heritage

REVIEW:  Family dynamics in The Huntington’s world premiere of Mfoniso Udofia’s ‘The Grove’

Posted on by The Sleepless Critic

What comes before you is not as powerful as what comes next.  Forging ahead has never been more difficult for Adiaha in The Grove.

Abigail C. Onwunali in The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

With skillful direction by Awoye Timpo and captivating choreography by Adesola Osakalumi, The Huntington presented the world premiere of The Grove, the second of Ufot’s  nine-play family cycle, live and in person at The Calderwood Pavilion in Boston, Massachusetts through Sunday, March 9 and is currently available to stream online.  This intriguing bilingual production in English and Ibibio runs 1 hour and 45 minutes with one intermission.  The Ufot Family Cycle features three Ufot Nigerian-American family generations.   Click here for more information and how to steam this production.

The cast of The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

Jumping from 1978 in The Sojourners to Worcester, Massachusetts in 2009, The Grove explores family roots, identity, and more as Adiaha’s struggles under the anxiety of facing her extended family as she carries a secret that she fears is against her Nigerian heritage and will ruin her family’s expectations.

Lit brilliantly by Reza Behjat, a silvery, translucent and multipurpose carousel backdrop not only serves as an extension into other scenes, but as a mysterious window into another world which features allegorical figures and inspiration for Abigail C. Onwunali as introspective perfectionist Adiaha Ufot, the eldest daughter in the Ufot household.  The production opens to the Ufot family cooking and meticulously housecleaning to prepare for Adiaha’s master’s degree graduation under the direction of Ufot’s father and patriarch Disciple, depicted with righteous enthusiasm by Joshua Olumide.  A grandfather clock, wooden stove, living room with sofa and chairs provide a portion of Jason Ardizzone-West’s sleek and innovative set.

Janelle Grace and Ekemini Ekpo of The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

The Grove has a strong cast sharing a tight family bond, each holding their own deep convictions within an umbrella of expectations.  In spite of his Disciple’s objections, Amani Kojo as Adiaha’s little brother Ekong Ufot dares to embrace the world around him and adopt American culture.  Kojo as determined Ekong seems an unconventional voice of reason within the family remaining vigilant under his father’s pressure.

Left to right: Janelle Grace, Joshua Olumide, Abigail C. Onwunali, and Patrice Jean-Baptiste in The Grove; directed by Awoye Timpo; photo by Marc J. Franklin

 Olumide as Adiaha’s orthodox father Disciple, a PhD scholar himself, staunchly urges his oldest daughter Adiaha forward through higher education in hopes of marrying her off so she can carry on Nigerian tradition in her own family.  Disciple’s insistent nature and urgency reverberates with Onwunali’s Adiaha as she anxiously follows another path weighed down by the fear of disappointing him.  Onwunali encapsulates this role in her pleading demeanor exemplified by her nervous and short answers attempting to tow the line for her family and what is expected of her.  Adiaha’s plight to be who her family wants and her own dreams are being squashed within and it is impossible not to feel for this young woman. 

Left to right: Paul-Robert Pryce, Makuda Steady, and Joshua Olumide in The Grove; directed by Awoye Timpo; photo by Marc J. Franklin

Aisha Wura Akorede as Toyoima Ufot shares a credible sibling rapport with Onwunali as Akorede delivering teasing yet tough love.  Akorede brings lightheartedness and some laughter as the subject matter intensifies.

Patrice Johnson Chevannes is impressive as conflicted Abasiama, exhibiting Abasiama’s struggles and trauma with quiet and harrowing strength as a traditional Nigerian wife and mother in a sly and powerful scene with Adiaha.  Abasiama also shares some amazing scenes with Disciple recalling their long and complex history.

Abigail C. Onwunali and Patrice Johnson Chevannes in The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

Adiaha’s outlet into herself is through her writing as mysterious voices and shadows, depicted vividly by Ekemini Ekpo, Janella Grace, Patrice Jean-Baptiste, Dayenne Walters, and Chibuba Bloom Osuala, are a driving force and play a uniquely powerful collaborative role in this production.

A journey of discovery, The Grove delivers a familiar storyline in a distinctive and fascinating manner.  Its artistry, symbolism and multi-layered style of storytelling embellish every aspect of the production into a new and refreshing experience.

The Huntington presented the world premiere of The Grove at The Calderwood Pavilion in Boston, Massachusetts through Sunday, March 9 and is currently available to stream online.  Click here for more information and how to steam this production.

REVIEW:  Chuang Stage’s visionary ‘Nüwa in Fairyland’ explores the nature of love and belonging

Posted on by The Sleepless Critic

Words matter.  Formalities matter.  Commitments matter.

Wise words firmly stated by Jen Alison Lewis as Maryanne in Brandon Zang’s Nüwa in Fairyland, an insightful coming of age tale that crosses imagination with a number of interweaving elements in order to bring consolation and understanding in the face of change.    

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage continues Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for the Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1.  This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission.  Pay-as-you-are tickets are available.  Click here for more information and for tickets.

Jen Alison Lewis and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Nüwa in Fairyland is primarily centered on the relationship between good natured, competitive, and playful Benji depicted by Trevyn Wong in an impressive and charismatic performance and Jen Alison Lewis as Maryanne, Benji’s protective and steadfast adopted mother.  Benji is starting to question his heritage beyond what he knows of his adopted life in America after seeing a documentary on China and Maryanne immediately feels anxious and uneasy.  Meanwhile, Bowen Huang movingly depicts a mystical creature frantically searching for a missing child.  There may be a connection here, but Nüwa in Fairyland explores a broader vision and branches out into fascinating territory and parallels that interweave imagination, reality and a certain Shakespearean play in order to cope with what is next.

Matt Goldstein, Trevyn Yong, and Jen Alison Lewis in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Navigating its various settings with precision while making the most of its theatrical space, Qingan Zhang’s ethereal and floral scenic design is highlighted by splendid translucent imagery and a sense of immersion due to Anna Drummond’s soothing and atmospheric sound design and Ashley Yung’s ambient lighting.  From feathers to crowns to capes to embroidered armor, Sandra Zhihan Jia’s costumes blend the fanciful with the contemporary while infusing a traditional Shakespearean influence. 

Jen Alison Lewis and Matt Goldstein in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

This capable cast has very good camaraderie and comedic timing as they find nuances not necessarily in the script which enhance certain sweet moments within the production.   A gleeful glance, an awkward gesture, and a delayed pause help to strengthen the bond within this small cast.  Henry Dolgoff as chatty and anxious Damian share several of these moments infatuated with Wong in an array of awkward and mixed signals.  Matt Goldstein as stern yet supportive Mr. Bailey and Lewis as Maryanne both share some soulful moments with Wong as Benji struggles with where he belongs.

Trevyn Wong and Henry Dolgoff in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

However, Bowen Huang shines as stunning Nüwa in an intense, sage and sympathetic performance.  Spoken in both Chinese and English, Huang is expressive, passionate, brave, and empowered with a wonderful charisma and zealousness convincingly drawing others to her plight in an unfamiliar place.   The cast collectively explores the bonds of love in a thought provoking and multi-layered journey while both Huang and Lewis uniquely and beautifully discover the unforeseen and unyielding expectations of motherhood.

Bowen Huang and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage presents Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1.  This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission.  Pay-as-you-are tickets are available.  Click here for more information and for tickets.

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

Posted on by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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