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REVIEW:  Company One’s tech savvy ‘Morning Noon and Night’ makes room for what is important

Posted on by The Sleepless Critic

What has the world come to and what has come of us?

It is a prevalent and thought provoking theme as Company One continues Kirsten Greenidge’s tech savvy comedy Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25.  The show is approximately 1 hour and 35 minutes with no intermission and has some adult language.  Tickets are available on a pay what you can basis.  Click here for more information and for tickets.  

Schanaya Barrows, Sydney Jackson, Aislinn Brophy (Photography by Ken Yotsukura)

Innovatively directed by Summer L. Williams, Company One Kirsten Greenidge’s Morning Noon and Night with Boston University’s College of Fine Arts unveils a world where children are mesmerized by their phones and selfies and time is measured a bit differently referring to pre-Covid days as ‘from before’ and a long time ago is at least ‘two phones ago’.

Set in Post 2020 pandemic and 2020’s endemic  with a dose of virtual reality,  Morning, Noon and Night explores loss, grief, fear, frustration, uncertainty, and a journey toward healing from economic turmoil after the pandemic has turned the world upside down.  This production also delves into escalating technology and consumerism in daily life where phone addicted children believe most of what they read on the internet, have increased social anxiety and angst, and the dangers of allowing technology to run your life and solve your problems.

Sydney Jackson, Kaili Y. Turner (Photography by Ken Yotsukura)

If this sounds like a lot, Morning, Noon, and Night tries to do a lot and at times is a bit uneven in its storytelling getting weighed down by its own ambitions.  However, it is a touching and comedic piece that cuts through it all to reveal what is most important. It has a slick presentation blending Audrey Dube’s zippy sound design with Maria Servellón ‘s lustrous projections that  impressively portray the immaculate and too-good-to-be-true nature of the internet as well as beautiful memories.  It’s pristine, sparkling and deceptively perfect featuring colorful imagery likened to scrolling through a phone.  Amazon boxes, stacked CD’s and clothes strewn on the floor is part of Justin Lahue’s scattered and contemporary scenic design and the reality of Mia’s cluttered household.

Kaili Y. Turner, Eliza Fichter (Photography by Ken Yotsukura)

 Kaili Y. Turner delivers a memorable performance as overwhelmed and stern Mia who is planning a birthday party for her estranged daughter, Alex.  Sydney Jackson depicts Mia’s excitable, anxious, and somewhat bossy daughter, Dailyn and Alex’s sister who is alarmed by the state of the world depicted on the internet.  Turner and Jackson make a relatable and comical mother and daughter duo as Dailyn pushes all the boundaries.  Both want Alex’s party to be perfect in their own way, and when Alexandria King as upbeat, orderly and mysterious Miss Candace unexpectedly shows up at Mia’s doorstep, life as they know it is about to change.

Greenidge’s clever dialogue lets the tech lingo fly especially from Dailyn and supportive friends Schanaya Barrows as sunny perfectionist Chloe and Aislinn Brophy as Nat as they navigate their way through school and family issues.  Eliza Fichter as energetic and meticulous Heather delivers some candid moments of hesitancy that anyone can relate to in this 2020 endemic world.

Kaili Y. Turner, Alexandria King, Eliza Fichter, Sydney Jackson (Photography by Annielly Camargo)

However, Alexandria King is wonderful as impeccably dressed and never flummoxed Miss Candace, particularly sharing physical comedic prowess with Turner as Mia.  They share an interesting dynamic and their interactions are evenly fun and intense.  King’s bright eyes, clipped laugh and powerful presence is fascinating to watch and Miss Candace’s outlook on life is one we can all take a lesson from.

Innovatively directed by Summer L. Williams, Company One continues Kirsten Greenidge’s tech savvy comedy of Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25.  The show is approximately 1 hour and 35 minutes with no intermission and has some adult language.  Tickets are available on a pay what you can basis.  Click here for more information and for tickets.  

REVIEW:  Joy and grief co-exist in Anthony Rapp’s moving ‘Without You’

Posted on by The Sleepless Critic

Author Nancy Berns once reflected, ‘There is freedom in knowing you can carry joy and grief together.’

Joy and grief coexist in Without You, a one man production performed by award-winning actor and singer Anthony Rapp.  Known for his performance in the Pulitzer prize-winning musical Rent, Rapp weaves together a deeply personal portrait of the story behind the hit musical, his experiences as an actor, and the love and losses in his life.  Featuring a mix of original music and beloved songs from Rent and based on Rapp’s 2006 memoir Without You:  A Memoir of Love, Loss and the Musical Rent, Without You is a moving production for those who have seen Rent, but it is not necessary to see Rent in order to appreciate this production.  It might encourage you to see it for the first time or revisit it after the production is over.

Seasons of Love

Directed conscientiously by Stephen Maler with insightful Music Direction by Daniel A. Weiss, ATG Colonial presents Anthony Rapp’s one man musical show Without You live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, April 14 and is also touring.  This production is 90 without an intermission.  Click here for more information and for tickets and here for the production’s tour schedule.

Anthony Rapp’s ‘Without You’ Photo by Russ Rowland

Rapp is contemplative of what he has been through privately and professionally with a variety of personal nuances to make it his own.  With authentic scrapbook style flair by light and scene designer Eric Southern, a projected brick wall boasts a variety of Rapp’s taped newspaper clippings, vintage playbills, and weathered New York City landmark photographs, Rapp’s apartment, and even an touching handwritten note.  The resplendent multicolor lighting and ambiance seem inspired by Rent itself.  The production has a casual 90’s vibe with Rapp in a flannel shirt and sneakers by Angela Vesco and Rapp sets his own props during the production.

Anthony Rapp’s ‘Without You’ Photo by Russ Rowland

Having had phenomenal success as an acclaimed hit musical in the 90s that became one of the longest running shows on Broadway and gone one to be performed around the world as well as a film adaptation of the same name that also starred Anthony Rapp in 2005, it is amazing to think that Rent is closing in on its 30th anniversary since Rapp’s first Rent audition.  Rent is a daring, joyous, raw, and poignant musical about a group of 20-somethings living in New York City.  It explores love, loss, hardships, dreams and realizations all while this group struggles to make the rent.

Anthony Rapp’s ‘Without You’ Photo by Russ Rowland

Anthony Rapp is speaking from personal experience as a struggling actor in New York City who worked at Starbucks to make ends meet as he embarked on auditions.  Rapp’s mother encouraged his singing more than his acting recalling Rapp’s childhood roles as Snoopy and Oliver.   With an innovative onstage band, Rapp tells an engaging and inspiring account recalling the invaluable friendships he made along the way including a beautiful event called the Peasant Feast.  Rapp sings Seasons of Love wistfully, talks of his affinity for La Vie Bohème, hopeful Another Day, and a sweet rendition of Without You as well as the endearing original Carry Me Home, and the darkly quirky Wild Bill.

Having lost my father recently, Without You genuinely captures the sting and elusive solace of grief while Rapp immerses himself in mimicking the voice and mannerisms of each significant character in his heartfelt story including his mother, Rent creator Jonathan Larson and music director Michael Greif.  Rapp’s warm, humorous, and spirited inflections were especially memorable in a stunning moment with Cy coaxing Rapp that the only way out is through.    

Anthony Rapp’s ‘Without You’ Photo by Russ Rowland

Directed conscientiously by Stephen Maler with insightful Music Direction by Daniel A. Weiss, ATG Colonial presents Anthony Rapp’s one man musical show Without You live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, April 14 and is also touring.  This production is 90 without an intermission.  Click here for more information and for tickets and here for the production’s tour schedule.

REVIEW:  A toast to Patti Lupone’s fabulous ‘A Life in Notes’ presented by Celebrity Series of Boston

Posted on by The Sleepless Critic

To say it was an honor to witness Patti Lupone’s brilliance onstage is an understatement.  Having won three Tony Awards and two Grammy Awards, this Julliard-trained American Theater Hall of Famer from Long Island has proven time and again she is a master of her craft and it is easy to see why through her personal musical memoir A Life in Notes.

Conceived and warmly directed by Scott Wittman with inspiring music direction by Joseph Thalken, Celebrity Series of Boston presented Patti Lupone:  A Life in Notes live and in person at Symphony Hall in Boston, Massachusetts for one night only on April 2.  The show was 2 hours including one intermission and is touring around the country.  Click here for more information and here for what is up next during Celebrity Series of Boston’s exciting season.

Patti Lupone and Brad Phillips Photo credit Robert Torres/Celebrity Series of Boston

Accompanied by pianist Joseph Thalken and Brad Phillips on strings, Patti Lupone made an endearing emotional entrance having been greeted by a roaring standing ovation from the audience.  Donning a glimmering flirty black suit and sparkling earrings before later stepping into a shimmering showstopper with flowing cape, Lupone launched into a heartfelt and stirring rendition of Leon Russell’s A Song for You.  The opening number was just the first of several touching moments during this production.

Part autobiography and part love letter to her fans, A Life in Notes is a beautiful tapestry of music which includes American Standards and Broadway that have made an indelible impact on this mezzo-soprano’s life and career so far.  Humble and gracious, Lupone is a sharp and avid storyteller sharing her personal experiences while reflecting on valuable life lessons.  She delivered each refreshing number with a mix of charisma, wit, style and creativity as the tale behind the song unfolds sharing her reflections on growing up on Long Island before establishing her decades -long career.  Bathed in luminous purple, orange and gold lights, Lupone took the stage in front of a baby grand piano topped with a large bouquet of elegant roses as Thalken and Phillips provided accompaniment and smooth harmony to Lupone’s exceptional vocals.

Patti Lupone and Joseph Thalken Photo credit Robert Torres/Celebrity Series of Boston

As a fan who hoped to hear Sondheim’s Ladies Who Lunch in which she offered with all the incomparable passion and attitude that this song suggests, her selections covered some of her most memorable numbers and a few unexpected gems.  Andrew Lloyd Webber and Tim Rice’s distinctive Don’t Cry for Me Argentina on strings sounded as epic as it did when she originated the role as Eva Peron in Evita.   Lupone cheekily shook to Bagdasarian and Saroyan’s upbeat Come On-A My House and boasted fiery vocals for Jules Stein and Stephen Sondheim’s commanding Some People.  Shelton’s yearning Lilac Wine and catchy Jameson and Feller’s Summertime, Summertime captured her experiences falling in love.

Patti Lupone Photo credit Robert Torres/Celebrity Series of Boston

Patti Lupone’s exciting life has had its tumultuous times living during the age of the Atomic Bomb and the turmoil of the 60s as well as building her success in New York City.  She took the time to movingly pay tribute to loved ones as well as those who have passed away.  Lupone’s pliable vocals and amazing range shine for Cole Porter’s Every time we Say Goodbye as well as for a darkly humorous, saucy and surprising rendition of Jerry Lieber and Mike Stoller’s Ready to Begin Again, which after hearing it for first time, has become of my favorite numbers.  All of Patti Lupone’s personal touches, reflections, and compelling music selections made for a wonderful evening worth celebrating.

Conceived and warmly directed by Scott Wittman with inspiring music direction by Joseph Thalken, Celebrity Series of Boston presented Patti Lupone:  A Life in Notes live and in person at Symphony Hall in Boston, Massachusetts for one night only on April 2.  The show was 2 hours including one intermission and is touring around the country.  Click here for more information and here for what is up next during Celebrity Series of Boston’s exciting season.

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

Posted on 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 50th 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 50th 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:  Karin Trachtenberg’s ‘My Mother Had Two Faces’ examines the woman in the mirror

Posted on by The Sleepless Critic

They say beauty is only skin deep.

My Mother Had Two Faces explores beauty in all of its forms and how to accept the person in the mirror including the flaws on both the outside and on the inside.

Written by Karin Trachtenberg in a heartfelt performance and directed and developed by Jessica Lynn Johnson, The Rockwell presented the one woman self reflecting play, My Mother Had Two Faces:  Reflections on Beauty, Aging, and Acceptance live and in person at The Rockwell in Somerville, MA through Sunday, March 3, but this production is currently touring.  Karin will make her next stop at the United Solo Festival at Theatre Row on March 14 in New York City. The show is approximately 60 with no intermission.  Click here for more information and here for further details and for tickets.

Karin Trachtenberg in ‘My Mother Had Two Faces’ Photo credit to Karin Trachtenberg

The magnifying mirror is beauty’s classic frenemy.  It stands out on a vanity counter strewn with jewelry, makeup and all the items it takes for a person to enhance their best features.  The magnifying mirror enlarges all the remarkable parts of the face, but is also unrelenting and unforgiving for all the parts that glaringly need improvement. For Karin’s Swiss mother, it was a beacon of hope and an essential part of her daily routine that gave into an illusion that goes back generations that women must look perfect in today’s society.  As the show most poetically asks, ‘What does it mean to be seen by the envelope and not the letter?’ 

This revelatory production is not just about beauty, but it is a memoir about healing.  As a ritual for Karin’s Buddhist faith, it is a therapeutic journey into the past to get better insight into Karin’s struggles in order to achieve enlightenment.  My Mother Had Two Faces delves into important moments for Karin, her mother, and her family’s history while masking family trauma.

Karin and Lindt chocolate Photo credit to Karin Trachtenberg

Offering free Lindt chocolates as a tribute to Karin’s family heritage, My Mother Had Two Faces is an engaging, bare, honest, and sincere portrayal of the good, the beautiful and the horribly ugly with humor, joy, fear, grace, and anguish in the sting and string of life’s revelations.  Accompanied by slideshows, photos and much more shared through a multimedia screen by 3 Cubed, Karin shares some of her mother’s reflections in a thick and playful Swiss accent and an occasional lighthearted free spiritedness.  Dressed in black, Karin is a blank canvas for her mother and her own various idiosyncrasies, frustrations, hypocrisies, earnest dreams and more.  It is an eye opening journey accompanied only by the wise, sensible, and logical musings of the woman in the mirror exploring her most wonderful and toughest experiences.  Eric Bornstein’s expressive and finely-detailed masks are effective aides during the production with well timed lighting while sound and tech designer Bobby Raps rewinds the clock with a vintage soundtrack that includes the theme song to Mission Impossible and Edith Piaf’s Non je ne regrette rien (No regrets).

Karin Trachtenberg and Eric Bornstein’s masks Photo credit to Karin Trachtenberg

Karin paints a well rounded portrait of her enigmatic and glamorous mother and therefore making invaluable discoveries about herself and her family on this healing journey.  It is funny and moving and may encourage you to take a closer look in the mirror at what makes a person who they are.

Photo credit to Karin Trachtenberg

My Mother Had Two Faces:  Reflections on Beauty, Aging, and Acceptance will next be at the United Solo Festival at Theatre Row on March 14 in New York City. The show is approximately 60 with no intermission.  Click here for further details and for tickets.

REVIEW:  Boston Ballet’s  ‘Winter Experience’ anticipates the bloom of spring

Posted on by The Sleepless Critic

Warm up with the beauty of Boston Ballet’s Winter Experience.

Boasting two world premiere performances, the Boston Ballet masters two bright, thrilling, and contemporary performances with an enchanting classic ballet in four scenes.  These performances provide much needed thrilling warmth as the world anticipates the bloom of spring.

As part of its 60th season, The Boston Ballet presents Winter Experience including the world premiere of To Be One, the return of Petal, and the world premiere of Mikko Nissenen’s Hungarian ballet Raymonda live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 3.  The production is two hours and 15 minutes with one intermission.  Click here for more information and for tickets.

2B One Photo by Rosalie O’Connor Photography

The world premiere of To Be One and the return of Petal are bold and unfold with finesse.  To Be One boasts Helen Pickett’s sharp and vigorous choreography with Brandon Stirling Baker’s pristine lighting to brilliantly capture each dancer’s sheer athleticism to the urgent and anticipatory dance rhythms by Swedish composer Mikael Karlsson.

2B One Photo by Rosalie O’Connor Photography

Sara Marhamo Kirk’s shimmering and translucent garments  add a modern lucidity bathed in luminous shifting color backdrops.  Lauren Herfindahl, Sage Humphries, Kyra Muttilainen, Chisako Oga, Alainah Grace Reidy, Graham Johns, Ángel García Molinero, Yue Shi, Gearoid Solan, Schuyler Wijsen, and Patrick Yocum perform to piano and violin-infused rhythms  with at times short, pithy and lithe movements.  The energy became so intense that at one point, the collective dancers seem like they are competing with each other in a lively circle.

Boston Ballet in Helen Pickett’s Petal, photo by Liza Voll, courtesy of Boston Ballet

Steeped in Brandon Stirling Baker’s vibrant colors and a sonic, violin-tinged score which evokes a soothing, building joy, Helen Pickett’s flourishing choreography make Petal an elegant and radiant journey.  Amid consistent and warm colors, the agile and jovial cast leaps and spins breezily to form into intriguing pairs.  Pickett’s scenic colors transform from brilliant yellow to a warm orange to a bold pink while allowing Nete Joseph’s pastel costumes to remain distinctive on each landscape. Kaitlyn Casey, Lauren Herfindahl, Abigail Merlis, and Chisako Oga seem to thrive with the athletic support of Henry Griffin, Graham Johns,  Ángel García Molinero, and Lawrence Rines Munro.  Lifting them up and guiding them to the chiming and urgent rhythms of Phillip Glass, John Cocteau, Susan Marshall and Thomas Montgomery Newman’s Elizabeth Chooses a Career, each pair learns how to support each other in order to grow.  They float, tumble, sway, and spin as each female learns to soar.

María Álvarez and Boston Ballet in Helen Pickett’s Petal, photo by Liza Voll, courtesy of Boston Ballet

Mikko Nissenen reimagines Marius Petipa’s original choreography for the world premiere of the classic Raymonda:  A Ballet in four scenes.  Set in medieval times, Raymonda is a magnificent and royal affair featuring a large cast and Robert Perdziola’s exquisite and meticulously detailed costume design ranging from guards in chain link silver armor and black boots to blue, gold, and black feathered costumes to white and gold garments with refined floral sleeves.   My’Kal Stromile stands out with large black petal sleeves and a red sash as Master of Ceremonies. 

Cast of Raymonda Photo by Rosalie O’Connor Photography

There is a fanciful spark to this intriguing love story filled with beauty and grace to the whimsical and sophisticated harp infused score by Alexander Glazunov.  The elegant cast performs a captivating waltz surrounded by Nicholas Kostner’s whimsical marble set pieces.

Raymonda Photo by Rosalie O’Connor Photography

Viktorina Kapitonova, who has depicted the title role in Boston Ballet’s Cinderella, is the perfect fit for delicate, fair, and confident Raymonda.  Her rhythmic entrance is a balance of grace and boldness intensified by a spicy Hungarian clap.  The Vision scene is a particular highlight.  Maria Rubin as La Dame Blanche rises from the misty haze in an intricately detailed white gown.  Kapitonova has endearing chemistry with Lasha Khozashvili as fiancé Jean De Brienne and Brandon Stirling Baker’s atmospheric lighting creates a silhouette in orange as they entwine into a tender embrace.

Viktorina Kapitonova as Raymonda Photo by Rosalie O’Connor Photography

The full company is a triumphant celebration in gold crowns, though Raymonda does run a little long in presentation.  A quick paced array of mostly variations demonstrates the refined cast’s joy with sweeping sparkle.  Some of the highlights include Daniel Durrett, Sun Woo Lee, Ángel García Molinero and Gearoid Solan in a technically impressive performance, Lia Cirio takes the stage in a complex and exuberant performance,  Kapitonova  as Raymonda performs a display of jubilance and elegance in playful leaps, and Lasha Khozashvili ‘s variation is highlighted by extraordinary leaps.

Raymonda Photo by Rosalie O’Connor Photography

As part of its 60th season, The Boston Ballet presents Winter Experience including the world premiere of To Be One, the return of Petal, and the world premiere of Mikko Nissenen’s Hungarian ballet Raymonda live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, March 3.  The production is two hours and 15 minutes with one intermission.  Click here for more information and for tickets.

REVIEW:  Central Square Theater elegantly streamlines heart and innovation with ‘Machine Learning’

Posted on by The Sleepless Critic

Jorge is in distress.  Maybe Arnold can help.

Directed beautifully by Gabriel Vega Weissman, Central Square Theatre in partnership with Teatro Chelsea and a Catalyst Collaborative@MIT production continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, February 25.  The show is 100 minutes with no intermission and contains some Spanish dialogue.  Click here for more information and for tickets.

Armando Rivera in ‘Machine Learning’ Photo by Nile Scott Studios

Caring for a loved one is challenging in itself, but a loved one with a terrible illness battling addiction is that much more daunting.  Frustrated yet determined computer scientist Jorge, empathetically portrayed by Armando Rivera, shares a complex history and relationship with his proud, stubborn, and sympathetic Columbian father Gabriel, depicted with machismo yet stalwart likability by Alberto Rubio.  Rubio as Gabriel hones an authentic depiction of the nature of addiction in an ailing man.   In order to care for his ailing father who is battling liver cancer, Jorge establishes an AI digital application and nurse named ‘Arnold’, voiced brilliantly by Matthew Zahnzinger, which might not only possibly make both their lives easier, but an entity that stubborn Gabriel just might listen to.

Jorge Alberto Rubio as Gabriel Photo by Nile Scott Studios

Each of these lovable characters is virtuous in their own way and their desire to seek the best in the other is what truly makes them remarkable.  Young Jorge, depicted precociously and humorously by Xavier Rosario, is a scene stealer in his sweet and difficult moments with his father particularly demonstrated in an escalating battle over a game.  Rosario tries his father’s patience with unflinching honesty and their experiences shape the relationship later demonstrated by Rivera as Jorge and Rubio as Gabriel.  Zahnzinger as Arnold is an inquisitive and unintentionally funny logical entity that develops a seemingly caring and convincing rapport with Rivera and Rubio that can affectively blur the lines between AI and humanity, but Mendoza’s insightful script cleverly navigates this line of thinking through Arnold’s programming and deduction.

Xavier Rosario and Jorge Alberto Rubio Photo by Nile Scott Studios

Sugandha Gopal portrays sensible and focused Anita, Jorge’s encouraging and astute professor and mentor.  Anita and Jorge share an admirable mutual respect and Gopal shines when she perceptively challenges Jorge on the most difficult things that Jorge needs to face about himself.  Gopal as Anita has confidence in Jorge, but knows the best thing for Jorge is compassionate yet constructive criticism for Jorge’s difficult mission to help his father and to become a better computer scientist.

Sugandha Gopal and Armando Rivera Photo by Nile Scott Studios

What makes Machine Learning fascinating is not only the terrific state of the art sound design by David Remedios with sound engineer Kai Bohlman,  Amanda Fallon’s animated lighting, and Janie E Howland’s innovative fold out and compartmentalized set boasting rich graphics and impressive coding by Projection Designer SeifAllah Salotto-Cristobal, but the care instilled in Arnold’s every calculation in an attempt to deliver Gabriel better care than Jorge believes he could ever possibly deliver on his own.  It is the compassion and resolve put into every detail despite the fraught history Jorge has with Gabriel and their inherent and relatable flaws.  Through all of this seeming perfection is the delicate imperfection that truly resonates. 

Jorge Alberto Rubio and Xavier Rosario Photo by Nile Scott Studios

Though the production delves into the science of AI and the characters are encompassed by calculations and functionality, not for one moment does this production ever feel robotic.  If anything, Machine Learning is a moving production that brings out the ties that bind between a father and son in all of its illuminating calculations.

Central Square Theatre in partnership with Teatro Chelsea and MIT continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theatre in Cambridge, Massachusetts through Sunday, February 25.  The show is 100 minutes with no intermission and contains some Spanish dialogue.  Click here for more information and for tickets.

REVIEW: Optimism knows no bounds in radiant and enchanting family classic, ‘Annie’

Posted on by The Sleepless Critic

No one delivers plunky optimism quite like Annie. 

Even in the worst of circumstances, Annie can always find a silver lining which can be demonstrated in a moment when a homeless person complains of empty pockets to which Annie responds, ‘At least you got pockets.’

Set designer Wilson Chin has beautifully captured a classic and overcast New York landscape with rolling fog over the towering Brooklyn Bridge that illustrates Annie’s signature phrase that the sun will come out tomorrow.  Blending costume designer Alejo Vietti’s gradually bursting hues in 30s-era fashion, Phillip Rosenberg’s rich and colorful lighting, and Chin’s transformative and exceptional rolling set design, Annie is absolutely right.

Julia Nicole Hunter as Grace Farrell Christopher Swan as Oliver Warbucks and Rainier “Rainey” Treviño as Annie and cast Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

Generations have grown up with some version of little orphan Annie who by chance meets gruff billionaire tycoon Oliver Warbucks during Depression-era New York.  It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope.  As the brilliant orchestra chimed its first triumphant, horn-infused notes beautifully orchestrated by Dan Delange, the national tour of Annie proves this steadfast musical favorite never goes out of style.

With innovative direction by Jenn Thompson, snappy choreography with a swing era twist by Patricia Wilcox, and remarkable Music Direction by Jennifer Christina, Annie continues at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, February 11.   Click here for more information and for tickets.

Rainier “Rainey” Treviño as Annie Mark Woodard as FDR as cast Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

What is such fun about Annie is although the tale remains the same, there is always room to perform it a little differently each time.  Having seen the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn, and Albert Finney, it is easy to forget the stage musical version sticks to the storyline for the most part, but also contains additional songs.  A group of homeless New Yorkers offer a spirited version of Hooverville, which dials into social injustices during the Great Depression.  Christopher Swan as dapper, tough-minded tycoon Oliver Warbucks pays tribute to the Big City with N.Y.C. before later performing a touching rendition of You Won’t Be an Orphan for Long.  These are just a few of the additional songs included in the stage version of the musical.

From wealthy city shoppers to house staff to radio personalities during the Golden Age of Radio to government officials including FDR depicted with warmhearted humor and gravitas by Mark Woodard to the glittering Radio City Rockettes, this delightful ensemble fueled by euphonious vocals seamlessly enhances the lighthearted atmosphere of this captivating production including You’re Never Fully Dressed Without a Smile a particular highlight with Kaleb Jenkins as a stellar Burt Healey.

Rainier “Rainey” Treviño as Annie with Sandy Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

Donning straight red hair, burgundy cardigan, and black boots, Rainier “Rainey” Treviño delivers spunky charm as Annie, her stirring vocals navigate through various renditions of Maybe, each version implying new meaning and later a soaring rendition of her signature song, Tomorrow that is sure to bring a lot of smiles.  Treviño shares some endearing chemistry with Daddy Warbucks and Julia Nicole Hunter as Grace.  Annie’s trusty dog Sandy is a ringer for the dog in other adaptations and the pair establish themselves as immediate kindred spirits.

Stefanie Londino as Miss Hannigan in the 2022 company of ANNIE. Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

Stefanie Londino relishes in the fiery role of sarcastic and snarky Miss Hannigan making a wobbly yet grand entrance as only Miss Hannigan can.  In a multi-patterned dress with curly brown hair and a thick Brooklyn accent, Londino makes the role her own while certain inflections wonderfully resemble Carol Burnett’s delivery.

Rainier “Rainey” Treviño as Annie and the cast Photo credit Matthew Murphy and Evan Zimmerman for MurphyMade

Londino’s sharp, comedic timing and a powerful belt never shines brighter than during the hilarious number, Little Girls as the orphans mischievously make their presence known in various surprise antics.  The orphans skillfully navigate the memorable number It’s a Hard Knock Life as buckets slide and brooms glide in a rhythmic chorus.  With Jade Smith’s standout performance as adorable Molly, the orphans are strong, talented, and enchanting.

In a wide brimmed hat, Jeffrey T. Kelly conveys sleazy charisma as ‘Rooster’ and Samantha Stevens articulates shrill and seeming airhead with panache.  They make quite a pair especially joined by Londino in a rollicking rendition of Easy Street.

With soaring and silvery vocals and a sophisticated dual toned blue suit, Julia Nicole Hunter elegantly depicts Grace Farrell, Oliver Warbucks’s levelheaded secretary.  Hunter participates in a frequent battle of wills with Stefanie Londino as Miss Hannigan and their smug verbal exchanges are a riot.

Don’t wait for tomorrow to see this marvelous Annie.  With innovative direction by Jenn Thompson, snappy choreography with a swing era twist by Patricia Wilcox, and remarkably musically directed by Jennifer Christina, Annie continues at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, February 11.   Click here for more information and for tickets.

REVIEW: Image Theater’s ‘Lost Cellphone Weekend’ puts an amusing noir spin on a familiar addiction

Posted on by The Sleepless Critic

Existing without a cell phone is a tricky business.  However, unplugging for a weekend shouldn’t be impossible.

However, it is for many people.  There are those who have their whole lives tied up on their phone from bank accounts to personal history while others have an unshakable habit of constantly finding comfort in that tiny screen.  A cellular phone is the scientific term, but is it really such a stretch that is referred to as a cell phone?  People can be confined to its gaze.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Steve Gilbane’s Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10.  The show is 100 minutes with no intermission.  Click here for more information and for tickets.

Ken Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Projections operator John Cipolaro provides the clean and modern set which includes a busy office, bedroom and street while implementing a few carefully placed set pieces such a multitasking bar cabinet, tables, and chairs.  Sound operator Mike Flynn sets the tone with a lively and suspenseful score while Music Director Ian Chin directs an intimate onstage orchestra for the dynamic soundtrack.

Ken Meehan, Casey Moore, and Diane Milesky Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Based loosely on The Lost Weekend starring Ray Milland and part metadrama, Lost Cell Phone Weekend takes on a vintage noir vibe, but also stands as a light and humorous cautionary tale that focuses on ad executive Don and his girlfriend Helen who embark on a weekend away to a Vermont Bed and Breakfast.  Unbeknownst to Don, Helen intends to have a wireless weekend without a cell phone in sight.  You bet antics ensue and discoveries are made about this little weekend that no one could have expected.

Ken Meehan as Don Birnham, who may resemble the famous other Don from Mad Men, delivers a charismatic blend of old school charm and quick comedic timing embellished by Gilbane’s quip-laden script.  Meehan’s fast talking sentimentality over a cell phone is over the top and yet curiously relatable.  Wild eyes in a suit, Meehan prowls about the area under a suave façade zeroed in on the one thing that will keep him Connected, which is a particularly catchy number.   Diane Milesky Meehan as Don’s romantic and sensible fiancée hopes this little getaway will rekindle their relationship.  They share some fun chemistry, especially knowing that Ken and Diane are married to each other in real life.  Diane goes wonderfully rogue as she articulates her feelings with the playful ballad, Look at Me.

Phil Thompson and David Hansen in ‘Lost Cell Phone Weekend’ Photo by Britton Boughner

Phil Thompson is a natural as tough and candid bartender Nat.  Tall and lanky with a mix of subtle intimidation and mischievousness bearing a passing resemblance to Clint Eastwood, Thompson as Nat creates a doomed path for the haunting number, The Downfall of Man.

Casey Moore and David Hansen take on a few roles, but Moore is noteworthy as phone whiz Gloria in a red dress and Hansen as a mysterious and silly stranger claiming to be a very busy person.  The cast later puts things into skewed perspective on this resonating topic with the striking number, A Little Poison.

The cast of ‘Lost Cellphone Weekend’ Photo by Christian De Rezendes

Lost Cellphone Weekend is an amusing and light musical comedy experience with vintage flair that comments on that pesky little cell phone habit but beware!  It may challenge you to discover this big beautiful world and those dear to you more often.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10.  The show is 100 minutes with no intermission.  Click here for more information and for tickets.

REVIEW: Lexus Broadway in Boston presents sizzling and spectacular ‘Moulin Rouge the Musical’

Posted on by The Sleepless Critic

Moulin Rouge is sizzling, romantic and grand scale entertainment perfect just before Valentine’s Day.

Boasting Derek McLane’s lavish and sophisticated heart-shaped sets fueled by Justin Townsend’s vivid lighting so vibrant that could be its own character and Catherine Zuber’s edgy, timely and shimmering costumes, Moulin Rouge the Musical is a glorious spectacle right from the start blending its unique delivery of a multi-generational jukebox musical soundtrack as well as lively and athletic choreography that makes an immediate impact.

The cast of the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

 Nothing less could be expected from director Baz Luhrmann, who is not only behind the 1997 frenetic film of the same name in which the musical is based on starring Nicole Kidman and Ewan McGregor, but has a creative hand in the musical’s signature style.  Filled with popular songs of its time, Moulin Rouge has always been a lavish and wild celebration of desire, the rigid social class divide and first love, but somehow Moulin Rouge the Musical harnesses these rich themes on a considerably larger scale and it is nothing short of a feast for the eyes.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4.  The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children.  Click here for more information and for tickets. Click here for Moulin Rouge’s national tour schedule.

Not only does Moulin Rouge The Musical contain a wide range of sharp and slinky choreography by Sonya Tayah, but features distinct characters with powerful vocals that make lasting impressions. Robert Petkoff brings enthusiasm, poetic and flamboyant charisma to Moulin Rouge’s nightclub master of ceremonies Harold Zidler starting with an incredible first appearance in Welcome to the Moulin Rouge further embellished by a fierce foursome who sang Christina Aguilera, Pink, Lil Kim, and Mya’s Lady Marmalade first made famous combined with an even catchier and colorful Can Can Can.

Adéa Michelle-Sessoms and Jennifer Wolfe in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Sarah Bowden as Nini is a sensational dancer and alongside Danny Burgos as Santiago sure know how to turn up the heat.  Burgos and Bowden make a sultry and flirtatious pair especially in the catchy and cathartic Backstage Romance with the cast featuring music from Lady Gaga, Britney Spears, and the Eurthymics.

Gabe MartInez as Santiago and Libby-Lloyd as Nini in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

In a top hat and thick mustache, Andrew Brewer is cunning as distinguished and wealthy businessman The Duke of Monroth.  He seems good to be true and has an agenda all his own.  Nick Rashad Borroughs as Toulouse-Lautrec performs a wonderful and moving rendition of Nature Boy and shares warm and humorous camaraderie with Christian Douglas as Christian and Danny Burgos as they advise Christian about life at the Moulin Rouge.

David Harris as The Duke of Monroth in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Christian Douglas is captivating as naïve, charming, and idealistic Christian.  Christian is a promising American artist and songwriter longing for his big break.  At the Moulin Rouge in Paris, he sets eyes on Moulin Rouge’s confident, complex, and ambitious main attraction Satine, portrayed splendidly by Gabrielle McClinton.  McClinton, decked out in a black and diamond ensemble, proves herself a versatile showstopper in The Sparkling Diamond singing snippets from Beyonce, Madonna, Marilyn Monroe and Rihanna with over the top dramatic flair, sensuality, and commanding vocals.  Douglas and McClinton bring gorgeous harmony together for Elephant Love Medley featuring Come What May and Silly Love Songs.  Christian also performs a haunting and fiery rendition of El Tango de Roxanne.

Courtney Reed as Satine in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Moulin Rouge the Musical offers many exciting surprises that will not all be revealed here.  The swift and complex orchestration by Music Director Andrew Graham and sound designer Peter Hylenski uniquely integrates a selection of hit songs with unpredictable humor and drama.  It is a fast paced firecracker of a love story that is as edgy as it is moving.  Don’t miss the chance to see Moulin Rouge The Musical.

The cast of the North-American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4th.  The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children.  Click here for more information and for tickets. Click here for Moulin Rouge the Musical’s national tour schedule.