film

REVIEW:  Emerald City Theatrical highlights blond ambition in frothy, feel good and inspiring ‘Legally Blonde: The Musical’

Posted on by The Sleepless Critic

Harvard doesn’t know what it’s in for in Legally Blonde the Musical.

Blending Allana Turcotte’s upbeat direction and energetic and athletic choreography with Richard Marchetti’s lively music direction, Emerald City Theatrical presented Legally Blonde the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts.  This exuberant musical was greeted by an enthusiastic audience and ran two hours and twenty minutes with one intermission.  Parking was a little tricky, so allow some extra time when attending this theatre.  Click here for more information and here to see what Emerald City Theatrical is working on this season.

Michelle Moran and her sorority sister in Emerald City Theatrical’s ‘Legally Blonde the Musical’ Photo by Jesse Barnett

Elle Woods, a high school sorority student, thinks her future is set until she realizes things are not quite what they seem.  In order to win back her ex-boyfriend, Elle is determined to attend Harvard Law School. 

This is the fundamental premise of the 2001 movie, Legally Blonde, which is on the verge of celebrating its 25th anniversary of the film’s release.  Starring Reese Witherspoon, this box office success inspired a sequel, award-winning Legally Blonde: the Musical and a prequel series currently in the works.  Although Reese Witherspoon portrays inspirational Elle Woods with humor and heart, this romantic comedy has its share of superficial, silly and over the top moments which can be a lighthearted distraction from the film’s themes.

However, with book by Heather Hach, music and lyrics by Laurence O’Keefe and Nell Benjamin, Legally Blonde: the Musical’s cast recording hatches out some of cast’s psyche and motivations while still maintaining its frothy and comic charm.  While everything seems to be made into a musical these days, Emerald City Theatrical presents Legally Blonde: the Musical as a well paced production which expands and elaborates on the film’s themes while further resonating its inherent message.

Nathan Corbett and Michelle Moran in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Musical numbers such as Serious and Chip on My Shoulder offer greater insight and further dimension into Michelle Moran as Elle Woods that is only touched upon in the film.  For example, in a beautiful and humorous duet called Serious between Elle and Nathan Corbett as Warner, both share they want different things.  Corbett manages to make Warner at first sympathetic and well intentioned under his parents’ unrelenting pressure which offers this character a bit more perspective and both have compelling comic timing.  Moran also shares some endearing scenes with Max Connor as handsome, earnest and hardworking Emmett and their duet Chip on My Shoulder is one of the musical’s greatest highlights. 

Michelle Moran and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Michelle Moran portrays Elle as more introspective than excitable while delivering her share of sparkling wit.  With strong vocals and distinctive laugh, Moran navigates her change of scenery from California to Harvard with a flourish even under the pressure to fit in. 

Michelle Moran, Olivia Lancellotta and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

From cheerful ensembles to colorful school uniforms to classic three piece suits, Emerald City Theatrical, known for its extraordinary costumes, navigates from dazzling to stately in bright and bold colors before later presenting a classic and darker color scheme in browns and grays.  The rolling set features multicolored floral arrangements, a layered pink backdrop with gold accents, white pillars and crown molding that even highlight sparkles in the tablecloth to contrast Harvard’s confined monochrome dark wood paneling and red brick accents.

Grace Graham as Paulette in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett

Delores Salamurovic as Serena, Abby Turchon as Margot and Carina Lopes as Pilar make a squealing yet contemplative Greek chorus as Elle ventures into Harvard’s new and challenging territory with the bright and optimistic number, Positive.  Acting as a cheering squad for Elle while offering a mix of wise and misguided advice, this wild and humorous trio lightens some of the show’s more serious moments.

While Norwell-born Jennifer Coolidge personified the character of Paulette, Grace Graham wisely does not imitate Coolidge while making outspoken and candid hairdresser Paulette her own in unique Emerald City ensembles that stand out in ripped jeans, denim boots and mismatched flair.  With some sharp physical comic timing, a light city accent and a vocal growl, Graham makes quite an impression whether in Ireland’s Celtic swagger or in the flirtatious Bend and Snap alongside Moran.   

Grace Graham, Michelle Moran, Olivia Lancellotta, Abbie Burchard and cast in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett

Jim Braunstein boasts gravitas and commanding vocals as Professor Callahan and clearly relishes the role.  In a beige and brown suit, his wry and egoistical demeanor is immediately evident in a commanding Blood in the Water.  Olivia Lancellotta also depicts cold disdain well as Vivienne and it is fascinating to watch her interact with Moran’s dreamy and optimistic Elle. 

Emerald City Theatrical Jim Braunstein Michelle Moran and cast in class in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett

From the giddy Omigod You Guys to uplifting So Much Better to Find My Way, Legally Blonde: the Musical is a show not to be taken too seriously until it gradually starts to take itself seriously.   Some of the giddiness can be a lot and a few of the characters never go beyond the surface, but there is an inspirational sincerity underneath that could encourage anyone to reach for the stars.

Emerald City Theatrical presented Legally Blonde: the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts.  Click here for more information and here to see what Emerald City Theatrical is working on this season.

REVIEW: Behind the scenes take center stage in Hub Theatre Company’s satire ‘The Understudy’

Posted on by The Sleepless Critic

The understudy has a gripe…and he has a point.

Sharply yet familiarly written by hit show Smash creator Theresa Rebeck and resourcefully directed by Paula Plum, Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts.  The action is not limited to the stage and contains adult language.  All tickets are on a pay-what-you can basis and the show runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

Kevin Paquette in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Angelica Houston portrayed Eileen Rand, a savvy Broadway producer jilted and betrayed by Jerry.  Katherine McPhee as Karen and Megan Hilty as Ivy are competing actresses for the role of Marilyn Monroe in Bombshell, a new Broadway musical where the real drama took place behind the scenes.  This is the plot of Smash, a musical TV drama that lasted two seasons, but developed a cult following.

Like Smash, some elements of The Understudy are not meant to be taken seriously.   Though some of the core plot points between Smash and The Understudy bears some resemblance, it expands its satirical focus into films, theatre and what makes real art through a newly discovered Broadway work by renowned absurdist writer Kafka.  It also contains insightful commentary about creating quality work with meaning and creating less than quality work for profit while infusing inside humor about the nature of theatre.  What do audiences actually want? 

Kevin Paquette and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Symbolically wearing a Bad Brains punk t-shirt and flannel by costume designer Kara McGuinness, some of the play’s funniest and strongest moments come from Kevin Paquette as Harry who is a fed up and a bit of an embittered savant theatre actor performing exacting accents who just happens to be holding out for real art while Cristhian Mancinas-Garcia as Jake is a determined movie star reluctant to do theatre.  Both actors are charismatic and humorously egotistical as they realize their roles.  Paquette as Harry engages the audience with real gusto commenting on the state of art thinking outside the box while Lauren Elias as harried stage manager Roxanne and the picture of practicality, tries to keep the production rehearsal on track.  Paquette, Mancias-Garcia and Elias share rapid fire banter, physical comedy and a few surprises as the show unfolds.

Lauren Elias and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

It also acts as a love letter to the stage managers of the world and does it well.  The play may be called The Understudy, but rocking a legendary Kiss T-shirt, clever, skeptical and sympathetic Elias as Roxanne rises to the challenge attempting to avoid impending theatre disasters while keep it together personally and professionally.  No small feat as Emily Bearce’s haunting lighting and Justin Lahue’s impressively gothic projections seem to possess a mind of their own.  When these elements work with Gage Baker’s rich sound design, it is all quite the spectacle.

Cristhian Mancinas-Garcia, Kevin Paquette and Lauren Elias in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

A day at the theatre with The Understudy unveils drama, secrets, romance, and takes its time with a twist ending you may not see coming.   A production may come together onstage, but the absurdity of how it gets there is the real story.  Thank a stage manager and an understudy today.

Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts.  The action is not limited to the stage and contains adult language.  All tickets are on a pay-what-you can basis and runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW: Theater Uncorked’s ‘The Lion in Winter’ a resonating roar in deceit and dysfunction

Posted on by The Sleepless Critic

“Oh, what a tangled web we weave when first we practice to deceive.”

Here lies the marrow when royalty, family, power and possibly love collide in The Lion in Winter, a historical drama that may itself be fictional, but a number of conflicts in the production within this real life monarchy are based on historic events.  This famous quote from Scottish poet Sir Walter Scott may be cautionary in nature and The Lion in Winter seems like a cautionary tale in some familial aspects, but these wildly tangled webs are far beyond fixing and are need of a reckoning.

With scrupulous direction by Allison Olivia Choat, Theater Uncorked presents James Goldman’s rarely performed drama The Lion in Winter live and in person at Boston Center for the Arts at the BCA Plaza Theatre in Boston, Massachusetts through Sunday, December 15.  The production contains adult themes and is approximately two hours with one intermission.  Click here for more information and for tickets.

Sehnaz Dirik center Thain Emrys Bertin James Honaker and Finian Ross in Theater Uncorked’s ‘The Lion in Winter’ Photo Credit: Gary Ng

The Lion In Winter has been adapted into an Academy Award-winning 1968 film starring Peter O’Toole as King Henry II and Katherine Hepburn as Eleanor of Aquitaine.  Though both actors were nominated for Academy Awards, Katherine Hepburn won for Best Actress.  The Lion in Winter was also later adapted into a lesser known TV movie in 2003 starring Sir Patrick Stewart as King Henry II and Glenn Close as Eleanor of Aquitaine.

Set designer Leonard Chasse delivers medieval festive hauling out the holly for Christmas adorning gold and red velvet tables, a regal coat of arms on the wall and a pair of keenly lit crosses while candlelight by lighting director Erik Fox not only casts ambient light, but adds a foreboding quality to much of the production.

Finian Ross and Sehnaz Dirik in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

Theatre Uncorked does dysfunction well.  They certainly made a case for the Eliot Norton award-winning Who’s Afraid of Virginia Woolf last year diving into extreme marital dysfunction and this year, a royal battle as three sons vie to become the next King of England as Christmas approaches in 1183.  Anthony Mullin as Henry II has high hopes for one son, but Sehnaz Dirik as recently imprisoned Queen Eleanor of Aquitaine has other plans.  It shares some similarities with Shakespeare’s King Lear and the play is even mentioned during the production.  However, nothing is as it seems and the crown and succession feels like a smaller detail in the grand scheme of this family’s maladies.

Like Who’s Afraid of Virginia Woolf, The Lion in Winter visits some of the darkest places of the human condition, and not only reflects the frustration in a toxic marriage but explores neglect, betrayal, grief, mortality, oppression, war and an unscrupulous hunger for power.  It also has its share of satirical humor in its veiled slights, quips, and deadpan style of manipulation.  Each member of the family is playing a long game to achieve each of their desired objectives and as soon as you think you have a grasp of what is happening, the tables turn.

Anthony Mullin and Sehnaz Dirik in Theater Uncorked’s ‘The Lion in Winter’ Photo Credit: Gary Ng

The Lion in Winter boasts two powerful leads in Anthony Mullin as charismatic and egotistical King Henry II and Sehnaz Dirik as Queen Eleanor.  Complicated does not begin to describe their relationship and like Who’s Afraid of Virginia Woolf, King Henry II and Queen Eleanor’s relationship have many layers in their decades long marriage and one cannot think of how dangerous it can be to know someone all too well.  Mullin’s clever and shrewd King Henry to Dirik’s witty and scheming Eleanor put on more than a game face fueled by their passion and stubbornness vying for the upper hand in everything.  Dirik is a natural at Eleanor’s underlying vulnerability behind her machinations with only the audience the wiser.

Micah Livesay and Matthew Zahnzinger in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

Micah Livesay is sympathetic as loyal and susceptible Alais as she struggles in her twisted role while Matthew Zahnzinger as Alais’s egotistical brother Phillip stealthily bides his time on his next move as King of France.

The sons seem like pawns and wish I had a deeper understanding of who they are.  All longing for love more than anything else and acting out about it in distinctive and destructive ways.   Finian Ross as impressionable John, James Honaker as calculating Geoffrey and Thain Emrys Bertin as complex yet valiant Richard all work best while conspiring with each other. 

Matthew Zahnzinger James Honaker and Finian Ross in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

The Lion in Winter is a bit lengthy contemplating the game more than it builds tension, though it is intriguing to see how each move plays out.  Whatever this family has next up their sleeve, it is certainly far from a Norman Rockwell Christmas.

Theater Uncorked presents James Goldman’s rarely performed drama The Lion in Winter live and in person at Boston Center for the Arts at the BCA Plaza Theatre in Boston, Massachusetts through Sunday, December 15.  The production is approximately two hours with one intermission.  Click here for more information and for tickets.

REVIEW: Chain Theatre’s Winter One Act Festival presents Sarah Hoogenraad’s dark comedy ‘Celebrity Crush’

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Who’s on the celebrity list?

Some couples have a ‘pass’ from their partners when fantasying about celebrities.  One person might get a pass from the other if by some possibility one gets a chance to meet or even date a famous celebrity and Lizzie Nguyen as Shannon never dreamed that this might actually happen.  Self absorbed, giddy, and giggly, Shannon and her roommate Amy, depicted by Sarah Hoogenraad who is also the playwright, will find out dreams might not live up to reality and that over sharing can be more than dangerous.

Photo credit to Chain Theatre

With careful direction by Rebecca Wilson and co-produced by Chandler Holloway, Sarah Hoogenraad’s dark comedy Celebrity Crush (#15) was part of Chain Theatre’s Winter ’24 One Act Festival took place from February 8 through March 3 virtually as well as live and in person at The Chain Theatre, 312 West 36th Street in New York, New York.  Click here for more information.

Set in Los Angeles, Celebrity Crush’s dark humor and zippy storytelling keeps things light even when Shannon and Amy realize that the celebrity scene can be less than glamorous. With a fitting music soundtrack which includes perfectly appropriate Crush by Jennifer Paige, Celebrity Crush has a modestly colorful set and humorous props to add lightness to the progressive intensity of the production.  Hoogenraad and Nguyen share some wild moments and they have a natural rapport together.  Miciah Wallace, in a dual role, is especially engaging as Kyle boasting that snappy catchphrase, ‘Smile because you’re with Kyle.’

The Cast of ‘Celebrity Crush’ Lizzie Nguyan, Sarah Hoogenraad, Miciah Wallace, and Matthew Sheaffer Photo credit to Sarah Hoogenraad

It would have been nice to have known what led to Shannon’s date and to get to know the cast better to be more invested in its outcome, but perhaps Celebrity Crush could expand its storyline or become a series in the future.

Sarah Hoogenraad’s dark comedy Celebrity Crush (#15) was part of Chain Theatre’s Winter ’24 One Act Festival took place from February 8 through March 3 virtually as well as live and in person at The Chain Theatre, 312 West 36th Street in New York, New York.  Click here for more information.

REVIEW:  It’s a great time for sleuthing at Greater Boston Stage Company’s ‘Clue: On Stage’

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During a dark and stormy night, a group of strangers are required to gather in a mysterious mansion under puzzling circumstances.  The real reason for the gathering is just one of many twists and turns in this famous dark and comedic murder mystery.

Last year, Ryan Reynolds announced he would star in a new Clue film reboot for 20th Century Studios which, like a lot of reboots, seems unnecessary since the 80’s film Clue is an enduring cult classic.  The popular Parker Brothers board game (now owned by Hasbro) has been revamped a number of times as a board game and has been translated into various forms of entertainment including a live Scavenger Hunt and interactive dinner theatre.  This is one mystery that people have been anxious to solve for generations.  Having seen the 80’s film many times over as well as played the popular board game, this is the first time seeing it done live onstage. 

The Players of ‘Clue: On Stage’ Photo credit to Nile Scott Studios

Directed mischievously by Weylin Symes, Greater Boston Stage Company continues Sandy Rustin’s Clue: on Stage live and in person at Greater Boston Stage Company in Stoneham, MA through June 25.  Clue: on Stage is family friendly, but after all, a black comedy murder mystery which has its dark turns.  The violence is not gruesome, but like the Parker Brothers board game, probably most appropriate for kids ages 8 and up.  This show is 90 minutes with no intermission.  Click here for more information and for tickets.

Clue is a great murder mystery farce, but it really takes a cohesive cast led by famous butler Wadsworth to make this production simmer.  Recent Elliot Norton Award winner Paul Melendy is just the man for the job not only bringing a unique twist to resourceful Wadsworth, but by fostering a new take on the character as does Bryan Miner as Mr. Body.  Tim Curry will always be THE Wadsworth, but Melendy makes this refreshing interpretation his own while keeping Curry’s core characteristics still intact right down to his playful eyebrow lift and smirking grin. 

Paul Melendy as Wadsworth and Maureen Keiller as Miss Peacock Photo credit to Nile Scott Studios

Whether in moments of scheming or over thinking, the cast has compelling chemistry as funny and fascinating adversaries.   Genevieve Lefevre makes a mischievous Yvette while Jennifer Ellis is pitch perfect as Miss Scarlet creating a wonderful balance of sophistication and dry humor.  Maureen Keiller portrays chatty, nervous, and panicky Miss Peacock.  Wearing signature black glasses, Miss Peacock’s character could be interpreted as shrill and abrasive, but Keiller’s distinct comic timing makes Miss Peacock one of the funniest parts of the production.   

L to R: Paul Melendy as Wadsworth Bill Mootos as Colonel Mustard and Genevieve Lefevre as Yvette Photo credit to Nile Scott Studios

In a classic mustache, Bill Mootos brings comic wit to somewhat dim witted Colonel Mustard while Mark Linehan as Professor Plum and Stewart Evan Smith as squeamish Mr. Green both bring an enigmatic quality to their characters.   

Sara Coombs is a good Mrs. White, but would have liked Mrs. White to be less soft spoken and more humorously cryptic.  From stern to silly, Katie Pickett juggles a number of memorable roles as the story unfolds.

Paul Melendy as Wadsworth, Stewart Evan Smith as Mr. Green and Genevieve Lefevre as Yvette Photo credit to Nile Scott Studios

Whether in Miss Peacock’s spectacular blue and green glittering dress, Colonel Mustard’s military garb, Miss Scarlet’s vampy red dress, Yvette’s classic French maid costume, Wadsworth’s coat and tails or Mrs. White’s jet black furs, costume designer Deirdre Gerrard creates an elegant and vintage look authentic to each of the character’s iconic personas.

Paul Melendy as Wadsworth and Jennifer Ellis as Miss Scarlet Photo credit to Nile Scott Studios

Keeping its vintage 50s charm, Clue on Stage’s set by scenic designer Katy Monthei injects some similarities to the 80s film cult classic from the haunting and soft glow at the iconic mansion’s enigmatic front door to the comical and sophisticated portable set pieces.  Lighting designer Jeff Adelberg and sound designer Caroline Eng work overtime to seamlessly and simultaneously up the ante on suspense, humor, and drama through the evolving lighting from foreboding to revealing to flashing to playful  while the sound design transforms from sinister to lively to jolly. 

The show’s innovative blocking and moving staging is a riot as it cleverly makes the most of every inch of the space with its transformative style and  the cast’s ‘athletic’ movements choreographed by Alexander Platt and Cait Zweil.

The Players of ‘Clue: On Stage’ Photo credit to Nile Scott Studios

Sandy Rustin’s fun and comical script is no rehash of the film adaptation, but delivers fresh humor without leaving out some of the iconic quotes and scenes from the 80s film.  Revisiting Clue was such an entertaining experience that I would gladly see it again.

Greater Boston Stage Company continues Sandy Rustin’s Clue: on Stage live and in person at Greater Boston Stage Company in Stoneham, MA through June 25.  This show is 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW: OBIE Award-winning New Ohio ICE Factory’s ‘Isla,’ ‘Acheron: The River of Tragedy’ and ‘Body Through Which the Dream Flows’

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The OBIE-Award winning New Ohio ICE Factory is celebrating its 29th year and has been presenting a number of innovative works each summer that continue through August 20 live and in person at New Ohio Theatre, 154 Christopher Street in New York City.  Virtual shows are available through August 27.  Isla, Acheron:  The River of Tragedy, and Body Through Which the Dream Flows are just a few of works presented during this annual festival.  Click here for further details, how to stream, and for tickets.

Photo courtesy of New Ohio Theatre

Bikes fly, a plane takes off, and cars zoom as a world unfolds in interactive shadows.  Produced by Hit the Lights Theatre, Isla is a documentary experience which combines shadow puppets, photos, animation, and live action to depict the warmth of Samantha Blaine’s homeland and the realities of the Cuban invasion she grew up in.  Her unique and personal journey with her mother and two free spirited sisters integrates nature and song to demonstrate the realities of invasion, family, and how everything is connected.  Featuring strong vocals as well as heartwarming and wistful performances by Samantha Blain, Marlena Mack, Tiffany Ortiz, Kristopher Dean, Mikayla Stanley, Claron Hayden, and Casey Scott Leach,  Isla is a fascinating production that explores heartache, division, political turmoil, pollution, and how Blaine’s world was shaken by communism. 

‘Isla’ Photo by Claron Haydon

A car crash and a tense, mysterious encounter lead to much more than either of these characters bargained for at a river at the Mexican-US border.  Directed by Martin Balmaceda, Spanish language production Acheron:  The River of Tragedy serves up a wealth of twists and turns in this sordid and at times clever tale.  This production has mature themes and is not for children.

A secretive and menacing presence, portrayed by Cinthia Perez Navarro, has entered the life of Leonardo, portrayed with strained intensity by Aline Lemus Bernal, a nattering, impulsive, and yet perpetual optimist who dreams of freedom as soon as that tumultuous river is crossed.  However, there is a heavy price for that dream and neither are savory characters.  Navarro’s searing intensity and cryptic glances make for some skittish moments while Bernal’s jaunty moves and brisk chatter never quite distract from Navarro’s distressing wrath.  Cinthia Perez Navarro and Aline Lemus Bernal are also behind the show’s sharp choreography.  Acheron:  The River of Tragedy is a gritty tale about the darker side of humanity in the pursuit of happiness.

Acheron ©Hugo Freeman With Aline Lemus Bernal (left) and Cinthia Perez Navarro (right)

Body Through Which the Dreams Flows also explores what it takes to achieve a dream.  In this case, it is achieving the Olympic dream as past footage of Olympic champions kick off the production.  Part documentary and part stage performance, creator Soomi Kim and company takes a look at the incredible world of gymnastics and the corruption and tragedy that has seeped into the sport and the lives of young girls in training.  What does it take to be a champion?  Sometimes the price is too steep.

What is really compelling about Body Through Which Dreams Flow are the reenactments of some real life footage as well as Soomi Kim and Alexandra Beller’s beautiful choreography, the sheer athleticism, and interpretation from athletes Lucy Meola, Olivia Caraballoso, Madison Rodriguez, Shayna Wilson, Nora Avci, and Ai Clancy.  Enhanced by Amanda Ringger’s haunting lighting, Body Through Which the Dream Flows is a stirring and eye opening production addressing the pressures and what seems like the impossible expectations from coaches while focusing on what past athletes have endured.  It also delivers a powerful message on the importance of a child having the chance to be a child.

New Ohio BTWtheDF Full cast_ Ai Clancy, Soomi Kim, Madison Rodriguez, Nora Avci, Shayna Wilson, Lucy Meola, Olivia Caraballoso

The New Ohio ICE Factory 2022 continues live and in person at the New Ohio Theatre through August 20 with virtual availability through August 27.  Click here for more information and tickets.

REVIEW:  Available on Amazon Prime Video, Unlikely friendships and big dreams fuel indie dramedy METHOD

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The pandemic put life on pause for awhile and for some, it has an interesting way of putting life into perspective and mull over what really matters.  Perhaps it is to cherish time with family and friends or to realize that the future is now.  It might have prompted regrets and an eagerness to fix the future in any way possible. 

Rebecca Lachmansingh as Amy Photo by Andrew Quach/Method

College students Lydia and Amy are at a pivotal point in their lives.  Both are ambitious with big dreams, but approach their goals in different ways.  Amy decides to shake up her world while Lydia pursues her interests with her feet planted firmly on the ground.  Their peculiar and abrupt chance meeting and awkward dialogue takes a moment to latch onto as if these two distinct young women speak different languages.  Their observances and approaches to life are in such stark contrast, it is a wonder how they get along. 

METHOD, an indie dramedy directed and co-written by Darya Amirshahi with Matthew Choi, is available now on Amazon Prime Video and other streaming services. The film is just under 90 minutes.  Click here for more information.

First time director Darya Amirshahi captures the essence of the pandemic with this small cast spending much of their time in solitude and hints at the restlessness of this time.  This quiet life has Amy crawling out of her skin while Lydia dares not to dream.

Jacqueline Yushkov as Lydia Photo by Andrew Quach

The title suggests multiple meanings in this film, but what first comes to mind is Amy’s dream to become an actress, a career she pursues impulsively and with some reckless abandon.  Serious and steadfast, Jacqueline Yushkov as hardworking Lydia does not seem to indulge in anything other than sensibility and gawks at Lydia’s impulsiveness.  Gradually, Lydia tempers Amy’s lofty goals. 

Sharon Juhasz amiably depicts Amy’s worried mother and voices her concerns, but Amy is resolute.  Rebecca Lachmansingh as controlling and occasionally harsh Amy makes some questionable decisions in the film, but Lachmansingh also brings naïve and idealism that garners some sympathy for her character.

Rebecca Lachmansingh as Amy Photo by Andrew Quach/Method

Two unlikely friends discover with a little faith, less reckless abandon, and a few hard lessons, there is hope.  The dialogue is farfetched at times and can benefit from having a bit more subtlety, but Yushkov and Lachmansingh work out its believability through their quirky chemistry and gradual understanding of each other.

METHOD, an indie dramedy directed and co-written by Darya Amirshahi with Matthew Choi, is available now on Amazon Prime Video and other streaming services.  Click here for more information

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on by The Sleepless Critic

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

Photo credit to Jeanne Denizard

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

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

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

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

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

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

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

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

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

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

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

REVIEW:  Mikko Nissinen’s ‘Swan Lake’ returns in riveting and enchanting splendor

Posted on by The Sleepless Critic

Mikko Nissinen’s Swan Lake will enchant you from the start.

Swan Lake has stood the test of time for generations and it is no mystery why.  Seeped in regal splendor, Swan Lake is a visually-striking portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest.  Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

With seamless musical-direction by Mischa Santora, Tchaikovsky’s majestic score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet rises out of Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19.  Performed in memory of John W. Humphrey, Swan Lake has returned to the Boston Opera House for the first time since Mikko Nissinen re-imagined the ballet in 2016.  This four-act performance has one intermission.  Click here for more information and tickets.

Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake.  Swan Queen Odette, portrayed with graceful fragility by Lia Cirio, catches his eye and it is love at first sight.  It soon becomes clear that the swans were once women cursed by sorcerer Von Rothbart, depicted menacingly by Tyson Clark.  Tyson Clark as Rothbart is an incredible and unpredictable force as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.

Golden-braided, ornate headpieces, flowing pastel garments, parasols, garlands, exquisitely feathered tutus and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight by lighting designer Mark Stanley.

Marked by such precision, Mikko Nissinen’s choreography is ballet at its finest.   Emily Entingh and Sage Humphries are visually-stunning rising gracefully and beautifully fluttering out of the mist.  A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe, delicate strokes.  The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist.  It still stands as one of the beautiful displays of ballet I have ever seen.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Gene Schiavone, courtesy of Boston Ballet

In the castle gardens, dancers whimsically join together in a feast dance with goblets and joyfully present the prince with rich garlands.  While the castle garden depicts almost a dreamlike setting, an equally opulent ballroom with vast ceilings lit in red later depict a livelier setting as a  grand and dynamic lineup of guests gather to charm the kingdom including princesses, czardas, and Neapolitans.

Patrick Yocum is impressive as Prince Siegfried as he evokes loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance as if floating across the stage.  Light and dark in Tchaikovsky’s Swan Lake is demonstrated impeccably in Lia Cirio in a complex, dual role.  As guarded Odette, her every move diligent and yet her statuesque beauty and downcast demeanor enrich her mysterious and powerful presence.  Tingling violin resonates in Tchaikovsky’s emotive score as Cirio and Yocum share a hesitant and sweet encounter.  He tenderly lifts and comforts her at every turn.  Cirio can craftily engage an audience and masters her dual role as mysterious and confident Odile.  That striking look she gives reminded me of the fire she brought to her 2020 performance in Boston Ballet’s Carmen.  Cirio’s cunning smile and playful charisma gleam as Yocum takes her hand playfully and yet, almost possessively in a spellbinding and exhilarating dance.    

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

Swan Lake is such a haunting and beloved tale of tender grace and arduous passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s Academy award-winning Black Swan.  Mikko Nissinen has adjusted a few scenarios in Swan Lake since its re-imagining in 2016, but only for its betterment to create an even more thrilling, illuminative and memorable experience.    

Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Click here for more information and tickets.