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REVIEW:  A feast for the eyes on a grand scale with North Shore Music Theatre’s merry musical treat, ‘A Christmas Carol: A Musical Ghost Story’

Posted on by The Sleepless Critic

Set in London 1843, A Christmas Carol is the classic tale of Ebenezer Scrooge, a wealthy, penny-pinching old miser who has no use for Christmas until his past comes back to haunt him on Christmas Eve.  Only second to this tale are the amazing things I have heard about North Shore Music Theatre’s legendary production over the years.

Since 1989, North Shore Music Theatre has carved out a wonderful annual tradition retelling this thrilling Charles Dickens classic, A Christmas Carol: A Musical Ghost Story.   What I was unprepared for was how exhilarating the experience would be.

Absorbingly directed and whimsically choreographed by Kevin P. Hill with inventive Music Direction by Milton Granger, Bill Hanney’s North Shore Music Theatre continues A Christmas Carol: A Musical Ghost Story through Sunday, December 21 live and in person at North Shore Music Theatre in Beverly, Massachusetts.  This family-friendly theatre-in-the round musical experience is 2 hours and 20 minutes including one intermission.  Click here for more information and for tickets.

The cast of ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Haunting, immersive, and meaningful, A Christmas Carol: A Musical Ghost Story is a frequent holiday tradition with good reason.  So much more than the Charles Dickens classic, North Shore Music Theatre mixes Christmas Carols, storyline twists, and calls on two athletic, infinitely energetic, and mischievous spirits invisible to the real world portrayed by Amy Bransky and Risa Michina to accompany Tommy Labanaris as an enigmatic magical narrator to unveil this thought-provoking tale of charity, compassion, and redemption. Labanaris’s charismatic vocals as narrator soothes while navigating the stage like a riveting magician.

Tommy Labanaris (Narrator) and Ainsley Moulton (Tiny Tim) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Clocks glow, bookcases float, streets fog and mist, a weather woodstove smokes, windows and lampposts frost and a transparent wrought iron door and ornate chandeliers are all part of the innovative rising and descending set pieces by Howard C. Jones.  Wondrous winter landscapes including snow covered rooftops, driving downpours, and festive, timely projections enhanced by twinkling, cheerful and ominous lighting by Jack Mehler as well as heightened special effects not limited the action just onstage engulf you in the unpredictable world of Charles Dickens.

Detailed bustles, pea coats, shimmering Victorian-era dresses in an array of patterns, flowing robes, cloaks, feathered hats and top hats are just a glimpse into Rebecca Glick’s stylish period costumes which certainly helps make A Christmas Carol a feast for the eyes.  The uplifting overture, orchestrated by Milton Granger and arranged by Alby Potts and James Woodland, is tinged in popular Christmas carols, a preview of the wealth of carols and additional songs added to this festive production.  The floating, live orchestra which includes a harp and recorder, are carefully spread out in sections around the theatre above and below the stage.  

God Rest Ye Merry Gentlemen, Here we Come A-Wassailing, Ding Dong Merrily on High, We Wish You a Merry Christmas, and We Saw Three Ships are some of the famous Christmas Carols featured in with original songs that brighten this haunting tale.

Kevin Patrick Martin (Bob Cratchit) and David Coffee (Ebenezer Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

North Shore Music Theatre’s production of A Christmas Carol also sets itself apart by weaving in the beauty of the season within the excitement of its joyous ensemble cast led by David Coffee as miserly Ebenezer Scrooge.   Coffee adds traces of sadness in Scrooge’s frank and daring boldness as a damaged soul.  Scrooge toils, scowls, and his dire sense of humor is not lost on his cheerful and generous nephew Fred, portrayed with jubilant warmth and perpetual optimism by Henry Thrasher who delights in pushing his uncle’s buttons in a wide smile.  In spectacles and a sour huff, Coffee is best showing hints of melancholy beneath his insistent resistance to kindness.  However, his overall interpretation becomes jollier as the show progresses as his arms stubbornly sway to music, offering as increasingly lighthearted Scrooge while observing glimpses of his complicated life.

The cast of ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Kevin Patrick Martin portrays humble, guarded, and sympathetic Bob Cratchit while Daniella Dalli depicts loyal, patient and occasionally exasperated Mrs. Cratchit in a moving performance.  Martin and Dalli deliver heartwarming and stirring moments with their large and lovely family including sweet Fiona Kelly as Tiny Tim as their voices lift for We Wish You a Merry Christmas.  Kelly charms Martin and Coffee instantly with We Saw Three Ships. The joyfulness in the Cratchit household, despite their circumstances, perhaps mirror the life Scrooge might have had with Caroline Siegrist as steadfast Belle and what might have been.

Caroline Siegrist (Belle) and Nathan Haltiwanger (Young Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Grandly adorned in a gorgeous lit crown, veil and glittering pristine gown and glowing porcelain features, Daniella Dalli delivers warmth and angelic soprano vocals as the Ghost of Christmas Past, especially for the soaring number, Dream within a Dream.  Serene and gentle, she brings out thawing in Scrooge’s curmudgeonly soul.

Daniella Dalli (The Ghost of Christmas Past) an David Coffee (Ebenezer Scrooge) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Majestic in a crown of holly, carrying a staff with and an air of warm yet firm benevolence, Davron S. Monroe skillfully glides across the stage boasting his signature melodious timbre as charismatic, jolly and larger-than-life Ghost of Christmas Present and as half of a pair of mirthful philanthropists alongside returning Russell Garrett. Alongside Davron, Violet Black and Joseph Hobbib captivate as foreshadowing spirits. 

Davron S. Monroe as The Ghost of Christmas Present in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

As green lanterns glow, Mark Worth is remarkably ghoulish as Jacob Marley with some very impressive special effects.  A ghastly presence with gravelly vocals and chains that seem to go on for miles, Worth as Marley does a marvelous job as a tortured and distressed soul boasted by extraordinary special effects that never overwhelm Worth’s powerful performance.  The silence is deafening as Nathan Haltiwanger delivers a veiled and mesmerizing Christmas Yet to Come.  I most assuredly cannot leave out Cheryl McMahon’s marvelous return as expressive and hilarious Mrs. Dilber. 

David Coffee (Ebenezer Scrooge) and Mark Worth (Jacob Marley) in ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

Even those most familiar with this classic tale will encounter some welcome twists and surprises. If the holiday season is not spreading the merriment that is should be this year, North Shore Music Theatre’s A Christmas Carol will certainly restore that heartwarming feeling, indeed.

Cheryl McMahon (Mrs. Dilber) and David Coffee (Ebenezer Scrooge), both will be celebrating their 31st production of ‘A Christmas Carol’ at North Shore Music Theatre from December 4 – 21, 2025. Photo © David Costa Photography

A Christmas Carol:  A Musical Ghost Story continues at North Shore Music Theatre live and in person in Beverly, Massachusetts through Sunday, December 21.  Click here for more information and for tickets.

REVIEW:  Manual Cinema cleverly performed vibrant and layered children’s production ‘Leonardo!  A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre

Posted on by The Sleepless Critic

Recently, Wheelock Family Theatre and Manual Cinema presented a vibrant tale about terrible monsters and the true meaning of kindness. 

Based on books by Mo Willems and playfully choreographed by Sarah Fornace, Wheelock Family Theatre and Manual Cinema highlighted the inner workings of puppetry, voiceover and much more wrapped in two inspiring tales with Leonardo!  A Wonderful Show about a Terrible Monster which continued through October 19.  This lively, semi-interactive and captioned production ran 50 minutes with no intermission.  Click here for further information and here to learn more about Wheelock Family Theatre’s upcoming productions including the classic musical Annie kicking off this month.

Kevin Michael Wesson and Kary Gesine Bergman in Manual Cinema’s ‘Leonardo! A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre Photo credit Manual Cinema

It was easy to sense the buzz from the audience and the building excitement from the children as everyone settled into one of Leonardo!’s final performances.  Accompanied by multi-talented guitarist, narrator, character voices and vocalist Lily Emerson, Leonardo! Focuses on a monster named Leonardo, portrayed with bold yet self-effacing charm by Kevin Michael Wesson, who seems incapable of scaring anyone, so Leonardo sets out to become the monster everyone thinks he should be.

Leonardo! Is an engaging and sweet production, but what truly sets it apart is the amazing and transparent nature in which this show is put together.  Taking place inside an onstage studio, witnessing everything being created live piece-by-piece with lighting, live action, illustrated projections and video makes it a remarkable behind-the-scenes learning experience.  It was also refreshing to see innovative puppetry leaning away from CGI and strictly computerized methods and more towards book-influenced illustration.

The cast of ‘Leonardo! A Wonderful Show about a Terrible Monster’ Photo credit to Manual Cinema

Mieka Van der Ploeg’s textured costumes and chunky wigs are illustrations come to life as the audience has the option to focus on the projections of the finished product and/or the behind the scenes aspect of the production.   

Fueled by a blend of light pop, inquisitive, echoing and effervescent music by Ben Kauffman and Kyle Vegter and spirited lighting by Trey Brazeal and Nick Chamernik, Lily Emerson is a marvel delivering this clever tale in all its swift transitions and voices alongside Karly Gesine Bergmann as pensive Sam, Sharaina Latrice Turnage as unexpected Kerry, and Wesson as Leonardo.  It was also easy to see the enthusiasm from everyone involved. 

Lily Emerson and cast and crew of ‘Leonardo! A Wonderful Show about a Terrible Monster’ Photo credit Manual Cinema

Leonardo!  A Wonderful Show about a Terrible Monster was authentic, amusing, boisterous and brief enough to keep the young audience captivated while teaching them about life and making friends.  I particularly appreciated a section of the story about the library and its various ‘suses’ and the expression, ‘Scare the tuna salad out of him.’

At just 50 minutes, both tales link seamlessly together building on themes such as bullying, social anxiety, sibling rivalry and appreciating one another’s differences.  Leonardo! boasts a fascinating and layered universal message valuable to anyone from toddler to elder.

Sharaina Latrice Turage in Manual Cinema’s ‘Leonardo! A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre Photo credit Manual Cinema

Wheelock Family Theatre with Manual Cinema highlighted the inner workings of puppetry, voiceover and much more wrapped in two inspiring tales with Leonardo!  A Wonderful Show about a Terrible Monster which continued through October 19.  This lively, semi-interactive and captioned production ran 50 minutes with no intermission.  Click here for further information and here to learn more about Wheelock Family Theatre’s upcoming events including the classic musical Annie kicking off this month.

REVIEW: Lyric Stage’s understated ‘Our Town’ makes the everyday extraordinary

Posted on by The Sleepless Critic

The one constant is change.

Though in a sleepy town like Grover’s Corners, change may not be frequent, but with time, it is inevitable.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s 1938 Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19.  This classic three-act production is not limited to the stage and runs two hours and ten minutes including an intermission.  Click here for more information and for tickets.

Thomika Marie Bridwell* and Amanda Collins* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Our Town is one of the great American masterpieces of our time and holds a special place in my heart.  Its subtle yet gripping messages about the circle of life universally resonate and can speak to any generation.  I’ve seen Our Town several times before, and yet, every production is its own fresh and unique experience. 

An astute play, I believe your perception of Our Town changes as you grow and change.  Watching it as a teenager in a school play hits differently than seeing it as an adult and will transform again watching it as an elder.  In its simplicity, it carefully unveils life’s profound and fleeting journey while staying relevant for each generation.

Scenic designer Shelley Barish and costumer Rachel Padula-Shufelt embrace its timeless quality by creating a modest yet classic tone in each element of the production.  An impressive multipurpose wooden circular structure is the symbolic centerpiece of Grover’s Corners as Deb Sullivan’s rich and stirring lighting comes to life during affective and pivotal moments, especially in a vibrant purple moonlit sky bathed in puffy clouds.  Instead of using early 19th century period costumes, Rachel Padula-Shufelt shrewdly showcases classic Americana attire which includes suspenders, button down shirts, cardigans, stately three piece suits, understated dresses, and baseball and newsboy caps. 

WIll McGarrahan* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Using very few physical props, much of the production is traditionally imagined through Will McGarrahan‘s skilled and interactive narration as Stage Manager.  His engaging, mirthful and intimate delivery acts as part educator, omniscient narrator, occasional sage commentator, and at times, stepping into the action.

Kathy St. George* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

As much as the show may focus on the residents of Grover’s Corners, New Hampshire, they are second fiddle to the town itself and its unfolding features.  Within the town’s examination and analysis starting in 1901, something lies deeper within its quiet beauty and unlocked doors.  It also contains a wealth of local references that is not too far from its Boston staging.

Darren Paul, Thomika Marie Bridwell,* Jacob Thomas Less, Kathy St. George,* Amanda Collins,* Jessie Garlick and John Kuntz* in Lyric Stage’s Our Town Photo by Nile Hawver

Whether it’s Josephine Moshiri Elwood as forthright and wondrous Emily or Thomika Marie Bridwell as fanciful Mrs. Gibb, delightful Kathy St. George as inquisitive and precocious Rebecca or Amanda Collins as staunch traditionalist Mrs. Webb or John Kuntz as frank and disheartened Simon Stimson, this wonderful and well cast company authentically explore the small joys, hardships and realities of life with humor, humility and grace.  Elwood as Emily and Dan Garcia as George Gibbs particularly share a sweet sincerity and idealistic charm as they discuss their bright futures.

Dan Garcia and Josephine Moshiri Elwood* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Some productions don’t need all the bells and whistles in order to be genuine and Our Town fits the bill through its strong sense of community.  In this age where life is becoming more and more digitized, this small town unpacks life’s perplex meaning through connection in an impactful production season by season. 

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19.  Click here for more information and for tickets.

REVIEW:  An exhilarating journey awaits as American Repertory Theater presents ‘The 7 Fingers: Passengers’

Posted on by The Sleepless Critic

Some moments will bring joy to your heart and others will launch your heart in your throat.  Prepare to be amazed by the 7 Fingers.

The Montreal-based 7 Fingers contemporary circus troupe was founded in 2002, but this is the first time I witnessed their distinctive artistry as they trace a cohesive connection about travel to life and time within the perpetual motion of a train.  We are all passengers on this transformative journey as tales, rhythms, and creativity unites onstage.

Members of the Passengers company in performance. Credit: Grace Gershenfeld

Eloquently written, directed and choreographed by Shana Carroll, American Repertory Theater (A.R.T.) continues The 7 Fingers:  Passengers live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Friday, September 26.  This thrilling production runs 90 minutes with no intermission.  Click here for more information and for tickets.

Amanda Orozco, of the Passengers company, in performance. Credit: Grace Gershenfeld.

Whether it’s to escape, to return home, to make a new start or to navigate back to a familiar place, everyone travels with hope and expectation for what the future holds.  However, this production is about the motivation and journey and not necessarily the destination.  Through leaps, bounds, acrobatics, and always with creative and audacious flair, the 7 Fingers depict a group of agile and graceful travelers that maneuver to compelling original music from piano-infused lullabies to soulful beats to guitar-infused tango and echoing fiddle folk rhythms memorably composed by Colin Gagné with lyrics by Shana Carroll.  Far from a silent performance, Passengers unveils this insightful journey in poetry, song and the spoken word through storytelling while sharing reflections, dreams, and aspirations as Johnny Ranger’s dynamic projection, Colin Gagné with Jérôme Guilleaume’s absorbing sound design and Éric Champoux’s vivid lighting are as animated and lively as the performers onstage. 

Members of the Passengers company in performance. Credit: Grace Gershenfeld.

Suitcases, textured chairs, gliding luggage carts and a split flap departure board are just a portion of Ana Cappelluto’s rolling scenic design enhanced by Johnny Ranger’s surreal projections ranging from lush watercolor illustrations to layered cinematic landscapes that enhance the production’s consistent motion while allowing the dazzling feats to take center stage.

Members of the Passengers company in performance. Credit: Grace Gershenfeld.

Composed of Victor Crépin, Eduardo De Azevedo Grillo, Isabella Diaz, Marie-Christine Fournier, Téo Le Baut, Amanda Orozeco, Michael Patterson, Basile Pucek, Santiago Rivera and Méliejade Tremblay-Bouchard, the 7 Fingers show off their various talents with agility, power and ease demonstrating feats that range from playful, elegant, and mischievous to daring, intense and suspenseful.  In Camille Thibault-Bédard’s loose, freeing and flowing casual and classic outdoor apparel, they also bring to light the amount of sheer trust, connection, and chemistry involved in every carry, leap, toss, and intimate climb with no net between the members of this international circus troupe.  The athletic beauty, the durability, grace and precision in each movement and stroke is spellbinding whether dangling in mid-air in aerial silk, flying across the stage or grounded within a comedic piece.  While I preferred the more daring stunts, each piece brought a dynamic range of emotions within its gripping 90 minutes including heartbreak, longing, loss and liberating joy.  Within all its thrilling components, playfulness and wonder, the 7 Fingers also offers resonating depth and thought- provoking nuances about life and the magnitude of time in each inquisitive lyric, comic scenario, and precise step.

Members of the Passengers company in performance. Credit: Grace Gershenfeld.

Grab a ticket to this amusing and exhilarating journey you won’t soon forget.

Passengers Production Photo Members of the cast of Passengers in performance. Photo: Lucille Audoineau-Maire

American Repertory Theater (A.R.T.) continues The 7 Fingers:  Passengers live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Friday, September 26.   Click here for more information and for tickets.

REVIEW: Behind the scenes take center stage in Hub Theatre Company’s satire ‘The Understudy’

Posted on by The Sleepless Critic

The understudy has a gripe…and he has a point.

Sharply yet familiarly written by hit show Smash creator Theresa Rebeck and resourcefully directed by Paula Plum, Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts.  The action is not limited to the stage and contains adult language.  All tickets are on a pay-what-you can basis and the show runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

Kevin Paquette in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Angelica Houston portrayed Eileen Rand, a savvy Broadway producer jilted and betrayed by Jerry.  Katherine McPhee as Karen and Megan Hilty as Ivy are competing actresses for the role of Marilyn Monroe in Bombshell, a new Broadway musical where the real drama took place behind the scenes.  This is the plot of Smash, a musical TV drama that lasted two seasons, but developed a cult following.

Like Smash, some elements of The Understudy are not meant to be taken seriously.   Though some of the core plot points between Smash and The Understudy bears some resemblance, it expands its satirical focus into films, theatre and what makes real art through a newly discovered Broadway work by renowned absurdist writer Kafka.  It also contains insightful commentary about creating quality work with meaning and creating less than quality work for profit while infusing inside humor about the nature of theatre.  What do audiences actually want? 

Kevin Paquette and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Symbolically wearing a Bad Brains punk t-shirt and flannel by costume designer Kara McGuinness, some of the play’s funniest and strongest moments come from Kevin Paquette as Harry who is a fed up and a bit of an embittered savant theatre actor performing exacting accents who just happens to be holding out for real art while Cristhian Mancinas-Garcia as Jake is a determined movie star reluctant to do theatre.  Both actors are charismatic and humorously egotistical as they realize their roles.  Paquette as Harry engages the audience with real gusto commenting on the state of art thinking outside the box while Lauren Elias as harried stage manager Roxanne and the picture of practicality, tries to keep the production rehearsal on track.  Paquette, Mancias-Garcia and Elias share rapid fire banter, physical comedy and a few surprises as the show unfolds.

Lauren Elias and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

It also acts as a love letter to the stage managers of the world and does it well.  The play may be called The Understudy, but rocking a legendary Kiss T-shirt, clever, skeptical and sympathetic Elias as Roxanne rises to the challenge attempting to avoid impending theatre disasters while keep it together personally and professionally.  No small feat as Emily Bearce’s haunting lighting and Justin Lahue’s impressively gothic projections seem to possess a mind of their own.  When these elements work with Gage Baker’s rich sound design, it is all quite the spectacle.

Cristhian Mancinas-Garcia, Kevin Paquette and Lauren Elias in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

A day at the theatre with The Understudy unveils drama, secrets, romance, and takes its time with a twist ending you may not see coming.   A production may come together onstage, but the absurdity of how it gets there is the real story.  Thank a stage manager and an understudy today.

Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts.  The action is not limited to the stage and contains adult language.  All tickets are on a pay-what-you can basis and runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Nostalgia, strong vocals and electrifying special effects fuel ‘Back to the Future the Musical’

Posted on by The Sleepless Critic

Time is of the essence in Back to the Future the Musical.

Innovatively directed by John Rando with Chris Bailey’s energetic choreography and dynamic Music Direction by Matt Doebler, Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20.  This zippy production runs 2 hours and 40 minutes with one intermission and is currently on national tour.  Some subtle themes and dialogue are toned down to make this musical more family friendly. Click here for more information on their next stop and for tickets.

David Josefberg in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

No one will ever be Michael J. Fox or Christopher Lloyd in these particular roles.  Moreover, I am a firm believer the original film is perfectly cast and a reboot or any other adaptation will never quite live up to the original 1985 hit film.  However, I do think that there are a lot of thrills and fun to be had in some of the extensions from the film such as Back to the Future: The Ride and Back the Future: The Musical which boasts some spectacular and immersive special effects and quick pacing to make this production more like a theatrical thrill ride.

To think Back to the Future was conceived when producer Bob Gale discovered his father’s high school yearbook and wondered if they would have been friends if he and his father attended high school together.  Back to the Future the Musical not only boasts technological and scientific wizardry, but is also a family tale.  Marty, in a likable portrayal infused with some of Fox’s notable inflections by Lucas Hallauer, knows his family is not on the fast track to success as Luke Antony Neville as uncompromising Principal Strickland insultingly blares at Marty into his Matterhorn in Got No Future.

Luke Antony Neville and Lucas Hallauer in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Marty wishes his family were on a different path as Marty’s family is swiftly introduced in Hello-Is Anybody Home?  Hallauer explains, ‘My dad would come in third in a two man race.’  Introverted, anxious and painfully shy, Mike Bindeman captures the awkwardness of Marty’s father George who takes what he gets while trying to avoid confrontations at all costs.  Zan Berube delivers strong vocals and embodies Marty’s mother Lorraine with ease.   

With a memorable laugh, wild facial expressions and threatening presence, Nathaniel Hackmann is well cast as obnoxious and calculating Biff as if the film’s Biff, depicted by Thomas F. Wilson, went back in time for this role.

Nathaniel Hackman, Lucas Hallauer, Mike Bindeman and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

 Some of the cast leans on some of the original cast’s inflections, but David Josefsberg as eccentric Doc Brown, makes the character his own and shares a warm rapport with Lucas Hallauer as Marty reminiscent of the hit film. 

David Josefberg and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Fast talking and excitable, Josefsberg exudes Doc’s wise and unwavering optimism while dreaming of an immense future in the motivational ballad, For the Dreamers as well as in lighter moments in a bit of self aware humor for It Works and the synthetic sounding 21st Century as the stage lights in sparkling, flashy and futuristic costumes when it is not leaning into scientific white lab coats.

This production would have worked just as effectively as a play and does not necessarily need to be a musical, but the cast’s powerful vocals, especially by Cartreze Tucker who is a highlight as optimistic visionary Gordie Wilson in an extended role, work.  Tucker boasts sensational vocals as Gordy Wilson for the inspirational number, Start Somewhere. 

Cartreze Tucker and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Back to the Future The Musical also makes some clever choices that capture the spirit of the film while building on some of the film’s themes such as Doc Brown’s inspirational For the Dreamers and the nostalgic harmony in Cake which is a welcome trip into 50s nostalgia and ironic humor while offering mellifluous harmony.  Other songs such as the cringe My Myopia and Pretty Baby are better left as brief scenes than full songs.  Something about that Boy brings together multiple scenes featuring Berube, Hackmann, and the cast.  Fifties classics such as Johnny B. Goode and Earth Angel recreate classic scenes from the film as well as selections from the film’s iconic soundtrack by Huey Lewis and the News.

Lucas Hallauer and Zan Berube in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The multicolored costumes capture two iconic eras as well as ensembles right out of the 1985 film.  High tops, slouch socks, jean jackets, diner attire, frilly retro patterned dresses, Marty’s orange vest, and Lorraine’s classic pink prom dress are just a sample of this array of distinctive retro apparel.  The fifties and the eighties are defined by certain characteristics, but it does not overpower the film’s universal themes.

Filled with retro pieces and realistic projections, the rolling and rotating sets are impressively detailed from an elaborate tree bursting with fall leaves, Lorraine’s bedroom similar to the hit film and Doc Brown’s house complete with portraits of his legendary mentors and inventors under twinkling stars.

Lucas Hallauer and the DeLorean in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The story is good, but the electrifying special effects are worth the price of the ticket as the real star, the DeLorean, roars to life.   Chris Fisher’s impressive illusion design, Tim Lutkin and Hugh Vanstone’s intricate and futuristic lighting, Finn Ross’s realistic video design, and Gareth Owen’s rumbling sound design unite to create an elaborate time jumping experience that immerses the audience into this compelling journey.

Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20.  The production is also currently on national tour.  Click here for more information on their next stop and for tickets.

REVIEW:  Spectacular and heartfelt, experience the magic of North Shore Music Theatre’s stellar ‘The Wizard of Oz’

Posted on by The Sleepless Critic

There’s no place like home or Oz, especially when it comes to North Shore Music Theatre’s immersive production of The Wizard of Oz.

With Matthew Stern’s splendid music direction and featuring rarely heard full versions of The Wizard of Oz’s classic numbers including Over the Rainbow and If I Only Had a Brain, The Wizard of Oz focuses on a sweet Kansas farm girl and her trusty dog who find themselves in a strange land with no idea how to get home and a witch suddenly in their wake.

Creatively directed by Robert W. Schneider with Brianna Fallon’s lively choreography and Alex Berg’s robust sound design, North Shore Music Theatre continues beloved musical, The Wizard of Oz live and in person through Sunday, July 20 at North Shore Music Theatre in Beverly, Massachusetts.  The action is not limited to the stage and runs two hours and twenty minutes including an intermission. 

Not only is this theatre in the round experience family friendly, but tailored to be universally enjoyed by all ages with plenty of refreshing surprises and originality as if you are seeing this classic again for the first time.  Click here for more information and for tickets.  

Bridget Delaney (Dorothy Gale) and Bug Minnie (Toto) in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Opening with Pamela Hersch’s encompassing and picturesque projections which unveil a unique and moving message before this classic tale begins to unfold, it was easy to see that North Shore Music Theatre’s The Wizard of Oz is going to be one for the ages.  In braids and a gingham sepia dress, Bridget Delaney as Dorothy vocally glides through the full version of Harold Arlen’s Over the Rainbow and her luminous performance suggests a certain Judy Garland appeal.  A beautiful soprano, Delaney embodies Dorothy with unrestrained curiosity and a determined spirit, yet careful not to let her impulsiveness get the better of her.  Her endearing interactions with her little dog Toto, portrayed with impressive poise by Bug Minnie, make them a delightful pair.

Ethan Carlson (The Scarecrow) and Bridget Delaney (Dorothy Gale) with the cast of “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Featuring a couple of songs and a few characters not included in the 1939 film, North Shore Music Theatre keeps this classic musical with a lion’s share of freshness and surprises.  For example, though the Jitterbug number is not included in the final 1939 film, it is an inviting and catchy jazz-inspired addition as black, yellow and white striped creatures invade the stage with stealthy and humorous intensity.

Sean Bell (The Tin Man) with Sarah Crane, Jessica Minter, Caitlin Wilayto in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

I cannot say enough about costumer Travis M. Grant with wig and hair designer Rachel Padula-Shuflet creating an incredible array of vintage and vibrant ensembles crucial to artfully transform each scene and Fallon’s inventive chorography, especially evident in its exhilarating and surreal tornado sequence.  Poppies swirl elegantly, trees chat animatedly, and snow materializes with a graceful flourish.  Jack Mehler’s dynamic lighting includes the vivid yellow brick road thrillingly or hauntingly enhances Ryan M. Howell’s meticulously executed and imaginative set.

The cast of “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

The Wizard of Oz’s large and captivating cast is an exuberant and enthusiastic bunch that elevates each memorable scene and may appear from anywhere around the venue.  Astute comic quips and improvisational moments including clever pop culture references give this classic an updated feel without taking away from the musical’s poignancy and heartfelt timelessness.  In a sparkling ball gown in various shades of pink and surrounded by adorable munchkins, Kerry Conte’s bright vocals and warm and nurturing demeanor veer away from the egotistical, vivacious and chipper voiced diva established in other iterations of Glinda.  This epic musical also boasts remarkable dual roles that will not be revealed here, but are surprisingly brilliant casting choices for this classic tale.

Kerry Conte (Glinda) and the cast of Munchkins in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Decked out in a amazing black gown peppered with glimmering red sparkle, Michele Ragusa’s unpredictable Wicked Witch delivers a mischievous cackle and is depicted occasionally a bit more humorously, putting a lighter spin on the character.  Ragusa clearly relishes the role in an energetic and intimidating performance.  David Coffee amiably captures the mysterious, well meaning, and avid storytelling Professor Marvel.

Michele Ragusa as The Wicked Witch in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Ethan Carlson is an expert tumbler and his pliable body and warmth make him a wonderful Scarecrow.  Sean Bell as Tinman and E. Mani Cadet as Cowardly Lion both deliver endearing and humorous performances and this trio truly make the characters their own.  Cadet’s spirited demeanor and quick wit make the number, If I Were King of the Forest a lot of fun and baritone Bell brings charismatic charm in a tender rendition of If I Only Had a Heart.  With Delaney as Dorothy, this quintet develop a lasting and compelling camaraderie that ring especially true during the numbers We’re Off to See the Wizard, Merry Old Land of Oz, and huddled together for Lions and Tigers and Bears.

Ethan Carlson (The Scarecrow), Sean Bell (The Tin Man), Bridget Delaney (Dorothy Gale), and E. Mani Cadet (The Cowardly Lion) in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Simply put, it is one of the best staged versions I have ever seen and was moved several times during the production.  North Shore Music Theatre’s The Wizard of Oz is a magical, spirited and unforgettable musical journey that still profoundly resonates to everyone young at heart.

Dash down this yellow brick road and immerse yourself in North Shore Music Theatre’s production of The Wizard of Oz which continues through Sunday, July 20 live and in person at North Shore Music Theatre in Beverly, Massachusetts.  Click here for more information and for tickets.  

REVIEW:  ‘Riverdance’s 30th Anniversary:  The New Generation’ combines mesmerizing visuals and fancy footwork to a show stopping rhythm

Posted on by The Sleepless Critic

‘Tall and straight my mother taught me.  This is how we dance.’

Flourishing Celtic landscapes, glimmering international city sidewalks, star studded cosmic atmospheres, and mystical seaside sunsets as well as a journey frolicking through roaring fire, threatening lightening, and changing seasons are just a few of the spectacular settings that unfold through driving rhythms while integrating other forms of captivating dance along the way.  Accompanied by a partial onstage orchestra, Riverdance is as innovate and imaginative as ever marking three decades of sparkling toe tapping zeal and ethereal vocals with memorably dramatic flair.

The cast of Riverdance

Audaciously directed by John McColgan and composed by Bill Whelan,   Riverdance 30th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country.  The show is approximately two hours including one intermission.  Click here for more information and for tickets.

Riverdance, Fergus Fitzpatrick

Whether battling the elements or showing off their skillful steps, Fergus Kirkpatrick and Olivia Nachtigal are among the leads in this enthusiastic and daring dance troupe as drummer Mark Alfred, fiddler Haley Richardson, saxophonist Emma McPhilemy, and Cathal Croke on Uilleann Pipes with Michael O’Gorman’s immersive sound design combine to deliver a mix of modern and traditional Irish works through Ireland and beyond. 

Riverdance, Dervish

Whether performing solo or playfully challenging other band members and the dancers, these harmonious instrumentalists set the varying tone from serene ballads to rhythmic beats.  Richly narrated with Celtic history and poetry as angelic vocals lift, Riverdance has a unique way of building excitement through razor sharp Ceili formations and urgent melodies.  Adorned regally in silvery tiaras, detailed velvet flowing dresses, tailored shirts vests and tights by Joan Bergin, the dancers exude confidence exacted in heads held high and the militant precision of their movements gathering in rows, circles and two hand reels. 

Riverdance Countess Cathleen with lead dancer Maggie Darlington

In Firedance, Rosio Dusmet commands the stage swirling in a shimmering red gown as fire surrounds her and the flames progressively turn blue to a driving beat.  Adventurous, freeing and empowering, Dusmet’s amazing performance is equal parts grace, athleticism, and charisma flowing through the scene.

Alan Farquharson’s fantastical and compelling set design with innovative motion graphics by Cosmo AV and Andrew Voller’s stellar lighting in scrupulous perfection enhance tappers Darmesh Patel and Kenji Igus who perform to rollicking rhythms in street clothes with Fergus Kirkpatrick showing off their skills under the bright city lights.  In Trading Taps, they all demonstrate fantastic footwork with charm and exuberance to rousing applause and stands as a particular highlight of this production.

Riverdance, Amy Mae Dolan and Will Bryant

Through a variety of dynamic rhythms, Riverdance’s 30th Anniversary: The New Generation is a whimsical, thrilling and visually splendid journey steeped in Celtic charm while integrating other forms of dance that keeps it refreshing and imaginative.  Having seen it for the first time and watching it with someone who has witnessed it since Riverdance began, it remains a joyous and impressive experience for the whole family.

The cast of Riverdance

Riverdance 30th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country.  The show is approximately two hours including one intermission.  Click here for more information and for tickets.

REVIEW:  Sullivan Rep capped off their premiere season with a heartwarming ‘Annie’

Posted on by The Sleepless Critic

The power of tomorrow.               

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks during Depression-era New York in 1933.  It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope.  As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Sullivan Rep proves this steadfast musical favorite never goes out of style.

To cap off their first season of New Beginnings and Opportunities, Sullivan Rep brought back this beloved musical classic to a sold out audience for most of its run.  Directed warmly by Dan Sullivan, Annie continued its successful run through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts.  The music was two and a half hours including an intermission.  Click here for more information.

Charlotte Kuong and Leah Hudson in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

Part of what makes Annie such fun to produce 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 the late great Albert Finney, it is easy to forget the stage version sticks to the storyline for the most part, but also contains additional songs.  Sullivan Rep also added some welcome candid quips to the show such as ‘Some were from the Bronx, Miss,’ and ‘Just think…New Jersey’ for added humor as well as a touching moment when all the orphans harmonize for the final phrase in the number Maybe for added resonance.

Rather than utilizing the Windsor Club stage itself, Dan Sullivan made the most of the space for Annie by performing it at eye level in the auditorium to create an immersive experience featuring a pared down set the cast set up and took down with each scene.   From a startling lightning storm to a red glowing stove to colorful and festive cheer, lighting director Erik Fox kept the show’s optimistic spirit in check throughout the production.

The Orphans perform ‘It’s a Hard Knock Life’ in ‘Annie’ Photo courtesy of Sullivan Rep

Wearing thick scarves, layers and period hats, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today.  In a pinstriped suit and silk tie, Todd Yard boasted soaring vocals as workaholic and tough-minded New York City billionaire tycoon Oliver Warbucks as he paid tribute to his beloved city with N.Y.C.  before later performing a stirring rendition of Something was Missing which is just a couple of the additional songs included in the stage version of the musical, but not in the film.  N.Y.C. had a skip in its step featuring piles of presents, special appearances by Mr. Peanut and Santa Claus and a wowed city newcomer who delivered stunning vocals in her brief appearance during the song. 

Charlotte Kuong and Todd Yard in Sullivan Rep’s ‘Annie’ Photo courtesy of Sulliva Rep

In a fur lined coat and lilac heels, Temma Boudreau charmingly depicts elegant Grace Farrell, Oliver Warbucks’s levelheaded secretary and shares a few sweet moments of her own with Kuong.  Boudreau’s breezy yet professional demeanor fit in well with Yard’s no nonsense moxie.   

Donning a straight red haircut, Charlotte Kuong depicted a bit more restrained version of Annie still infused with cleverness, earnestness and charm.  Her strong and clear vocals were most prominent during the numbers Maybe with adorable Leah Hudson as Molly as well as the show’s signature song, Tomorrow.   She also shared some endearing moments with Yard as Oliver Warbucks and charming him into seeing New York City with her was a particular highlight.

Temma Boudreau and Charlotte Kuong in ‘Annie’ Photo courtesy of Sullivan Rep

The orphans’ version of Fully Dressed is adorable and sure to make you smile. Sound designer Andrew Mulholland successfully rewound the clock featuring vintage radio programs and an always entertaining look at how radio created sound effects in the 30s.

In curlers and a whistle that she makes the most of during the show, Carly Evans depicts a sarcastic and matter of fact Miss Hannigan.  While some actresses sink their teeth into what can be considered an over the top role, Evans instead downplayed Miss Hannigan as exasperated, dark and moody showing off her strident vocals for Little Girls as the orphans demonstrated their knack for pushing her buttons. Cristhian Mancinas-Garcia as Hannigan’s conman brother Rooster and Melissa Paz as bleached blond Lily St. Regis make an amusing, sleazy pair and with Evans, a trio of conspiratorial adversaries.  Paz is a powerful singer and looked like she enjoyed portraying a woman who can’t sing.  Some of the rollicking chorography of Easy Street offered some subtle nods to the film version.

Brian Higgins as FDR and cast in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

From select city shoppers to matching uniformed house staff to government officials, this enthusiastic ensemble cast enhanced the joy in this classic tale highlighted by Brian Higgins as a jovial and charismatic FDR, Robert Orzalli as Drake with a twinkle in his eye, Anthony Rinaldi stood out as jocular radio announcer Bert Healey, and the gum chewing, New Yorker Boylan Sisters were a treat.

Sullivan Rep capped off their season with Annie through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts. Click here for more information and what is in store next season.

REVIEW: Reflections and camaraderie navigate Midwinter Revels’ uplifting ‘The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice’

Posted on by The Sleepless Critic

Island waves and a Celtic touch navigate two interpretations of a classic folk tale.

Directed with ruminating holiday cheer by Debra Wise and versatile music direction by Elijah Botkin, the 54th annual Midwinter Revels presents The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday, January 12, 2025.  This traditionally interactive production is approximately two hours 30 minutes with one intermission.  Each performance has a sponsor and dedication noted in the program. Click here for more information and for tickets.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Athéna-Gwendolyn Baptiste

This year’s Midwinter Revels occasionally takes to the seas sharing interconnected stories of identity, culture, traditions, ancestry and much more.  Aiden Parkinson portrays a cynical Celtic poet while Cedric Appolon and Kortney Adams depict a family of New Bedford newcomers from Cabo Verde who receive a mysterious package and Candida Rose Baptista is a beautiful yet elusive stranger that unleashes a new perspective.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Andrew Burke-Stevenson Kortney Adams and Aiden Parkinson

Jeremy Barnett’s festive and inviting set is steeped in the spirit of the season with illuminated lanterns, strings of old fashioned multicolor bulbs and white lights adorned on garlands and wreaths by lighting designer Jeff Adelberg as well as detailed shelves packed with a variety of books and knickknacks.  Featuring a number of traditional and contemporary Cape Verdean and Celtic instruments, the intimate Cambridge Brass Ensemble onstage orchestra beautifully delivers a wide array of music genres including Celtic, jazz, and Cabo Verdean tunes as well as a mix of moving, humorous and traditional Midwinter Revels carols for sing-along such as an a cappella SILENT NIGHT led by David Coffin who hosts with his usual welcoming charm and good humor.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus

Ugly Christmas sweaters, street wear, velvet vests, plaids, wild patterns and period pieces are only a fraction of the convivial costuming by Heidi Hermiller weaved into this large cast.  Candida Rose Baptista stuns in a gold embroidered royal blue draped gown as she shares unique, uplifting and memorable Cape Verdean tunes such as SÓ SABI sing along and later the catchy and uplifting Batuku tune FAMILIA, DESPEDIDA & SIMA NOS È SO NOS along with the Sea Change Chorus amid beautiful fish and island projections.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Lourenco “Pelé” Fernandes, José Lúis “JL” Spencer, and Candida Rose Baptista

One of the best parts of the production is the spooky number Skin and Bones performed by flashlight that may bring you a chill.  David Coffin and Mary Casey also take the stage for an amusing and eloquent a cappella version of the Irish folk number THE HUMORS OF WHISKEY and step dancer Rebecca McGowan impressively shares her spellbinding skills peppered into the production. 

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus and Rocky Road Children’s Chorus

Uniquely creating the motion and depths of the high seas, the adorable The Rocky Road Children with harmonious fiddler Liz Hanley perform the ORO MA BHADIN lullaby.  The Rocky Road Children also shine for The WREN SONG while keeping the beat with sticks accompanied by bodhrán Abe Finch and David Coffin on recorder.  David Coffin, accompanied by a trio of musicians called the Bailemian Band performs a wonderful rendition of THESTAR OF THE COUNTY DOWN.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Straw Men Mummers

Parkinson performs a stirring rendition of OISÍN AND TÍR NA NÓG and shares some reflective scenes with Appolon and Adams as they gradually learn from each other in shared experiences.

It was fascinating to witness the variations upon this symbolic and metaphorical Selkie story which share significance with each other in their own way from an Irish and then a Cape Verdean perspective.  Rather than delving into a traditionally streamlined plot this year, this musical production spends more time in camaraderie and fellowship sharing individual fables and tales while celebrating the Winter Solstice and holiday season with warmth and comfort.  Bringing a number of traditions together, the Midwinter Revels make merry the spirit of the season with reflections, humor and hopefulness in its own charming way.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley David Coffin and the cast of Midwinter Revels

Midwinter Revels presents The Selkie Girl and the Seal Woman:  A Celtic and Cabo Verdean Celebration of the Solstice’ live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday January 12, 2025.  Click here for more information and for tickets.