family | The Sleepless Critic

REVIEW: Endearing yet complex, The Huntington’s ‘We Had a World’ an exceptional love letter to family

Posted on March 4 by The Sleepless Critic

Award-winning playwright Joshua Harmon brings insight into his multifaceted life with textured humor in We Had a World, Harmon’s deeply personal family memory play inspired by his grandmother.

Will Conard brings warmth and amiability to narrator Joshua Harmon who highlights his indelible bond with his grandmother Renee and the mark and influence she made on his life, even as he has only seen her through rose colored glasses.

Amy Resnick and Will Conard in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Soulfully directed by Keira Fromm, The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15. This wonderful semi-interactive production runs one hour and 40 with no intermission and contains some adult humor. Click here for more information and for tickets.

Will Conard in the Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Joshua Harmon is a brilliant playwright and is no stranger to depicting family dynamics as demonstrated in his fascinating and intricate French and Jewish multi-generational play, Prayer for the French Republic spanning from 1944 to 2016 recently presented at the Huntington in 2022. It’s a family portrait with depth and complication taking place over decades and though it differs in tone, We Had a World also depicts its own intimate family portrait.

A play within a play of sorts, We Had a World focuses on Conard as playwright Joshua Harmon growing up with Eva Kaminsky as his orderly and sensible mother Ellen and Amy Resnick as his adventurous grandmother Renee spanning from the 80s through today. It delves into family drama with wit and humor while exploring missteps, misunderstandings, trauma, abuse, and family secrets.

Will Conard and Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Courtney O’Neill’s stylish and detailed brick trimmed setting acts as several significant places in this family’s life including Renee’s elegant Upper East Side NYC apartment and a posh Parisian hotel room. Parisian love seats, warm lighting and upscale décor are just part of this inviting and multi functional backdrop.

Amy Resnick in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Tyler Micholeau’s meticulous lighting cleverly clicks and darts on each character as if under the limelight to share their unique perspectives. Each cast member is remarkable, but Amy Resnick is marvelous as Renee and a bit of a scene stealer. Regardless of the flaws she has within her family, you still can’t help but revel in her unfiltered personality. Bawdy, unapologetic, adventurous and a bit naughty, Resnick encapsulates Renee who can alleviate almost anything through her charismatic and unfiltered sense of humor. Conard’s agreeable, peacemaking and well meaning Joshua blends well with Renee’s laissez faire rapport which hones a rare curiosity for the world as they learn from one another. Resnick speaks to her grandson like an aspiring adult rather than a child which does not always sit well with Kaminsky’s Ellen. Kaminsky’s Ellen is practical, a tinge jealous and guarded while Renee seems carefree and wild. With stubbornness and lively personalities, Kaminsky and Resnick share a fascinating rapport and together make quite the impression even as they insist they are not alike.

Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

A familiar and believable tight knit family, they undermine and judge one another and are so close, they cannot help but challenge each other as they thrust one another under the microscope. At times casual and humorous and other times unflinching, We Had a World has its share of raw and bitter resentments and family squabbling which has the potential to cut to the quick, but never lets the production become too heavy and serious even during intense times.

The production’s witty dialogue boasts a natural flow and the distinctive way these characters confide in each other and the audience with humor, candidness and ruefulness at times within the same thought makes it one of the best shows I’ve seen this year. Humorous and poignant, it is a show you won’t soon forget.

The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15. Click here for more information and for tickets.

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

Posted on October 15 by The Sleepless Critic

The one constant is change.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Notes on greed and scandals in Central Square Theater’s thought provoking ‘Mrs. Warren’s Profession’

Posted on June 15 by The Sleepless Critic

Let the negotiations begin. This is big business and with cigar in hand, Vivie Warren thinks she is ready for anything.

Set Designer David R. Gammons designates a perfect place for negotiations for the head and heart using a long conference table in a board room for this rich and enigmatic drama.

With sharp direction by Eric Tucker, Bedlam, Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. This production lasts two hours with one 15 minute intermission. It boasts open captions that come in handy during the performance and the content has some adult themes. Click here for more information and for tickets.

What is Mrs. Warren’s profession?

Herein lays one of a few mysteries among this group of complex and formidable characters who are keeping a few secrets of their own. Condescending and at times, downright smug, Barlow Adamson steps into the expensive shoes of Sir George Crofts who declares himself a friend of Vivie’s mother, Mrs. Warren. The show’s fascinating opening scene features Adamson and Luz Lopez as Vivie in an intellectual exchange proving that Vivie can certainly hold her own. Even through Adamson’s humorous mansplaining, Vivie is a female force to be reckoned with.

Barlow Adamson and Luz Lopez in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession is primarily steeped in at times heavy, but steadily shrewd and satirical comedy and social commentary. Adamson impressively portrays Crofts with a mix of sardonic wit and charisma as he carefully sizes up seeming competitors including Nael Nacer as kindly Praed, Wesley Savick as alarmed and tight lipped Reverend Samuel Gardner, and Evan Taylor as young, impulsive and perhaps loose cannon Frank Gardner. Nacer as Praed and Adamson as Crofts embark in cagey and captivating exchanges while smirking and belligerent Taylor as Frank cuts his father, Savick as Reverend Gardner down to size when Frank is not shamelessly flirting with both Mrs. Warren and Vivie. Each man approaches Vivie and Mrs. Warren with their own motivations knowing that these strong willed women are also limited by a woman’s oppressive place in society.

Melinda Lopez, Wesley Savick, Nael Nacer, Evan Taylor, Luz Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Just three years after the publication of Henrik Ibsen’s Hedda Gabler, George Bernard Shaw published Mrs. Warren’s Profession in 1893. These works feature women ahead of their time fighting against the limitations of a woman in that era. Creating tension and isolation, Tucker seamlessly blends the classic with the contemporary through a notably vintage piece of staging reminiscent of Hedda Gabler where the whole cast is present, but not part of the action taking place onstage. In this pivotal scene, the negotiation table doubles as a stage as Jeff Adelberg’s moody and rhythmic multipurpose lighting gauges time is money as stock market projections flash above the stage.

Nael Nacer Evan Taylor Melinda Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession delves into status, conspiracy, hypocrisy, morality and complex family dynamics wrapped up in a couple of significant mysteries that directly affect the complicated relationship between absentee mother Mrs. Warren and her daughter, Vivie. Costumer Leslie Held puts the cast in their business finest with the exception of Sam in a vestment, callow Frank and Vivie. Standing out in a braid and classic business casual attire, Lopez’s poker faced Vivie might be at the negotiation table, but she is ultimately in it for more.

Melinda Lopez and Evan Taylor in Central Square Theatre’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Luz Lopez portrays idealistic Vivie, a modern, unwaveringly sensible, and fiercely independent and innately mature woman who is meeting with her mother and woman of the hour, Mrs. Kitty Warren, depicted with critical yet measured affection by Melinda Lopez, for the first time in many years. Vivie feigns a certain indifference to her mother, but feels displaced and lonely. Though Kitty attempts to be more than cordial, Vivie keeps her mother at arm’s length for reasons that gradually unfold. Bickering, mincing words, and pressing each other’s buttons, Melinda and Luz skillfully navigate their unstable mother and daughter dynamic which veer from a cold handshake to hospitable and then changing once again as guilt and promises are stealthily presented amidst negotiations.

Melinda Lopez and Luz Lopez in Central Square Theater’s ‘Mrs. Warrens Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession is considered a classic play and much of the quick witted content can be translated with ease into today’s society. Suspenseful and intriguing, these chilling revelations may not be as scandalous as they might have been in 1893, but no less impactful, especially as negotiations go awry.

Nael Nacer and Wesley Savick in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. Click here for more information and for tickets.

REVIEW: Summer love is luminous in The Huntington’s ‘The Light in the Piazza’

Posted on June 3 by The Sleepless Critic

Summer in Italy brings certain charms, especially when it comes to love punctuated by a brilliant light.

Meaningfully directed by Loretta Greco paired with Daniel Pelzig’s joyous choreography, The Huntington continues heartwarming musical, The Light in the Piazza through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. This bilingual production in English and Italian runs two hours and 10 minutes including an intermission. Click here for more information and for tickets.

Based on Elizabeth Spencer’s 1960s novella of the same name, The Light the Piazza was quickly adapted into a sweeping romantic film in 1962 starring George Hamilton and Olivia de Havilland. The film offers further details into the plot and answers a few questions left by the musical, but the musical more than makes up for it through Adam Guettel’s riveting Tony award-winning Opera-inspired score and collection of English and Italian songs. The Light in the Piazza debuted on Broadway in 2005 and was the winner of two Tony Awards including Lead Actress in a Musical.

Sarah-Anne Martinez and Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Set in Florence, Italy in 1953, a mother and daughter embark on an extraordinary vacation through Florence when a surprising incident leads to an encounter with Joshua Grosso as awestruck Fabrizio. It is quite the meet cute surrounded by Andrew Boyce’s detailed gold and marble architecture and an amiable ensemble. Yuki Izumihara’s lifelike projections combine with Andrew Boyce’s captivating sliding set design to revel in this beautiful country’s works of art, iconic buildings, church settings and the Italian countryside. These surroundings are exquisite and yet not overdone as gold frames hang aloft elegant Italian furniture which includes an elaborate bookcase, swaying silk curtains, lacy tablecloths and a vintage rolling gold lap tray.

Much of the musical explores the idea of feeling understood through the heart rather than the head. Through anguish, joy, humor, protectiveness and passion, this talented cast display stirring and powerful vocals in a remarkable journey while intensely expressing what each of them hold in their hearts. It is also a musical that explores love of all kinds as faith is put to the test.

Sarah-Anne Martinez is instantly enchanting as exuberant Clara. Martinez wows with her gorgeous rendition of The Beauty Is and shares immediate and endearing chemistry with Grosso as Fabrizio. Grosso simply dazzles in his rendition of Il Mondo Era Vuoto. Martinez’s wide eyed sincerity and Grosso’s benevolent charm blend harmoniously for Say it Somehow, The Beauty Is reprise and Passeggiata, a playful duet between Grosso and Martinez practicing a beloved Italian tradition on a revolving stage.

Joshua Grosso and Sarah-Anne Martinez in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

The cast occasionally confides in the audience as Emily Skinner as Clara’s mother Margaret withholds a secret about Clara. Skinner evokes the weight of her tormented decisions through her emphatic hesitancy, protectiveness and gentle compassion. Clara shares a special bond with her mother, but also one that can be strained and conflicted.

Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

William Michaels as Signor Naccarelli and Rebecca Pitcher as Signora Naccarelli share great comic timing (at times sardonic) and are a complicated pair. Alexander Ross as Fabrizio’s charismatic brother Giuseppe brings lively humor to American Dancing and Rebekah Rae Robles is also impressive as mysterious Franca.

Greco’s immersive direction applies subtle and comical scenarios alongside the main plot to broaden this enchanting world such as kids playing together, doves flying overhead, a woman selling flowers or discussions among the clergy. The Light in the Piazza contains some twists and turns while maintaining its optimistic yet underlying seriousness.

The cast of The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Soaring vocals, a wonderful cast, a splendid Italian setting, and an affecting family tale combine for an incandescent event at the Huntington.

Witness a powerful tale of love, beauty, faith and much more with The Light in the Piazza continuing through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Love, the illusion and CAKE in Lyric Stage Company’s world premiere of ‘The Great Reveal’

Posted on April 23 by The Sleepless Critic

What is any party without cake?

However, at this gender reveal party in 2020, the cake is part of the problem and striving to make people happy only gets more complicated.

Paige Clark, Arthur Gomez, Antonia Turilli and Jupiter Lê in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

Directed thoughtfully by Bridget Kathleen O’Leary and Charlotte Snow, Lyric Stage Company continues the world premiere of The Great Reveal by David Valdes live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, April 27. If you agree that a party is not complete without cake, there are festive and delicious cake bites available at concessions. This dramedy is approximately 100 minutes with no intermission and the action is not limited to the stage. Click here for more information and for tickets.

Antonia Turilli and Jupiter Lê in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

A lit floral arch trellis stands out in Baron E Pugh’s festive scenic design which includes pink and blue streamers, shiny embellishments and gold décor that adorn Christopher and Lexi’s Massachusetts backyard deck. E. Rosser’s costumes are equally festive and cheerful in sparkling dresses, colorful jumpsuits, zip up Henley, tuxes and casual attire. Kai Bohlman’s at times ethereal and acoustic sound design lends to the production’s ambiance ranging from the beach to other special occasions.

It is stressful enough hosting a party, but having one during the height of the pandemic is a different story and Paige Clark as high strung and controlling Lexi is feeling it tenfold. Lexi is fixated about everything looking perfect, especially for social media. While Lexi is determined to craft the illusion, she loses sight of what is truly important. However, whatever frustration about illness, exposure, creating perfection online and who to let into their Covid bubble take a back seat to a greater reveal between these two couples.

Paige Clark and Arthur Gomez in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

While Lexi is a planner, her husband Chris seems to prefer to go with the flow. Arthur Gomez as laid back Christopher tries to be reassuring, but is also feeling the strain. Linus and Dosia are a trans couple and while Antonia Turilli as Linus’s composed girlfriend Dosia was invited to make the cake and is dreading this party, Jupiter Lê as workaholic Linus wants to make his sister Lexi happy, but also has his own reasons for attending.

The Great Reveal has more than a few silly moments which can be a relief from the production’s more serious content. Gomez has sharp comic timing and shares some amusing scenes with Antonia Turilli who deadpans impressively well. Clark and Lê share affection, but a stronger sibling rivalry as they struggle to understand each other. This foursome exhibits a strong rapport and a familial bond well before even becoming family, especially in their quieter moments together.

Arthur Gomez and Antonia Turilli in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

There are many reasons to not care for a gender reveal party and as a person without children, I am also not a particular fan of them. Gender reveals can be smug, over the top and may come with a lot of questions about what the future holds. The show is not without political tension yet focuses more on finding common ground and understanding in divided relationships. As Turilli’s Dosia often says as part of Dosia’s meditation mantra, ‘Love is a choice I make daily.’ I’m sure sometimes it is daily and other times with people we love, it is a minute to minute challenge.

Antonia Turilli and Paige Clark in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

Funny, insightful, and relatable, The Great Reveal explores these two couples and all they have been through as their bond is tested. Through squabbling, sibling rivalry, hurtfulness, pettiness and turmoil, it is important to remember what brought everyone together in the first place and what a meaningful future can hold. Loving the cake is a start.

Lyric Stage Company continues the world premiere of The Great Reveal by David Valdes live and in person at Lyric Stage Company through Sunday, April 27. This dramedy is approximately 100 minutes with no intermission and the action is not limited to the stage. Click here for more information and for tickets.

REVIEW: Roots run deep in The Huntington’s powerful ‘Don’t Eat the Mangos’

Posted on April 16 by The Sleepless Critic

Family takes care of family.

Tensions run high when three tightly bonded but very different sisters join together to care for their ailing parents. However, one sister’s harrowing secret will change everything.

With stirring direction by David Mendizábal, The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27. This bilingual production contains strong language, adult content and runs 1 hour and 45 minutes with no intermission. Though the production is mostly delivered in English, you may enjoy it more thoroughly if you are familiar with Spanish. Click here for more information and for tickets.

Left to right: Evelyn Howe, Jessica Pimentel, Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Set in Puerto Rico in 2019, Tanya Orellana’s impressive scenic design unveils a seemingly functional house complete with a laundry room, yard, and a towering mango tree hovering over a portion of the house. An eclectic mix of dishes and items scattered in the kitchen and stacked on built in shelves create a natural, lived in atmosphere with a dated fridge and latticed wooden embellishments. This is just a portion of this extraordinary cement house that details subtle signs of mold and wear and tear on the family home. The house rotates from scene to scene unveiling the action in each room.

Left to right: Jessica Pimentel, Susanna Guzmán in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Jake Rodriguez creates an effective and occasionally immersive sound design most notably when a storm knocks the power out. The flash and crash blended with Cha See’s flickering bulbs, illuminating candles and startling lightning makes for a wild event. Alexandra Buschman-Román and Jason Stamberger’s mystical original music amplifies the production’s mercurial changes in mood from foreboding and suspenseful to catchy and lighthearted with music compositions infusing dance genres such as bomba and flamenco.

Left to right: Jessica Pimentel in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Jessica Pimentel as organized loan officer Ismelda, Yesenia Iglesias as married and family oriented middle sister Yinoelle, and Evelyn Howe as activist professor Wicha know their roles when it comes to their parents. While Ismelda lives with her parents, Yinoelle and Wisha assist where they can when they come to visit. Zoë Sundra costumes reflects each character’s individuality through sharp and stylish costumes in vibrant patterns and tropical designs from sharp pant suits to colorful crocs to denim and athleisure.

Left to right: Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Not only does this trio share their joys, sorrows, and annoyances, but their snappy sibling rapport occasionally inspires harsh comments and resentment that cut deep and to the quick. It is as if they are so tightly bonded that they can’t help but occasionally step over the line. José Ramón Rosario portrays their ailing and temperamental father Papi who had a stroke and is bedridden dealing with other medical issues. With startling outbursts, Rosario exudes an implied dominance as Papi and even as he sits in his wheelchair, he commands immediate attention ringing a bell for any and all of his needs. Susanna Guzman depicts instantly likeable, headstrong and realist Mami who has been battling cancer. Ismelda is evidently overwhelmed, overwrought but dedicated tending to their parents and while her two siblings are helpful, Papi prefers Ismelda to handle things. With slumped shoulders and tightly wound tendencies, Pimentel exemplifies Ismelda’s anxiety, the weight of her worries and the pressure to do right by her family.

Don’t Eat the Mangos delves into many dark places including abuse, trauma, PTSD, and fanaticism. It approaches tough subjects with dark humor that can provide relief and some of it is just heartbreaking. It also offers some very funny and relatable family humor exploring cultural traditions, complications and challenges growing up in this Puerto Rican family. It has many tense moments, but its heartwarming connection between the sisters is among the production’s brightest spots. This is especially evident in a moment when the three sisters are trying to piece together a song from their childhood. The scene is brought together in a beautifully organic way and reflects the true nature of the lifelong bond between these siblings.

The production also delivers more than a few stunning revelations. Susanna Guzman as Mami and José Ramón Rosario as Papi also hold their own in an escalating, powerful and alarming scene. Guzman’s Mami may be ailing, but she is a force to be reckoned with.

The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27. Click here for more information and for tickets.

REVIEW: Searching for reconnection in Central Square Theater with Front Porch Arts Collective’s world premiere of Mfoniso Udofia’s intensely heartfelt ‘Her Portmanteau’

Posted on April 14 by The Sleepless Critic

Sundays are Abasiama’s good day.

It is on a Sunday that Jade A. Guerra as Iniabasi arrives to New York from Nigeria to reunite with family she has not seen in many years. However with a misunderstanding from the start, reconnecting will prove to more of a challenge than anyone could have imagined.

Profoundly directed by Tasia A. Jones, Central Square Theater with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia‘s Her Portmanteau, the fourth production in the Ufot’s nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Central Square Theater in Cambridge, Massachusetts through Saturday, April 20. This intense bilingual production in English and Ibibio runs 90 minutes with no intermission. It is fascinating to see how these families progress over these nine plays, but you can witness and enjoy one without having seen the others. Click here for more information and for tickets.

Victoria Kanyike and Jade A. Guerra in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Scenic designer Shelley Barish emphasizes family with an Ufot personal touch displaying framed family photos and gold embellishments around Adiaha’s New York City apartment in January 2014. Having seen Ufot’s second production The Grove, it was wonderful to see the progression in the Ufot Family from the earlier production in 2009 evident in the set such as Kimberley’s portraits lying by the door. This stylish apartment is enlivened with splashes of vibrant color in the kitchen and living room as well as gold ropes surrounding it as if symbolically anchoring it in place. Arshan Gailus’s urgent and at times roaring scenic design emphasizes the family’s building tension, making their surroundings occasionally overwhelming. However, the family silences are more deafening that any outside activity. Enclosed in this city apartment, the past is bound to come out.

Jade A Guerra and Patrice Jean-Baptiste in Central Square and Front Porch Arts ‘s Collective ‘Her Portmanteau’ Photo by Maggie Hall Photography

Her Portmanteau continues to build Udofia’s rich characters in each piece and from the moment Jade A. Guerra as serious and direct Iniabasi appears, though she is in the same room as her mother and half sister, they seem continents away. At first, you wonder if this is due to a language barrier or something more. Iniabasi is as short, awkward and defensive as Lorraine Victoria Kanyike as Adiaha is thoughtful, chatty and earnest in making Iniabasi comfortable. Kanyike and Guerra share some notably humorous moments as they struggle to understand each other sharing quips and slights comparing their contrasting upbringing. With an occasional nervous chuckle, Kanyike’s Adiaha exhibits anxious and yet it is interesting to witness charisma and confidence in Adiaha who has clearly come into her own while Patrice Jean-Baptiste depicts Abasiama, their loving yet complicated mother.

Victoria Kanyike and Patrice Jean-Baptiste in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Family tension and strain is palpable right from the start and it is intriguing to watch this impressive cast try to break it in a mix of humorous, intense, and painfully relatable moments. Jean-Baptiste exhibits a carefully executed mix of excitement, curiosity and apprehension as she searches for avenues of reconnection while still dealing with her own struggles and trauma with quiet and harrowing strength. Patricia Jean-Baptiste and Guerra share stirringly complex scenes in their strained conversations and Udofia’s moving dialogue. Rooted in love, anger, brokenness and resentment, they misunderstand each other in vast and impactful ways searching to a sense of belonging speaking from different worlds and yearning for middle ground.

Patrice Jean-Baptiste and Lorraine Victoria Kanyike in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Her Portmanteau is a remarkably moving chapter about family. It contains struggles and conflict as well as surprising and heartwarming discoveries that were simply wonderful to watch unfold.

Central Square Theatre with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia ‘s Her Portmanteau live and in person at Central Square Theatre in Cambridge, Massachusetts through Saturday, April 20. Click here for more information and for tickets.

REVIEW: Exploring the world of the sick, American Repertory Theater’s intense ‘Night Side Songs’ not just a lullaby

Posted on April 10, 2025 by The Sleepless Critic

It’s a shock that will take you out of your world.

Then reality sets in.

With stirring direction by Taibi Magar and musically directed by Alex Bechtel, American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Communal, meaningful and creative, this interactive theater in the round experience runs approximately one hour and 40 minutes with no intermission. It contains strong language and adult themes. Click here for more information and for tickets.

It explores the news everyone dreads. Finding out you are sick.

Witnessing its 41^st performance, this intimate cast depicts a number of characters in different scenarios while occasionally engaging the audience in a casual atmosphere. It time jumps from the 12th century to the present day while addressing the calendar date the performance takes place and is dedicated to the sick, healthcare workers and caregivers by blending themes about relationships, sickness, mortality, and grief through acting, song and sing-along utilizing improvisation along the way.

Robi Hager in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs immerses itself into uncomfortable and harrowing territory with patches of hope and beauty that will either be fascinating and draw you in and never let go or hope it’s all over soon. It may not be for everyone, especially if you are squeamish about certain aspects of illness but have no choice but to get through it. Much like being sick can be.

Mary Testa in A.R.T.’s world-premiere production of Night Side Songs. Produced in Credit: Nile Scott Studios

This warm and dedicated group showcases a number of scenarios, but the main storyline centers around Yasmine who discovers she has cancer at 41 years old in Worcester, Massachusetts. Brooke Ishibashi delivers a raw and heartrending performance as Yasmine who must navigate her life in an entirely different way in an attempt to get well while facing obstacles in her path. Mary Testa offers wit and self deprecating humor as Yasmine’s well meaning but overbearing and anxious mother Desiree who assures Yasmine that they come from a family of miracles. Isibashi shares some endearing moments with Jonathan Raviv as warm and nurturing Frank.

Brooke Ishibashi and Jonathan Raviv embrace in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Each performer delivers affecting and inviting vocals and their solo performances are the most memorable. The onstage musicians also interact with the performers and audience and the songs by The Lazours are an eclectic variety ranging from catchy to cathartic to ballads. Some of the highlights in the therapeutic sing-along include Let’s Go Walking, Into the Sky and the poignant Will You Let me Know.

Jordan Dobson in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs approaches this handful of tales with dark humor, absurdity, science and realism peppered with relatable scenarios. It can be uneven in tone at times. How can anyone not relate to overwhelming and unexpected medical bills and drug side effects, but a song showcasing how people inaccurately make assumptions how someone gets sick in The Reason comes off more condescending than sincere and funny. Illness is filled with fear and uncertainly. People just don’t know what to say.

Jonathan Raviv in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Part unconventional love story and part tragedy, Night Side Songs expresses appreciation for the little things in life and relies more on camaraderie and community than faith and optimism while traveling to some grim places. It is informative offering coping methods with the unexpected and it is important to have a show like this to bring support and solidarity in times like these, but however I was moved, I was still left uncomfortable.

American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Click here for more information and for tickets.

REVIEW: Actors’ Shakespeare Project delivers an astounding ‘The Piano Lesson’

Posted on February 7, 2025 by The Sleepless Critic

“Money can’t buy what the piano costs.”

Berniece’s significant comment is markedly underestimated by Boy Willie, portrayed with tenacity, blind ambition and frenzied charm by Omar Robinson, who has big plans and is not wasting any time gathering what he came for…the family piano. However, Jade Guerra as Berniece might not be the only one standing in his way.

Profoundly directed by Christopher V. Edwards, Actors’ Shakespeare Project continues August Wilson’s Pulitzer Prize-winning drama The Piano Lesson live and in person at Hibernian Hall in Roxbury, Massachusetts through Sunday, February 23. A moving and intriguing mix of humor, suspense, storytelling, and legacy, The Piano Lesson runs 2 hours and 45 minutes including one intermission. Click here for more information and for tickets.

Omar Robinson and Anthony T Goss in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Featuring a billboard amid an ominous sky resembling the Pittsburg of Wilson’s Seven Guitars in which this show is also set except in 1936 during the Great Depression, Jon Savage’s layered, two floor scenic design allows the audience to see beyond what the cast can which becomes invaluable later in the production. A green front door stands ahead of a spacious house featuring a living room with an attached kitchen, a large wooden staircase, vintage striped couch with softly lit retro lamps, an overhead brass chandelier and a chiseled black piano sitting center stage. Highlighted by watch chains, suspenders, denim overalls, Ava tea dresses and three piece suits, Costumer Nia Safarr Banks not only aptly rewinds the clock, but captures each character’s distinct personality and individuality through their wardrobe. Lighting designer Isaak Olson working together with sound designer James Cannon and R. M. Lawrence’s music direction generate surging and thrilling special effects at pivotal moments during the production.

The set of Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Having witnessed Netflix’s lauded The Piano Lesson back to back with this production, Actors Shakespeare Project’s The Piano Lesson is an all encompassing and far more powerful show even with Samuel L. Jackson filling Doaker’s discerning shoes. The Piano Lesson delivers all the elements of a compelling story including humor, suspense, camaraderie, poignancy and carefully developed characters carrying more than a few regrets. Although Netflix’s The Piano Lesson is an acclaimed work, this production’s intensity and style is best enjoyed with the action unfolding onstage simultaneously and all at once.

Jonathan Kitt and “ranney” in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

The production’s tone can be heavy, but is balanced by each member of this collaborative cast sharing a candid, organic and fascinating chemistry while delivering August Wilson’s robust dialogue at a lively and engrossing pace. The comical moments and family tension builds right from the start and Jonathan Kitt’s frank and engaging storytelling reels you right into the Charles family’s harrowing history.

Omar Robinson, “ranney”, Anthony T Goss, Daniel Rios Jr. and Jonathan Kitt in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

As the family matriarch and the voice of reason, Kitt portrays railroad cook Doaker’s low key presence with a wonderful humility, quiet strength and discernment. Doaker wisely and metaphorically explains, “Train is going to get where it’s going. It might not be where you going …the train don’t never stop. It’ll come back every time.”

Jade Guerra, “ranney”, Jonathan Kitt and Omar Robinson in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

“Ranney” is humorous, savvy and at times unhinged applying wildly amusing expressions as Wining Boy, Doaker’s sharply dressed and talented musician brother. A comic force sharing anecdotes and a warm camaraderie with Kitt’s Doaker, “ranney” especially shines during a humorous scene attempting to sell a suit to Anthony T Goss as Lymon. Wilson also demonstrates some observable inherited family traits within the Charles family including Boy Willie’s competitive instincts and confidence that may not have fallen far from the family tree in his Uncle Wining Boy. It’s just one example of all the subtle yet significant connections Wilson establishes that seamlessly tie these characters together to refine its remarkable conclusion.

Jade Guerra and Daniel Rios Jr. in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

With amiable charm and naiveté, Anthony T Goss is wonderful as quiet, sympathetic and well meaning Lymon. Goss makes the character one to root for through his easygoing demeanor and mannerisms. Jade Guerra creates a unique and impressive intensity as tough and capable Berniece, a widowed mother ahead of her time carrying the weight of the world on her shoulders while sharing heated and riveting scenes with Robinson as persistent Boy Willie and letting the barbs fly. Daniel Rio Jr. infuses reserved conviction and earnestness as Avery, especially in his attempt to ease Berniece’s struggles. Brittani J. McBride as flirtatious yet complicated Grace and Ariel Phillips as beautiful and precocious Maretha hold their own rounding out this compelling cast.

Jade Guerra and Ariel Phillips in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Exploring family, slavery, hardships, trauma and legacy, one of the most impactful scenes involve Robinson, Goss, Kitt, and “ranney” joining together in a zealous rendition of a hymn improvising with makeshift household instruments while processing their generational trauma together and as individuals working through their past and current hardships. Enhanced by this skilled group, Edwards masterfully executes this multilayered scene that is warm, poignant, and powerful all at once.

Omar Robinson, Jonathan Kitt, “ranney”, and Anthony T Goss in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Led by Omar Robinson who is fantastic as frenzied, excitable yet mysterious Boy Willie, The Piano Lesson culminates into a tremendous finale connecting each piece of August Wilson’s rich storytelling for a memorable and intense ending that may remain with you long after the production is over.

One of the best productions I have seen all season, Actors’ Shakespeare Project continues August Wilson’s Pulitzer Prize-winning drama The Piano Lesson live and in person at Hibernian Hall in Roxbury, Massachusetts through Sunday, February 23. Click here for more information and for tickets.

REVIEW: Finding your voice in Lyric Stage Boston’s stirring ‘Crumbs from the Table of Joy’

Posted on January 25, 2025 by The Sleepless Critic

Looking back on life can bring joy, discovery, sorrow and wisdom in unexpected ways.

Cleverly directed by Tasia A. Jones, Lyric Stage Boston continues Lynn Nottage’s family drama Crumbs from the Table of Joy live and in person at Lyric Stage Boston through Sunday, February 2. This partially coming of age production not limited to the stage runs two hours and 20 minutes including an intermission. Click here for more information and tickets.

Dominic Carter,* Madison Margaret Clark, and Catia* (Photo by Mark S. Howard)

Crumbs from the Table of Joy boasts a fascinating cast as each character’s motivation unravels over time and explores some hot button issues prevalent yesterday and today. Madison Margaret Clark as impressionable and determined Ernestine recalls a pivotal time in her life close to graduating high school in the 1950s having moved from the South to Brooklyn with Dominic Carter as her strict, born again and traditional recently widowed father Godfrey and her candid sister Ermina, portrayed with sharp comic wit by Catia. Clark’s engaging delivery is an endearing mix of fondness and reflection recalling life’s little joys such as sharing cookies and precious family moments within the thin walls of a small apartment. As an aspiring actor, Ernestine fantasizes about how cinema solves everything and those scenes stand out as some of the brightest parts of the production.

Catia* and Madison Margaret Clark (Photo by Mark S. Howard)

Cristina Todesco’s translucent and versatile, dual level scenic design framed by a gold embroidered vintage stage and ornate industrial lights transforms into various dim spaces including a living room with dated and crochet adorned tattered furniture. Eduardo Ramirez’s animated lighting design combined with Aubrey Dube’s rich sound deliver carefully timed flickers of joy to instantly transport characters right within the narration from an apartment to a movie theatre to a train station in an array of flickering of lights and distinctive sound effects. Mikayla Reid’s retro costuming ranges from sophisticated in statement ensembles and pin striped suits to handmade floral dresses and patent leather shoes.

Catia,* Thomika Marie Bridwell,* and Madison Margaret Clark (Photo by Mark S. Howard)

Glamorous and smartly dressed, Thomika Marie Bridwell’s dazzling entrance as feisty, forward, flirtatious and daring Aunt Lilly creates an immediate spark in the production with a combination of spice and outspokenness in direct contrast to Dominic Carter’s conservative and stoic Godfrey. Godfrey is so reserved that at one point, Ernestine explains that her father says only white people can laugh on a Sunday. Hanging onto Father Divine’s every word with intensity yet quiet zeal, Dominic Carter delivers a solid performance as Godfrey who claims they came to Brooklyn because of Father Divine’s Peace Mission until something unexpected happens. Bridwell’s Lilly immediately alters the atmosphere with an unexplainable tension and it stands to show whether or not it is for the better. However, there is far more to this tale than meets the eye.

Thomika Marie Bridwell,* Dominic Carter,* and Margaret Madison Clark (Photo by Mark S. Howard)

Bridwell’s excellent performance lies in Lilly’s bold nature and expertly building tension in Lilly’s unorthodox manner of living. Her mix of persuasive charm, laugh out loud comic timing and resolve brings to light this complex character in all of her hidden vulnerability sharing memorable scenes with the cast including Catia as Ermina and Madison Margaret Clark as Ernestine looking on with a mix of shock and admiration for their Aunt while certainly making an indelible impression. Bridgette Hayes is also impressive as mysterious Gerte who suddenly plays a significant role that will not be revealed here.

Madison Margaret Clark, Catia,* Brigette Hayes,* and Dominic Carter* (Photo by Mark S. Howard)

A family drama that delivers some surprising twists and turns, Crumbs from the Table of Joy is a stirring production that shows real life lessons can come from the most unexpected places.

Lynn Nottage’s family drama Crumbs from the Table of Joy continues live and in person at Lyric Stage Boston through Sunday, February 2. This partially coming of age production not limited to the stage runs two hours and 20 minutes including an intermission. Click here for more information and tickets.