Don’t let the upbeat opening music fool you. This is one intense table.
Three individuals arrive at a poker game. One individual is earnestly present in spite of her current circumstances and two cannot escape their immediate pressures and distractions even though they all share a common goal – to be present together.
Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative
Written and directed thoughtfully by Kevin T. Durfee, Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City. Due to a blizzard, this program had to be delayed a week. Click here for more information about the production and here for more information about Chain Theatre, which presents over 90 one act productions during its annual winter festival.
Mary McCarthy in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative
A small, floral covered table should bring friends together, but they cannot help but misunderstand each other. In their own way, they all secretly plead for help, but cannot be heard. Durfee uses communication breakdown in a clever way to depict each individual’s perspective through Mary McCarthy as struggling mother One, Griffin Garnett portrays struggling worker Another, and Hannah Wu depicts unemployed Alternative. Athleisure, a business suit, and casually dressed respectively fittingly reflect their distinctive life perspectives. They all aptly underline their distress as they long for the comfort of each other’s company, but cannot escape their various individual pressures.
Griffin Garnett in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative
Confiding and connecting are so important. Durfee was inspired to write this work through his own experiences meeting up with friends and everyone is so engulfed in their current circumstances, they catch up, but may lack genuine connection. Durfee uses potentially life altering circumstances, but lack of connection is so easy to do in friendship or in any relationship, especially when even the lure of a cell phone is enough of a distraction from making a genuine human connection. Listening, connection and confiding can lighten anyone’s struggles even when things happen.
Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative
Scenes of (Dis) Connections provide just a snapshot of a friendship without a background story, but could be the foundation of a larger narrative. In its brief time, it begs a few questions about these three interesting characters. How they became friends, how they found themselves in these circumstances and how their friendship progresses would make for an excellent larger production.
Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Ryan Blaise and Shannon Adams Creative
Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City. Click here for more information about the production and here for more information about Chain Theatre.
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.
Amy Resnick and Will Conard in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo
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.
The Moderate is sure to alter your perspective on the digital world as much as it impacts each member of this small and likable cast. Be sure to see The Moderate as much for its engulfing state of the art technology as for its stunning emotional core.
Innovatively designed and directed by Jared Mezzocchi, Central Square Theater continues Ken Urban’sThe Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1. This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission. Click here for more information and for tickets.
Nael Nacer in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios
The Moderate is not shared chronologically which helps to make this production a mesmerizing digital journey from its very first frame. Rewinding the clock to March 2020, a humble yet determined Frank Bonner, powerfully and evocatively portrayed by Nael Nacer, interviews for a job as an internet moderate while the world is in COVID isolation.
The Moderate packs a lot into its brief and swiftly moving timeframe. It delves into a wide spectrum of themes including loneliness, isolation, family strife, trauma, the gravity of internet addiction, abuse, the dark web, racism, social media, the raw and exhibitionist side of human nature and the lengths one would endure to provide for family.
Nael Nacer and Jules Talbot in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios
We live in an encompassing digital world and it is not likely to change any time soon and this technology is depicted in brilliant and meticulous ways. The show is wisely served up with no intermission which elevates this production’s immersive and gripping style of storytelling. Captivatingly set up and directed, Christian Frederickson’s robust sound design, Mezzocchi’s Multimedia design, and Sibyl Wickersheimer’s distinctive set design invites the audience into not only into what Nael Nacer as Frank sees, but how each character is experiencing one another digitally and in real time. You are not just an observer, but experiencing each frame navigating right along with the cast between the digital world and reality.
Nael Nacer and Celeste Oliva in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios
This amazing show boasts an impressive cast. Celeste Oliva is intense and relatable as Frank’s estranged and levelheaded wife, Edyth. Nacer and Oliva fall into difficult and various misunderstandings and both still manage to remain sympathetic under their strained circumstances. Nacer’s Frank is darkly humorous, naïve and charming in his frustrations over technology. Jules Talbot brings a mix of lighthearted and dark humor as Rayne, a young maverick union fellow moderate who offers Nacer’s Frank valuable insight into the digital world. Greg Maraio portrays Frank’s level headed manager Martin who is all too aware of the difficulty and dangers of their positions and the impact it is sure to have on their lives and Sean Wendelken makes a stunning impression as Gus.
Sean Wendelken in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios
However amazing the show’s technology is delivered, what truly sets this show apart is its humanity. It does have genuine lighthearted and humorous moments while remaining unflinching of its emotional toll and remarkably and honestly lays bare the cast’s individual vulnerability and urge to make a difference. Through this shared experience, you may empathize with what they are going through as well and have a better understanding of our real and unpredictable digital landscape.
Jules Talbot and Nael Nacer in Central Square Theatre’s ‘The Moderate’ Photo by Nile Scott Studios
Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1. This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission. Click here for more information and for tickets.
“We want so badly,” reflects Kaila Pelton-Flavin as Beth, “We don’t see what we have.”
From Jenna McFarland Lord’s dual level wooden set reminiscent of a doll house highlighted by a fireplace, family table and uniquely patterned rug, Beth’s realization rings true of the mercurial March family. With the exception of Kaila Pelton-Flavin as shy and fragile Beth and Sarah Newhouse as nurturing and practical Marmee, the March sisters share an exceptional amount of squabbling with little understanding of what is really important. Aislinn Brophy may be story telling Jo, but Pelton-Flavin’s Beth just may be the wisest of all.
Directed by Shana Gozanky, Actors’ Shakespeare Project continues Kate Hamill’sLittle Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. This production runs 2 hours and twenty minutes including one intermission. Click here for more information and for tickets.
The cast of Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography
This is not the first time Actors Shakespeare Project has re-imagined and restaged a literary classic as demonstrated in productions such as Kate Hamill’s refreshing take on Jane Austen’sEmma and Shakespeare’s vibrant Romeo and Juliet.
Louisa May Alcott’sLittle Women has been restaged, restyled and recalibrated many times over the years for television, theatre and film. I’ve followed many adaptations of Little Women on both stage and screen most notably Greta Gerwig’s adaptation of Little Women which earned Academy Award-nominations for Saoirse Ronan as Jo and Florence Pugh as Amy. Gerwig’s adaptation jumps timelines and presents a real life meets literary work in a revolutionary way. It doesn’t feel like watching yet another Little Women. The iconic moments from the novel are still present, but delivered in a manner never presented before and approaching issues such as social status in a frank and more obvious way.
While Kate Hamill’s Little Women focuses on the March family, at its core is the sibling relationship between Jo and Beth which unfolds in a distinctive way as they interact together even before the production begins. Hamill’s version also has a lot to say and presents its content in a frank and more obvious manner while preserving its roots as a coming of age tale without sharing Alcott’s work in its entirety. This version is also shaped differently as these March girls march metaphorically and quite literally which says so much about how Hamill adapts these characters from Louisa May Alcott’s beloved book.
Aislinn Brophy, Kaila Pelton-Flavin, and Olivia Fenton in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography
Zoe Sundra’s audacious costuming includes handlebar mustaches, ties, suspenders, dapper long coats, and multi-patterned dresses with each costume designed to reflect the era and highlight each character’s distinct personalities. Brophy’s Jo wears several mismatched and layered ensembles that enhance her individuality and buck tradition while Chloe McFarlane as Amy’s long braids and traditional dress highlights Amy’s aspirations for refinement. Julian Crocamo’s energetic and defining piano-infused score varies mellifluously from playful to rushing to tender as the production unfolds.
Aislinn Brophy in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography
Most of the characters, especially the March girls, depict pronounced and less profound versions of themselves. The March sisters are iconic for their subtler qualities as much as for the traits that make them classic characters ahead of their time. Jo is inquisitive, confident and awkward with big ambitions and a temper alleviated by her sensitivity. However, Brophy’s Jo is outspoken, tempestuous and controlling fixated on a man’s world. Like the iconic character, this Jo also longs for the comfort of things to always remain the same. In long thick braids, Chloe McFarlane as haughty, clever and traditional Amy often locks horns with Jo’s unorthodox views. Olivia Fenton’s Megan is boy crazy, impressionable, goofy, and exceedingly optimistic providing awkward humor especially in scenes with Chris Stahl as Mr. Brooks who share a wildly giddy bordering on silly chemistry.
Aislinn Brophy and Sarah Newhouse in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography
Only calm, mature and consoling Beth quietly observes with sympathetic and sensible Marmee as Marmee quells and directs her daughters. Newhouse impressively depicts Aunt March in a dual role who is as uncomfortably outspoken as ever while Patrick Vincent Curren charismatically portrays stern and wealthy Mr. Laurence along with Amy Griffin and Chris Stahl who aptly portray multiple roles.
Aislinn Brophy and Jonah Barricklo in Actors Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography
One of the best parts of this production are the fascinating interactions between Brophy’s Jo and Jonah Barricklo’s Laurie who share some wonderful camaraderie and an endearing rapport. Barricklo as Laurie is lonely, earnest, sensitive and sincere, feels out of place in the world and will do just about anything for Jo. They conspire and tease each other while emphasizing the unique commonalities in which they share their true selves and their unorthodox outlook of the world. Their unique recognition of each other and the manner in which they understand each other is rare, lovely and bittersweet.
The cast of Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography
Though I am not a fan of the way the March sisters are depicted, there are new elements of the show’s storytelling worth seeing, especially in the work of Newhouse’s Marmee and Pelton-Flavin’s Beth who consistently attempts to bring to light what is important in the midst of all of life’s distractions, noise and ambitions.
Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. Click here for more information and for tickets.
A woman on the edge and a man is barely keeping it together…at gunpoint.
Such is the opening of SpeakEasy Stage’s intense thriller Job, a two hander production that is at times, a nail biter and other times, a deep dive into a woman’s unfiltered thoughts, observations and teetering panic with a startling twist that holds a grievous and agonizing truth.
Directed with raw candor by Marianna Bassham, SpeakEasy Stage continues its 35th season with Max Wolf Friedlich’s searing psychological thriller, Job through Saturday, February 7 live and in person at the Calderwood Pavilion in Boston, Massachusetts. This fast paced production contains strong language and adult themes running approximately 80 minutes with no intermission. Click here for more information and for tickets.
From left: Josephine Moshiri Elwood and Dennis Trainor Jr. Photo by Benjamin Rose Photography
Set in downtown San Francisco in 2020, set designer Payton Tavares with Amanda E. Fallon’s moody lighting depicts a warmly lit and detailed therapist’s office in muted colors that features a leather couch, desk, several paintings and few family photos. Intense, hollow and at times creepily deafening, Lee Schuna’s carefully orchestrated sound design signals several significant moments during the production.
Job is not unfamiliar territory for director Marianna Bassham who starred in her Elliot Norton award-winning and indelible portrayal as Nina in SpeakEasy Stage’s People, Places and Things in 2022. While People, Places, and Things dives into the deep chasm of an addict, Job takes a different approach to trauma and addiction in Jane in a visceral performance by Josephine Moshiri Elwood. Having recently performed as idyllic Emily in Lyric Stage’s Our Town, Elwood shows her broad range depicting a deeply wounded, distressed, controlling and flawed individual wearing haphazard loungewear with a colossal chip on her shoulder. Jane condescends, snipes, is obstinate and shows narcissistic tendencies, but the why of it all will soon rise to the surface while Dennis Trainor Jr. skillfully portrays an alarmed yet seemingly mild mannered therapist Loyd who does what he can to temper this unpredictable situation.
Josephine Moshiri Elwood Photo by Benjamin Rose Photography
Elwood and Trainor Jr. hint at a battle of wits rapport and both are guarded in their own way which only allows glimpses into their true nature. It is fascinating to see how the conversation shifts as they learn more about one another.
From left: Dennis Trainor Jr. and Josephine Moshiri Elwood Photo by Benjamin Rose Photography
Job kicks off at an eleven and keeps its dialogue crisp. Much of this swiftly moving production tackles the nature of panic and anxiety and spans a number of scenarios real and imagined. It also takes a raw look at the dangers and the dark crevices of the digital age. It is a powerful production, but its potent content while gripping, may not appeal to everyone. It was a lot for me and could possibly conjure up some complex feelings for you as well. The production delivers pop culture references, politics, and contemporary issues while striving at lighter hearted moments in its occasional dark and dry humor, but the escalating situation may not leave much room for laughter.
From left: Josephine Moshiri Elwood and Dennis Trainor Jr. Photo by Benjamin Rose Photography
SpeakEasy Stage continues its 35th season with Max Wolf Friedlich’s tense psychological thriller, Job through Saturday, February 7 live and in person at the Calderwood Pavilion in Boston, Massachusetts. Click here for more information and for tickets.
It can be a strange form of intellectual entertainment.
The contestants range from excitable to anxious to charismatic while braving through the pressure to succeed. With spell check just a click away, knowing how to spell complex words such as Xanthosis, Autochthonous, or Logorrhea almost seems like an archaic practice. However, Scripps National Spelling Bees are seen all over the world and like any competition, plenty of drama is happening behind the scenes.
Smoothly directed and choreographed by Margaret McFadden with John Eldridge’s witty music direction, The Hive Theatre Company dives into an interesting match of wits with the award-winning musical comedy, The 25th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. This semi-interactive production runs 1 hour and 45 minutes with one intermission and contains some adult humor. Click here for more information and for tickets.
The cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden
Based on a book by Rachel Sheinkin and William Finn and featuring playful and insightful songs from its Grammy award-nominated album such as I’m Not That Smart, Pandemonium, and I Speak Six Languages, The 25th Annual Putnam County Spelling Bee explores the lives of quirky and feverishly ambitious Putnam Valley Middle School students who are not only striving to win the bee, but to find their place in the world.
Alex Kennedy and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden
Featuring a live four piece band in the background, the BCA Plaza Theatre offers a fitting scholastic vibe for a spelling bee. Kevin Deane Parker’s modestly staged set features a blue school door, colorful metal chairs and auditorium seating. No spelling bee should be without a sponsor and Putnam Optometrists have stepped in with a humorous slogan across the judge’s table. Samantha Wolfrum’s wild and eccentrically charming costumes illustrate each character’s distinctive qualities.
Before addressing each one of the improvisational wizards that compete in Hive Theatre Company’s production of The 25th Annual Putnam County Spelling Bee, it is important to note that the audience plays their own part in the bee. This small cast makes a big impression, and this zany musical comedy tests the audience’s knowledge as four lucky guest volunteer spellers have the honor of taking the stage to compete with the cast. It is an amazing experience to be a guest speller as the cast keeps them on their toes all in good fun.
Amanda Wade and Cameron Nye in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden
If offered this opportunity, do not let fear and the unknown override a wonderful chance to join in the excitement of the bee along with the outside possibility of getting serenaded by some real talent. The interactive antics are just part of what makes this improvisational musical comedy unique and doused in a bit of the “reality show” flavor. Each performance of The 25th Annual Putnam County Spelling Bee leaves its own individual and lasting impression.
From caricature voices to bizarre antics, this spelling bee cast leans into and emphasizes character quirks much more than endearing qualities than other version I have seen while relishing in their own various idiosyncrasies. To these students, spelling can be ruthless and punishing and are certainly feeling the pressure. Full of anxiety and neurotic awkwardness, each adolescent has their own humorous ways of coping to achieve a win paired with the difficulties of growing up. Learning each speller’s story and why they are participating in the Putnam County Spelling Bee (and needs a win) can be insightful, comical, and moving.
Salvatore Guillermo Garcia, Amanda Wade and Maya Gopalswamy in The Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden
Running the Bee is Amanda Wade as Rona Lisa Peretti, former winner of Putnam’s Spelling Bee. Peppy, orderly, and with polished vocals, Wade doles out fun facts about the contestants with palpable enthusiasm especially during the excitable number, Rona Moment #1. She and Josh Telepman as Vice Principal Douglas Panch are responsible for quite a few clever one liners during the show, feeding off each other’s varied personalities.
Anna Wright and Salvatore Guillermo Garcia in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden
Salvatore Guillermo Garcia is impressive as intense, firm, but sensitive Mitch Mahoney who hands out cure-all juice boxes to eliminated contestants as he supervises the competition.
Maya Golalswamy and Kaden Mays in Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden
Outlandish and peculiar, the remarkable spellers play well off each other and boast particular chemistry and harmony during the numbers, Pandemonium, My Friend, the Dictionary, and Magic Foot which fittingly features a kick line. Maya Gapalswamy as Olive and Kayden Mays as William display some awkwardly cute chemistry. Gapalswamy as hesitant and sweet Olive Ostrovsky is also sympathetic in a stirring rendition of The I Love You Song with Amanda Wade and Salvatore Guillermo Garcia. Anna Wright as Logainne Schwartzandgrubenniere, an anxiously outspoken bright-eyed girl in braids with a lisp forlornly laments Whoa is Me and Alex Kennedy is memorable as Leaf Coneybear, an intense, wildly dressed savant in a cape and bow tie while Cameron Nye has more than spelling on his mind as shy and daydreaming Chip Tolentino. Ashley Ha is ironically charismatic as socially awkward and rigid perfectionist Marcy Park especially for the athletic number, I Speak Six Languages.
Kaden Mays (center) and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden
In a tricky environment where so much rides on improvisation, the cast navigates their characters while gliding through any challenging circumstances. The show inserts a few interesting pop references and contemporary issues into this timeless musical comedy. Some elevate the comedy while others seem out of place. Overall, The Hive Theatre Company’s musical comedy, The 25th Annual Putnam County Spelling Bee is a clever and original musical production that may just leave the audience feeling a little smarter.
The cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden
The Hive Theatre Company continues musical comedy, The 25th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. Click here for more information and for tickets.
A violet pixelated galactic sky is marvelously portrayed from a spaceship bed and that is only the beginning.
Garrett McNally delivers a moving portrayal as inquisitive Auggie whose vibrant imagination spans the vast cosmos. Born with Treacher Collins Syndrome, Auggie’s world has always been limited to home schooling. However, when Auggie is about to attend fifth grade, Alison Luff as Auggie’s practical mother Isabel insists he attend public school. With guarded optimism, Auggie ventures apprehensively on this new journey.
Nathan Salstone, Garrett McNally, and members of the cast of Wonder. Photo: Hawver and Hall
Insightfully directed by Taibi Magar with Katie Spelman’s enchanting choreography and Ryan Cantwell’s uplifting music direction, American Repertory Theater (A.R.T.) continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. This family-friendly and engaging production is approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.
Wonder Production Photo Nathan Salstone, Javier Muñoz, Alison Luff, Garrett McNally, and Kaylin Hedges in Wonder. Photo: Hawver and Hall
Though Wonder is not based on a true story, Auggie’s story draws from real life experiences of individuals who struggle with this craniofacial condition. It tackles bullying, prejudice, empathy and kindness, but what sets this intriguing musical apart is how it delves into perspectives. Auggie may be the central figure in this musical, but a large part of the story focuses on each character’s perspective and the unexpected struggles of those who seem to have it better than Auggie at first glance. Learning to walk in another’s shoes has never been so important.
Set designer Matt Saunders with lighting designer Bradley King richly articulates this glowing musical’s significant themes symbolically through a multicolored and animated pixilated landscape rhythmically peppering a revolving stage. These pixels can enhance, enliven and moderate the musical’s weightier scenes, but particularly illuminating Auggie’s amazing cosmic universe. Imaginative backpacks, colorful streamers, expressive T-shirts and detailed, fanciful costumes are just a sample of Linda Cho’s exuberant costume design.
Wonder Production Photo Alison Luff and Garrett McNally in Wonder. Photo: Hawver and Hall
Wonder boasts its share of feel good moments featuring a strong cast. The chiming pop-infused score with lyrics and music by A Great Big World with Cody Spencer’s robust sound design keeps the show hopeful and optimistic even in the face of its heavier and poignant moments. Alison Luff as Isabel, Javier Muñoz as Nate, Kaylin Hedges as Via and Garrett McNally share a natural tight-knit chemistry facing the world as Hedges as Via affectionately calls her family ‘our little galaxy.’ There is a quiet earnestness built into this family when they step aside for one another. Hedges brings an affinity to this complex role with quiet yearning as Via through soaring vocals who consistently puts Auggie first in her solo, Around the Sun. Luff and McNally share a stirring bond in a fiddle-laden and powerful rendition of You are Beautiful.
Led by Melvin Abston as energetic Mr. Tushman, Beecher Prep School teachers share an idyllic infectious glee, enthusiasm, and occasionally lovable awkwardness as they navigate the curriculum with verve and charm.
Wonder Production Photo Garrett McNally and Donovan Louis Bazemore in Wonder. Photo: Hawver and Hall
Skylar Matthews charismatically shines as excitable and precocious theatre student Charlotte, especially during her engaging solo, You Didn’t Hear it From Me as she waltzes across the stage. Donovan Louis Bazemore seamlessly navigates conflicted Jack who brings warmth and sincerity to the number, Shoes. Paravi shows off sharp comedic timing while lightening a heartfelt moment with Hedges.
Garrett McNally (Auggie) and the cast of A.R.T.’s world-premiere production of Wonder bow in front of the Opening Night audience.
Nathan Salstone is no ordinary Moon Boy. From the exciting 3-2-1 Blast Off and throughout the production, Salstone’s mellifluous vocals and reflective demeanor with Auggie brilliantly elevates each scene.
Wonder is an intuitive, imaginative and heartfelt creation that celebrates the value of loyalty and friendship while sharing significant life lessons prevalent for all ages. You may step away from Wonder the Musical seeing a brighter world too.
American Repertory Theater continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. Click here for more information and for tickets.
Please note that the Academy Award for Best Animated Short film winner was In the Shadow of the Cypress announced at the 97th Academy Awards on Sunday, March 2. All the Academy Award nominated films including the winner are available online and now playing at the Coolidge Corner Theatre in Brookline, Massachusetts through Thursday, March 6. Click here for more information and for tickets.
From loneliness to love struck, this year’s Oscar nominated Animated shorts mixed lighthearted comedy and tragedy covering a wide range of issues including the effects of trauma, bullying, and PTSD.
Nina Gantz’s dutch and international stop motion animated short Wander to Wonder is a poignant and strange reflection of days past. It runs 14 minutes.
Though the short is about a children’s show, it is not for young children and features some disturbing content.
Nina Gantz’s ‘Wander to Wonder’
Flies swarm as a group of tiny performers are trapped inside an old studio and fighting for survival where 80s Belgium children program Wander to Wonder was filmed after its originator Uncle Gilly, depicted by Neil Savage, passes away. Wander to Wonder has a sorrowful and dank feel to reflect how much time has passed since the gleam of this beautiful and eccentric, if not widely watched children’s show was on the air. Delivering moments of wacky humor, Toby Jones as Fumbleton, Amanda Lawrence as Mary and Terrance Dunn as Billybud express an inherent yearning as they reflect upon the fond memories of the program and make an awkward attempt to recreate some of them while trying to survive which can be bereft, odd and gruesome. I felt for their sad situation, but didn’t find myself invested enough in the characters as they struggle to adapt.
Written and directed by Loïc Espuche featuring bright and inviting two dimension animation, French short film Yuck! (Beurk) is a 13 minute long sweet tale about discovering first love.
Loïc Espuche’s ‘Yuck (Beurk)’
A group of children revel in spying on others at summer camp and are disgusted as they watch couples kiss. However, Leo discovers he has a crush on his friend Lucie. Yuck explores the discovery, joy, confusion and heartache of life through the eyes of a child. It is a brief and endearing tale that is worth every minute.
What if you can learn the truth about life around you?
Daisuke Nishio’s ‘Magic Candies’
Written by Baek Heena and directed by Daisuke Nishio, Magic Candies is an insightful 21 minute Japanese CGI animated short about a lonely boy named Dong Dong who purchases a pack of mysterious candies and runs 21 minutes. However, these colorful candies have a compelling and unexpected power that takes Dong-Dong by complete surprise.
With the exception of the distinctive characters, the settings are incredibly realistic. From Dong-Dong’s textured jeans to each detailed strand in the dog’s fur to the layered patterns in Dong-Dong’s wrapped blanket to sweeping fall foliage, Magic Candies unfolds is an aesthetically pleasing manner and is a must see film that is funny, moving, silly, clever and heartwarming.
‘In the Shadow of the Cypress’
Directed by Shirin Sohani and Hossein Molayemi, Iranian short film In the Shadow of the Cypress, winner of the Academy Award for Best Animated Short, delves into the strained relationship between a father who suffers from PTSD as the result of war and his daughter which is nearing a breaking point.
Both live together in an isolated seaside house. The two dimensional 20 minute animated film boasts finely delicate details that enhance the rippling waves, the slender and stylized design of each of the characters right down to the father’s long striped beard. Its remarkable sound design embellishes a storm of seagulls, an alarming ship ablaze, and the subtle triggers that set the father off as he struggles with his harrowing conflict within. It can be slow at times, but it is worth watching for its captivating conclusion.
How far would you go to look your best?
Nicolas Keppens’s ‘Beautiful Men
Balding brothers Steven, Bart, and Koen travel to Istabul to have hair transplants. However, it is quickly discovered that only one appointment is available. It traces each character’s nature, insecurities, and how they handle the situation as this error becomes known.
Nicolas Keppens’sBeautiful Men is a two dimension 19 minute international comedy drama short which combines cut out stop motion and white board animation and contains some adult content and nudity. It is at times a candid short that explores just how far one would go for self improvement.
Each of Academy Award nominated films including the winner is available online and at the Coolidge Corner Theatre in Brookline, Massachusetts through Thursday, March 6. Click here for more information and for tickets.
From traumatic to comical to poignant, Program #9 explores a variety of struggles among two people from strangers to spouses including grief, circumstances or growing apart.
Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Erin Moughon’s Escape (The Pina Colada Song), Kevin Cheng’s Dear Diary and Pascal Phoa’s Last Train to Nevada are 15 minute One Act productions Kevin T. Durfee’s Between the Wired Fence runs 45 minutes. Click here for more information and for tickets.
Aren’t most breakups complicated? However, this particular one is on another level.
Claire Shiell and Matthew Menendez in Erin Moughon’s Escape (The Pina Colada Song) Photo courtesy of Chain Theatre
Candidly directed by Perryn Pomatto, Erin Moughon’sEscape (The Pina Colada Song) shares too small a snapshot into a relationship with quickly building tension as a woman breaks the news to her boyfriend that she wants to break up with him. What ensues is outside the expected as Claire Shiell and Matthew Menendez share some humorous moments unleashing frank relationship truths along the way building to a fascinating revelation. Escape leaves more questions that beg for a prequel or a sequel to this one act.
Elizabeth McBryde and Kevin Cheung in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin
With ruminating direction by Emily M. White, the cherry blossoms are in bloom as Elizabeth McBryde as reservedJosie settles on a Central Park bench to verbalize her thoughts in her daily journal entry in Kevin Cheng’s Dear Diary. However, her sensible thoughts are interrupted by an encounter with Kevin Cheng who is memorable as optimistic and cheerful Pablo practicing a speech. Dear Diary is poignant and funny with more to the story that Josie can reveal as disarming Pablo charms her into helping him out and they discover more about one another.
Elizabeth McBryde and Kevin Cheng in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin
What if escape is your last hope?
Pascal Phoa’sLast Train to Nevada focuses on a couple who are running out of options in 1942. Their only hope of being together requires a drastic change that is sure to change both their lives. With stirring direction by Yibin Wang, Pascal Phoa portrays an uncertain Freddy and Gwyneth Benitez-Graham as a despairing Ida from different countries in a dangerous and intolerant climate. Phoa and Graham bring complexity to their character’s motivations as time is running out and they are in urgent need of an answer.
Pascal Phoa and Gwyneth Benitez-Graham in Pascal Phoa’s ‘Last Train to Nevada’ Photo courtesy of Chain Theatre
At some point, something has to give.
Written and directed by Kevin T. Durfee, Between the Wired Fence reflects on timing and aspiration as a couple metaphorically stares at one another from two sides of a figurative fence.
Elisa Falanga and Shannon Adams-Gray in Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre
Shannon Adams-Gray offers a thought provoking performance as overwhelmed but successful financial adviser Sawyer who was once an aspiring actress. Daniel Bishop portrays Odie, Sawyer’s spontaneous and intuitive husband who tries to help her cope as he pursues a career in performance art. Bishop as Odie’s outlandish and over the top persona is a seeming contrast to Adams-Gray as Sawyer’s forced sensibilities, but there lies an underlying charm and clear bond in their brief stage time together.
Daniel Bishop Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre
When Elisa Falanga delivers a mysterious package, it springs forth an eye opening reckoning for Sawyer and a new understanding on how they can both move forward.
Between the Wired Fence offers humor and insight on both sides of the fence into life’s delicate timing while touching upon the anxieties and pressures of the world and what it means to succeed.
Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Click here for more information and for tickets.
For some aviators, space is so close and yet so far away.
The journey for breakthrough can span generations and Space examines the rocky path to bring women to space by taking leaps and bounds through time while unveiling a mix of accomplished and still some hidden figures.
A Catalyst Collaborative@MIT production written by LM Feldman with innovative direction by Larissa Lury, Central Square Theater continues SPACE live and in person through Sunday, February 23 at Central Square Theater in Cambridge, Massachusetts. The performance is not limited to the stage, contains some mature themes and runs approximately two and a half hours including one intermission. Click here for more information and for tickets.
Barlow Adamson and Kaili Y Turner in Central Square Theater’s ‘SPACE” Photo by Nile Scott Studios
Prior to SPACE, make your way to a star-filled, adjacent room to study an array of promising and bright aviators featured in this production. Some who became astronauts and others who attempted to break through barriers while making strides for others.
Introduced by Kaili Y. Turner as the first African-American woman to travel to space Mae Jemison and Barlow Adamson as JFK, Central Square Theater’s SPACE transcends 100 years bringing together aviation legends whose paths may have never crossed in reality, but gathered together in this production where anything is possible.
Catherine K. Slusar, Kaili Y. Turner, Hui Ying Wen, and MK Tuomanen in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios
Qingan Zhang’s simple yet expansive set design with John R. Malinowski’s transformative lighting and Nate Tucker’s immersive sound design combine for a celestial experience. The journey to become an astronaut is a physical and mental rollercoaster and this production articulates that rigorous and complicated path in an unconventional and effective manner. This multilayered production maintains a swiftly moving pace through simultaneous conversations and detailed commentary while stylistically evolving from scene to scene with a zippy narrative.
The cast’s fascinating rapport explores the similarities and differences these women might have shared had they existed in the same time period, especially when they put their heads together. It is unique method of examining their individual backgrounds and how they might have interacted if time and space had no barriers. The production discusses each of these dynamic women’s accomplishments (some who were self taught) and delves into aspects of their personal lives, interests and tragedies which those in charge unreasonably deem to affect their ability for the program compared to male candidates.
Catharine K. Slusar, Hui Ying Wen, Valencia Proctor and Monica Risi in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios
Some of the strongest scenes of the production include the arduous testing involved for this group of women test candidates in the 1961 Mercury 13 space program. Led by Barlow Adamson as a testing official, the candidates physically pile together through clever human choreography during testing, symbolizing a bond with the other women who may have never met in reality, but share a common dream.
MK Tuomanen and Mitra Sharif in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios
MK Tuomanen delivers a memorable performance as daring and carefree Sally Ride and aptly articulates the panic and pressure of being NASA’s special consultant Geraldyn Cobb in a dual role. Listing jaw dropping accomplishments, Catherine K. Slusar avidly depicts Jackie Cochran’s sheer vigilance in a difficult position navigating the system as a Woman Airforce Service pilot, spokesman, and sponsor of the Mercury 13 space program. Adamson portrays an inspiring and exacting JFK and juggles a number of other characters with finesse and occasional humor while Turner delivers a fervent performance as Mae Jemison.
Mitra Sharif, Hui Ying Wen, Catherine K Slusar, Valencia Proctor, MK Tuomanen and Monica Risi in Central Square Theater’s ‘SPACE’ Photo by Nile Scott Studios
At one point in the production, it is mentioned that there is no ceiling in space. Learning about these brilliant women who reached and fought tirelessly through generations for their mutual dream to innovate beyond the system through changes, blockages and rejection to explore space stands an as an inspiration for any dreamer to persist no matter what until that dream is a reality.
Central Square Theater continues SPACE live and in person through Sunday, February 23 at Central Square Theater in Cambridge, Massachusetts. The performance is not limited to the stage, contains some mature themes and runs approximately two and a half hours including one intermission. Click here for more information and for tickets.
