England

REVIEW: Superstition, Marilyn Monroe, dancing and an inevitable bond in Theater Uncorked’s unconventional musical ‘Blood Brothers’

Posted on by The Sleepless Critic

For Mrs. Johnstone, life went awry  as soon as the dancing stopped.

With ominous direction by Audrey Seraphin, sharply choreographed by Audrey Johnson with Gina Naggar’s musical direction, Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts.  This poignant production is two hours and 50 minutes including one intermission.  Click here for more information and for tickets.

Sehnaz Dirik Lauren Casey and Kate Funderburk and cast in ‘Blood Brothers’ Photo by Gary NG

Two households sit side by side.  One adorned in floral stained glass and expensive trim while the other door stands weathered and chipped with a dated floral arrangement hung from the door by Leonard Chasse.  However, these two households will connect through an inescapable bond that neither household can possibly shake.

Sehnaz Dirik in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Twins separated at birth is a story that has been told before, but this particular tale is introduced as the stuff of legend.  Taking place in Liverpool, England from the 50s through the 80s,  Blood Brothers is a musical about two households separated by social class.  Sehnaz Dirik portrays fanciful and pregnant Mrs. Johnstone whose husband leaves her and their children.  Now, a single mother trying to make ends meet, Mrs. Johnstone works for the wealthy Lyons family as their house keeper while Mrs. Lyons struggles to have children.  When Janet Pohli as petty and unhappy Mrs. Lyons finds out Mrs. Johnstone is expecting twins, a manipulative plan slowly starts to take shape.

Blood Brothers doesn’t seem to fit squarely as a musical and would work just as well as a play.  The show’s unconventional elements deliver a folk pop flair and the story is shared like a cautionary tale as characters sing at odd moments.  Blood Brothers is a well cast production that depicts individuals of all ages with Janet Pohli as a particular standout in a commanding performance behind a meek smile as Mrs. Lyons, a woman who is not to be underestimated.

Janet Pohli and Zach Fuller in Theatre Uncorked ‘Blood Brothers’ Photo by Gary NG

James Honaker interestingly portrays her preoccupied workaholic husband Mr. Lyons who always seems half here and halfway back to work.  It’s fascinating to watch them circle one another, interested in everything around them but each other.

Chris Edwards seamlessly steps into a number of roles which include some nefarious characters that haunt the production, but his main role is that of the mysterious narrator.  Edwards pops up and lurks out of the shadows, especially when the production is about to take a dark turn.  Edwards steps into each of these roles with ease infusing foreboding vocals and haunting reprises.

Dirik also aptly depicts tormented Mrs. Johnstone who is forced to make an impossible choice for the sake of her family and performs the lion’s share of the vocals aside from Edwards.  Dirik expresses vulnerability and melancholy in her resonating vibrato without the malice she has exhibited in previous roles.   

As for these legendary twins, Michael Mazzone as mischievous Mickey and Zack Fuller as shy and straight laced Eddie connect as carefree kids in a tale that spans decades.  Seeming opposites, but share an instant connection like a missing link in impressionable Eddie’s life.  The wide eyed gall in Mickey and his charming family seem to fill a void for this lonely and studious child.  

Bold and fun loving, Lauren Casey shines as lovestruck Linda for Mickey.  Casey’s gleaming smile and gentle  demeanor with a bit of a tough streak is charismatic and charming.  She also shows a great rapport with the rest of the cast and they run around the neighborhood on adventures.

Zach Fuller Michael Mazzone and Lauren Casey in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Blood Brothers covers a great deal of topics including social class inequality, recession, family, and heartbreak while tackling the sins that could come back to haunt you.  The show spans decades and it at times seems long, but has its share of bright and moving moments of two families tied together by fate.

Michael Mazzone and cast in Theater Uncorked ‘Blood Brothers’ Photo credit Gary NG

Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts.  Click here for more information and for tickets.

REVIEW:  The title is everything and more!  Catch American Repertory Theater’s ‘Two Strangers (Carry a Cake across New York)’

Posted on by The Sleepless Critic

Two people with seemingly nothing in common, one wedding cake, and several pieces of luggage lead to a string of possibilities in this delightful spin on a romantic comedy.

I will admit, I didn’t want it to end.

Imaginatively directed  and choreographed by Tim Jackson, American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13.  This fabulous production runs two hours and 10 minutes including one intermission.  Click here for more information and for tickets.

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hall

On December 2, two strangers meet at a New York City airport unaware that their futures are connected.  That is until Sam Tutty as naïve and perpetually optimistic Brit Dougal discovers that Christiani Pitts as cynical New Yorker Robin is Dougal’s ride from the airport.  How they become connected to an expensive wedding cake is where the plot thickens.

Scenic and costume designer Soutra Gilmour cleverly makes innovative use of a pile of strategically placed luggage on a conveyer belt which multitasks as a coffee shop, hotel room, a dance club packed with a string of shimmering disco balls, and several other surprises that will not be revealed here.  The rotating conveyer belt is a brilliant addition to the production that translates into multiple uses in various settings.  Along with Music Director Jeffrey Campos working in conjunction with Sound Designer Tony Gayle and Cody Spencer, lighting designer Jack Knowles brings it all to life with the playful, flourishing and multicolored neon brilliance of Times Square to each of the onstage band’s rhythmic beat.  It is one of the most inventive sets I have seen in a long time.

Sam Tutty in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hal

Sam Tutty evokes an innate charisma as Dougal, a guileless and irresistible British charmer who is visiting New York City for a wedding.  Tutty’s Dougal is a movie loving, excitable, sincere, rose colored glasses, speak out of turn and puppy dog kind of charming that if Dougal does not win the girl, he will surely win over the audience.  Dougal is only in New York for 48 hours to see his absentee dad get married and it is back to England.  With a characteristic vibrato, Tutty expresses Dougal’s dreamy excitement for adventure in a duet with Pitts in New York and hopeful optimism in a reflective rendition of Dad.

Christiani Pitts is also terrific as cynical New Yorker Robin who is holding back a secret.  While Dougal seems to love life and charges at its possibilities with fun loving enthusiasm, Robin approaches life financially-hanging-on-by-a-thread hampered by a complicated family life struggling to make ends meet in more ways than one.  Robin sees the world just as it is and is more concerned about surviving it than taking it all in as exemplified in Pitts’s solo rendition of What’ll it Be.

Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

What these two do have in common is they are lost and trying to find their place in the world and within their family.  They also have a lot more to learn about each other than they realize as demonstrated in their contemplative duet Be Happy.

If you think you know how this romantic comedy musical will turn out, Two Strangers holds plenty of surprises up its sleeve and brings a refreshing new take to the romcom.  Leaving behind any shallow or empty plotlines that some romantic comedies are culpable,  Two Strangers deliver a self aware and satirical approach to these scenarios through dialogue and song.  It is a wink to past romantic comedies while also veering into new territory offering authentically exhilarating and stirring moments. 

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

Much of that is due to the crackling chemistry between Christiani Pitts and Sam Tutty who banter, tease, joke, disagree and reflect on the their individual lives and their views on the future.  Their irresistible affinity towards each other is endlessly entertaining and creates beautiful harmony in several duets, but especially for their humorous (and a little naughty) duet, On the App. 

Two Strangers (Carry a Cake across New York) boasts catchy and unique pop-infused melodies that these leads seem to master effortlessly with charm, style and finesse.  Pitts lends fluttering vocals and a mix of anxiousness and rising hopefulness to the powerful ballad This Year.  Pitts also masters the a cappella and vocal gymnastics of the hysterical and hilarious number, The Hangover alongside Tutty.   

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hall

Amusing, original, feel good and inventive, make time to witness how this heartfelt story unfolds!  Two Strangers (Carry a Cake across New York) stands as one of my favorite productions this year.

American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. Click here for more information and for tickets.

REVIEW:  Based on a true story and featuring music by Cyndi Lauper, Company Theatre’s ‘Kinky Boots’ has some bright ideas

Posted on by The Sleepless Critic

From beige to outrageously bold, Kinky Boots makes the shoes the stars.

‘Walking in another person’s shoes’ may be just a popular expression, but it fits so vividly into this unusual tale that is actually based on a true story.  Set in England, Brandon Wong portrays sensible marketing whiz Charlie, the son of the owner of his family’s men’s shoe factory business, Price and Sons.  Price and Sons has been passed down through generations, yet Charlie is not so keen on the world’s obsession with shoes or shoe manufacturing. His wise and distinguished father, memorably portrayed and boasting deep rich vocals by Peter S. Adams, wants to pass the business down to Charlie, but business isn’t what it used to be.

Company Theatre’s ‘Kinky Boots’ Dan Hannafin as George, Brandon Wong as Charlie, and Peter S. Adams as Mr. Price Photo by Zoe Bradford

However, one chance encounter leads to a Eureka moment in spades.

With conscientious direction by Zoe Bradford, upbeat musical direction by Robert McDonough and creatively choreographed by Sally Ashton Forrest, The Company Theatre steps into musical comedy Kinky Boots through Sunday, August 18 live and in person at the Company Theatre in Norwell, Massachusetts.  This layered rock musical has adult themes and runs approximately two hours and 15 minutes with one intermission.  Click here for more information and for tickets.

Originally a 2005 British film of the same name, Kinky Boots musical made its Broadway debut in 2013. Acclaimed singer-songwriter and She’s so Unusual singer Cyndi Lauper, who has always been driven by her unique individuality as much for her distinct talent, is a perfect fit for the musical’s score and became the first solo woman to ever win a Grammy for Best Music Theatre Album for Kinky Boots.

It was a delight to hear her pop synth and rock signature sound in a portion of the songs, especially evident in Charlie’s inspired rendition of Step One and in a standout performance by hilarious Liz Mongrello as Lauren expressively singing The History of Wrong Guys. Mongrello has a charismatic, edgy and lively vibe that was a hit with the audience and it’s easy to imagine a young Lauper in that role.

Company Theatre’s ‘Kinky Boots’ Brandon Wong as Charlie and Liz Mongrello as Lauren Photo by Zoe Bradford

Brandon Wong as humble and innovative Charlie’s best scenes are immediately evident with Gilbert Dabady as Simon aka drag queen performer Lola because most of their scenes are where both characters are at their most vulnerable.  Wong’s Charlie has great ideas, but not without Dabady as Lola/Simon who builds and enriches those ideas and takes the big risks over Charlie’s hesitation.  Along with a humorous performance by Dan Hannafin as factory manager George, their Eureka moment and niche market for saving the shoe company is building shoes for drag queens that accommodates the weight of a man.  However, it is still a mystery how they sold the shoes they already had manufactured in the former style.

Company Theatre’s Kinky Boots Andrew Farina as Don and Gilbert Dabady as Lola Simon and cast Photo by Zoe Bradford

Though being less of a fan of the more rambunctious portions of the musical such as the sultry The Sex is in the Heel, the spirited rendition of The Most Beautiful Thing, powerful duet for Not My Father’s Son, and the touching ballad The Soul of a Man resonates in each character’s struggle for authenticity.  Gilbert Dabady is a remarkable Lola/Simon who commands the room most of the time delivering strong vocals, a sharp sense of humor, and clever quips such as ‘Room full of people who feel normal by comparison.’  Flashy with distinctive taste that does not conform to gender limitations, frank and outspoken Dabady as Lola/Simon has complex confidence that hides veiled insecurity and shines the most at Lola/Simon’s most vulnerable and forthright moments.

Company Theatre’s ‘Kinky Boots’ Kat Murphy O’Connor as Nicola and Brandon Wong as Charlie Photo by Zoe Bradford

Andrew Farina as macho Don also shares some humorous and thought-provoking scenes with Dabady including a tango-infused duet for What a Woman Wants which leads to a stunning revelation.   Kat Murphy O’Connor compellingly portrays bubbly yet pushy with a taste for the finer things Nicola, Charlie’s girlfriend.   Sporting a classic look, O’Connor only has eyes for her future.

Company Theatre’s ‘Kinky Boots’ Kat Murphy O’Connor as Nicola and Brandon Wong as Charlie Photo by Zoe Bradford

Tackling an array of themes including grief and authenticity, Kinky Boots features some catchy tunes including Raise You Up/Just Be, the acoustically rich Take What You Got, and Everybody say Yeah’s notable choreography highlighted by some fancy footwork on conveyer belts.  

Company Theatre’s ‘Kinky Boots’ ‘Take What You Got’ number with onstage orchestration Photo by Zoe Bradford

Dean Palmer Jr. livens the production’s uplifting rock vibe through multicolored, mood-setting lighting that enhances set designer Ryan Barrow’s muted British shoe factory layered in steel and brick.  The rolling set does have its own share of sparkle and is structured to make room for the real stars…the boots!  Joe Michienzie’s dynamic costumes range from factory casual to flashy which includes sparking gowns, tiger furs, neon, and lace.  However, the glittering, wildly stated, eye popping delights are the boots themselves.

Company Theatre’s ‘Kinky Boots’ cast Photo by Zoe Bradford

With conscientious direction by Zoe Bradford, upbeat musical direction by Robert McDonough and creatively choreographed by Sally Ashton Forrest, The Company Theatre steps into musical comedy Kinky Boots through Sunday, August 18 live and in person at the Company Theatre in Norwell, Massachusetts.  This layered rock musical has adult themes and runs approximately two hours and 15 minutes with one intermission.  Click here for more information and for tickets.

REVIEW:  The Company Theatre’s ‘A Gentleman’s Guide to Love and Murder’ less mystery and more refined humor

Posted on by The Sleepless Critic

How far would you go to get ahead in the world as well as get the object of your desire?

Co-directed drolly by Zoe Bradford and Sally Ashton Forrest with jolly musical direction by Robert McDonough, The Company Theatre takes a satirical look at the haves, the have nots, and the ones desperate to rise above their station in Robert L. Freedman’s musical comedy A Gentleman’s Guide to Love and Murder continuing live and in person at the Company Theatre in Norwell, MA through Saturday, March 30.  This zany production is a lengthy 2 hours and 20 minutes including one intermission.  Click here for more information and for tickets.

Ryan Barrow’s partially projected set with Dean Palmer Jr. is quite literally a vintage gold and marble stage within a stage boasting some elaborate backdrops with a portion of it used to set up some dark comedy including a towering chapel, royal mail, a floral garden adorned with English lavender, a positively pink aristocratic parlor, an aesthetically animated snow-covered ski resort and a dour grave site. Ostentatious and detailed rich velvet dresses, top hats, corsets, high boots, and lacy frills are just part of what Joe Michienzie costumes with specialty costume pieces by Kathryn Ridder use to authenticate the propriety of Edwardian England.

A grave event in ‘A Gentleman’s Guide to Love and Murder’ Photo by Zoe Bradford

The show opens with a juicy Warning to the Audience of more elaborate treachery and danger than the actual musical delivers.  Leaning far more on humor and murder and less on mystery, what starts as a surprising discovery becomes a plot so thick and absurd that even a gentleman can not quite believe it.  Down on his luck Monty suddenly discovers he just might be eighth in line in the revered D’Ysquith (emphasis on the DIE with a rat a tat ring to each family name) family to become the Earl of Highhurst Castle shortly after his mother’s death.  Bonnie Gardner as kindly and direct Miss Shingle is the bearer of this questionably reliable news in You’re a D’Ysquith.   Becoming an Earl would mean a massive fortune and a sterling reputation.  How does a gentleman consider murder to win the object of his desires and become an Earl?

A Gentleman’s Guide to Love and Murder has a lively and engaging cast especially during a bit of humorous shuffling at Highhurst Castle and a comically grim scene for Why are all the D’Ysquiths Dying? This brand of refined humor right out of the BBC is tailor made for Anglophiles and though it is about love and murder, its satirical tone makes for a gallivant into the misdeeds of one Monty Navarro, depicted with a polished air and a hint of desperation by Justin Maloney.  Maloney as Monty is a proper chap and is part narrator as he guides us through this fiendish journey, but he is more matter of fact than dangerous and it would benefit him to exhibit at least some hidden dastardly tendencies.  Perhaps this is part of the absurdity of it all.  Monty’s character is exemplified in a championing rendition of The Last One You’d Expect.

Justin Maloney and Dru Daniels Photo by Zoe Bradford

 Dru Daniels, who dazzled as Lily in Company Theatre’s The Secret Garden, lends her wonderful vocals to depict Sibella Halliward, a status-hungry gold digger and the object of Monty’s desire.  Prim and proper surrounded by extravagance, Sibella is a woman who knows what she wants but otherwise her feelings for Monty seem genuine.  The numbers I’ve Decided to Marry You and That Horrible Woman alongside Stephanie Mann as Cousin Phoebe D’Ysquith boasts clever staging and one of the most exciting parts of the production. 

Photo by Zoe Bradford

Jason Denton meets the challenge of depicting a number of short lived characters where some work better than others, but the two characters that stood out was a buck toothed, architecture-obsessed Reverend Lord Ezekiel D’ Ysquith,  and thick mustached fox hunter called Lord Adalbert D’Ysquith.  With lively and dusty portraits in the background, Denton’s I Don’t Understand the Poor is heightened by Denton’s humorous delivery and madcap charm.  Also Denton as Lord Adalbert D’Ysquith and Alyssa Norton as his Lady Eugenie’s passive aggressive banter is comic gold. 

Alyssa Norton and Jason Denton Photo by Zoe Bradford

Co-directed drolly by Zoe Bradford and Sally Ashton Forrest with jolly musical direction by Robert McDonough, The Company Theatre takes a satirical look at the haves, the have nots, and the ones desperate to rise above their station in Robert L. Freedman’s musical comedy A Gentleman’s Guide to Love and Murder continuing live and in person at the Company Theatre in Norwell, MA through Saturday, March 30.  This zany production is a lengthy 2 hours and 20 minutes including one intermission.  Click here for more information and for tickets.

REVIEW: In honor of Boston’s Old North Church’s tricentennial, Plays in Place rewinds the clock for tense and engrossing ‘Revolution’s Edge’

Posted on by The Sleepless Critic

After 300 years, Boston’s Old North Church has stood through some of the most exciting and harrowing moments in our nation’s history.  The Old North Church’s clock has consistently kept time since 1726.  Playwright Patrick Gabridge pens an original play that explores a particularly intense dialogue set on the eve of the Revolutionary War in 1775.  Plays in Place rewinds the clock to 1775 where three individuals contemplate their fates as tensions escalate to panic, gradually making it impossible not to take action.

Nathan Johnson photo-by Nile Scott Studios

In honor of the Old North Church’s 300th anniversary and directed skillfully by Alexandra Smith, Plays in Place presents Patrick Gabridge’s engaging Revolution’s Edge, live and in person at The Old North Church in Boston Massachusetts on select days through September 19.   The production is 45 minutes with no intermission and the box pews provide an immersive view. It is an educational production that is appropriate for families.  Click here for more information and for tickets.

Brooks Reeves Photo by Nile Scott Studios

From colorful waistcoats to pristine linen shirts to proper vestments, Christina Beam’s elegantly detailed costumes are perfectly authentic to its era and one couldn’t have asked for a better setting than the Old North Church, Boston’s oldest surviving church right along the Freedom Trail. 

Evan Turissini and Brooks Reeves Photo-by Nile Scott Studios

Three individuals composed of a reverend/doctor, his slave, and a sea captain are metaphorically tied together during this strained window in history.  They are contemplating the state of Boston, the nation, and their future.  Each clings to a different perspective of their future in terms of family, loyalty, occupation, politics, and identity.  Two are a friendship divided through conflict and one is left without a choice as they articulate their thoughts and struggles while the world seems to be collapsing around them.

Gabridge’s passionate script has an intensity rooted in fear that looms quietly and then builds throughout the production.   It also brings out the best in this trio of performers.  Revolution’s Edge teeters from warmth to anxiousness to manipulation, but each evokes a note of consideration and compassion, even while blinded by fear. 

Evan Turissini and Brooks Reeves Photo by Nile Scott Studios

Evan Turissini portrays American ship captain, vestryman, and patriot Captain John Pulling Jr. with reason, devotion, and compassion for the others, but is squarely dedicated to his cause.  Turissini and Brooks Reeves as complicated Rev. Dr. Mather Byles Jr, a reverend and doctor with ties to England and America, share some pivotal and contentious moments that bring out some indelible performances.  Huddled closely together, it is engrossing to watch their war of words.  Byles’s impatience and manipulative side is particularly exposed in a significant conversation with Byles’s slave Cato, depicted sympathetically and astutely by Nathan Johnson.  Johnson is faced with agonizing sacrifices and is truly the heart of this production.

Nathan Johnson and Brooks Reeves Photo by Nile Scott Studios

Revolution’s Edge cleverly weaves some of Boston’s most significant events including the Boston Tea Party and Revere’s Ride while the audience is still privy to dangerous events in motion right outside the church’s windows.

Though this would be especially fascinating for visitors of Boston and historians, Revolution’s Edge is an exciting and deeply educational window into a harrowing moment in history.  Witnessing it knowing how the world is now brings intricate and profound meaning.

In honor of the Old North Church’s 300th anniversary and directed by Alexandra Smith, Plays in Place presents Patrick Gabridge’s engaging Revolution’s Edge live and in person at The Old North Church in Boston Massachusetts on select days through September 19.   The production is 45 minutes with no intermission and the box pews provide an immersive view.   Click here for more information and for tickets.

REVIEW:  ‘The Secret Garden’ blossoms at the Company Theatre

Posted on by The Sleepless Critic

In the midst of darkness, hope may be as tucked away as a garden.

Packed with secrets that reach far beyond the hallowed walls of the Misselthwaite Manor, The Company Theatre scheduled the perfect time of year to deliver a musical about finding light in loss, growth in darkness, and the best way to plant roots in Marsha Norman’s family-friendly The Secret Garden which continues live and in person at the Company Theatre in Norwell, Massachusetts through Sunday, April 2.  The show is two hours and 20 minutes including one intermission.  Click here for more information and for tickets.

Logo courtesy of Zoe Bradford/Company Theatre

Set in Colonial India and then North Yorkshire, England in 1906 based on the 1911 Frances Hodgson Burnett’s beloved novel of the same name, The Secret Garden focuses on Mary Lennox, portrayed with wise beyond her years fortitude and a mischievous streak by Diana Lee, an orphan girl who arrives at mysterious Misselthwaite Manor after tragedy strikes to live with her widowed Uncle Archibald, depicted with melancholy and seeming detachment by Peter S. Adams.  On Mary’s first night at the manor, Mary starts to hear strange noises and the only thing left to do is investigate. 

Dru Daniels as Lily in ‘The Secret Garden’ Photo courtesy of Zoe Bradford/Company Theatre

Fueled by gorgeous harmony, what stood out the most in this multilayered production was its enchanting score.  Though the musical delves into grief, it also has its share of comical and heartwarming moments.  With music by Lucy Simon, musically directed mellifluously by conductor Robert McDonough and with illustrative choreography and staging by Sally Ashton Forrest, The Secret Garden is well cast with divine and powerful voices, especially from Dru Daniels as discerning and strong willed Lily and Peter S. Adams as Archibald.  Adams has a deeply emotive quality to his vocals and blended with Daniels’s beautiful and operatic tones, songs such as How Could I Ever Know are simply stunning.  Adams movingly delivers both a tender and soaring A Bit of Earth and bittersweet Race You to the Top of the Morning.  James Fernandes carries his own as practical and scrupulous Dr. Neville Craven in a powerful rendition of Disappear and with Adams in an awe-inspiring version of Lily’s Eyes.

James Fernandes as Dr. Neville Craven and Peter S. Adams as Archibald Craven Photo courtesy of Zoe Bradford/Company Theatre

Diana Lee shares the role of Mary Lennox with Francesca Miele on alternating performances.  Lee’s angelic soprano vocals shine for A Girl I Mean to Be and she shares some fiery and amusing scenes with Lilly George as domineering and sheltered Colin who shares the role with Jackson Lynch.

Jennifer Beth Glick, delightful in Company Theatre’s previous family musical, Matilda, brings her bright smile and sweet demeanor to the role of Martha.  Playful and nurturing, Glick delivers an exuberant rendition of the imaginative A Fine White Horse and charming chemistry with serious Lee.  Glick also demonstrates Martha’s profound side with a soaring and memorable Hold On.  Glick also shares her role with Emily Lambert on alternating performances.   Another breath of fresh air is Tim Bevens as Martha’s brother Dickon who coaxes Mary to observe the world around her accompanied by a few well behaved, but also with a bit of hankering for mischief live animals that will have to be seen to be believed.  Dickon’s adventurous and breezy demeanor makes him a treat among the musical’s heavier content in his wondrous rendition of Winters on the Wing and with Lee for Wick.

Tim Bevens as Dickon Photo courtesy of Zoe Bradford/Company Theatre

Managing a wild thunderous storm, a blanket of stars, and deep shadows on the manor walls is lighting designer Dean Palmer Jr. with Ryan Barrow’s dynamic and moving set design from the lofty bookcases of a vintage Victorian mansion to the stone walled, vine covered vitality of the outdoors inspired by the Victorian Era.  Costume designer Cathy Torrey completes the look with frock coats, lorgnettes, cravats, and flowing frocks in muted colors faithful to the era.

The Secret Garden has plenty of discoveries in store continuing live and in person at the Company Theatre in Norwell, Massachusetts through Sunday, April 2.  Click here for more information, tickets, and for Company Theatre’s upcoming events.

REVIEW:  The Game is Afoot for Greater Boston Stage Company’s world premiere of ‘Miss Holmes Returns’

Posted on by The Sleepless Critic

Set in Victorian England, 221B Baker Street London is once again shrouded in a murder mystery.  However, the famous detective has another face this time…the lovely Miss Holmes.  With darting eyes taking in every last deduction in an ornate red and black waistcoat, this poker faced beauty seems incapable of being distracted from a case.  Portrayed with steely charisma by Marge Dunn with a knack for deadpan humor, Miss Holmes carries herself with ceaselessly logical and observational prowess, but this particular case just might be over her head. 

Richly written by Christopher M. Walsh and meticulously directed by Weylin Symes, Greater Boston Stage Company with Don Fulton New Works Project presents the world premiere of psychological murder mystery thriller Miss Holmes Returns live and in person at Greater Boston Stage Company in Stoneham, MA and now available virtually through Sunday, May 8.  The show is approximately 2 hours and 15 minutes with one 15 minute intermission.  Click here for more information and tickets.

The cast and crew of Greater Boston Stage Company’s ‘Miss Holmes Returns’ Photo credit to Nile Scott Studios/Greater Boston Stage Company

In the tradition of Sherlock Holmes or most murder mysteries, Miss Holmes Returns begins immediately with a murder as David Ramedios’s suspenseful violin-tinged score haunts the scene.  A man is murdered and Sherlock and Watson must assess the case as a mysterious woman associated with a group with a seemingly checkered past portrayed by Shubhangi Kuchibhotia, flees the scene.

Boasting an esteemed cast, the dynamic between each character remains faithful to Sir Arthur Conan Doyle’s classic characters.  Sherlock is not quite complete without a Watson and Shonna Cirone fits the bill as good humored, intuitive, and sharp Dr. Dorothy Watson.  The show shrewdly uses the flipped gender of this duo to its advantage. Both outspoken and resolute feminists, Dunn and Cirone share some fascinating and fun moments observing how these two differing, yet complementary personalities approach attempting to solve the crime.  They complement each other much like the classic Holmes and Watson duo and their untimely friendship. 

Alexander Platt as Mycroft Holmes and Marge Dunn as Miss Holmes Photo credit to Nile Scott Studios/Greater Boston Stage Company

Alexander Platt, in a dual role, depicts Sherlock’s stern and demanding brother Mycroft with a mysterious and villainous air.  Platt’s darker take on the character makes him much more fascinating. Cheryl McMahon, who was a delight in SpeakEasy Stage Company’s clever Admissions, is wonderful in a dual role which includes the feisty and humorous Mrs. Hudson, the landlady of 221B Baker Street.

Paul Melendy, who led the stellar cast of Greater Boston Stage Company’s recent The 39 Steps, impressively portrays warm and quirky Adam Worthington while Joshua Wolf Coleman as Inspector Geoffrey Lestrade of Scotland Yard assigned to the case, is enthralled by Sherlock’s keen observations on the scene.

Marge Dunn as Miss Holmes and Paul Melendy as Adam Worthington Photo courtesy of Nile Scott Studios/Greater Boston Stage Company

Fans of previous Sherlock adaptations will appreciate the various Easter eggs subtly scattered around set designer Katy Monthei’s vintage and stately scenery which includes colorful, vintage lamps, a selection of well worn books, double tier shelving, and floral-adorned furniture.  From Worthington’s rich green cravat to Lestrade’s black bowler hat to the detailed lace and velvet costumes to Sherlock’s amazing Victorian boots, costume designer Deidre McCabe Gerrard brilliantly captures the sophistication of Victorian England.

Miss Holmes Returns boasts fastidious dialogue as well as clever and comical moments as the plot thickens.  The show may be a bit lengthy in its deductions, but its various twists and turns are well worth finding out whodunit.

Greater Boston Stage Company with Don Fulton New Works Project presents the world premiere of psychological murder mystery thriller Miss Holmes Returns live and in person at Greater Boston Stage Company in Stoneham, MA and now available virtually through Sunday, May 8.  Click here for more information and tickets.

REVIEW: Footlight Club’s ‘The Importance of Being Earnest’ clever and comedic fun

Posted on by The Sleepless Critic

It’s the age old question:  “What’s in a name?”  Apparently it makes all the difference in the world in Oscar Wilde’s classic play, The Importance of Being Earnest, a high society romantic farcical comedy written twenty years after The Footlight Club was established in 1877.  Full of adages about life and relationships as well as its fair share of ploys, elaborate scheming, love at first sight, and mistaken identity, The Importance of Being Earnest proves that some things are timeless.

The Footlight Club, the oldest running theatre in the nation, boasts renovations that include new seating and more at Eliot Hall.  Directed by David Marino, Oscar Wilde’s The Importance of Being Earnest continues at Eliot Hall in Jamaica Plain, Massachusetts through Sunday, June 15.  Click here for more information and for tickets.

It is amazing to see how far theatre has come over the years.  The Importance of Being Earnest is a lighthearted production told in three acts with each act separated by the drop of the stage curtain.  It is refreshing to see this production in vintage form, especially in a day and age where rolling sets and elevated scenery eliminates the need to close the curtain until intermission.

The Footlight Club The Importance of Being Earnest Michael Jay and Frances Price

Michael Jay as Jack and Frances Price as Lady Bracknell Photo credit to Elizabeth Bean/Footlight Club

Zach Best, David Alger, and Cara Guappone’s elegantly-detailed set, which includes a brass chandelier, seemingly expensive wall hangings, and plush furniture, reflect 1895 London, where high society’s seemingly biggest worries are when to dine, when to have tea, and when to go to the club.  However, even in Audrey Stuck-Girard’s regal costumes, the rich nevertheless have their own relatable issues whether it’s over family, love, and happiness.

What keeps Oscar Wilde’s show so relevant is its witty and hilarious script, showing even the simplest things in life can be the most elusive.  Its comic observations about family, love and society can be scathing, but possess a remarkable ring of truth.

The madcap, clever cast has impressive comic timing, especially Bradley Boucher’s knack for physical humor as Algernon Moncrieff.  Back in 2002, Rupert Everett starred as Algernon Moncrieff at age 43 in the film adaptation joined by a stellar cast that included Colin Firth, Reese Witherspoon, Judi Dench, and Tom Wilkinson.  At first glance, Bradley Boutcher looked too young to portray the suave and sardonic Algernon, especially as he spends a great deal of the show making quips about life as only a well-experienced individual can.  However, Boutcher’s smug smile and shrewd comic timing gradually won me over despite some misgivings and he became quite a scene stealer.

Footlight Club The Importance of Being Earnest Elizabeth Loranth as Gwendolyn and Michael Jay as Jack Worthing

Elizabeth Loranth as Gwendolyn and Michael Jay as Jack Worthing Photo credit to Matt McKee/Footlight Club

Boutcher as Moncrieff and Michael Jay as excitable and anxious Jack Worthing share an amusing, competitive camaraderie as they attempt to prove one wiser than the other.  It is fun to see two very different personalities collide over something as trivial as muffins.

In an extravagant feathered hat, Frances Price flourishes as outspoken, society-minded Lady Augusta Bracknell.  Price strikes a delicate balance between well intentioned and intrusive, making distinguished Lady Bracknell likable, even when her lips curve into a judgmental frown.

Kevin Brunton’s droll presence as Lane/Merriman enhances each scene while Gabrielle Jaques as seemingly sweet, wide-eyed Cecily and Elizabeth Loranth as elegant Gwendolyn are fascinating to watch as their characters become increasingly more complicated.  Jennifer Bean as quirky, love struck Miss Prism and Tim Joseph as amiable Reverend Chasuble round out this stellar cast and make Earnest much more than a name, indeed.

Footlight Club The Importance of Being Earnest Jennifer Beam as Miss Prism and Tim Joseph as Reverend Chasuble

Jennifer Bean as Miss Prism and Tim Joseph as Reverend Chasuble Photo credit to Elizabeth Bean/Footlight Club

The Footlight Club presents Oscar Wilde’s The Importance of Being Earnest at Eliot Hall, 7A Eliot Street in Jamaica Plain, Massachusetts through Sunday, June 15.  Click here for more information and tickets to Footlight’s Club final show of the season.

REVIEW: Engrossing and unpredictable, Hub Theatre’s ‘The Clearing’ a fierce and resonating historical drama

Posted on by The Sleepless Critic

After venturing to the second star to the right in Hub Theatre’s rollicking Peter Pan musical prequel in Peter and the Starcatcher, Hub Theatre Company of Boston kicked off its seventh season with a fierce and romantic historical drama exploring the aftermath of war and the cost of justice in Helen Edmunson’s The Clearing continuing through Saturday, April 20 at First Church Boston in Boston, Massachusetts. Tickets are available at a pay-what-you-can basis.  The show contains mature themes.  Click here for more information.

Hub Theatre's The Clearing

Photo courtesy of Hub Theatre Company of Boston

Engrossing and unpredictable, The Clearing reaches deep into the motives of loyalty and questions the very nature of what is right.  Taking place during 17th century Ireland after the Nine Year’s War and directed by Daniel Bourque, The Clearing is a beautiful, forbidden love story in the thick of a tense, tumultuous landscape and a transformative piece addressing issues that resonate in today’s culture.

The Clearing has a small cast and First Church Boston’s intimate setting, without a bad seat, makes it easy to immerse yourself into this compelling fictional tale set in historical times.  The Clearing’s set by Cassie Chapados has a natural, romantic flair, embellished by flowering trees, lamplight, and an open ceiling.  From lace to frill to gold, Erica Desautels and Nancy Ishara’s detailed, coordinated costumes capture the atmosphere of its time while Ian Conway’s impressive sound design helps to maintain the show’s intensity.

Not knowing much about the production prior to entering the theater made the show that much more enjoyable, but should mention the great chemistry between the cast.  Brashani Reece portrays Madeleine Preston, a wide-eyed and bubbly spitfire.  Reece as Madeleine is charismatic, stubborn, and charming, who often cannot see past her own heart.  She shares endearing, playful chemistry with Matthew Zahnzinger as naïve and adoring Robert.  With smiling eyes, Zahnzinger portrays Robert with mix of smugness and gentility and the two of them together make for some of the show’s best moments.  Although The Clearing is not a musical, Reece’s lovely rendition of an Irish lullaby makes for a sweet moment.

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Lily Steven depicts Killaine Farrell, Madeleine’s quiet and humble companion. With a far off gaze and a shy smile, Steven as Killaine draws sympathy in her painful selflessness, always longing to live in the past.  She and Reece have a sisterly connection.

Jeff Gill delivers a chilling, commanding performance as Sir Charles Sturman.  With beady, wrathful eyes, his righteous and brutal practicality is only weakened by an irksome ailment.  Although the entire cast is strong, his domineering presence will keep you transfixed.  Robin Abrahams depicts world-weary Susaneh, her dry humor makes for a few needed laughs in this mostly serious production.

Although Helen Edmunson’s The Clearing could have been heavy handed as it addresses issues such as culture clash and the lingering resentment of post-war politics, but director Daniel Bourque’s delicate balance achieves a fascinating and enlightening day at the theatre.

Hub Theatre Company of Boston presents Tony-nominated historical drama The Clearing through Saturday, April 20 at First Church Boston, 66 Marlborough Street in Boston, Massachusetts.  Click here for more information and follow Hub Theatre Company on Facebook for further updates.