Whether you like the Grinch or not, be sure to witness this remarkable version of Dr. Seuss’How the Grinch Stole Christmas! The Musical. It is a humorous and dazzling way to spend 85 minutes taking in the holiday spirit with the family.
By sticking to Dr Seuss’ imaginative vision, the beloved book springs to life onstage in a vibrant and thrilling way. Past film adaptations have been overdone and bogged down with side stories and imagined history, but not this musical. As an avid fan of the book and the famous 1966 animated TV special, I was thrilled to see this musical firmly faithful to Seuss’ literary vision. Dr. Seuss’ How the Grinch Stole Christmas! The Musical expands parts of Seuss’ vision that already exists in the book for a heartwarming and interactive experience about the value of love and camaraderie.
James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel
With steadfast direction by co-directors Matt August and Bob Richard while Richard also navigates the musical’s energetic choreography, Dr. Seuss’ How the Grinch Stole Christmas! The Musical continues live and in person at Boch Center Wang Theatre in Boston, Massachusetts through Monday, December 23. Click here for more information and for tickets.
From the reflective perspective of Evan Blackwell as Old Max and Chamberlin Little as Young Max who both play their parts to perfection as Narrator and character respectively, Dr. Seuss’ How the Grinch Stole Christmas The Musical is a musical comedy about a Grinch who claims to hate Christmas and feels he must stop Christmas from coming…but how?
W. Scott Stewart as Old Max and Xavier McKnight as Young Max in the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel
Greeting the audience with a white wreath on a red Who populated backdrop, this cheerful and interactive musical is the perfect length at 85 minutes with no intermission and brings to life the book in a way the padded film adaptations never did. Featuring a number of catchy and heartfelt numbers weaved through its rhyming dialogue, enhancing this tale into a musical is hardly a stretch because the Whos love to sing.
Boasting three dimensional illustrated moving set pieces directly from the book, John Lee Beatty’s innovative set design include an enchanting illustrated three dimensional tree lit with glowing white and red bulbs, the Grinch’s illustrated snow covered cave and the drawn fireplace mantel with colored stockings. It also offers glimpses of the animated classic in red and gold bulbs hanging across the ceiling adding bursts of color.
Craig Stelzenmuller’s playful lighting often follows the action and brings sparkle to an already bright and cheerful set design. Blue and green lights flash, glitter and move along like its own character in this wonderful tale as it also creates brief and foreboding shadows as the Grinch makes his grand entrance.
The Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel
Boasting piled high hairdos, Sarah Smith’s festive, textured and Seuss-centric costumes in red, pink, white and green form wild shapes accessorized with oversized bows, bowties and elf shoes. However, the Grinch’s vivid green and furry costume with exacting makeup is ideal right down to his long and slender fingers.
James Schultz as THE GRINCH in the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel
Occasionally frightful but more often comical with his deep and versatile baritone voice, Matt Forbes is excellent as the cool and temperamental Grinch sharing gripping and amusing scenes with Little as Max as well as endearing ones with Trinity Vittoria De Vito as angelic Cindy Lou Who. De Vito’s chiming vocals and captivating demeanor impressively deliver the gentle and touching ballad, Santa for a Day as she interacts with Forbes with blind adoration. Little as Young Max is devoted and lovable with an expectant grin to the Grinch’s perturbed scowl and dastardly smirk as they join together for I Hate Christmas Eve with the Whos and in a playful rendition of This Time of Year with Blackwell as Old Max.
James Schultz as THE GRINCH, Sofie Nesanelis as Cindy-Lou Who and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel.
Delivering the famous tunes you already know like Blackwell’s amazing rendition of You’re a Mean One Mr. Grinch and Welcome Christmas, Mel Marvin also builds on famous excerpts from the book for original songs such as the warm Who Likes Christmas, thunderous I Hate Christmas Eve, and wild Whatamawho where the Grinch famously exclaims, ‘Oh, the noise, noise noise noise!’
James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel
With sing-along opportunities and thrilling special effects as Blackwell shares this classic children’s tale, Dr. Seuss’ How the Grinch Stole Christmas! The Musical holds its own to the book and the famous 1966 animated TV special live onstage reflecting on all the themes of the book such as materialism, bullying, and greed with a beautiful message and holiday treat fitting for the entire family.
James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel
Dr. Seuss’ How the Grinch Stole Christmas! The Musical continues live and in person at Boch Center Wang Theatre in Boston, Massachusetts through Monday, December 23. Click here for more information and for tickets.
With a wealth of urgency and powerful expression, Boston Ballet’s wonderful Fall Experience features a world premiere and an array of innovative pieces that depict the isolation and bleakness of the season as well as the excitement of what is in store.
With incredible choreography by Crystal Pite and music by Max Richter, The Seasons’ Canon finale is one of the most amazing pieces that I have ever witnessed from the Boston Ballet. The Fall Experience is not to be missed.
Boston Ballet’s Fall Experience continues at Citizens Bank Opera House in Boston, Massachusetts through Sunday, November 3. The production is one hour and 50 minutes with one intermission. Click here for more information and for tickets.
Boston Ballet’s ‘Fall Experience’ ‘After’
Featuring Christine Vitale on violin and Sienna Tabron on piano, the world premiere of Lia Sirio’sAfter is steeped in shadows and the only light shown is illuminating from a white cavern. John Farrell’s minimalist set design with Brandon Stirling Baker’s mood induced lighting highlights the stirring exuberance of the dancers. In flowing and translucent clothing, After features an array of enthralling pas de deux and a wealth of tender moments between the dancers. Fueled by piano and fiddle-infused urgent rhythms, After is evocative and expressive as the lighting morphs into a beautiful teal background with subtle bursts of color. This multi-dimensional piece depicts isolation and ingrates sharp staccato dance movements blending modern and traditional dance.
Yue Shi in Sabrina Matthews’ Ein von Viel; photo by Christopher Duggan; courtesy of Boston Ballet
In suit and tails, pianist Alex Foaksman joins duo Jeffrey Cirio and Gearóid Solan onstage for Ein von Viel. Cirio and Solan demonstrate their athleticism and pliable skills in this powerful piece filled with swift, pronounced and intricate movements. Foaksman performing onstage as Cirio and Solan synchronize, playfully compete and complement each other to splendid selections by Bach.
Yue Shi in Sabrina Matthews’ Ein von Viel; photo by Christopher Duggan; courtesy of Boston Ballet
Boston Ballet in Jorma Elo’s Plan to B, photo by Gene Schaivone, courtesy of Boston Ballet
Under a gleaming and morphing light by Jay Gower Taylor and Tom Visser, the Boston Ballet unveils a vision like none other with The Seasons’ Canon. Crystal Pite’s intricate and meticulously detailed chorography to Max Richter’s version of Vivaldi’s mesmerizing The Four Seasons makes The Seasons’ Canon a superlative experience. An incredible vision in every sense of the word, The Seasons’ Canon is innovative and unique as dancers pulse, sway, and tumble with such fluidity and precision that it must be seen. Moving like one organism with grace and intensity, the sheer exactitude and congruent nature of these movements cannot be overstated. It is an exciting and commanding piece with bursts of energy as the landscape transforms into shades of silver, orange, and gold, exquisite in each season. It is a haunting and brilliant performance sure to stay with you long after the piece has ended.
Boston Ballet’s The Fall Experience continues at Citizens Bank Opera House in Boston, Massachusetts through Sunday, November 3. The production is one hour and 50 minutes with one intermission. Click here for more information and for tickets.
Music is the foundation for so many amazing aspects of life.
As GBH’s newly appointed Head of Music, Sam Brewer discusses music’s remarkable impact and how he started in the industry. He also shares where to listen to live concerts around Boston after work for free, insight into GBH’s extraordinary studios, and the revolutionary ways GBH is connecting artists to viewers and listeners.
Sleepless Critic: Just to clarify, GBH’s Head of Music primarily covers classical and jazz music?
Sam Brewer: Yes, it is the jazz and classical team. GBH Music is a multi-platform production team housed inside GBH with twelve full time and almost as many part time employees. Our biggest commitment and what everyone knows us for is CRB Classical 99.5 Boston. CRB produces over 50 broadcasts a year and we have a live concert every single week from Symphony Hall or Tanglewood. That includes concerts from the Boston Pops too.
General Manager of GBH Music Sam Brewer Photo by Meredith Nierman/GBH
We also program Jazz on 89.7 FM on the weekends and weekend overnights. For the past five years, we’ve had a series of about eight GBH Music Presents concerts at the Fraser Performance Studio or Calderwood Studio here at GBH. In person, streaming, and recorded performances are used on other platforms. Obviously they stream and may end up as an In Concert production.
Classical.org is the website for the radio station and a rich source of multimedia content about classical music, social media channels, and two newsletters which is one on jazz and one on classical and so much more.
From the GBH music perspective, we recently launched GBH Jazz Nights which are once a month performances at the GBH Studio at the Boston Public Library in Copley Square. We’ve teamed up with JazzBoston to present jazz music the second Thursday of every month from 5:30 to 6:30 pm. It’s a free event and we want to capture people after work to stop by for an hour or two and get a beer and listen to music. It’s really to raise the profile of everything that we are doing in jazz. For the past few years we have done these studio jazz shows about four a year and we are looking have four again in the spring. We’ll have four in the spring to help us build up an audience, the excitement, and the anticipation for that and we feature a great lineup of performers.
Beyond December, we will be looking at a series of jazz performances at Fraser Performance Studio. Fraser is gorgeous and really the jewel of the production facilities at GBH. Antonio Oliart is our recording engineer on the GBH Music Team and he had a hand in designing the space and it’s his home along with Téa Mottolese who is our other recording engineer.
Antonio recorded an album at Fraser with violinist Hilary Hahn which was just named the Gramophone record of the year. It’s a huge honor and I think he’s won three or four Grammys from records he’s produced in that space. We host a lot of these GBH jazz and classical music events at Fraser and you’re really sitting with maybe 90 or 100 people in a multi-camera shoot in an acoustically perfect music space.
Ulysses Quartet perform at an event celebrating the leadership of Tony Rudel, General Manager GBH Music on October 1, 2024 at GBH Headquarters in Brighton, Mass. Photo by Meredith Nierman/GBH
The Boston Symphony Chamber Players came and recorded this beautiful video show in Fraser and then we streamed. It was in person and it will also become a radio broadcast in a week or two. Somebody came up to me after the performance and told me they have known this musician their whole life and have never seen this person up close playing like this.
SC: Oh, I love those experiences.
SB: That’s the real benefit of this space. You get a sort of intimacy with the music that you don’t really get in any other venue in Boston because of the size and how it is structured. It’s also how we host shows. Brian McCreath, the host of the BSO broadcasts, hosted this program. He’s a proxy for the audience and brings the audience into the stories behind the music in such a unique way.
SC:We know each other from the Boston Pops. What piqued your interest from the Boston Pops to make the transition over to GBH? I know it all starts with classical music.
SB: That’s a great question. I was a publicist at the BSO for about 10 years and started at the box office selling tickets. I was just looking for the next step in my career and there’s such a crossover between the GBH audience and the Boston Symphony audience and in an effort to sort of promote other types of content and other stories, I was drawn to the work in public media and found a happy home for the last six years working quite closely with the newsroom here. Of course the GBH Music team was my other main client here and pulled it back into the beauty, power and the rich, artistic life of classical music and jazz. That’s how I found myself working even more closely with the GBH Music Team.
SC:You must also find yourself working with some famous musicians. Which particular person stands out for you that you couldn’t believe you were working with them?
SB: There are countless people, but recently opera bass-baritone Davóne Tines. We had someone scheduled for the Getting into Opera program and it was a wonderful event open to the public. We are eventually going to turn it into a series for YouTube. We’ve done two of these before and we have another one coming up. We unfortunately lost the soprano who was scheduled to host this master class. The concept here is people get into opera by seeing how great vocal performances are shaped. So it’s a master class between a master teacher and a student.
The star soprano who was supposed to lead the performance had to cancel about 36 hours before. Davóne Tines came in and I had the opportunity to pick him up in a car and drive him over quickly before the performance was about to begin.
I was blown away how even at the last minute, he wanted to reshape what we were doing to put the artists in the center and focus on them as humans and people before he got to hear them sing or work with them as a coach. So, there are countless examples of artists I have met and been star struck or really moved by, but this one recently is just one of the benefits everyone on this team has which are these really close encounters with musicians as people and then get to share their stories with broader audiences. It’s of interest to any type of consumer of any media, but I think music in particular because it can be abstract and one of things we specialize in is sharing an artist’s story behind the music.
SC:How do you think your prior experience has prepared you for what you are doing now?
SB: Two of the trends in my career have been music and communications and I think they will be thoroughly employed in this role. Being so new to it, I can already tell one of the real joys of this role is working with all the people on this team. I think anyone in a leadership position is responsible for supporting the team’s work. It is really exciting to come to work every day with people who are ready to pitch new and creative ideas and try to find ways for those little seeds of ideas to grow to support the work of a lot of creative professionals. So, I suppose having a lot of experience as a communicator, in public relations, and then in public media has put me in a good position to help the team bring all this creativity to the forefront and to find things that resonate with audiences. I’m excited to see how we can keep growing this incredible foundation here.
SC:Music is the connection to everything.
SB: I agree with you.
SC:Speaking of which, what is your favorite music and kinds of artists you like to listen to for GBH?
SB: I think from a very early age, I’ve always loved orchestral music. I will just say broadly classical music encompassing classical, romantic, and baroque. We play on CRB Classical 99.5 over 500 years of this incredible compendium of artistic styles. It’s just so easy to get deeply lost in it and imagine your own stories.
It’s funny because I have certainly listened to all sorts of music. My wife and I went to the Weezer concert in Boston. It was great fun, but I also had this experience where we were all the way up in the nosebleed section. I don’t know what the capacity of TD Garden about 20,000 and it was a wonderful performance and I was thinking if I can just get one percent of these people to turn on CRB and find this intentional listening experience in the genres we promote, I think everyone would grow so tremendously. A lot of what we program on this station is intentional to capture people who find a familiar sound in what we do and discover that they like classical music. For example, Renaissance pieces that would be four minutes long and to someone who is just tuning in, it could sound like a folk song. There could be an energy to Telemann perfect for driving down the road. I’ve always loved orchestral music. The challenges and the fun of this role is to just to find people in this vast swath of people and find out who might want to come and join us and be part of this tribe.
SC:Classical is the foundation of so many other genres of music. The epic Clair de Lune is a famous classical piece you know that you don’t know that you know.
SB: I agree with you and I think there is also a willingness that there wasn’t ten or fifteen years ago to cross between genres and like what they hear without knowing what the label is. I just find there is a tremendous opportunity to turn more people into classical music and such growth potential there. I’m glad we’re focused on that central part of it and our goal is just to spread that out and make people fall in love with it.
One of CRB’s next events will be the GBH Music Holiday Spectacular taking place at Calderwood Studio. Be the first to learn about GBH’s upcoming music events through classical newsletter The Note and GBH’s Jazz newsletter.
Embarking on a new journey into experimental theater after the hilarious and frenetically urgent Stand Up if You’re Here Tonight, The Huntington delivers another unique work where anything is possible.
Eloquently directed by Omar Elerian and featuring a different guest for every performance, The Huntington presents Nassim Soleimanpour’s Nassim live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, October 27. This fascinating and semi-interactive production runs 75 minutes with no intermission. Click here for more information and for tickets.
With nothing but a sealed box containing an unseen mysterious script sitting on a table labeled only with the guest’s name, the anticipation is high and this particular guest admits that he is terrified as a mysterious person quips, ‘No panic on the Titanic.’
Being the first guest performer on opening night of a production that can virtually go anywhere should come with understandable trepidation. GBH’sJared Bowen stepped out on the stage not knowing what was in store for him and the audience. This particular performance was deemed the 478th time this production has ever been performed and Jared had to be ready for spontaneity, plenty of improvisation and game for virtually anything.
What occurred was genuinely humorous, personal, heartfelt, and revealing. Nassim contains several moments of moving subtlety and unpredictability that is engrossing from start to finish watching this particular story unfold. It is also communal, eye opening, educational, and contains compelling experiences that are both simple and challenging, but above all meaningful.
Sound designer James Swadlo and Lighting Designer Rajiv Pattani seamlessly set the tone to this original and spontaneous production that varies from moment to moment. It is also best not to know what to expect, but to experience it as the story unfolds knowing that each moment of this production serves a profound purpose about connection and much more.
Jared thrived through this engaging theatrical experiment and some of the future guest performers include Mike Gorman, Keith Lockhart, Marianne Bassham and Nael Nacer. Nassim is a distinct and creative exploration into the unexpected and it was exciting to take a chance on something new. It was absolutely worth it.
The Huntington presents Nassim Soleimanpour’s ‘Nassim’ live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, October 27. This fascinating and semi-interactive production runs 75 minutes with no intermission. Click here for more information and for tickets.
Wise words spoken directly from Plays in Place’sA Light Under the Dome and it was just what it took to muster speaker Angelina Grimké ’s strength and courage. Stirringly portrayed by Amanda Collins, Grimké was the first woman to stand and speak out in front of the Massachusetts State Senate to fight for what is right. What was brought to light was Grimké’s careful strategy, passion and the surrounding events that unfolded around a handful of humble yet powerful women who historically embarked together to brave their own struggles for the sake of others.
United we stand.
Directed poignantly and powerfully by Courtney O’Connor and commissioned by the National Park Service, Plays in Place presented Patrick Gabridge’sA Light Under the Dome for a limited sold out run with waiting list availability only from August 12 to 15 live and in person at the Senate Chamber of the MA State House in Boston, Massachusetts. The production was approximately one hour with no intermission. Click here for more information and for more on Plays in Place.
The Senate Chamber of the MA State House is the setting for Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios
Plays in Place has been noted for taking a significant historical moment in time and infusing it with multiple perspectives as the audience witnesses it in the place where it happened. It is the first of three plays of the Suffrage in Black and White series commissioned by the National Park Service. A Light Under the Dome examines the scope of Grimké’s significant speech and its effects on this united group of women and the turmoil surrounding them. It was not just the reenactment of the speech itself, but included the build up and the fallout surrounding this occurrence.
Amanda Collins as Angelina Grimké in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios
Amanda Mujica’s colorful period costumes ranged from stripes to plaids to puffed sleeves combined with Rachel Padula-Shufelt’s well coiffed wigs to make each well adorned and inspiring individual stand out in their own distinct way. Collins as Grimké embodied a string of emotions through wringing hands, hesitation and anxiety to make the speech of her life in front of thousands back in 1838 only held up by the women who supported her.
Regine Vital as Julia Williams Bridgette Hayes as Lydia Marie Child and Thomika Marie Bridwell as Susan Paul in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios
Though it was not thousands that surrounded Collins’s exiled Southerner Grimké when she made her personable, articulate and convincing speech about women’s rights which included suffrage as well as abolishing slavery like it was on that pivotal day on February 21, 1838, it was no less an immersive experience as the audience was welcomed to open seating inside the pristine and regal senate chambers while these five individuals freely roamed the room. Surrounded by the detailed crown molding and towering chandelier in the Senate chambers, Andrew Duncan Will’s rich sound design articulated the commotion in the room and the looming chaos that erupted outdoors.
American educator and abolitionist Susan Paul (Thomika Marie Bridwell), Anti-slavery and absolutist Maria Weston Chapman (Marge Dunn), Vice President of the Convention 1838 Anti-Slavery Women Lydia Marie Child (Bridgette Hayes), and Boston Female Anti-Slavery Society member Julia Williams (Regine Vital) surrounded repentant slave owner Grimké and all had vested interest and offered unyielding support to Grimké as their unique stories were weaved into the production.
Thomika Marie Bridwell as Susan Paul and Marge Dunn as Maria Weston Chapman in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios
Dunn, having starred as Sherlock Holmes in Greater Boston Stage Company’s Miss Holmes Returns, still masters that commanding gleam in her eye and knowing grin. Chapman was a powerful and resourceful presence in the room and one that the other individuals looked to for guidance. Each individual shared their personal lives including a particular highlight as Bridgette Hayes as Lydia Marie Child reflected that she married a man who was good with dreams but bad with money. Regine Vital as Julia Williams was in a battle of her own fighting everyday to free her sister from slavery. However, the camaraderie between these women was never so well depicted than when they marched arm in arm during the 1838’s historical day of terror.
Regine Vital as Julia Williams in Plays in Place ‘A Light Under the Dome’ Photo by Nile Scott Studios
Gabridge’s script unveiled the hardships and grim reality of the freed in the north and the still enslaved in the south as the fight continued to abolish slavery and segregation. These influential women fought for everything they have and still faced oppression from every side. Gabridge’s script imbues a contemporary undertone that some aspects of Boston still have not changed including and not limited to Boston’s continuously sky high rent.
L to R: Thomika Marie Bridwell as Susan Paul, Marge Dunn as Maria Weston Chapman, Amanda Collins as Angelina Grimké, Regine Vital as Julia Williams and Bridgette Hayes as Lydia Marie Child in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios
A Light Under the Dome was an informative and eye-opening experience while also expressing to the contemporary viewer to continue to call for change in today’s society and fight for what is right as well as a firm plea to love thy neighbor as thyself.
Directed poignantly and powerfully by Courtney O’Connor and commissioned by the National Park Service, Plays in Place presented Patrick Gabridge’s A Light Under the Dome for a limited sold out run with waiting list availability only from August 12 to 15 live and in person at the Senate Chamber of the MA State House in Boston, Massachusetts. The production was approximately one hour with no intermission. Click here for more information and for more on Plays in Place.
Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo. An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.
With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts. This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission. Click here for more information and for tickets.
Adam Hochberg (Jared Troilo) and Lise (Samantha Barnes) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo Credit Robert Pascucci
By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world. Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.
A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance. In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable. Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm. It’s simple and yet absolutely extraordinary.
Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance. Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background. Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals. From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.
Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci
It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron. However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill. Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.
Pictured Lise Dassin (Samantha Barnes) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci
Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother. They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck. Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.
Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives. It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me.
Pictured l to r Milo Davenport (Rebekah Rae Robles) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Credit Robert Pascucci
With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance. Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up. It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad. Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.
Pictured_ l to r- Jerry Mulligan (Jack Mullen), Adam Hochberg (Jared Troilo), and Henri Baurel (Christopher Lewis) in Reagle Music Theatre ‘An American in Paris’ Photo credit Robert Pascucci
Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight! Get swept up in this beautiful musical as soon as you can.
Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci
With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts. This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission. Click here for more information and for tickets.
It’s always a wonderful sign when I spend more time in awe than writing things down and wow, does the time fly in a delicate balance of comedy and amazing feats.
Having only ever seen Cirque Du Soleil online or on television, it was a special treat to travel to the Agganis Arena in Boston, Massachusetts to witness the fascinating and unconventional stars of Cirque du Soleil’s latest production…insects.
Beautifully written, directed, and choreographed by Deborah Colker, Cirque de Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then to the SNHU Arena in Manchester, New Hampshire from August 8 through 11. This family-friendly, semi-interactive production is approximately two hours including a 20 minute intermission. Click here to go Behind the Scenes with the Sleepless Critic and here for more information and for tickets.
Flexible Dragonfly Photo credit Vlad Lorenzo
In a world likened to the Brazilian rainforest, an “OVO” which is Portuguese for ‘egg’, is carried to an insect colony by a Blue Fly called The Foreigner. Master Flipo, a jeweled beetle and master of this colony along with the community, are immediately curious about this incredible egg. Featuring performers mimicking exotic creatures including a ladybug, red spider, laced fly, crickets and many others that roam, leap, bend, contort, bounce, climb, flip and hunt this fascinating and multi-colored lit OVO, Cirque du Soleil: OVO is part sweet love story and part athletic spectacle with a good dose of absorbing comedy that is sure to enchant the whole family.
The Crickets Photo credit Vlad Lorenzo and courtesy of Cirque du Soleil OVO
What keeps Cirque du Soleil both amusing and enthralling throughout the production is it never lingers on the comedy or the choreography. It keeps the bright and lively pace moving while always featuring something new to explore. As a big fan of gymnastics, it’s easy to see its influence on this production. The meticulous manner in which these wild creatures move with Liz Vandal’s innovative costumes lend to the flexibility and sprightly nature of each individual and most notably in the crickets. Each controlled movement is bold and expressive as the soft sparkling glow of fireflies light up the stage while demonstrating astonishing aerial feats. Vibrant, colorful, and camouflaged insects fiercely scale lighting designer Éric Champoux’s projected and realistic surfaces above and below sea level. Tropical flowers grow and bloom onstage as part of Gringo Cardia’s vivacious set and a flourishing backdrop feature rain-soaked leaves in fine detail as a royal red queen directs her minions and a psychedelic Creatura slinks rampantly.
The Foreigner and Master Flipo Photo credit to Vlad Lorenzo and courtesy of Cirque du Soleil OVO
Warm yet strict Master Flipo shares some amusing encounters with the anxious and spiky Foreigner and the charming lady bug as they express themselves much like insects do. Keeping the jokes clownish and mostly kid friendly, the trio chirps, squirms, croons and shouts in their own language while miming their engaging intentions.
The Foreigner and The Ladybug Photo credit Vlad Lorenzo courtesy of Cirque Du Soleil
Sound designer Jonathan Deans and composer and music director Berna Ceppas navigate the on and offstage live orchestration that varies from soothing to edgy to ambient to electrifying. A playful onstage violinist, a drummer in a green mask, the haunting and soul-stirring harmonies of the red queen, an edgy and suspenseful guitar-tinged score as well as the immersive nights sounds of unique environments all bring this immense ecosystem to life in spectacular ways.
Fireflies Photo credit Vlad Lorenzo courtesy of Cirque du Soleil OVO
The laced fly spins like an ornament with the extension at the top of her head. The ballerina-like movements are graceful and delicate as it floats through the air and spins like a top. However, the red spider with a pink Mohawk crawls and glides urgently to edgy and captivating rhythms.
Cirque de Soleil: OVO revamped their show since taking a break during the pandemic with new acts and new music. What has not changed is the remarkable spirit of this wild ecosystem that learns to thrive in the brilliance in each other’s differences which all starts with an egg.
The cast of ‘Cirque Du Soleil OVO Photo credit Max Bocanegra and courtesy of Cirque du Soleil OVO
Beautifully written, directed, and choreographed by Deborah Colker, Cirque de Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then to the SNHU Arena in Manchester, New Hampshire from August 8 through 11. This family-friendly, semi-interactive production is approximately two hours including a 20 minute intermission. Click here to go Behind the Scenes with the Sleepless Critic and here for more information and for tickets.
Insects can be elegant and extraordinary…and it all starts with an egg.
The Foreigner (Blue Fly) with a mysterious OVO (Egg). Photo credit Vlad Lorenzo courtesy of Cirque Du Soleil: OVO
Cirque du Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing in at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then at the SNHU Arena in Manchester, New Hampshire August 8 through 11. Click here for more information and for tickets.
The costumesThe Laced FlyThe Red Spider
Going behind the scenes at Cirque du Soleil: OVO, some intriguing facts were unveiled about how this tremendous production comes together. From the preparation to the performers which includes two Olympians to Liz Vandal’s kaleidoscopic costumes from Montreal, this unique production is brought to life in distinctive venues all over the world. The following are some amazing facts from Senior Publicist Janie Mallet of OVO:
The Cricket and the Jewel Beetle
Cirque du Soleil is celebrating its 40th anniversary! OVO’s cast and crew is a multi-cultural group that has been traveling around the world since 2009. A quick paced touring production, OVO has spent fifteen years on the road changing city or country every single week. The show did break during the pandemic before returning in 2022 with a revamped production featuring new acts and new music.
‘Ovo’ is Portuguese for ‘egg’. The production starts when The Foreigner arrives at this new colony of insects with an egg on his back. The show explores how we interact with one another and learn to accept and celebrate our differences. There is a love story, curiosities, and a bit of a confrontation in a world likened to a Brazilian rainforest.
Not only does the production travel with a full gym backstage, but with a full time coach, access to nutritionists, two performance therapists, doctors and an artistic team of 100 people with 52 performing onstage.
The artists and athletes do their own cardio, strength training, and flexibility before attending meetings and trainings for the show. The performers expend so much energy and do not follow a diet. They eat what is best for them at their own discretion, but if they want to work on a specialized thing, they have three chefs and a catering team on hand.
The production has a lot of moving parts and the size and how the trucks are packed for the tours are different, especially if they fly across the ocean. Everything is meticulously labeled and the teams need to be ready to adapt to any last minute changes.
The production has over 1000 costumes. These costumes are built for the function of each performer and there are four full time technicians on tour to take care of the costumes. All the costumes require some training in order to wear them comfortably. The clowns have larger costumes while the crickets’ costumes are light and contain a lot of stretch for performing flips and jumps. The aerial acts also have lighter costumes as they fly from one platform to the next.
The production has six washers and three dryers that travel with them all over the world. Delicate costumes and wardrobes are dried with the fans and 60 loads of laundry are completed prior to each performance.
The shoes
Washers and Dryers
Gary portrays Master Flipo, the chief of the insect colony. Alongside Canadian poles artist acrobat David, they deliver some insight into their history in the circus, their favorite insects, and anticipating OVO’s opening night in Boston. In real life, Gary is from Austria and lives in Spain.
From L to R: David and Gary of OVO
Gary: When I was 12, I decided I wanted to be a clown. I told my mom and never lost this dream. I ended up in a mime and circus school and then started to work in the circus before I joined Cirque de Soleil. They said, ‘We like your stupid face’ in 1992. I moved and did a show in Las Vegas and then back to Europe and then I’ve been here almost 7 years.
David: I started in the circus quite late at the age of 20. Usually acrobats start at a much younger age with gymnastics but at 20, I started from nothing. I saw a circus show and said that I want to do that and found out there were circus schools. I didn’t know they existed in Quebec City so I trained really hard for two years to get in because I found out that there are people all over the world who are trying to enter these professional schools. You need to already be good at something to get in and then somehow I got in. I did my three years of circus school for like 40 hours a week of training. Ever since, I’ve been in the circus and working with different circuses. I’ve been with OVO since the re-launch in 2022 with new artists and music. I’m part of the new acts.
We are very excited about the show and don’t know how the public is going to react yet, but we’re all feeling super rested because we just came back from three weeks of tour break from home. We’re very happy to be in Boston with the beautiful summer weather. We’ve met Bostonians on the street and they seem very nice.
Gary: Especially for us clowns it is very interesting in Boston to find out where they laugh and where they don’t laugh. We have to adjust the timing and are already having butterflies.
David: We toured with the show everywhere in the world. Depending on the different cultures, finding out how the audience will react is always our biggest concern.
Gary: What I anticipate sharing with the audience the most is always taking people onstage. Sometimes I have to improvise which I love and it challenges me. Generally, the whole show is a big festival of happiness. I don’t have favorites.
David: I am excited about my act just because in the living arts and in the circus there is always a bit of modification. It is never one stable show. It is thousands of versions of the show, even though it’s the same show for the public. For us, it has little changes and our act has new music, so we work on it frequently and make little changes in the choreography. It’s going to be fresh, new and exciting.
Gary as Jeweled Beetle Master Flipo Photo credit Vlad Lorenzo courtesy of Cirque du Soleil: OVO
David: It’s a very beautiful insect.
Gary: But at the same time, I love the ladybug.
The Foreigner and The Ladybug Photo credit Pat Beaudry and courtesy of Cirque Du Soleil: OVO
David: I really like the laced fly. The lace fly is the hair extension act and I think her costume is just brilliant and so colorful. It’s a beautiful act.
Gary: I like the crickets for the costumes. How they have an engineered costume where I always think, ‘How is it possible to move in that?’
The Crickets Wall Act Photo credit Vlad Lorenzo and courtesy of Cirque Du Soleil: OVO
David: Shout out to the Red Queen.
The Red Queen with cast of ‘Cirque Du Soleil: OVO’ Photo courtesy of Cirque Du Soleil: OVO
Gary: …and the clowns and the musicians.
David:OVO is really about inclusion. It’s about accepting our differences and celebrating the whole of the colony, even the cockroaches. They are all our friends. It’s sort of hard to choose one specific insect because they are all amazing.
David: The show takes years to train, but for this particular show, usually the creation of a Cirque de Soleil show is a few months. Like six months maybe and because the acrobats have been thinking about the show for a year or two, the physical preparation to get to this level takes years and years of training. Then we adapt the skills we have to the specific number and choreography that we need for the show, but it’s not like I train physically for years to be an insect. I train physically to be a circus acrobat and artist and then transfer the skills in a few months.
Gary: It’s the same thing with us…the clowns. We are being cast for that because our profile fits in it. The clown has his own profile for performing and stupidity. So I was cast because I am stupid and smart.
David: (laughs) Maybe that is also why I was cast.
Gary: (laughs) Bingo!
The insects of ‘Cirque du Soleil: OVO’ Photo courtesy of Cirque du Soleil OVO
Cirque de Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing in at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then at the SNHU Arena in Manchester, New Hampshire August 8 through 11. Click here for more information and for tickets.
Long ago and far away on the islands of the South Pacific, the turbulence of World War II leaves the South Pacific in peril. The challenges that face this particular group of people may be the only thing that turns the tide.
Penelope Rhoads and Lola Rhoads in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci
Rodgers and Hammerstein’s South Pacific focuses on love, sacrifice, and survival during a turning point in World War II, but also features many lighthearted and humorous moments under Rachel Bertone’s direction and mix of delicate and energetic choreography from the endearing Dites-Moi featuring graceful Penelope Rhoads as Nguana and Lola Rhoads as Jerome to the high-spirited There is Nothing Like a Dame to the carefree comedy of Honey Bun featuring charismatic, wisecracking but well-meaning Luther depicted impressively by Brendan McGrady with a smirk and thick New York accent. With strong and engaging vocals navigated by Music Director David Coleman, South Pacific boasts a long list of Rodgers and Hammerstein’s revered American Standard classic tunes.
Janie E. Howland’s breezy, tropical, and wicker-infused set includes painted tropical flowers, towering palm trees, and signs of significant locations as well as a surprising special effect with a helicopter. Blended with Frank Meissner Jr’s radiant lighting, South Pacific illuminates compelling landscapes from dawn to daybreak as well as a gleaming aqua coastline. Emerald City Theatrical’s terrifically retro costumes range from vintage cheerfully colored casual wear to authentic looking uniforms.
Jennifer Ellis and Christopher Chew in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci
Jennifer Ellis blends effervescence and effortless charm as Nellie Forbush, a GI nurse from Arkansas who quickly falls for Christopher Chew as Emile de Becque, an older, worldly and mysterious Frenchman who resides on an island plantation. Both are incredibly curious about the other and consider each other way out of their league. Chew and Ellis share romantic tension-fueled chemistry, making it sweet to witness their awkward conversions. There is warmth between these two and Chew’s marvelous vocals deliver a beautiful rendition of Some Enchanted Evening after Ellis shares her lighthearted nature in an enchanting rendition of Cockeyed Optimist.
Emile and Nellie seem to have a mature love that is often tested as the production progresses. This show is less about love triangles, but more about love at first sight and the challenges that each one of them face as war hangs in the balance.
Lisa Yuen in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci
Another captivating yet fiery presence is Lisa Yuen as determined, practical and shrewd businesswoman Bloody Mary. Yuen’s candid, direct and persistent demeanor as a Tonkinese woman attempting to find success is excellent, especially as she outsmarts some GIs she encounters for a deal. She has a wonderful rapport and chumminess with the GIs, especially during the number Bloody Mary through Bertone’s lively choreography. Yuen shares a funny first encounter with Blake DuBois as cool, collected and enigmatic Lieutenant Joseph Cable who delivers a memorable rendition of Younger than Springtime. Yuen’s Bloody Mary just might be the most earnest and levelheaded individual in the production, her haunting vocals on full display in Bali Ha’i and heartfelt alongside Calico Valasco as Liat in Happy Talk.
Lisa Yuen and Calico Valasco in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci
Some aspects of South Pacific still seem dated and a little cloying and with much respect to Rodgers and Hammerstein, South Pacific is not as emotionally charged as their other works and often found myself questioning the motivation of some of these characters. For example, Ellis as Nellie seems impulsive and indecisive just as quickly as she seems so certain. Perhaps it was just a different time. Otherwise, Reagle Music Theatre of Greater Boston’s South Pacific is a memorable, family-friendly day at the theatre with a strong and timeless inherent message.
Jennifer Ellis as Nellie and the cast of Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci
Directed and choreographed by Rachel Bertone and adapted from James A. Michener’s Pulitzer prize-winning novel, Tales of the South Pacific, Reagle Music Theatre of Greater Boston kicked off its 55th season with Rodgers and Hammerstein’s Golden Age musical classic, South Pacific live and in person at the Robinson Theatre in Waltham, Massachusetts through Sunday, June 23. This family-friendly production is approximately two hours and 30 min with a 15 minute intermission. Click here for more information and for tickets.
Celebrating 30 years, Boston Pops Gospel Night has stood the test of time as a glorious and revered annual tradition. Boasting an illuminated brass backdrop layered with firework shaped gold lighting as well as multi-colored imagery, Boston Symphony Hall welcomed a large crowd for this highly-anticipated, 30th anniversary event for one night only on Saturday, June 8 live and in person in Boston, Massachusetts. Click here for more information and more on upcoming Boston Pops events including Boston Pops Fireworks Spectacular featuring The Mavericks, Kelli O’Hara, and much more.
Each year, Gospel Night features a special blend of acclaimed musical guests, a variety of beloved songs delivered by the Boston Pops Gospel Choir as well as an array of memorable performances.
Renowned Conductor Charles Floyd Photo by Mike Mejia
Warmly greeting the crowd and the orchestra was accomplished conductor, pianist, and composer Charles Floyd, who has been conducting Gospel Night for the past 28 years. Click here for a closer look at Charles Floyd and his career.
Distinguished looking in a white tuxedo with black pants and a bow tie, Charles Floyd gave an appreciative wave before opening this joyous concert with George W. Chadwick’s spirited Jubilee which boasts a rush of excitement and anticipation as well as a mix of beautiful yearning and striking rhythms. Duke Ellington’s Caravan was an incredibly robust and exhilarating experience delivering drum-infused, head bobbing rhythms featuring Edmar Colón, David Rosado, Jeriel Sanjurjo and Gabriel Santiago on percussion and featuring Balla Kouyaté with an incredible sound on Balafon.
Balla Kouyaté on Balafon Photo by Mike Mejia
Ten-time Grammy Award-winning a capella gospel group Take 6 highlighted the event as they returned to Gospel Night for an uplifting set of impressive performances. Made up of a half a dozen captivating members which includes Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, and Khristian Dentley in suits and tailored shirts, Take 6 took the audience on a wide and inspirational journey to provide encouragement and share their joy including the catchy harmonies in Feels Good, an upbeat, yet moving rendition of the Charlie Chaplin’s cover Smile, a fiddle-infused Lullaby and a nostalgic rendition of Ambrosia’s Biggest Part of Me. As cloud shaped lighting hovered above the orchestra, Take 6 also shared a divine rendition of David Bloom’s You deserve it steeped in echoing and acapella harmonies.
The return of A cappella gospel group ‘Take 6’ Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, and Khristian Dentley Photo by Mike Mejia
The second half of Gospel Night is a rousing celebration encouraging everyone to let loose and dance with the energizing Boston Pops Gospel Choir. In a beautiful black dress and pearls, Katani Sumner encouraged the crowd to get on their feet for Smith’s All Praise which was further emphasized by Ray Martin in an uplifting rendition of Hallelujah You’re Worthy. Ida Kamrara elevated the celebration with Lord You’re Great and Brittany Wells and Loraine Adeymi joined together for a horn infused, expressive and high-powered duet of Wonderful is Your Name/I’m So Thankful as the energy escalated onstage culminating in Zion Rejoice with Sherylynn Sealy.
Photo by Mike Mejia
However, after the encore is the after party.
Led with incredible enthusiasm and sharing a few dance steps, The Boston Pops Gospel Choir Artistic Director and Brother Dennis L. Slaughter gears up each year for a grand, spirit-fueled finale after the finale. It is a toe tapping after party that usually could go all night long, if only they could. Whether it is due to the current state of the world, remnants of pandemic numbers, people buried in discouragement or a combination of all three, the audience’s response was not as enthusiastic has it has been in past years. The finale usually has everyone on their feet and Gospel Night was not as full as it has been in past years.
The Boston Pops Gospel Choir Photo by Mike Mejia
Earlier on during their set, Take 6 delivered an earnest and eloquent message of persistence and resilience before launching into a smooth and touching rendition of Over the Hill is Home. It spoke volumes about overcoming the heartache of life’s challenges and having faith to pull ourselves over that hill to a day that ‘shines so bright.’ We can all use encouragement in these dark times and Gospel Night uniquely brings home that exuberant and electrifying resolve each and every year if we let it sink in.
