English | The Sleepless Critic

REVIEW: Apollinaire Theatre Company’s ‘Every Brilliant Thing’ counts its blessings

Posted on January 5, 2025 by The Sleepless Critic

As famous author Kurt Vonnegut once remarked, ‘Enjoy the little things in life, for one day you’ll look back and realize they were the big things.’

Bringing to light life’s simple pleasures, Every Brilliant Thing emphasizes that no matter what, there is always something to be grateful for, even when it seems impossible to find.

Amusing, heartfelt, poignant and immersive, Every Brilliant Thing is an interactive piece of experimental theater storytelling that hinges on involvement and its success depends on the combination of a charismatic and efficient storyteller and a game audience.

Cristhian Mancinas-García and Parker Jennings in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Directed insightfully by Danielle Fauteux Jacques and an excellent choice for the New Year, Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19. Alternately starring Parker Jennings and Cristhian Mancinas-García, this refreshing and informative production is presented in both English and Spanish and runs approximately 70 minutes long with no intermission. Click here for more information and for tickets.

Set in 1988 and beyond, the small but mighty little things in life are easier to find through the eyes of this seven year old storyteller, even when facing traumatic times. The prospect of dressing up as a Mexican wrestler, roller coasters, and wearing a cape are just a few of the brilliant things that make life worth living. Why would anyone want to throw it all away?

Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Transforming this Chelsea theater space into a cozy, multi-level room with vintage flair, scenic and sound designer Joseph Lark-Riley invites the audience to feel right at home featuring scattered living room chairs, flowers, plush couches, a dining room, and rugs spread out on the floor. Danielle Fouteux Jacques as lighting designer adds vintage flair with a variety of eclectic lamps and Lark-Riley’s upbeat selection of American Standards from the swing era and beyond. Music and exacting sound effects also play a significant and symbolic role in this production which leaves lots of room for originality and imagination with makeshift props and much more.

It takes a special ability to solely make an audience comfortable while bringing them into your confidence. Cristhian Mancinas-García rises to the occasion with unassuming sincerity and playfulness that adds levity to the production’s somber moments. Sharing his journey with earnestness and ingenuity, he warmly brings this zany and game audience cheerfully into elements of the production.

Every Brilliant Thing is ideal for people who wish to play along and participate in minor ways, but if you are performance shy, maybe sit in the back. It has some flexibility and a way of bringing the audience uniquely together while leaving you at the edge of your seat for what is next.

Fast paced and improvisational, Every Brilliant Thing infuses a life affirming journey into a shared experience while spontaneously drawing connections into its articulate and occasionally arbitrary script. Mancinas-García tackles a challenging piece and it is amazing how well he draws each connection into the story as each little joy is revealed in its amusing and ardent beauty that one can only long to reflect on them a bit longer.

Parker Jennings and Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

For some, the New Year can bring great hope and immense reflection. Every Brilliant Thing has a way of delivering both in love, loss, grief, and trauma with moments of humor and joy. It is short enough that it never wears thin and long enough to tell a complete, meaningful and relevant tale that will be sure to carry weight for many and a solid reminder of the joy in the smallest of things and a restored appreciation of everything.

Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19. Click here for more information and for tickets.

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: Teatro Chelsea hits close to home with compelling family dramedy ‘619 Hendricks’

Posted on June 28, 2023 by The Sleepless Critic

When a house is chock full of memories, sometimes it is difficult to let go.

Shortly after the death of brothers Nesto and Richie’s parents in Laredo, Texas, the aptly titled 619 Hendricks is an address which holds the livelihood of Nesto and Richie’s immediate futures, but for very different reasons.

Directed thoughtfully by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1. Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish may have been at an advantage. This bilingual production is 100 minutes with one 10 minute intermission. Click here for more information and for tickets.

Cristhian Mancinas Garcia as Richie and Juan Carlos Pinedo-Rivera as Nesto in ‘619 Hendricks’ Photo credit to Teatro Chelsea

619 Hendricks is an affecting and sincere dramedy of a vibrant Latino family with some tough decisions ahead of them. It achieves a delicate balance of sentimentality and practicality as Nesto and Richie discuss the future of their family house which will be financially split between the two of them. Scenic designer Payton Tavares creates an appropriately tattered atmosphere including intricately torn brick walls and strips of blue wallpaper under vintage photographs perhaps symbolizing the house’s need of repair is not just external. The intimate manner in which the audience is situated offers a uniquely exclusive peek into this house of many secrets. 619 Hendricks explores grief, jealousies, stubbornness, sibling rivalry, and desperation as the show teeters between humor and tension even occasionally within a single statement.

Juan Carlos Pinedo-Rivera as Nesto, Juan Pedro Paniagua as Tio Chago, and Cristhian Mancinas Garcia as Richie in ‘619 Hendricks’ Photo credit to Teatro Chelsea

This lively cast captures a natural and animated familial rhythm as they lovingly tease and chide each other as they roam the house. Nesto and Monica Risi as wise and tolerant Marta make an amiable pair striving to do what is best for their family. Juan Pedro Paniagua as Tio (Uncle) Chago and Eliza Guzman-Hostas as Tia (Aunt) Carolina provide a refreshing lightheartedness as they humorous banter while the brothers discuss a topic that is all too universally familiar within families, especially after a loved one has passed.

Two brothers are at odds over the family house, but the house is just the tip of the iceberg. Their family issues run deep and the drama unfolds steadily and consistently as tension mounts. Nesto and Richie have contrasting temperaments which make their bickering, needling, and manipulations that much more explosive. Nesto, portrayed with a big personality and even loftier ideas by Juan Carlos Pinedo-Rivera, thinks he has a fool proof plan for the house while Richie, portrayed with sympathetic and quiet introspection by Crishian Mancinas Garcia, is not so sure. With Felix Ramos as business minded agent Hector’s added pressure, determined Pinedo-Rivera and Garcia deliver meaty performances as they cut each other to the quick, a consequence of fighting for the upper hand at any cost. The fights are genuine, tense, and so universally familiar that it is easy to relate to their situation in all of its complications.

Cristhian Mancinas Garcia as Richie in 619 Hendricks Photo credit to Teatro Chelsea

Directed by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1. This bilingual production is 100 minutes with one 10 minute intermission. Click here for more information and for tickets.

REVIEW: Embrace SpeakEasy Stage Company’s illuminating ‘English’

Posted on November 18, 2022 by The Sleepless Critic

Learning a new language brings all kinds of emotions to the surface. One is swept out of one’s own element and that can be as exciting as it is daunting. It can also become a long and awkward struggle to capture the essence of a new culture while steeped in a new language. Though one is gaining something new, one might also be losing a bit of themselves.

Thoughtfully directed by Melory Mirashrafi, Speakeasy Stage Company continues Sanaz Toossi’s English at Calderwood Pavilion in Boston, Massachusetts live and in person through Saturday, November 19. The performance reviewed was audio described and one hour and 45 minutes with no intermission. Click here for more information and tickets.

The company of English. From left: Deniz Khateri, Josephine Moshiri Elwood, Lily Gilan James, Zaven Ovian, and Leyla Modirzadeh. Photo by Nile Scott Studios.

One of the most fascinating messages in SpeakEasy Stage Company’s English is the realization that one can learn many languages, but can only know one. That one native language is the foundation for all the rest. In learning to speak a new language, it can reshape what comes naturally.

English delves into the lives of four students living in Iran who are learning the English language for TOEFL, a standardized test that stands for Test of English as a Foreign Language. The production is mostly in the English language with no subtitles. It takes a moment to catch on, but Mirashrafi cleverly depicts when characters are speaking in their native tongue.

Leyla Modirzadeh as Roya in SpeakEasy’s production of English. Photo by Nile Scott Studios.

This multi-generational cast has various and deep seated reasons for learning English and this production resonates universal truths of having to learn a new language whether by choice or necessity. English does explore the political climate of learning English in Iran, but what is most memorable are the hardships, victories, competitiveness, and the often flustered frustration of learning a peculiar new facet of life. Each individual demonstrates a different degree of longing to belong. It is not difficult to relate to this small and dynamic cast in their obstacles, earnestness, but most importantly, in the strength in who they are. Deniz Khateri depicts complicated Marjan, who seems to firmly place herself in the world of the language she teaches. In a multi-layered performance, Khateri as Marjan is engaging and encouraging, but also firm and mysteriously guarded. She lends to the show’s tension and subtle humor and has unique chemistry with each student. Lily Gilan James portrays wide-
eyed and optimistic Goli with effervescent candor. She stands on her own mistakes while earnestly articulating the nature of her wishes.

Leyla Modirzedeh as wise and headstrong Roya is strongly urged to learn English to communicate with new members of her long distance family. A sympathetic character, Modirzedeh powerfully evokes Roya’s sincerity and her struggle between her heritage and this new way of communicating. Zaven Ovian depicts Omid with easygoing charm and he shares some compelling scenes with Khateri as Marjan and with witty, outspoken and understandably frustrated Elham, a standout performance by Josephine Moshiri Elwood. Elham is a complex individual who is as compassionate as she is bold and is often hardest on herself.

Josephine Moshiri Elwood as Elham in SpeakEasy’s production of English. Photo by Nile Scott Studios.

Nina Vartanian’s culturally sound and vivid costumes pop in Janie E Howland’s realistic classroom staging and enhanced by an elegant, multicolored portrait in teal, orange, red, brown, and beige.

English is an honest, straightforward, warmly funny, and universally relatable journey of discovering a new language and in all of its difficulties, deciding whether or how to embrace it. See English and embrace its life lessons.

Deniz Khateri (left) and Zaven Ovian in SpeakEasy’s production of English. Photo by Nile Scott Studios.

SpeakEasy Stage Company presents Sanaz Toossi’s English live and in person at the Calderwood Pavilion in Boston, MA through Saturday, November 19. Click here for more information and for tickets.

Boston Camerata’s Artistic Director Anne Azema talks Fortune and greed in classic satire ‘The Tale of Fauvel: A Political Fable from Medieval France’

Posted on October 26, 2018 by The Sleepless Critic

With a dose of comedy and memorable music, The Boston Camerata kicks off its 64^th season with an enduring satire on hypocrisy, abuse, and greed called The Tale of Fauvel: A Political Fable from Medieval France on Sunday, October 28 at the First Church of Boston at 4 p.m. Based on a 14^th century poem the Roman de Fauvel, this compelling piece focuses on corrupt rulers and the effect they have on society. Click here for more information and for tickets.

The Boston Camerata’s Artistic Director Anne Azema portrays Fortune in this political fable. She describes her pivotal role, the show’s contemporary significance, and plans for the future.

Sleepless Critic: You took on the role of Fortune in Tale of Fauvel: A Political Fable from Medieval France. No doubt Fortune must play a powerful role in this piece.

Anne Azema: Fortune or Lady Luck, a kind of pagan Goddess surviving into the Christian Middle Ages, is a powerful presence and presented as a female in medieval literature. According to the Carmina Burana text, she holds the world in her hands, sits on her wheel, will raise some and crush others – and will leave you shirtless, with a bare back. Fauvel, the Orange-Maned Horse, has put in his mind to conquer the entire world by wooing and then marrying Fortune. Little does he know Fortune’s answer to his courtship is a severe put-down.

SC: This show is a satire, but it carries a contemporary significance ahead of the midterm elections.

AA: Fauvel began Camerata’s long series of story-telling programs, an effort that continues to this day. I think Fauvel’s truculent criticism of hypocrisy, abuse, and greed in public life continues to be as relevant as the headlines in today’s newspapers. Some of the lines from 1310 seem so relevant, it will give you shivers.

Anne Azema and Shira Kammen Courtesy of The Boston Camerata

Director Emeritus and narrator Joel Cohen Photo courtesy of the Boston Camerata

Timothy Leigh Evans as Fauvel Photo courtesy of the Boston Camerata

Michael Barrett, voices Photo courtesy of the Boston Camerata

Steve Lundahl, winds Photo courtesy of the Boston Camerata

Shira Kammen on vielle, harp Photo courtesy of the Boston Camerata

Steve Lundahl, winds Photo courtesy of the Boston Camerata

Shira Kammen on vielle, harp Photo courtesy of the Boston Camerata

Michael Barrett, voices Photo courtesy of the Boston Camerata

Timothy Leigh Evans as Fauvel Photo courtesy of the Boston Camerata

Director Emeritus and narrator Joel Cohen Photo courtesy of the Boston Camerata

Anne Azema and Shira Kammen Courtesy of The Boston Camerata

SC: What was it like working with the cast?

AA: A complete joy! Our core team has performed this piece in various configurations before. Aside from our three singers, we will have two instrumentalists and a narrator, who will share, in irreverent English verse, the adventure of our Horse, Fauvel.

We are also happy to include Longy School of Music of Bard College students and Brandeis students. They will all take part in the revels of Fauvel’s Wedding Night!

SC: What inspired you to bring it to the Boston Camerata stage this season?

AA: Its manuscript source is interesting on many levels so it is well known both to musicians and literary types who have an interest in early repertoires. It’s a vehement diatribe in verse against the abuse of power in Paris of 1310, but there is a visual aspect to the book which includes beautiful illuminated miniatures. The music, an anthology so to speak, of varied genre and style of pieces, were songs that were circulating in Paris at the time. They were either recycled from other sources to fit the narrative or composed to illustrate the purpose.

Camerata developed a first version of Fauvel in the 90s as a commission for Warner/Erato. Within the Boston Camerata’s repertoire are programs both recently created and ‘classic’. Our Fauvel falls into this latter category. We are delighted this production continues to be in demand both here and in Europe.

SC: What sort of music will this show offer?

AA: Written many centuries ago but very accessible, the music is direct and acoustical. It’s a mixture of voice(s) and instruments in a small setting. The public is close to the performers and has an ‘organic’ access to them. The trademark to our performances is a blend of spontaneity, energy, and emotional commitment with careful research and scholarship.

SC: Though this show has its moments of humor, this piece is message-driven. What is the best reason you think people should see this show?

In the end, I believe what is important is spending an entertaining hour or more together. Although the music is seven centuries old, it is totally enjoyable. Its beauty and energy will bring you to another powerful place and frankly, speaking of humour and satire, we all need to blow off a little steam in this highly fraught moment.

The cast in action. Photo courtesy of the Boston Camerata

SC: Boston Camerata’s 64th season boasts a wonderful lineup including Christmas performances Puer Natus Est: A Medieval Christmas and Gloria! An Italian Christmas in December. How do you select each season’s performances?

AA: My choices are driven by my personal interests, the teams we have, the repertory book we want to keep alive, and by our mission to create new programs combined with touring and recording demands. The idea is to keep us and our audiences alert, perky, and open to new experiences.

SC: I understand you are also a soloist, often writing your own pieces, touring, or recording. Please tell me about that.

I just returned from touring Canada with a One Woman Show, a show which presents music of the 12th and 13^th century. These recitals, alone or with colleagues, offer a different way of connecting with the public and demand a deeper relationship with the music.

SC: What work you are currently working on?

AA: I will continue to look at narratives/storytelling and prepare several recording and media projects in the coming seasons. Besides our medieval shows, we’ve been involved in early American music. We are also working on the release of our Naxos CD recorded last season in the context of a Canadian, American, and Dutch project. We recorded The Harmonia Mundi CD in September and that will contain some powerful, motivating American songs of resistance and rebellion!

For one day only, The Boston Camerata presents The Tale of Fauvel: A Political Fable from Medieval France on Sunday, October 28 at the First Church of Boston at 4 p.m. Click here for more information and tickets and be sure to follow The Boston Camerata on Facebook for all their latest news.