoughts and it doesn’t take long to realize how brutal and undeserving these thoughts are for Usher’s wellbeing. Kai Clifton’s Usher is reserved, shy, and nonconfrontational on the outside, but suffers from inner turmoil and loneliness. Usher’s perspective of reality is a landscape of discouragement and the desire to be someone else, but also the desire to be free to be accepted for who Usher really is.

These frenzied thoughts, composed of Grant Evan, Davron S. Monroe, Jonathan Melo, Aaron Michael Ray, De’Lon Grant, and Zion Middleton, are compartmentalized cleverly into black stage lit cubes by John Savage and lighting designer Brian J. Lillienthal which act as a compelling metaphor for one’s tendency to compartmentalize inner thoughts and feelings. With powerful vocals and animated velocity, these actors master the gravity of quick changes in mood, personality, and roles seamlessly and with precision.

Some of the individual thoughts pop into multiple roles in Usher’s perception of reality as well. In the comically guilt-ridden number, We Wanna Know, the cast wears identical housedresses and represents Usher’s pushy, religious and gossipy mother in various ways. Clifton lets loose with Inner White Girl before taking a darker turn with the evasive yet telling Didn’t Want Nothing reflecting Usher’s strained relationship with Usher’s father.

The company of A STRANGE LOOP. Photo by Maggie Hall Photography

The loops in this production are not restricted to Usher’s thoughts but exist in circular conversations with parents, critics and others that have their own ideas of what Usher should write about and what they are comfortable with and if this production is being done right, the audience is anything but comfortable. It also explores the psychological and frustrating journey of a writer and the pressure to write what is popular or safe rather than writing from the heart. The notably well staged and satirical numbers Tyler Perry Writes Real Life and Writing a Gospel Play are both powerful, humorous and delve into some of these themes.

A Strange Loop runs the gamut of raw emotions including fear and painful regret in the conflicted and sympathetic number Boundaries, gripping Memory Song, and the stirring title track. It is humorous, but is also a harsh, shocking and challenging production. Michael R. Jackson has noted that this Pulitzer prize-winning production is fiction, but perhaps emotionally autobiographical in its musical theatre style collection of original, evocative, and thought provoking songs that drives the show to its striking conclusion.

With Maurice Emmanuel Parent’s versatile direction and David Freeman Coleman’s complex music direction with expeditious choreography by Taavon Gamble, SpeakEasy Stage Company in co-production with Front Porch Arts Collective continues Michael R. Jackson’s dark musical comedy satire A Strange Loop though Saturday, May 25 live and in person at Calderwood Pavilion in Boston, Massachusetts. This distinctive and multifaceted production has explicit language, adult themes, and runs 100 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Firecracker moments drive Hub Theatre Company of Boston’s ‘Burn This’

Posted on April 20, 2024 by The Sleepless Critic

A freak accident and a strange wake beg a lot of questions. Then suddenly, a combustible force enters Anna’s smoldering world and there is little she can do to stop it.

With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12^th season with Lanford Wilson’s Burn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21. This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission. All shows are at a pay what you can basis. Click here for more information and for tickets.

Steve Auger, Tim Hoover, Kiki Samko, and Victor L Shopov in Hub Theatre Company of Boston’s ‘Burn This’

Inside an upscale New York City loft apartment, Burn This delivers firecracker moments which starts as a slow burn. The one with the long fuse is Kiko Samko as Anna, an often saintly dancer who is experiencing a creative block after the death of her roommate, Robbie. With flirtatious flair and a dramatic persona that relieves some of the production’s tense moments, Steve Auger humorously portrays Anna’s other roommate, Larry. Anna is involved in a complicated relationship with Tim Hoover as wealthy screenwriter Burton who is struggling with his next screenplay. United in their grief over the loss of Robbie, they share hesitation about their future.

Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

With the audience situated on two sides of the stage, Justin Lahue’s elegant and spacious set design of an upscale loft apartment features a cluttered kitchen, modern furniture and a broad black and white staircase as well as elements of artistic flair including a shadow painting of a dancer. Distinct modern light bulbs hang from the ceiling and well-timed lighting by Emily Bearce bolsters the production’s warm and intense moments along with Asad Harwick’s occasionally startling sound design. Costume designer Nohely Roman blends sophisticated and athleisure leaning on silks and a (surely) designer black tracksuit, pinstripes, and lace in bold and classic colors.

Kiki Samko and Tim Hoover in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

Samko’s Anna is a complex character who shares a natural camaraderie with Auger and Hoover as they embark on some animated discussions about life and their artistic challenges. Hoover as Burton is sensitive and protective of Anna and they clearly share a sweet rapport. Anna is drawn to taking care of people and her patience and considerate nature does not always serve her well.

Kiki Samko and Victor L. Shopov in Hub Theatre Company of Boston ‘Burn This’ Photo credit to Tim Gurczak

Making a firecracker of an entrance is Victor L. Shopov as Robbie’s fast talking, furious, and often tumultuous brother, Pale and suddenly, Anna’s mostly predictable world abruptly experiences some chaos. Samko and Shopov possess some genuine chemistry and Burn This dives into extremes between calm and calamity in the form of Pale who infuses a lightning rod of energy into each appearance. In a gray suit, Shopov’s Pale is an all business workaholic while Samko’s Anna is meditative and nonviolent. Their encounters are fascinating and at times infuriating as Anna’s long fuse is perpetually tested to the point when you just want Anna to finally say enough while Samko and Shopov keeps the audience invested in the outcome. Samko’s horrified stares and Shopov’s potent audacity are much more than meets the eye and this unique connection delivers some surprising results.

Burn This is an exploration of loss, the confusion that ensues, and the journey of finding hope when all looks bleak. That journey can be uncomfortable but necessary in order to find the way through and Burn This lends some humor and hope, even in an uncertain future.

REVIEW: Heartache and longing compel Lyric Stage Company’s Irish drama, ‘Thirst’

Posted on March 16, 2024 by The Sleepless Critic

The calming bird calls and chiming crickets in perfect rhythm with the ocean waves combined with the whimsical with a hint of melancholy music score by David Remedios is a clever façade for what exists inside Tyrone’s American oceanside summer cottage. So much of this production is about what each person is hiding inside as miserly owner Mr. Tyrone insists on keeping the lights off.

Under Courtney O’Connor’s delicate direction and just in time for St. Patrick’s Day, Lyric Stage Company continues its 50^th anniversary season with Ronán Noone Irish drama Thirst live and in person at Lyric Stage in Boston, Massachusetts through Sunday, March 17. The show is two hours and 15 minutes including an intermission. Click here for more information and for tickets.

Michael Kaye and Aimee Doherty in ‘Thirst’ Photo by Mark S Howard

Set in 1912 within scenic designer Janie E Howland’s impressively functioning kitchen equipped with running water and a piping hot wood stove and heavy hanging black wrought iron pans as active as this trio of lonely and willful characters, Thirst delves into longing, heartache, and the inner turmoil that can very well define us all if we let it.

Michael Kaye Kate Fitzgerald and Aimee Doherty in ‘Thirst’ Photo by Mark S. Howard

Thirst focuses on two Irish immigrant servants and a widowed chauffeur employed by the Tyrone family who are restless about their future and longing for a better life seemingly just beyond their reach. Part unconventional love story, Thirst explores life’s challenges and the unique tie that binds this trio of characters to gradually understand each other.

Though it has a bit of a slow start, witnessing the unfolding of these multilayered characters helmed by Kate Fitzgerald who exuberantly embodies feisty, daydreaming, uproarious, and romantic Titanic survivor Cathleen, becomes an absorbing exploration for this trio to break free of their limitations and embrace happiness.

Kate Fitzgerald and Aimee Doherty in ‘Thirst’ Photo by Mark S. Howard

With a thick brogue under dialect coach Rebecca Gibel, Fitzgerald’s excitability and wondrous daydreams blended with her maturity and frankness well beyond her age is a stark contrast to Aimee Doherty as Cathleen’s disillusioned, secretive and practical Aunt Bridget. Doherty and Fitzgerald’s sweet and spicy rapport is as comical as it is bittersweet and their tendency to take things too far makes for some enthralling moments. It is particularly fascinating to watch a wonderful actress like Aimee Doherty’s depiction of tone deaf Bridget when renowned singer Doherty is anything but. Doherty has a particular flair during the production’s more lighthearted moments. Michael Kaye is increasingly endearing as poetic and protective Jack heightened in a moving monologue about life’s complications toward the end of the play. All of these characters have suffered grief and loss and it is touching to watch them argue, protect and encourage each other as they learn to understand each other’s innate struggles through humor and heartache.

Aimee Doherty in ‘Thirst’ Photo by Mark S Howard

Under Courtney O’Connor’s delicate direction and just in time for St. Patrick’s Day, Lyric Stage Company continues its 50^th anniversary season with Ronán Noone Irish drama Thirst live and in person at Lyric Stage in Boston, Massachusetts through Sunday, March 17. The show is two hours and fifteen minutes including an intermission. Click here for more information and for tickets.

REVIEW: Make time for The Huntington’s unique ‘Stand Up if You’re Here Tonight’

Posted on February 28, 2024 by The Sleepless Critic

In some ways, Stand Up if You’re Here Tonight seems to be about nothing and everything all at once.

With a magnificent and probably one of the most gracious introductions to a production, Stand Up if You’re Here Tonight delves into the art of theatre, the luxury of Netflix, love, loss, loneliness, comfort, and all the idiosyncrasies of life that may or may not drive a person crazy. Part standup, part existential crisis, and part play-within-a-play, this original comical theatrical experience is hosted by a man who has had just about enough.

Jim Ortlieb of The Huntington’s production of John Kolvenbach’s Stand Up If You’re Here Tonight, directed by John Kolvenbach; photo Nile Hawver. Running January 20 – March 23, 2024 at the Maso Studio, Huntington Theatre. Boston, MA 02115.

Written and directed shrewdly by John Kolvenbach, The Huntington presents Stand Up if You’re Here Tonight live and in person at the intimate and immersive Maso Studio at the Huntington Theatre in Boston, Massachusetts through Saturday, March 23. The production is general admission and runs 60 minutes with no intermission with a special happening at the end of the performance. Do not miss a moment of this show because it is worth it. Click here for more information and for tickets.

Introduced by breezy 60s lounge music and surrounded by various vintage furnishings including lit chandeliers, doorways off their hinges, a ladder, a metal bird cage, and what starts out as a wooden lectern by Kristine Holmes and Sam Galvao, Stand Up if You’re Here Tonight is unveiled with frenetic urgency and earnestness expertly navigated by host Jim Ortlieb.

In a gray suit making a casual entrance, Jim Ortlieb guides the surrounding audience into a performance so engaging and interactive that this critic barely has time to take notes which was a joy. Lighting designers M Berry and Makenna Harnden’s rhythmic and atmospheric lighting acted as its own character perfectly timed with the quick pace and tricky transitions that lead to the most unexpected places.

All of this production’s surprises will not be revealed here. With a welcoming grin and a dose of self awareness, Ortlieb delves into some of his own vivid memories, imagination, and experiences with relatable and sometimes dark humor, but what is most important is that audience is here, present, and in the present. Laugh and be moved. That is what really matters.

REVIEW: New York City Indie Theatre Film Festival Short Films: Reilly Anspaugh and Daniel Rashid’s ‘Chauncey,’ Michael Quinn’s ‘Brooding,’ Rachel Handler’s ‘Unlucky in Love’ and more

Posted on February 23, 2024 by The Sleepless Critic

The eighth annual New York City Indie Theatre Film Festival returned this year and ran from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53^rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and to see the winners of the festival.

Lindsey Hope Pearlman in ‘Placemat’ Photo by Lindsey Hope Pearlman

Lindsey Hope Pearlman and Sean Welski’s Placemat

Sometimes life can become a mundane daily grind.

Fueled by an upbeat and ultramodern score by Andrew Lynch, Lindsey Hope Pearlman as Lindsey fantasizes about a rich and exciting existence. Wearing glasses and a blue and yellow floral blouse by Elizabeth May, Placemat takes a humorous look at finding excitement in the little things with an effective twist.

Reilly Anspaugh and Daniel Rashid’s Chauncey

Zoe has a new boyfriend, but is also hiding a secret.

A different take on a coming of age tale blended with rom-com energy fueled by Daniel Rashid’s vintage, playful and catchy soundtrack, Chauncey is a charming story featuring Reilly Anspaugh, Daniel Rashid, Miya Kodama and Doug Tompos about what it is to reveal the real you and some things one does not have to outgrow.

Overdue

Two people facing a tough time encounter each other in a bar. Louis Robert King’s bluesy soundtrack and Jeanine Bartel and Howard Hendrix Powell’s playful chemistry make this production shine. Directed insightfully by Melissa Skirboll, Overdue boasts a myriad of meanings for two people searching for hope.

Anna Capunay’s Your Silent Face

Sometimes music can create change. Your Silent Face focuses on a Peruvian mother, depicted by Anna Capunay, who is struggling with the decisions happening within her family. Though the production addresses trauma, mental illness and depicts some family turmoil, Your Silent Face expresses each character’s point of view in a balanced manner. The production is lightened by the upbeat and retro rhythms of the Bootblacks.

Michael Quinn’s Brooding

Brooding is a searing drama and horror story about a talented nature photographer named Tara who is struggling. Her boyfriend Matthew, portrayed with a mix of stoicism and concern by Joseph Basquill, wants to get to the bottom of it. With an eerie sound design by Bailee Herrera, music by Griffin Robillard, and sound mixing by Devin Greenwood, Brooding has squeamish and haunting moments boasted by the cold stare, exhaustive mood swings and explosive temper notably portrayed by Hadley Durkee as Tara with an ending difficult to see coming.

Kwame Berry’s Ursula

Presented at first as a True Hollywood Story, Ursula is a drama about grief and trauma as a family fights over what to do with the family house.

Tiffany Adams depicts tough and driven screen star Ursula with finesse and LaVeda Davis makes a brief but lasting impression as Ms. Tate. Based on Kwame Berry’s Ursula: A Dysfunction in Two Acts, Kwame Berry’s complex portrayal as quiet, sympathetic, and mysterious Dominic make the character easy to root for as the production progresses. With an eerie and foreboding score by Vin Scialla and Darius James, Ursula is presented with originality, intrigue and a thought provoking revelation.

Rachel Handler’s Unlucky in Love

With upbeat direction by Catriona Rubenis-Stevens, Unlucky in Love is a lighthearted musical foray into one small town flash mob planner’s search for love with engaging narration by Imani Barbarin as Lucy Loveless. Rachel Handler as sensible Lisa Edmunds and Lashi as Wendy Lindell share breezy chemistry with a meaningful conclusion.

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: 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: The Huntington’s ‘Prayer for the French Republic’ a contemplative family drama

Posted on September 30, 2023 by The Sleepless Critic

How does one live in fear?

Two linked tales unfold at times simultaneously onstage. Having recently presented the epic multi-generational play, The Lehman’s Trilogy, The Huntington explores the world of the Salomon family whose stock in trade is selling pianos in Joshua Harmon’s Prayer for the French Republic. Though a piano sits center stage, it is less about the family business, but about this French Jewish family’s experiences over the years residing in Paris at a pivotal time in 1944 and 2016. The Salomon Family has resided in Paris for five generations. Fear may change its face over the years, but somehow remains the same.

With shrewd direction by Loretta Greco, The Huntington presents Joshua Harmon’s Prayer for the French Republic continuing through October 8. The show is two hours and 50 minutes with one ten minute intermission and contains adult content. Click here for more information and for tickets.

Left to right: The cast of Prayer for the French Republic; photo by T Charles Erickson

Andrew Boyce’s chic and moving turntable scenic design complete with crown molding, distinctive gold framed paintings, cozy fireplace, and canapé sets a signature Parisian tone as a vintage piano sits center stage. After two starting revelations, Prayer for the French Republic unravels two tales delving into loneliness, family, fear, love, grief, and the hardships and persecution the Jewish face, questioning the meaning behind ‘Republic for all.’

Left to right: (foreground) Tony Estrella; (background) Peter Van Wagner, Phyllis Kay; photo by T Charles Erickson PRAYER FOR THE FRENCH REPUBLIC By Joshua Harmon The Huntington Theatre 09/06/23 Directed by Huntington Artistic Director Loretta Greco Lighting Design: Christopher Akerlind Costume Design: Alex Jaeger Scenic Design: Andrew Boyce PRAYER FOR THE FRENCH REPUBLIC is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. http://www.concordtheatricals.com T Charles Erickson Photography Photograph © T Charles Erickson tcharleserickson.photoshelter.com

The show has an enigmatic air tied together by Tony Estrella who acts a narrator and family member. As Estrella sets up the audience for what is next and weaving in and out of the narrative, his semi-interactive and complex role as Patrick paints him as antagonist, thoughtful narrator, and brother with a frank and natural delivery.

Left to right: Amy Resnick, Tony Estrella; photo by T Charles Erickson PRAYER FOR THE FRENCH REPUBLIC By Joshua Harmon The Huntington Theatre 09/06/23 Directed by Huntington Artistic Director Loretta Greco Lighting Design: Christopher Akerlind Costume Design: Alex Jaeger Scenic Design: Andrew Boyce PRAYER FOR THE FRENCH REPUBLIC is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. http://www.concordtheatricals.com T Charles Erickson Photography Photograph © T Charles Erickson tcharleserickson.photoshelter.com

The show explores some traditional Jewish customs and is a study in ancestry as Amy Resnick as Marcelle takes a moment to explain this strong willed family tree. Carly Zien is a bit of a scene stealer and delivers a crackling performance as witty, moody and seemingly unstable Elodie, Marcelle and Charles’s daughter. Zien’s fast talking and frank delivery as Elodie offers equal amounts horror and humor as she explains the frustrating state of the world to Talia Sulla as bright eyed, lively, well meaning but increasingly outspoken Molly. Molly’s cheery disposition is refreshing to orderly and increasingly tense psychiatrist Marcelle depicted keenly by Amy Resnick and the mother and daughter dynamic is thrust into overdrive as Resnick and Zien butt heads on almost every issue. Nael Nacer steps in as fair minded Charles for this performance and Joshua Chessin-Yudin depicts headstrong, sympathetic and unassuming Daniel, Elodie’s brother. Chessin-Yudin and Sulla share some endearing scenes as they wrestle with the other’s point of view.

Left to right: Talia Sulla, Joshua Chessin-Yudin; photo by T Charles Erickson

Contentions within the family and the future are laid out in a piece of clever staging as their dining room table steadily shifts. Another noteworthy incident builds prickling tension and silent trauma as Molly overhears an argument in the next room with only Sulla’s face visible in the shadows. Phillis Kay as Irma and Peter Van Wagner as Adolphe make a disquieting yet charming couple, but it is Jared Troilo as Lucian with Jesse Kodama/Will Lyman as Pierre Solomon who makes the greatest impact with a startling revelation that presses for more questions than answers.

Left to right: Phyllis Kay, Jesse Kodama, Jared Troilo; photo by T Charles Erickson

Prayer for the French Republic is contemplative and direct with its share of lighter moments as both tales converge to beg the question: How do we move forward? How to move forward in the face of fear?

REVIEW: Sisterhood is the new black in Hub Theatre Company of Boston’s vivacious ‘Love, Loss, and What I Wore’

Posted on August 1, 2023 by The Sleepless Critic

Call this cast a girl squad and a sisterhood.

With potent direction by Paula Plum and based on the bestselling memoir by Ilene Beckerman, Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5. This show is 90 minutes with no intermission and pay-what-you-can tickets are available. It occasionally contains adult and unfiltered language. Purchase a drink during this show and Club Café also offers a full menu. Click here for more information and for tickets.

Lauren Elisa, June Kfoury, Barbara Douglass, Evelyn Holley, and Nettie Chickering in Hub Theatre’s ‘Love, Loss, and ‘What I Wore’ Photo credit to Tim Gurczak

The name Nora Ephron must ring a bell. She was a famous award-winning rom-com journalist, writer, and filmmaker best known for 1983’s Silkwood, 1989’s When Harry Met Sally as well as 90s rom com classics Sleepless and Seattle and You’ve Got Mail before co-writing the screenplay for Julie and Julia in 2009. Ephron’s signature style tackled the seriousness of life with a lighthearted demeanor and always found some relatable humor along the way. With her sister Delia, Nora lends that empowering humor and charm to Love, Loss, and What I Wore.

June Kfoury, Evelyn Holley, Nettie Chickering, Lauren Elias, and Barbara Douglass in ‘Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

One of the greatest strengths of Love, Loss and What I Wore is the ensemble’s beautiful camaraderie. Love Loss and What I Wore has a gift for eloquently associating fashion with life’s bittersweet challenges. Portraying several ages while sharing that walk down memory lane is Nettie Chickering, Barbara Douglass, Lauren Elias, Evelyn Holley, and June Kfoury. Dressed in chic black by Kat Lawrence, they allow their vibrant experiences to take center stage. From fashion faux pas to that eternally favorite garment, five women lay bare their fondest memories and insecurities. It is a love letter to growing up and growing older in all of its wonder and complications.

Nettie Chickering in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

To an array of lighthearted club hits between scenes, this dynamic group share silly, sad, courageous and important stories with collaborative flair and wistfulness. They dance, grieve, conspire, tease, support and relate to each other all while discussing everything from relationships to family to roommates to the trials and tribulations of being a woman in a fun loving and deeply personal manner. A few lighter moments include witnessing Lauren Elias and her hilarious and empathetic comments about carrying a purse, Douglass’s wise and humorous motherly advice, and the sheer joy and supportive manner in which these women appreciate each other’s company. However, what stirs the production the most is contained in this group’s most significant challenges. The stories they share are raw, honest, at times rueful, and may seem familiar as well.

June Kfoury in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

With Talia Elise’s dazzling lighting powering a bright and cheerful set which includes glowing string lights, a luminous neon hanger, shimmering disco ball, multicolor boas, and an illustrated clothing rack by Justin Lahue and Maggie Shivers plus a wonderful dose of nostalgia, Love Loss and What I Wore is a captivating experience into life’s surprises and how to discover what is truly important.

Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5. This show is 90 minutes with no intermission and pay-what-you-can tickets are available. It occasionally contains adult and unfiltered language. Click here for more information and for tickets.