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REVIEW: In honor of Boston’s Old North Church’s tricentennial, Plays in Place rewinds the clock for tense and engrossing ‘Revolution’s Edge’

Posted on by The Sleepless Critic

After 300 years, Boston’s Old North Church has stood through some of the most exciting and harrowing moments in our nation’s history.  The Old North Church’s clock has consistently kept time since 1726.  Playwright Patrick Gabridge pens an original play that explores a particularly intense dialogue set on the eve of the Revolutionary War in 1775.  Plays in Place rewinds the clock to 1775 where three individuals contemplate their fates as tensions escalate to panic, gradually making it impossible not to take action.

Nathan Johnson photo-by Nile Scott Studios

In honor of the Old North Church’s 300th anniversary and directed skillfully by Alexandra Smith, Plays in Place presents Patrick Gabridge’s engaging Revolution’s Edge, live and in person at The Old North Church in Boston Massachusetts on select days through September 19.   The production is 45 minutes with no intermission and the box pews provide an immersive view. It is an educational production that is appropriate for families.  Click here for more information and for tickets.

Brooks Reeves Photo by Nile Scott Studios

From colorful waistcoats to pristine linen shirts to proper vestments, Christina Beam’s elegantly detailed costumes are perfectly authentic to its era and one couldn’t have asked for a better setting than the Old North Church, Boston’s oldest surviving church right along the Freedom Trail. 

Evan Turissini and Brooks Reeves Photo-by Nile Scott Studios

Three individuals composed of a reverend/doctor, his slave, and a sea captain are metaphorically tied together during this strained window in history.  They are contemplating the state of Boston, the nation, and their future.  Each clings to a different perspective of their future in terms of family, loyalty, occupation, politics, and identity.  Two are a friendship divided through conflict and one is left without a choice as they articulate their thoughts and struggles while the world seems to be collapsing around them.

Gabridge’s passionate script has an intensity rooted in fear that looms quietly and then builds throughout the production.   It also brings out the best in this trio of performers.  Revolution’s Edge teeters from warmth to anxiousness to manipulation, but each evokes a note of consideration and compassion, even while blinded by fear. 

Evan Turissini and Brooks Reeves Photo by Nile Scott Studios

Evan Turissini portrays American ship captain, vestryman, and patriot Captain John Pulling Jr. with reason, devotion, and compassion for the others, but is squarely dedicated to his cause.  Turissini and Brooks Reeves as complicated Rev. Dr. Mather Byles Jr, a reverend and doctor with ties to England and America, share some pivotal and contentious moments that bring out some indelible performances.  Huddled closely together, it is engrossing to watch their war of words.  Byles’s impatience and manipulative side is particularly exposed in a significant conversation with Byles’s slave Cato, depicted sympathetically and astutely by Nathan Johnson.  Johnson is faced with agonizing sacrifices and is truly the heart of this production.

Nathan Johnson and Brooks Reeves Photo by Nile Scott Studios

Revolution’s Edge cleverly weaves some of Boston’s most significant events including the Boston Tea Party and Revere’s Ride while the audience is still privy to dangerous events in motion right outside the church’s windows.

Though this would be especially fascinating for visitors of Boston and historians, Revolution’s Edge is an exciting and deeply educational window into a harrowing moment in history.  Witnessing it knowing how the world is now brings intricate and profound meaning.

In honor of the Old North Church’s 300th anniversary and directed by Alexandra Smith, Plays in Place presents Patrick Gabridge’s engaging Revolution’s Edge live and in person at The Old North Church in Boston Massachusetts on select days through September 19.   The production is 45 minutes with no intermission and the box pews provide an immersive view.   Click here for more information and for tickets.

REVIEW:  Sisterhood is the new black in Hub Theatre Company of Boston’s vivacious ‘Love, Loss, and What I Wore’

Posted on by The Sleepless Critic

Call this cast a girl squad and a sisterhood.

With potent direction by Paula Plum and based on the bestselling memoir by Ilene Beckerman, Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5.  This show is 90 minutes with no intermission and pay-what-you-can tickets are available.  It occasionally contains adult and unfiltered language.  Purchase a drink during this show and Club Café also offers a full menu.  Click here for more information and for tickets.

Lauren Elisa, June Kfoury, Barbara Douglass, Evelyn Holley, and Nettie Chickering in Hub Theatre’s ‘Love, Loss, and ‘What I Wore’ Photo credit to Tim Gurczak

The name Nora Ephron must ring a bell.  She was a famous award-winning rom-com journalist, writer, and filmmaker best known for 1983’s Silkwood, 1989’s When Harry Met Sally as well as 90s rom com classics Sleepless and Seattle and You’ve Got Mail before co-writing the screenplay for Julie and Julia in 2009.  Ephron’s signature style tackled the seriousness of life with a lighthearted demeanor and always found some relatable humor along the way.  With her sister Delia, Nora lends that empowering humor and charm to Love, Loss, and What I Wore.

June Kfoury, Evelyn Holley, Nettie Chickering, Lauren Elias, and Barbara Douglass in ‘Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

One of the greatest strengths of Love, Loss and What I Wore is the ensemble’s beautiful camaraderie.  Love Loss and What I Wore has a gift for eloquently associating fashion with life’s bittersweet challenges.  Portraying several ages while sharing that walk down memory lane is Nettie Chickering, Barbara Douglass, Lauren Elias, Evelyn Holley, and June Kfoury.  Dressed in chic black by Kat Lawrence, they allow their vibrant experiences to take center stage.  From fashion faux pas to that eternally favorite garment, five women lay bare their fondest memories and insecurities.  It is a love letter to growing up and growing older in all of its wonder and complications. 

Nettie Chickering in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

To an array of lighthearted club hits between scenes, this dynamic group share silly, sad, courageous and important stories with collaborative flair and wistfulness.  They dance, grieve, conspire, tease, support and relate to each other all while discussing everything from relationships to family to roommates to the trials and tribulations of being a woman in a fun loving and deeply personal manner.  A few lighter moments include witnessing Lauren Elias and her hilarious and empathetic comments about carrying a purse, Douglass’s wise and humorous motherly advice, and the sheer joy and supportive manner in which these women appreciate each other’s company.   However, what stirs the production the most is contained in this group’s most significant challenges.  The stories they share are raw, honest, at times rueful, and may seem familiar as well.

June Kfoury in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

With Talia Elise’s dazzling lighting powering a bright and cheerful set which includes glowing string lights, a luminous neon hanger, shimmering disco ball, multicolor boas, and an illustrated clothing rack by Justin Lahue and Maggie Shivers plus a wonderful dose of nostalgia, Love Loss and What I Wore is a captivating experience into life’s surprises and how to discover what is truly important.

Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5.  This show is 90 minutes with no intermission and pay-what-you-can tickets are available.  It occasionally contains adult and unfiltered language.  Click here for more information and for tickets.

REVIEW:  Packed with emotional punch, Gloucester Stage Company stirs up a curious ‘Stew’

Posted on by The Sleepless Critic

What does it take to create a memorable stew?

Zora Howard seems to have perfected this particular recipe because Stew embodies in structure and storyline while enhanced with metaphorical seasoning and home style hospitality the unpredictability of cooking a stew and how it relates to the chaos and disarray of life.

Gloucester Stage Company’s ‘STEW’ Cheryl Singleton as Mama, Sadiyah Dyce Stephens as Lil Mama Breezy Leigh as Lillian and Janelle Grace as Nelly Photo Credit to Jason Grow Photography

 Directed conscientiously by Rosalind Bevan, Gloucester Stage Company continues Zora Howard’s renowned drama Stew live and in person at Gloucester Stage in Gloucester, Massachusetts as well as a streaming option through Sunday, July 23.  The show is 90 minutes without an intermission and discusses some adult themes.  Click here for more information and for tickets.

Isn’t it a wonder that whenever guests or family visit, they usually end up in the kitchen?  The kitchen represents more than just preparing a meal.  It is a haven where people convene to share stories, gossip, and build camaraderie in a mutual place while also representing an opportunity to help each other. 

Gloucester Stage Company’s ‘STEW’ Cheryl Singleton as Mama, Sadiyah Dyce Stephens as Lil Mama, Janelle Grace as Nelly Photo credit to Jason Grow Photography

Taking place entirely in Mama’s kitchen, Pulitzer Prize finalist Stew focuses on four generations of Tucker women who are all dealing with their own secrets as they mill around the kitchen.  In many ways, these four women also ‘stew’ with worry over what they have hidden away.   However, what is most intriguing about Stew is the liberating nature in which the cast interacts from the calling up or down the stairs, the bickering, the fast paced family dialogue that practically runs over the other’s sentences, and frank conversations to the loving manner in which these four women act toward one other.  Some with respect and then in scenes where there should be far more respect.  The pacing of events also parallels the progression of a stew.  It begins at a mild pace, simmers, and as the tension escalates, the stew begins to boil.

Gloucester Stage Company’ ‘Stew’ cast Photo credit Jason Grow Photography

This tight knit cast creates tangible tension and yet also reflects a familiar family dynamic fueled in this inviting atmosphere.  Cheryl D. Singleton portrays Mama, a God-fearing, wise, stern, stubborn yet generous woman who annually invites her family to prepare a big meal for her church group.  Singleton is as capable in her joyous moments as she is in her stark silences.  In one scene, Singleton could have leveled the room with her eyes and her silences speak much louder than her words.  Mama is a reminder of any mother who is trying to bind the family together, but look out when a certain line is crossed. 

Gloucester Stage Company’s ‘STEW’ Sadiyah Dyce Stephens as Lil Mama and Cheryl Singleton as Mama, Breezy Leigh as Lillian Photo credit to Jason Grow Photography

Breezy Leigh depicts Mama’s daughter Lillian and the mother of Janelle Grace as rebellious Nelly and Sadiyah Dyce Janai Stephens as Lil Mama.  Leigh depicts outspoken, talkative, and restless Lillian with depth and complexity as she attempts to navigate life with headstrong and rambunctious daughters.  Leigh has some intriguing and relatable moments with Janelle and Sadiyah who often try their mother’s patience.  Sadiyah and Janelle share some humorous scenes as squabbling sisters and Sadiyah is compelling in Lil Mama’s precocious moments while Janelle impressively depicts any haughty teenager’s attitude on the brink of turning 18.

Gloucester Stage Company’s ‘Stew’ Breezy Leigh as Lillian and Cheryl Singleton as Mama Photo credit Jason Grow Photography

Elevating the intrigue of each scene is Aubrey Dube’s bluesy single bass guitar and soundtrack and Kat C. Zhou’s evocative and occasionally harrowing lighting that exude a troubling aura.  Jenna McFarland Lord’s hospitable and functioning kitchen builds on the production’s realism as the stove comes alive and the counter is strewn with ingredients.  In colorful head wraps and flowing, casual wear indicative of each generation’s personality, KJ Gilmer’s relaxed costume design completes this homespun feel as the daughters slide in socks and cotton pajamas.

Howard’s characters are richly developed, fleshing out their strengths as well as their flaws.  The revelations in the production, once the stew thickens, are swift and astonishing.  It is a memorable production delivered so cleverly, it urges conflicted contemplation long after the show is over.

Directed conscientiously by Rosalind Bevan, Gloucester Stage Company continues Zora Howard’s renowned drama Stew live and in person at Gloucester Stage in Gloucester, Massachusetts as well as a streaming option through Sunday, July 23.  The show is 90 minutes without an intermission and discusses some adult themes.  Click here for more information and for tickets.

REVIEW:  Theater Uncorked’s ‘Sideman’ grapples with a dream

Posted on by The Sleepless Critic

Nothing comes between a man and his music, but maybe something should.

Directed with a stirring cadence by Russell R. Greene, Theater Uncorked presented Warren Leight’s Sideman for a limited engagement from May 3-7 live and in person at Boston Center for the Arts Plaza Theatre in Boston, Massachusetts.  The show was two hours with one 15 minute intermission and is not for children.  Click here for more information and what is next for Theater Uncorked.

Phil Thompson as Jonsey Leonard Chasse as Al and James Hunt as Ziggy Photo credit to Gary Ng

A ‘sideman’ in jazz terms refers to a member of a jazz or swing orchestra.  The term not only applies to Brad Michael Pickett as trumpet player Gene, but his loyal sidemen which include Leonard Chasse as Al, James Hunt as Ziggy, and an impressive Phil Thompson as troubled Jonesy.  Gene’s band mates demonstrate an easy rapport and an unshakable and stalwart camaraderie as they bond into the wee hours over music, love, and the unstable life of the musician.  Accompanied by Jennifer Shotkin in an invigorating performance as warm and wisecracking waitress Patsy, they seem far more like family to the dismay of the rest of Gene’s actual family.

Jennifer Shotkin as Patsy Photo credit to Gary Ng

From the viewpoint of Ben Gold as Gene’s son Clifford, Sideman is a unique memoir about Clifford’s dysfunctional family that matured him far too early.  It delves into the excitement, seeming glamour, and the alarming upheaval in the pursuit of music that can leave madness for many in its wake.

Sideman offers dark and humorous moments in a jazz style storyline that culminates in intensity as quickly as it mellows.  Delivered with dry wit, some notable deadpan expressions, and occasional despondence by Ben Gold, this ambitious show covers a lot of territory during an over 30 year timeline that rides the height of NYC jazz to its gradual decline.  Short sided and neglectful Gene is more impressed by an unemployment check than an actual job while Clifford’s fast talking, hotheaded, and unraveling mother Terry, a rich and scathing performance by Shana Dirik, would rather let her ambitions and heartaches override her responsibilities.  Brad Michael Pickett as Gene and Shana Dirik as Terry deliver some stunning scenes together that zip between star struck and fed up.   All Clifford wants is a sense of normalcy, but that might be a tall order.

Shana Dirik as Terry and Brad Michael Pickett as Gene Photo credit to Gary Ng

From a distinct black and white Marilyn Monroe poster, neon lights, wood paneled walls, afghan quilts, and authentic vintage furniture, Shana Dirik with lighting designer Erik Fox steeps the viewer into multiple eras with a wealth of retro charm.  Warren Leight’s script delves into the jazz era harkening to epic musical heights from Sinatra at the Copa to Neon Leon to Elvis’s performance on the Ed Sullivan Show driven by Tim Rose’s lively and reflective sound design.

Ben Gold as Clifford Shana Dirik as Terry and Brad Michael Pickett as Gene Photo credit to Gary Ng

Sideman is in many ways a toast to jazz, but is also about family.   To become great requires sacrifice and yet there is something amiss about this band’s journey.  Warren Leight’s characters accomplish a great feat in that most of his characters are still likable even through their selfish and undeniable blind ambition.  Sympathetic and compassionate, Gold’s Clifford is a character worth rooting for as he navigates through this musical journey full of wild predicaments.

Theater Uncorked presented Warren Leight’s Sideman for a limited engagement from May 3-7 live and in person at Boston Center for the Arts Plaza Theatre in Boston, Massachusetts.  Click here for more information and what is next for Theater Uncorked.

REVIEW:  Fueled by sardonic wit and intense humor, The Huntington’s ‘The Art of Burning’ crackles

Posted on by The Sleepless Critic

Cutting sarcasm, sardonic wit, and a feigned smile does little to contain Patricia’s smoldering rage lurking just beneath the surface. No question Patricia has every reason to harbor resentment considering what she is going through affects her entire family. As a painter, it is important for Patricia to express her mounting feelings through art, but what if the pain is so deep that not even a canvas can exorcise that anger?

Directed methodically by Melia Bensussan, The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. The show is 85 minutes with no intermission, contains adult themes, and is not appropriate for children. Click here for more information and tickets.

Adrianne Krstansky, Michael Kaye, and Rob Barkhordar in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning takes an unconventional look at love and all of its side steps, misunderstandings, and complications. It also delves into betrayal, divorce, survival, and all of the lingering emotions simmering just below the surface. With dark humor that can be disquieting at times, The Art of Burning explores the complexity of human relations including a few of its vast repercussions.

Rom Barkhordar and Vivia Font in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Jane Shaw’s haunting score and Aja M. Jackson’s vivid lighting enriches scenic designer Luciana Stecconi’s paradoxical, gleaming, and seemingly modest scenery set against a striking and evocative frame. Jackson’s lighting is crucial for each inventive scene change while the foreboding score keeps the tension rising throughout the production. Kara Harmon’s bold costume design not only reflects each character’s distinct personality, but plays a pivotal role in the show’s mounting tension.

The Art of Burning is also fueled by a powerful cast highlighted by Adrianne Krstansky’s captivating portrayal of Patricia and Clio Contogenis, who makes an impactful impression as conflicted Beth. Krstansky achieves a delicate balance between a strong and sympathetic woman who, for the most part, is holding her own in spite of her circumstances when she is not taking takes things a bit too far. The complexity of that balance still makes her likable even at her lowest points. Patricia’s sardonic wit and realism is nearly bereft of any boundaries. She seems to have lost her inhibitions long ago somewhere in the turmoil of her discoveries.

Michael Kaye and Laura Latreille in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com


Contogenis weaves in some of Krstansky’s biting humor and pensiveness as Patricia’s daughter as she faces her own unique challenges along the way. These issues are handled delicately and with vulnerability. Rom Barkhordar portrays Jason, a character with some misplaced optimism and a certain lack of empathy and yet Barkhordar weaves in a subtle obliviousness that Jason can almost be forgiven for. He has some meaty scenes with Krstansky and Contogenis that would be concerning if they were not so humorous. Mark, portrayed by Michael Kaye, seems to depict the onlooker and voice of reason, but things are much more complicated than they appear. Some sobering aspects of Mark and Charlene’s marriage are incredibly relatable and humorous. Kaye and Laura Latreille as capricious Charlene have a fascinating dynamic onstage. Vivia Font takes a memorable turn as Katya as she wrestles with the weight of her decisions.

Snodgrass’s witty, poignant, and intermittently humorous dialogue makes a strong statement about the state of our contemporary world and exposes some hard realities. The truth is people are all a little lost but even at its bleakest times, love may still find a way through it all.

Clio Contogenis and Adrianne Krstansky in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. Click here for more information and tickets.

REVIEW: The Company Theatre is up to magic and mischief in family-friendly ‘Matilda the Musical’

Posted on by The Sleepless Critic

Not even a Willy Wonka candy coated confection could properly prepare one for what the Company Theatre has in store onstage.

With book by Dennis Kelly and music and lyrics by Tim Minchin, The Company Theatre’s Matilda the Musical is a holiday-themed whirlwind of caricatured adults and rage-filled adolescence while at its core, an inspiring story of an extraordinary girl in a peculiar and unique world that could only come from renowned storyteller Roald Dahl’s innovative imagination.  Add Lindsay Hoisington’s eye popping costumes that share their own story along with set designer Ryan Barrow’s striking, festive colors and Matilda the Musical made a refreshing debut from Company Theatre’s more traditional annual holiday fare.

Diana Lee as Lavender and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Inventively directed by Zoe Bradford with dynamic Music Direction by Melissa Carubia, The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18.  Click here for more information and for tickets.

With a string of renowned children’s books that includes classics such as James and the Giant Peach and Charlie and the Chocolate Factory, it is easy to see award-winning author Roald Dahl’s trademark characterizations, sardonic humor, and peculiarities within a morally driven subtext delivered in Dahl’s Matilda, a novel published almost 35 years ago.  Matilda went on to become a bonafide hit with children and adults and it was not long before a 1996 film adaptation arrived featuring Danny DeVito and his real life wife Rhea Perlman.  In 2012, Matilda became a Tony award-winning Broadway musical before Netflix recently premiered Matilda the Musical featuring Emma Thompson around Thanksgiving. Like most theatrical adaptations, nothing is quite like the experience of seeing it live.

Mischief during the holidays in Company Theatre’s ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Expectations were skewed immediately with the darkly comedic and infectious opening number, Miracle where cute, wild, and blatantly naughty children zip around a Christmas tree fueled by Brad Reinking’s athletic, energetic, and fist pumping choreography. Keep an eye out for some amazing feats by Ben Cavallo-Smith and others.

Ben Cavallo-Smith and cast in ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Imagination and mischief run wild in Roald Dahl’s tale of an extraordinary girl making her way through a peculiar world. Roald Dahl tugs at the heartstrings in this absorbing children’s tale, but not before displaying a wealth of less than savory characters making Matilda’s life arduous.  It is a darkly humorous tale guaranteed to delight children more than the grownups.

Annie Jones as Mrs. Phelps and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Clad in black and white, precious and precocious Matilda, portrayed with determination and quick wit by Reese Racicot, is one of the very few characters standing out in an ostentatious world where television is more important than cracking open a book. Racicot immediately charms from the spunky number, Naughty to mastering the heady lyrics in Quiet, punctuated by her light and airy vibrato. Racicot has a sweet rapport with Annie Jones as enthralled librarian Mrs. Phelps, who delights in Matilda’s significant and imaginative stories as well as Miss Honey, portrayed endearingly by Jennifer Beth Glick. With delicate and powerful vocals, Glick shines depicting Miss Honey’s quiet strength and good natured humbleness, especially for the tender and moving number, My House with Salvador Guillermo Garcia.

Brad Rafferty as Rudolpho, Emilee Dennis Leahy as Mrs. Wormwood and Jennifer Beth Glick as Miss Honey Photo credit to Zoe Bradford/Company Theatre

The adults are about as tempestuous and spoiled as their children.  Matilda’s scheming con artist father Mr. Wormwood, portrayed with a sneer and manipulative glee by Todd Yard is not to be outdone by his equally shortsighted, narcissistic, and ballroom dancing wife and Matilda’s resentful mother, Mrs. Wormwood, depicted by Emilee Dennis Leahy with the sort of flirtatious, chaotic humor reminiscent of Jennifer Coolidge. Accompanied by Brady Rafferty as egotistical Rudolpho, Leahy demonstrates limber dance moves and a wild cha cha in the shimmering and comically shallow number, Loud. Never have a pair claimed to know so much know so little. Oliver Dunn as Matilda’s conspiring brother Michael Wormwood seems to be following in their stealthy footsteps as Yard and Dunn open Act II with humorous improvisation and vaudeville inspired number All I Know.

Todd Yard as Mr. Wormwood and Oliver Dunn as Michael Wormwood Photo credit to Zoe Bradford/Company Theatre

Matilda the Musical is not without its dark moments and that is exemplified in Matilda’s iron fisted headmaster, Agatha Trunchbull. A fearful and miserably barreling adversary depicted enthusiastically by Christie Reading, Trunchbull is a force to be reckoned with, but against these lively students, anything is possible highlighted by the brilliant and ironic number, When I Grow Up.

Christie Reading as Miss Agatha Trunchbull, Jennifer Beth Glick, and the students Photo credit to Zoe Bradford/Company Theatre

The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18.  Click here for more information and for tickets.

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

Posted on by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: ‘Dancing is an Old Friend,’ ‘Hilary,’ ‘Inventory,’ ‘Looking for Jack’ and ‘The Green Line’ explore isolation and more at the New York City Indie Film Festival

Posted on by The Sleepless Critic

What is it like to feel stuck due to circumstances beyond your control? 

Curated by Gerard van den Broek, each film in the Documentary 12 series including Dancing is an Old Friend, Hilary, Inventory, Looking for Jack, and The Green Line at the New York City Indie Film Festival through June 19 featured people who faced unforeseen obstacles in an attempt to find peace within. 

Whether facing trauma, isolation in a pandemic, family brokenness or being caught between one nation and another, these themes invite a feeling of powerlessness until hope is found.  This particular collection of documentaries delivered some surprising twists and turns in some profound situations in an attempt to discover where one belongs in the world.

The New York City Indie Film Festival featured a variety of films from shorts to narratives to documentaries curated with common themes.  Sleepless Critic had the opportunity to review screenings on music, small businesses, love and connection and much more.  Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010.  Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series.

Directed by Marta Renzi, Dancing is an Old Friend is written by and stars Leah Barsky and Jennifer Tortorello Walker.  It is a relatable account of an amateur ballroom dancer and professional ballet dancer brought together by dance who must find new ways to connect after the pandemic put the world in isolation.  They both struggle with this new way of life but are determined to forge ahead together.

During the pandemic, the arts were hit hard.  Many professional dancers had to find alternate ways to demonstrate their art and remain in top form until the time came for them to once again take the stage.  Dancing is an Old Friend explores the momentum of their daily lives during the pandemic and a chance to examine why they live their lives the way they do and where dance factors into it now and in the future.

‘Dancing is an Old Friend’ Photo credit to New York City Indie Film Festival

What made this film fascinating is not only the captivating athleticism and style of the dancers in action, but comparing each perspective on dance itself and how it demonstrates the bonds of this friendship.  This is not a tragic account of being lost during the pandemic, but an intimate and sincere documentary that explores the good and bad in equal measure and the hope that springs forth during this life altering period of time.

What may or may not have happened is a mystery in Hilary. 

Hilary Porter, through her own drawings, illustrates a repeated and menacing alien encounter that has left her haunted.  Hilary’s harrowing recollection unfolds through her graphic narration and unusual drawings as she shares that she was always thought she was different.  Director and producer Mariana Zarpellon offers some insight into who Hilary is and how she has been affected by these encounters and though I was initially intrigued by this film, I was left with more concern for Hilary’s well being than the rationality and content of Hilary’s recollections.

‘Hilary’ Photo credit to New York City Indie Film Festival

Resourcefulness is a defining quality in any artist and nothing less than resourcefulness and love defines the story of Inventory, a documentary directed and produced by Daniella Gitlin, the daughter of sculptor, Michael Gitlin.  The film is designed not only to share her father’s relatable journey as a struggling artist, but the unconventional manner in which Michael Gitlin’s legacy is being preserved.

Interwoven into the film are classic American standards such as Someone to Watch over Me, beloved songs from Gitlin’s heritage, and past family photos to create a vintage ambiance and to smoothly rewind the clock to a time before her father’s inventory had accumulated.  It is a unique and personal story about how love and family transcends obstacles even under unusual circumstances and how the film’s most extraordinary “inventory” is not just confined to Gitlin’s art.

‘Inventory’ Photo credit to the New York City Indie Film Festival

For anyone who is searching or has searched for a family member, the idea of finding them is met with a plethora of emotions.  Sara Zeppilli Freeman captures just that and more in her deeply personal documentary, Looking for Jack.  Part of Looking for Jack’s endearing strength is it is shot much like a home movie where it is easy to put oneself in Sara’s shoes.  As Sara talks to the camera with a jittery glow, her excitement is palpable at the promise that her life is about to change.

On this special day with Sara wearing a broad smile, one can picture themselves in Sara as she excitedly waits in anticipation and trepidation to meet her father for the first time in 21 years having traveled from Boston to Portugal.  No matter the outcome, that moment of time is a monumental experience to be treasured and hopefully not regretted.  The pinnacle of the film is that building tension as Sara waits, the camera panning carefully through Sara’s surroundings for that moment of relief.

‘Looking for Jack’ Photo credit to New York City Indie Film Festival

In a land fraught with uncertainty, Yehudit Kahana is no stranger to anxiety and strife for most of her life.  Co-written with Sharon Yaish, directed, and produced by Yehudit Kahana herself and set from the early 2000s to today, illuminating documentary The Green Line focuses on Yehudit’s coming of age as she resides in Elon Moreh, a land near the Green Line which borders the Palestine territories and Israel.  Since a life changing incident occurred resulting from an innocent child’s game, Yehudit has struggled with the threat of sudden violence, terrorist attacks, and chaos in a place where she doesn’t feel she entirely belongs. 

‘The Green Line’ Photo credit to New York City Indie Film Festival

The Green Line delivers a wealth of information on certain incidents in Israel, Palestine, and the Green Line which can be confusing at times, but what is clear was how Yehudit felt in circumstances beyond her control in a harsh and threatening land determined to break free.  The Green Line has some lighter and amusing moments with family that not only shed light on Yehudit’s understandably frustrating, strict, and expected traditional place as a female in the world and in the path of the Torah, but also explores how valuable the road less taken can be.

Dancing is an Old Friend, Hilary, Inventory, Looking for Jack and The Green Line were all part of Documentary 12 at the New York City Indie Film Festival which continued through June 19.  Click here for more information on this annual festival and its winners.

REVIEW: ‘Chabe,’ ‘Conversations with Female Clowns,’ ‘Dictionary’ and ‘Por Mi Hija’ explore various aspects of love and connection at The New York City Indie Film Festival

Posted on by The Sleepless Critic

The New York City Indie Film Festival concluded on June 19 after approximately a week of screenings at the Producers Club in New York City.  It featured a variety of films from shorts to narratives to documentaries curated with common themes.  At this festival, Sleepless Critic had the opportunity to see screenings on music, small businesses, love and connection, and much more which will be explored in future articles.  Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it first launched in 2010.  Click here for more information.

Photo credit to Jeanne Denizard

Curated by Lucie Guillemot, this narrative film collection explored different aspects of love and connection.  Directed by John Tsiavis, Chabe is a vivid short film about Isabel Gomez, a woman who assists in a cataracts surgery project for a Mexican indigenous tribe.  Rich in unique color and told through Isabel’s eyes, the film evokes Isabel’s sheer joy in helping others and the complex process of this tribe’s journey from dark to light.  Chabe made me long to see more on it all.

Isabel Gomez in ‘Chabe’ Photo credit to NYC Indie Film Festival

Directed insightfully by Clare Redden and Joseph Pulitzer, Conversations with Female Clowns is a surprising look at connection through laughter from a unique perspective.  Reflected through a group of female clowns, it explores not only the incentive for a woman to become a clown, but the societal and personal norms as a female that seem to relate all too well to this profession.  It sheds light on the idea of clowning from a new angle with an opportunity to see these female clowns in action.  From a hospital clown to a member of the Big Apple Circus, Conversations with Female Clowns is an eye opening and humbling experience about what it truly means to be funny.

Director and writer Clare Redden of ‘Conversations with Female Clowns’ Photo credit to NYC Indie Film Festival

Dictionary explores the ODU concept of the seven stages of love in vignettes.  A tribute to the Indian culture, Aishwarya Sonar has a great deal to convey in the screening’s brief time frame and writer, director, and producer Elena Viklova aptly evokes the fleeting and sacred power of love in each frame.  From the warm bloom of attraction to the stillness of grief, Sonar elevates each stage in dynamic subtleties.

‘Dictionary’ by Elena Viklova Photo credit to NYC Indie Film Festival

Por Mi Hija (For My Daughter) is an immersive Spanish language film that addresses familial love and the dream of what is thought to be a better life.  Written, directed, and produced by Fernando Rodriguez who dedicated this film to his wife and kids and based on two true stories, Por Mi Hija is a stirring account that examines what creates a fulfilling life in an unconventional way. 

Christopher Bustos as Leo and Daniela Vidaurre as Emma are young newlyweds living a happy life surrounded by family in Mexico when they receive life changing news that prompts Leo to seek success in California.  Bustos and Vidaurre depict a strong and relatable couple with endearing chemistry as they face moving and realistic trials and tribulations while Luciana Elisa Quiñonez shines as imaginative and sweet Luciana. 

Christopher Bustos, Daniela Viduarre, and Luciana Elisa Quinonez in ‘Por Mi Hija’ Photo credit to NYC Indie Film Festival

The real strength in this film lies in its unconventional timeline and how it manages expectations and reality.  The various parallel scenes between Leo and Emma including having a meal or riding in a car are gripping as it is weaved into the film’s progression and there is a dreamlike quality looking into the past as well as a hazy, ethereal ambiance of the future. This particular style enhances the film’s poignant message while achieving a balance between the lighthearted and tense moments.  It also embodies what the characters cannot quite see at the time until the film’s stunning revelation.

Chabe, Conversations with Female Clowns, Dictionary and Por Mi Hija were all part of Narrative 14 at the New York City Indie Film Festival which continued through June 19.  Click here for more information on this annual festival and its winners.

REVIEW:  NPR storyteller Kevin Kling reflects on the wonders of childhood in Merrimack Repertory Theatre’s lively and humorous ‘Best Summer Ever’

Posted on by The Sleepless Critic

How can a childhood fib possibly be part of the best summer ever?

Amid Carter Miller’s vivid and dynamic lighting against a cloud covered sky as multi-instrumentalist and sound effect aficionado Robertson Witmer stands over a grill in an apron and sunny yellow sneakers ready to serve a hot dog, Merrimack Repertory Theatre’s Best Summer Ever might give you the urge for summer to arrive a little sooner.  Rowan Doyle’s breezy set design is not the alone in setting up the carefree days of summer.  In a button down shirt, dark pants and striking red and white sneakers relaxed in a lawn chair, popular storyteller and NPR contributor Kevin Kling is an open book ready to share an engaging, wild, and moving account of incredible hijinks during the life changing and unforgettable summer he experienced at 9 years old.

Kevin Kling and Multi-instrumentalist Roberson Witmer in Merrimack Repertory Theatre’s ‘Best Summer Ever’ Photo by Megpix/Meghan Moore.jpg

With compelling direction by Steven Dietz, Merrimack Repertory Theatre presents the east coast premiere of Best Summer Ever through Sunday, May 22 live and in person at Merrimack Repertory Theatre in Lowell, MA.  There will be no virtual show available and the show runs 70 minutes with no intermission.  Click here for more information and for tickets.

Kevin Kling knows how to tell a great story.  Full of liveliness and spontaneity, what sets Best Summer Ever apart from other productions is Kling’s unique and distinctive touch.  He shares personal anecdotes with plenty of asides, quirky details, and having experienced the show on Mother Day, it is easy to tell each tailored performance is fueled by the interaction and enthusiasm in the audience.  He has a great rapport with Rob who dives head first into some of the production’s sillier moments of Vikings, a purple snow cone gone awry, and chilling ghost stories.  Both seem a kid at heart and they work succinctly as Rob provides the soundtrack and dynamic mood-setting sound effects at a sometimes thrilling pace. 

MRT’s Best Summer Ever – Kevin Kling Photo by Megpix/Meghan Moore

Kling strikes a clever balance of adult reflection and falling right back into his childhood mindset of growing up in Minnesota.  He uses the phrase, ‘unstructured time’ and equating that with ‘boredom’ or in speaking about his farming grandparents, Kling exclaims, “If Grandpa could cut it off, Grandma could pickle it.”

The show also has its share of heartwarming family moments and explores the wonder and imagination of childhood that just might take you back too.

Silly moments with Kevin Kling and Roberson Witmer in MRT’s ‘Best Summer-Ever’ Photos by Megpix/Meghan Moore

Merrimack Repertory Theatre presents the east coast premiere of Best Summer Ever through Sunday, May 22 live and in person at Merrimack Repertory Theatre in Lowell, MA.  There will be no virtual show available and the show runs 70 minutes with no intermission.  Thursday, May 19 will be a Q and A Ask the Artists night.  Click here for more information and for tickets.