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REVIEW: Striking a delicate balance of comedy and spectacular feats, family-friendly ‘Cirque du Soleil: OVO’ celebrates brilliance in the smallest of creatures

Posted on July 27, 2024 by The Sleepless Critic

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

Know before you go: fun facts and behind the scenes interview at ‘Cirque du Soleil: OVO’

Posted on July 24, 2024 by The Sleepless Critic

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.

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:

Cirque du Soleil is celebrating its 40^th 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.

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.

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: I love the jeweled beetle so I love my colors.

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.

REVIEW: Reagle Music Theatre of Greater Boston looks at love and sacrifice in a breezy ‘South Pacific’

Posted on June 22, 2024 by The Sleepless Critic

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.

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 55^th 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.

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

REVIEW: Boston Pops capped of their Spring Pops season with a glorious celebration on Gospel Night’s 30th anniversary

Posted on June 20, 2024 by The Sleepless Critic

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, 30^th 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.

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.

REVIEW: Actors’ Shakespeare Project lights up an inspired ‘Romeo and Juliet’

Posted on May 30, 2024 by The Sleepless Critic

Rage, passion, betrayal, desperation and what might have been. Such is the language of Actors’ Shakespeare Project’s faithful yet contemporary take on Shakespeare’s classic Romeo and Juliet and it is all the better for it.

With visionary direction by Marianna Bassham, Actors’ Shakespeare Project is concluding its current season with Romeo and Juliet live and in person through Sunday, June 2 at the Calderwood Pavilion in Boston, Massachusetts. This lively production runs 2 hours and 20 minutes including a 15 minute intermission. Click here for more information and for tickets.

Evan Taylor as Romeo and Chloe McFarlane as Juliet in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Courtesy of Maggie Hall Photography

Set in Verona, scenic designer Saskia Martinez’s eye-popping set layered in textured bursting fuchsia with Deb Sullivan’s vibrant and symbolic lighting and a suspenseful, foreboding and electronic-infused score create a unique and edgy vibe as the beige hooded Capulets and black hooded Montagues roam the stage. Heart shaped sunglasses, sneakers, and combat boots are just a few of the highlights of Lisa Coleman’s modern costume design.

Nothing less is appropriate for this expressive and engaging cast that is more than well versed in the material. Having seen Shakespeare done in various capacities, this particular cast brings an elevated meaning to Shakespeare’s work and one does not have to be a Shakespeare fan or know Shakespeare to comprehend this production’s brilliant interpretation. This show reveals no weapons and it is certainly not necessary for the clarity presented onstage. The well paced production depicts the playful camaraderie within the Montague clan as well as the turmoil, tension, and sheer rage between houses led by Capulet leader Sandra Seone-Seri as threatening and tempestuous Tybalt.

Christopher V. Edwards and Esme Allen in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Photo by Maggie Hall Photography

This is also no contemporary reboot of this classic production though a self glow ring light is humorously used by Esme Allen who portrays Juliet’s delightfully materialistic cool mom Lady Capulet. Christopher V. Edwards delivers a commanding performance as Juliet’s father Lord Capulet especially in a pivotal scene later in the production. In black nail polish, Michael Broadhurst as Mercutio is a life of the party wild card. Broadhurst is teasing and playful with dark undertones as Romeo’s best friend and shares some mischievous antics with Nicolas Zuluaga as handsome and earnest Benvolio.

Michael Broadhurst, Evan Taylor, and Nicolas Zuluaga in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Photo by Maggie Hall Photography

Jesse Hinson performs double duty as the Apothecary seamlessly while delivering an epic and foreboding sound design in real time onstage using a sound board and a lone reverberating electric guitar.

However, what this production does best at is love in every form including naïve, unscathed, willful, endless and true love delivered by Chloe McFarlane as Juliet and Evan Taylor as Romeo.

Partially narrated by Jules Talbot who takes on a number or roles during the production, Shakespeare’s Romeo and Juliet focuses on two clans at war between the Capulets and the Montagues. When Evan Taylor as Romeo Montague sets his eyes on Chloe McFarlane as Juliet Capulet, it is love at first sight. Then things get complicated.

Fernando Barbosa and Chloe McFarlane in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Photo by Maggie Hall Photography

The electricity between McFarlane and Taylor only intensifies as the production progresses. Passionate Romeo and virtuous Juliet not only share some tender love scenes, but genuine humor in their mutual admiration. Paula Plum delivers a wondrous and compassionate performance as Nurse who shares such a lovely rapport with McFarlane as Juliet. Plum’s Nurse is protective and more maternal than Juliet’s own mother and it is moving to witness her unwavering belief that Romeo and Julie’s love goes far beyond names. It is a belief that could prevent a lot of suffering onstage and off.

Chloe McFarlane and Paula Plum in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Photo by Maggie Hall Photography

Parting is such sweet sorrow so see Actors’ Shakespeare Project’s Romeo and Juliet live and in person through Sunday, June 2 at the Calderwood Pavilion in Boston, Massachusetts. This compelling production runs 2 hours and 15 minutes including a 20 minute intermission. Click here for more information and for tickets.

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

Posted on May 14, 2024 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on April 12, 2024 by The Sleepless Critic

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

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

Seasons of Love

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

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

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

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

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

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

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

Posted on April 9, 2024 by The Sleepless Critic

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

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

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

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

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

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

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

Patti Lupone Photo credit Robert Torres/Celebrity Series of Boston

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

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

Posted on March 16, 2024 by The Sleepless Critic

The calming bird calls and chiming crickets in perfect rhythm with the ocean waves combined with the whimsical with a hint of melancholy music score by David Remedios is a clever façade for what exists inside Tyrone’s American oceanside summer cottage. So much of this production is about what each person is hiding inside as miserly owner Mr. Tyrone insists on keeping the lights off.

Under Courtney O’Connor’s delicate direction and just in time for St. Patrick’s Day, Lyric Stage Company continues its 50^th anniversary season with Ronán Noone Irish drama Thirst live and in person at Lyric Stage in Boston, Massachusetts through Sunday, March 17. The show is two hours and 15 minutes including an intermission. Click here for more information and for tickets.

Michael Kaye and Aimee Doherty in ‘Thirst’ Photo by Mark S Howard

Set in 1912 within scenic designer Janie E Howland’s impressively functioning kitchen equipped with running water and a piping hot wood stove and heavy hanging black wrought iron pans as active as this trio of lonely and willful characters, Thirst delves into longing, heartache, and the inner turmoil that can very well define us all if we let it.

Michael Kaye Kate Fitzgerald and Aimee Doherty in ‘Thirst’ Photo by Mark S. Howard

Thirst focuses on two Irish immigrant servants and a widowed chauffeur employed by the Tyrone family who are restless about their future and longing for a better life seemingly just beyond their reach. Part unconventional love story, Thirst explores life’s challenges and the unique tie that binds this trio of characters to gradually understand each other.

Though it has a bit of a slow start, witnessing the unfolding of these multilayered characters helmed by Kate Fitzgerald who exuberantly embodies feisty, daydreaming, uproarious, and romantic Titanic survivor Cathleen, becomes an absorbing exploration for this trio to break free of their limitations and embrace happiness.

Kate Fitzgerald and Aimee Doherty in ‘Thirst’ Photo by Mark S. Howard

With a thick brogue under dialect coach Rebecca Gibel, Fitzgerald’s excitability and wondrous daydreams blended with her maturity and frankness well beyond her age is a stark contrast to Aimee Doherty as Cathleen’s disillusioned, secretive and practical Aunt Bridget. Doherty and Fitzgerald’s sweet and spicy rapport is as comical as it is bittersweet and their tendency to take things too far makes for some enthralling moments. It is particularly fascinating to watch a wonderful actress like Aimee Doherty’s depiction of tone deaf Bridget when renowned singer Doherty is anything but. Doherty has a particular flair during the production’s more lighthearted moments. Michael Kaye is increasingly endearing as poetic and protective Jack heightened in a moving monologue about life’s complications toward the end of the play. All of these characters have suffered grief and loss and it is touching to watch them argue, protect and encourage each other as they learn to understand each other’s innate struggles through humor and heartache.

Aimee Doherty in ‘Thirst’ Photo by Mark S Howard

Under Courtney O’Connor’s delicate direction and just in time for St. Patrick’s Day, Lyric Stage Company continues its 50^th anniversary season with Ronán Noone Irish drama Thirst live and in person at Lyric Stage in Boston, Massachusetts through Sunday, March 17. The show is two hours and fifteen minutes including an intermission. Click here for more information and for tickets.

REVIEW: Karin Trachtenberg’s ‘My Mother Had Two Faces’ examines the woman in the mirror

Posted on March 9, 2024 by The Sleepless Critic

They say beauty is only skin deep.

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

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

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

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

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

Karin and Lindt chocolate Photo credit to Karin Trachtenberg

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

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

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

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