Great Depression

REVIEW:  Greater Boston Stage Company adds an illustrated personal touch to uplifting family musical classic ‘Annie’

Posted on by The Sleepless Critic

There’s nothing like the promise of tomorrow and no one delivers plunky optimism quite like Annie.

Even in the worst of circumstances, Annie can always find a silver lining which can be demonstrated in a moment when a homeless person complains of empty pockets to which Annie responds, ‘At least you got pockets.’

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks in 1933 Depression-era New York.  It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope.  As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Greater Boston Stage Company proves this steadfast musical favorite never goes out of style.

Livia Quist as Annie and Gideon as Sandy Photos by Nile Scott Studios.

Warmly directed by Tyler Rosati with Bethany Aiken’s uplifting musical direction and Ceit Zweil’s endearing chorography, Greater Boston Stage Company continues Annie: The Hit Broadway Musical live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts.  This family-friendly musical classic runs two and a half hours including an intermission.  Click here for more information and for tickets.

Part of what makes Annie such fun to produce is although the tale remains the same, there is always room to perform it a little differently each time.  Having originally watched the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn as well as the late great Albert Finney, I’ve gone on to see Annie film and stage adaptations performed in a variety of ways featuring a small and large cast.  Greater Boston Stage Company features a seemingly smaller cast but the sentiment remains the same and is no less effective.   

Ainsley Moulton as Molly and Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Katy Monthei’s layered and folded set appears uniquely illustrated by children and opens like a book playfully illustrated with markers and crayons featuring homemade drawings, rainbows, sunshine and a drawn city skyline.  However, the most striking are the orphans’ illustrations of their imagined families.  The folded set is impressive as it turns to various scenes, but can occasionally create a tighter space for the characters.

The cast of Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Kelly Baker’s costumes run the gamut of 1930s vintage flair featuring a wide spectrum of patterns faithful to the era including pinstripes, plaids and paisley as well as elegant coat and tails, bowler hats, mother of pearl broaches, pinafore dresses, furs and silks. 

Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Donning a soft curled redheaded bob, signature red sweater and weathered pinafore dress, Livia Quist portrays a little and mighty Annie with angelic features and big expressive eyes.  Quist is one of two Annies that take the stage during this musical’s run.  Quist is darling, emotive and has a talent for sadness behind a smile and vice versa.  Endearing and sympathetic, she is unlike any other Annie I’ve ever seen.  Her powerhouse vocals light up Maybe with delicate yet spunky Ainsley Moulton as Molly as well as the show’s signature song, Tomorrow.  In long braids and an earnest smile, Moulton’s Molly is mischievous roaming about in the most unexpected of places and Brianna Brien is also impressive as tough talking bully Pepper who tests Annie several times during the musical. 

De’Lon Grant as Oliver Warbucks Photos by Nile Scott Studios

Quist’s Annie shares endearing and lighthearted moments with De’Lon Grant as dapper and driven Oliver Warbucks and charming him into seeing a movie in New York City with her is a particular highlight.  De’Lon boasts textured and soaring vocals as workaholic, urgent and tough-minded New York City billionaire tycoon Oliver Warbucks as he pays tribute to his beloved city with N.Y.C. before later performing a tender rendition of Something was Missing.  Quist also shines with Michael Sáenz as a jovial FDR.

Ceit Zweil as Miss Hannigan in Little Girls in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

In a black haired bob and a whistle around her neck, Ceit Zweil depicts an exasperated and sassy Miss Hannigan and certainly makes the part her own.  Dramatic, smarmy and dreaming of a better life, Zweil’s skilled depiction shows a woman who may have once been glamorous, but spends her days stunned, fed up and dreaming of a better life.  Tough and street smart, Zweil is a stylish alto demonstrating a sharp vocal growl, belt and a way of turning a phrase.  Zweil shows off her strident vocals for Little Girls as the orphans demonstrate their frequently amusing knack for pushing her buttons. 

Tader Shipley as Grace and Ceit Zweil as Miss Hannigan in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Tader Shipley warmly depicts sophisticated and determined Grace Farrell, Oliver Warbucks’s levelheaded secretary.  Shipley’s bright eyes enliven with admiration and reverence when speaking of De Leon’s Warbucks.  Grace’s breezy yet professional demeanor fits in well with Warbuck’s no nonsense moxie.  However, Shipley as Grace’s veiled exchanges and frequent battle of wills with Zweil’s Miss Hannigan are a riot.

Livia Quist and the Orphans in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

The orphans’ version of Fully Dressed and A New Deal for Christmas is sure to make you smile. From feigned footsteps to cowbell to kazoo, sound designer Adam Smith fascinatingly rewinds the clock depicting vintage radio programs and how radio created sound effects in the 30s.  Christian David delivers lighthearted flair as jocular radio announcer Bert Healey and the gum chewing New Yorker Boylan Sisters were a treat.

Ceit Zweil as Miss Hannigan, Mark Linehan as Rooster and Kathy St. George as Lily St. Regis in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Polished in a pinstriped and purple paisley suit, Mark Linehan brings pizzazz and charisma as smooth talking Rooster, Miss Hannigan’s conman brother.  With local favorite Kathy St. George as Lily St. Regis, they make an amusing, sleazy pair and with Zweil, a trio of conspiratorial adversaries with a rollicking version of Easy Street.

Livia Quist as Annie, De’Lon Grant as Oliver Warbucks and cast in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Wearing thick scarves, layers period hats and surrounded by newspaper headlines, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today.  However, from select city shoppers to matching uniformed house staff to government officials, this enthusiastic cast enhances the joy in this classic tale and Giselle’s noticeably vibrant and knowing smile performing a variety of roles capturing this production’s uplifting spirit.

Raise your spirits with Greater Boston Stage Company Annie:  The Hit Broadway Musical continuing live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts.  Click here for more information and tickets.

REVIEW:  Vivid dreams of what could be in Gloucester Stage Company’s affecting ‘The Glass Menagerie’ by Tennessee Williams

Posted on by The Sleepless Critic

This is a memory play. 

This description speaks volumes about legendary playwright Tennessee Williams’ autobiographical and deeply personal play, The Glass Menagerie.  De’ Lon Grant serves as narrator, the protagonist Tom and perhaps Williams himself focusing on the dysfunctional Wingfield family, the delicate nature of life, and the hope of what the future holds.  This memory play was the first of its kind and Tennessee dedicated it to his sister in real life.

De’Lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Exquisitely directed by Doug Lockwood, Gloucester Stage presents their 46th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28.  The show runs two hours and 25 minutes including one 10 minute intermission.  Click here for more information and for tickets.

Adrienne Krstansky and Liza Giangrande in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

There is a certain magic in The Glass Menagerie, even as dreams and reality collide.  Taking place during the Great Depression in the 1940s, hope and illusion inhabit a cramped apartment in Saint Louis, Missouri even as dusty dining room chairs are uncovered in a dank room.  Thin, translucent curtains, dining room chairs and a square of iridescent light shine in this space as De’lon Grant as Tom, Liza Giangrande as Laura, and Adrienne Krstansky as Amanda make themselves at home. Jenna McFarland Lord’s amazing set design infused with Aubrey Dube’s rich and crucial sound design is a breath of fresh air and holds a surprise which will not be revealed here.

Nia Safaar Banks successfully rewinds the clock to this vintage era with floral tea length dresses, wide brimmed hats, suspenders, and page boy hats.  Amanda Fallon blends inviting and haunting illumination to this production which is often moody, veering from the evocative red flash of dancehalls to soft and luminous candlelight casting vivid shadows in the background.

Patrick O’Konis and De’lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

In a long coat and brimmed hat, Grant weaves in and out of his dual role charismatically recalling Wingfield history and recollections while playing his part as Tom as the play unfolds.  The Glass Menagerie’s small cast holds challenging and meaty characters steeped in deeply rooted flaws.  Some of the family and societal issues that are brought up in Williams’ timeless work, The Glass Menagerie could have been written yesterday.  Working as a workhouse shipping clerk, Tom has grander dreams and secretly struggles as the man of the house since his adored father left the family.  Liza Giangrande portrays Tom’s helpful, quiet, anxious, sweet and imaginative sister Laura who has lived with a disability her entire life.  Pretty and slight with delicately braided hair, Giangrande delivers a meaningful performance as Laura exuding quiet strength in this sympathetic character as she struggles between escaping the world and a longing to fit in.

Liza Giangrande and Patrick O’Konis in Gloucester Stage Company’s ‘The Glass Menagerie’ Photos by Shawn Henry

Patrick O’Konis is enchanting as Jim O’Connor who dreams of a life beyond working in a factory with Tom.  Easygoing and ambitious, O’Konis makes quite an impression with Amanda and Tom while sharing some endearing moments with Laura.   

 At the center of the family is Adrianne Krstansky as Tom and Laura’s chatty, bubbly and yet anxious and controlling mother, Amanda Wingfield.  Visibly shaking at times and fiddling with her clothes, Krstansky delivers a brilliant and unsettling performance as Amanda who veers from sing song excitement and fixation to alarm and paranoia handing out backhanded compliments.  Dwelling on past charms and occasionally reminiscent of Blanche in A Streetcar Named Desire, Amanda fixates on her days of prosperity when she was the bell of the ball.  Ruminating on symbolic jonquils, she nitpicks, fusses, plots, plans and worries over her children’s success and happiness hoping to find Laura a husband. 

De’Lon Grant, Lia Giangrande and Adrienne Krstansky in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Boasting raw and compelling characters, The Glass Menagerie is an affecting drama that mixes relatable humor, cruelty, regret, and generational trauma, but also joy, sweetness and amazement.  Strong are the ties that bind.  It is poignant, hopeful and it unveils a certain beauty in this family’s unwavering strength in these hard times.

With exquisite direction by Doug Lockwood, Gloucester Stage presents their 46th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28.  Click here for more information and for tickets.

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

Posted on by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW:  Sullivan Rep capped off their premiere season with a heartwarming ‘Annie’

Posted on by The Sleepless Critic

The power of tomorrow.               

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks during Depression-era New York in 1933.  It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope.  As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Sullivan Rep proves this steadfast musical favorite never goes out of style.

To cap off their first season of New Beginnings and Opportunities, Sullivan Rep brought back this beloved musical classic to a sold out audience for most of its run.  Directed warmly by Dan Sullivan, Annie continued its successful run through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts.  The music was two and a half hours including an intermission.  Click here for more information.

Charlotte Kuong and Leah Hudson in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

Part of what makes Annie such fun to produce is although the tale remains the same, there is always room to perform it a little differently each time.  Having seen the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn, and the late great Albert Finney, it is easy to forget the stage version sticks to the storyline for the most part, but also contains additional songs.  Sullivan Rep also added some welcome candid quips to the show such as ‘Some were from the Bronx, Miss,’ and ‘Just think…New Jersey’ for added humor as well as a touching moment when all the orphans harmonize for the final phrase in the number Maybe for added resonance.

Rather than utilizing the Windsor Club stage itself, Dan Sullivan made the most of the space for Annie by performing it at eye level in the auditorium to create an immersive experience featuring a pared down set the cast set up and took down with each scene.   From a startling lightning storm to a red glowing stove to colorful and festive cheer, lighting director Erik Fox kept the show’s optimistic spirit in check throughout the production.

The Orphans perform ‘It’s a Hard Knock Life’ in ‘Annie’ Photo courtesy of Sullivan Rep

Wearing thick scarves, layers and period hats, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today.  In a pinstriped suit and silk tie, Todd Yard boasted soaring vocals as workaholic and tough-minded New York City billionaire tycoon Oliver Warbucks as he paid tribute to his beloved city with N.Y.C.  before later performing a stirring rendition of Something was Missing which is just a couple of the additional songs included in the stage version of the musical, but not in the film.  N.Y.C. had a skip in its step featuring piles of presents, special appearances by Mr. Peanut and Santa Claus and a wowed city newcomer who delivered stunning vocals in her brief appearance during the song. 

Charlotte Kuong and Todd Yard in Sullivan Rep’s ‘Annie’ Photo courtesy of Sulliva Rep

In a fur lined coat and lilac heels, Temma Boudreau charmingly depicts elegant Grace Farrell, Oliver Warbucks’s levelheaded secretary and shares a few sweet moments of her own with Kuong.  Boudreau’s breezy yet professional demeanor fit in well with Yard’s no nonsense moxie.   

Donning a straight red haircut, Charlotte Kuong depicted a bit more restrained version of Annie still infused with cleverness, earnestness and charm.  Her strong and clear vocals were most prominent during the numbers Maybe with adorable Leah Hudson as Molly as well as the show’s signature song, Tomorrow.   She also shared some endearing moments with Yard as Oliver Warbucks and charming him into seeing New York City with her was a particular highlight.

Temma Boudreau and Charlotte Kuong in ‘Annie’ Photo courtesy of Sullivan Rep

The orphans’ version of Fully Dressed is adorable and sure to make you smile. Sound designer Andrew Mulholland successfully rewound the clock featuring vintage radio programs and an always entertaining look at how radio created sound effects in the 30s.

In curlers and a whistle that she makes the most of during the show, Carly Evans depicts a sarcastic and matter of fact Miss Hannigan.  While some actresses sink their teeth into what can be considered an over the top role, Evans instead downplayed Miss Hannigan as exasperated, dark and moody showing off her strident vocals for Little Girls as the orphans demonstrated their knack for pushing her buttons. Cristhian Mancinas-Garcia as Hannigan’s conman brother Rooster and Melissa Paz as bleached blond Lily St. Regis make an amusing, sleazy pair and with Evans, a trio of conspiratorial adversaries.  Paz is a powerful singer and looked like she enjoyed portraying a woman who can’t sing.  Some of the rollicking chorography of Easy Street offered some subtle nods to the film version.

Brian Higgins as FDR and cast in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

From select city shoppers to matching uniformed house staff to government officials, this enthusiastic ensemble cast enhanced the joy in this classic tale highlighted by Brian Higgins as a jovial and charismatic FDR, Robert Orzalli as Drake with a twinkle in his eye, Anthony Rinaldi stood out as jocular radio announcer Bert Healey, and the gum chewing, New Yorker Boylan Sisters were a treat.

Sullivan Rep capped off their season with Annie through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts. Click here for more information and what is in store next season.