high school

REVIEW:  North Shore Music Theatre’s ‘Grease’ hits a solid groove and then some

Posted on by The Sleepless Critic

As North Shore Music Theatre’s The Wizard of Oz took audiences inside a powerful tornado, this Grease takes place inside a multicolored lit jukebox. 

Ambitiously directed with smooth choreography by Kevin P. Hill and lively music direction by Milton Granger, North Shore Music Theatre continues its 70th season with the hit musical, Grease live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 24.  This upbeat musical has some adult language and runs approximately two hours with one intermission.  Click here for more information and for tickets.

Hank Santos (Kenickie) with Jeremiah Garcia (Roger), Nick Cortazzo (Danny Zuko), and Jayson Brown (Doody) in “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

Director Kevin P. Hill creates a few cleverly presented magic changes in perspective that brings major themes of this musical heightened meaning.  Don’t expect to see a retread of the hit 1978 film or the stage musical, but a balance of both while staying true to the show’s themes with a few surprises along the way.  Themes like bullying, adolescence, peer pressure and fitting in take center stage and are as relevant as any of the musical’s love stories.

Caroline Siegrist (Sandy Dumbrowski) and Nick Cortazzo (Danny Zuko) in “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

From oversized vinyl records to famous 50s dance moves including the hand jive to classic cartoons to a cherry red convertible to an epic floor featuring a gleaming tapestry of images including Marlboro cigarettes, lipstick, and vintage roadsters, Grease offers plenty of warm 50s nostalgia using Alex Berg’s polished sound design with scenic and lighting designer Jack Mehler.  A peek into Mehler’s illumination includes a starlit floor and sparkling vinyl records. Costume coordinator Rebecca Glick also helms a trip down memory lane in the T-Birds and Pink Ladies jackets right out of the film, pastel gingham skirts and frilly crinoline gowns, silks, and colorful vintage Rydell High school uniforms.

The cast of “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

Taking place in the late 50s and featuring an array of hit songs including Summer Nights, Greased Lightnin, Look at Me, I’m Sandra Dee, and We Go Together, Grease focuses on Caroline Siegrist as new Rydell High School student Sandy.  Little does Sandy know that Nick Cortazzo as ladies man Danny in which they shared a fleeting summer romance, also attends the same school.

This well cast musical resembles their classic 1978 film counterparts and features songs that do not appear in the film in its entirety.  Taking a cue from Stockard Channing in a short pixie cut and deep clipped vocals, Bailey Reese Greemon shares that frank, intimidating and guarded indifference as Betty Rizzo. The bullying seems more extreme and the T-Birds are depicted as macho juvenile delinquents albeit with plenty of comic relief touched upon in Hank Santos as Kenickie’s slick number, Greased Lightnin.  Caroline Siegrist is a sweet Sandy with silvery soprano vocals that give off Olivia Newton-John vibes while Nick Cortazzo portrays Danny as a ladies’ man with comic zing. Hopelessly Devoted to You, a song written by the late great Olivia Newton-John for the Grease film, is perfection within Siegrist’s longing vocals.

Caroline Siegrist as Sandy Dumbrowski in “Grease” at North Shore Music Theatre thru August 24, 2025, 2025. Photo©Paul Lyden

Brittany Zeinstra steps more into the spotlight as Marty, a glamorous and flirty romantic and resourceful pen pal.  Her path to romance is examined in her coy number, Freddy My Love and Jeremiah Garcia as Roger and Sunayna Smith as Jan share a goofy yet humorous duet in Mooning boasting compelling harmony.

In a vision of silver and white, Beauty School Drop Out, featuring dynamite vocals by Avionce Hoyles as Teen Angel, is lighthearted, comical and one of the best numbers of the production.  However, Kathy St. George is a scene stealer as English teacher Miss Lynch.  A skilled and avid dancer, expect the unexpected from spitfire Kathy St. George who is delightful, especially during the number, Born to Hand Jive. 

Avionce Hoyles (Teen Angel) with Lily Kaufmann (Frenchy) and the cast of “Grease” at North Shore Music Theatre thru August 24, 2025. Photo©Paul Lyden

North Shore Music Theatre’s Grease remains slick and cool while still offering something new to this classic hit musical.  North Shore Music Theatre continues its 70th season with the hit musical, Grease live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 24.  Click here for more information and for tickets.

REVIEW: Wheelock Family Theatre’s ‘The Prom’ delivers humor and frivolity into an inspired true story

Posted on by The Sleepless Critic

This time I chose comfort over a frilly dress for this Prom.

Similar to Maureen Keiller’s diva-esque Dee Dee Allen, my prom style resembled Allen’s stylish jumpsuits.  It is one of Zoë Sundra’s many festive, glittering and characteristic-defining costumes displayed in this production, especially highlighted by Janis Hudson as Angie in a sparkling and show shopping red dress.  I felt like I fit right in. 

Gary Thomas Ng*, Janis Hudson, Maureen Keiller*, Elias Robles, Davron S. Monroe* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

With lighthearted direction and occasionally sashaying choreography by Larry Sousa as well as upbeat Music Direction by Jordan Oczkowski, Wheelock Family Theatre at Boston University rolls out the red carpet for musical comedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8.  Wheelock Family Theatre boasts open captions that come in handy during the performance which runs two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Since The Prom premiered on Broadway in 2018, it was adapted into a Netflix film that boasted an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry.  It has been brought to the stage locally over the last few years.  Inspired by a true story, anxious Emma, earnestly portrayed by Siri Manju, invites a date to the Prom with none other than Annie Parrinello as popular perfectionist Alyssa, the daughter of the head of the Parent Teacher Association.  However, their high school will not allow them to attend the prom together.  Once a group of egocentric Broadway celebrities get wind of this human interest story, they decide to make a difference in this small Indiana town.  

Annie Parrinello & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana.  It delivers humorous moments ranging from silly to satirical with a sincere and underlying message about helping others.

The Prom boasts strong vocals from an amiable cast and lauded local talent.  Maureen Keiller brings ego and attitude as Dee Dee Allan, a self absorbed award-winning actress.  Keiller’s powerful belt is on full display for It’s Not About Me and The Lady’s Improving.  Along with soaring vocals by Davron S. Monroe as warm and charismatic actor Barry Glickman, Gary Thomas NG as no nonsense and frazzled PR rep Sheldon, Elias Robles as openhearted Trent, and Janis Hudson as inspirational Angie Dickinson, these seemingly shallow thespians share some comical moments, but their real charm is exposed by the people they meet in this fish out of water production. 

Lauren Velasco O’Donovan, Arabella Hardgrave & Ensemble in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

SeifAllah Salotto-Cristobal’s soft and cheerful multicolored lighting cleverly divides high school and theatrical scenes by illuminating vintage stage lights for celebrity numbers.  James Rotondo’s rolling and colorful set design are mainly set inside James Madison High School halls using some projections to transform settings from a 711 store front to a hotel to an Applebee’s.

David Jiles Jr.* & Maureen Keiller* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone.  It is positive throughout, even in the face of Emma’s most difficult challenges.  Siri Manju’s chiming vocals in the forlorn and self effacing number Just Breathe is a compelling revelation as well Manju’s sweet rendition of Unruly Heart while Jennifer Bubriski’s tight lipped delivery proves fitting for tough and controlling antagonist Mrs. Greene.  Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Janis Hudson & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom contains a wealth of welcome, inside Broadway references as well as symbolic choreography during the pivotal number, Tonight Belongs to You and It’s Time to Dance reflecting how the tide turns during the production.  Janis Hudson shines during the Fosse-inspired Zazz, an uplifting rendition delivering sparkle and encouragement.  Manju shares a touching rapport with both Hudson and Monroe, sure to make you smile. 

Annie Parrinello & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

As David Jiles Jr. as serious, compassionate and theatre loving Principal Hawkins reflects, “A distraction is momentary. An escape helps you heal.”  The Prom tells a complex and message driven story while also providing a temporary glittering escape from the realities of life. 

The full cast and crew of ‘The Prom’ Photo by Nile Scott Studios

Wheelock Family Theatre at Boston University rolls out the red carpet for musical dramedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8.  Click here for more information and for tickets.

REVIEW:  ‘Mean Girls The Musical’ kind of makes fetch happen

Posted on by The Sleepless Critic

As is the custom in this Mean Girls girl world, it was Wednesday and I work pink…fuchsia to be exact.

As a big fan of the 2004 hit film Mean Girls featuring Lindsey Lohan and Rachel McAdams, I couldn’t wait to revisit the famous catch phrases which became part of the pop culture landscape in this musical adaptation and it did not disappoint.  While some of them are straight out of the 2004 film, other phrases are delivered slightly differently. 

Mean Girls the Musical is mostly faithful to the 2004 film with some exceptions with some story elements expanded, enhanced or changed. Seeing the musical is a new experience.

Pictured (L- R): Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), MaryRose Brendel (Karen Smith) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

With nimble direction and sharp choreography by Casey Nicholaw, Mean Girls the Musical continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, May 4 before it continues on its national tour.  This production is two hours and 30 minutes including one intermission.  Click here for more information and for tickets.

Since the release of the 2004 film, Mean Girls the Musical ran on Broadway from 2018 through 2020 before the commercial success of the 2024 musical film starring Angourie Rice as Cady and Broadway’s Reneé Rapp as Regina.

Pictured (L- R):Mary Rose Brendel (Karen Smith), Maya Petropoulos (Regina George), Kristen Amanda Smith (Gretchen Wieners) Photo by Jenny Anderson, 2023

Having never witnessed either the Broadway musical or the 2024 musical film, it was exciting to see this story unfold in a different genre from an updated perspective acknowledging the widespread use of social media.  In 2004, North Shore High School student wrote in an actual Burn Book. It was a wild thought to consider how that might be imagined online, but fortunately, The Burn Book has not changed. Cells phones, social media and autocorrect are integrated into the musical’s enhanced plot.

From shimmering mirror reflections to vibrant and detailed backdrops, scenic designer Scott Pask’s rolling set unfolds at a thrillingly agile pace as montages of classrooms transform in simultaneous desk twirls.  Kenneth Posner’s animated lighting can largely be considered its own character enhancing the musical’s quick pace through unique and changing patterns overhead in time to John Clancy’s upbeat orchestrations while at times lending to the humor in key scenes. 

While some aspects of the musical do not quite live up to the 2004 film, other aspects are done better.  This cautionary tale, introduced by Joshua Morrisey as Damian and Alexys Morera as Janis, begins with Katie Yaomens as adorably quirky, awkward and anxious new student Cady who has moved to Illinois from Kenya after being homeschooled her entire life.  Boasting soaring vocals and expanding on Cady’s fearless and adventurous Kenyan spirit in the enchanting song, It Roars, Yaomens brings naiveté and earnestness with a certain charisma as Cady that you can’t help but root for her success.  Yaomens further glows with optimism alongside  José Raúl as Aaron Samuels in the number, Stupid with Love.  However, Cady learns that high school is much more complicated than she could have imagined.

Pictured (L -R): José Raúl (Aaron Samuels) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

Yaomens shares some compelling scenes with Morrisey and Morera as they open Cady’s eyes to an entirely unfamiliar new way of life – high school.  This trio builds amiable and playful camaraderie as the show progresses.  Joshua Morrisey turns on the charm portraying theatrical Damian.  From excellent tap dancing to show choirs to harmonious backup vocals to dance breaks, Morrisey is exuberant delivering funny and sage advice about impulsiveness we can all learn from in the insightful number, Stop and the value of finding your place in Where do you Belong with Alexys Morera as Janis and Yeomans as Cady.  In fish net stockings, rhinestone denim shorts and bleached hair, Morera portrays an edgier Janis with finesse for Apex Predator and in the revealing number, I’d Rather Be Me.

Pictured (L- R): Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), MaryRose Brendel (Karen Smith) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

Kristen Amanda Smith’s excitable and fast talking Gretchen is a bit too much at once and would benefit slowing down a bit, but Smith delivers some fabulous vocals, especially for the empathetic number, What’s Wrong with Me, diving into Gretchen’s insecurities and expanding on her character.  Geekier and more energized, Kabir Gandhi’s iteration of Kevin G lacks the suave and smooth demeanor from the 2004 film which is missed.  MaryRose Brendal is hilarious as dimwitted but not to be underestimated Karen and shines in the Halloween-inspired number, Sexy.

Joshua Morrisey (Damian Hubbard) and Tour Company of Mean Girls Photo by Jeremy Daniel, 2025

What made Rachel McAdams as Queen Bee Regina so appealing are those little glimpses of insecurity and weakness under that plastic facade.  Maya Petropolos as Regina has real Valley girl bite, arrogance, and a deranged power over others demonstrated in a commanding rendition of My Name is Regina George, but that vulnerability is never truly explored.

Pictured (L-R): Katie Yeomans (Cady Heron) and Kristen Seggio (Mrs. George) Photo by Jeremy Daniel, 2025

It was genius to triple cast Kristen Seggio as frank and quirky Ms. Norbury, zoologist Mrs. Heron and “cool mom” Mrs. George.  Seggio is so talented at portraying each distinctive character, it was difficult to believe they were depicted by the same person.  Seggio portrays Ms. Norbury a bit quirkier while blending a similar nonchalant frankness that Tina Fey is famous for.  Dialing down “cool mom” Mrs. George was a real benefit to the character while still cradling her signature large margarita peppered with umbrellas.  Mean Girls the Musical expands on Mrs. George’s character during the sympathetic number, What’s Wrong With Me, bringing new dimension to this amusing character.

Joshua Morrisey (Damian Hubbard) and Tour Company of Mean Girls Photo by Jeremy Daniel, 2025

The students form a collective army of Regina’s minions and followers on the path to popularity which is reflected in Casey Nicholaw’s sharp choreography.  Whether dancing while swinging bright red lunch trays for the captivating number, Where do You Belong, as jungle creatures gathering around the watering hole, but in this case, a fountain at the mall or as partiers in Whose House is This, Nicholaw’s lively chorography reflects the students’ hive mind mentality with each scene.  Edgy and creative, costumer Gregg Barnes boasts an extraordinary array of innovative ensembles from sexy to shimmering to edgy to imaginative costumes which include transformers and sexy corn.

MaryRose Brendel (Karen Smith) and the Tour Company of Mean Girls Photo by Jenny Anderson, 2023

It was a lot of fun to see Mean Girls as an engaging musical and witness new elements in this lighthearted story while it also provides additional lessons surviving ‘girl world.’  In today’s world, we can all use a few more pointers.

Mean Girls the Musical continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, May 4 before it continues on its national tour.  Click here for more information and for tickets.

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

Posted on by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW:  The Huntington’s intensely funny and revealing ‘John Proctor is the Villain’

Posted on by The Sleepless Critic

In a small southern town, everyone seems to know everyone else’s business and in high school, rumors run amok.  However, which ones are actually true and which ones are just talk? 

With meticulous direction by Margot Bordelon, The Huntington presents Kimberly Belflower’s dark comedy John Proctor is the Villain live and in person at the Calderwood Theatre in Massachusetts through Sunday, March 10 as well as a virtual program option through Sunday, March 24.  This show is not appropriate for children and is 100 minutes with no intermission.  Click here for more information and for tickets.

Left to right: Brianna Martinez, Jules Talbot, Victoria Omoregie, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Set in a rural Georgia high school in 2019, girls are coming into their own and through The Crucible, are discovering their own power.  When Jules Talbot as studious, serious, anxious and outspoken Beth Powell wishes to start a feminist club, the faculty is somewhat hesitant.  With Brianna Martinez as Ivy, Victoria Omoregie as Nell, Haley Wong as Raelynn Nix, and Japhet Balaban as cool teacher Mr. Smith to back Beth and tie the club into the curriculum, the club is underway.  Feminism fosters power and ignites change and this ambitious and likable group thinks that is just what this small town needs.

Left to right: Olivia Hebert, Japhet Balaban in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Kristen Robinson’s detailed and edgy scenic design unveils a colorful classroom complete with academic notes, green chalkboard, raised stadium-style classroom seating, and transfiguring walls enriched by Aja M. Jackson’s flashy, rhythmic and radiant lighting.  Jackson’s lighting seamlessly aligns with Sinan Refik Zafar’s lively sound design that weaves in pop tunes from the darker sides of Pink, Lorde, Britney Spears and Taylor Swift. 

Left to right: Japhet Balaban, Isabel Van Natta, Victoria Omoregie, Brianna Martinez, Benjamin Izaak, Jules Talbot, Maanav Aryan Goyal, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

John Proctor is the Villain presents a different and intriguing perspective to The Crucible that plays out in various ways within this Georgia High school.  The stiff raised hands, the quick paced teen dialogue, frenetic excitement and nervous energy of this group of teens solidly depicts the atmosphere and nature of high school while Zoe Sundra’s distinct costume design enriches each character’s individuality.  The production has plenty of giddy and playful moments that cement some close knit friendships and yet it never loses sight of tackling its serious topics.

Left to right: Isabel Van Natta, Jules Talbot, Victoria Omoregie, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Kimberly Belflower’s juicy script holds many stunning revelations and the tables turn many times over as the tale intensifies, but  John Proctor is the Villain also notably dives into broken relationships, reputation, and discovering one’s authentic self.  Some of the characters have an air of superficiality and mystery perhaps because they are gradually learning who they truly are.  Benjamin Izaak as cocky Lee Turner and Maanav Aryan Goyal as earnest Mason Adams seem more emotional than these focused teen girls. 

Left to right: Victoria Omoregie, Jules Talbot, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T. Charles Erickson

Isabel Van Natta is memorable as complicated and unpredictable Shelby who has returned to school under mysterious circumstances.  Van Natta and Haley Wong as unconventional and courageous Raelynn share some dynamic and fascinating scenes together.  In black star stockings with a matching purple and black dress, Victoria Omeregie charismatically portrays frank, stylish, and sometimes tough Nell Shaw.  Japhet Balaban cleverly portrays engaging, charismatic, and popular teacher Carter Smith who seems the most transparent and shares a charming camaraderie with his students. 

With meticulous direction by Margot Bordelon, The Huntington presents Kimberly Belflower’s dark comedy John Proctor is the Villain live and in person at the Calderwood Theatre in Massachusetts as well as a virtual program option through Sunday, March 10.  This show is not appropriate for children and is 100 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Vocals soar as Academy of the Company Theatre presents Andrew Lloyd Webber’s ‘Phantom of the Opera’

Posted on by The Sleepless Critic

It may seem like a small detail, but The Phantom of the Opera’s iconic chandelier plays a pivotal role in Andrew Lloyd Webber’s The Phantom of the Opera.  It opens the show in its sheer majesty and the Phantom is actually found hiding in the glittering and monstrous powerhouse of a special effect at one point during the Broadway production.  In fact, it is what fascinates the audience at the beginning of the musical in glorious rhythm with the thunderous and foreboding sound of a pipe organ blaring in the distance and what later crashes to makes the cast run in terror.

Directed insightfully by Sally Ashton Forrest with powerful music directed by Melissa Carubia, Academy of the Company Theatre’s Phantom of the Opera gets so many things right from Vickie Gerard-Culligan’s ornate costumes, the pitch perfect casting, its sinister lighting by Dean Palmer Jr., and its smaller scale replications of Phantom’s famous sets by Ryan Barrow, but the production’s chandelier may not quite meet some lofty expectations.

Academy of the Company Theatre (A.C.T.) presents Andrew Lloyd Webber’s The Phantom of the Opera live and in person at The Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts through February 19.  The musical is sold out.  Click here for more information on the Company Theatre and its upcoming events.

Alexa Cohen as Madame Giry (right) with cast in ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Set in the 1700’s, Andrew Lloyd Webber’s Phantom of the Opera focuses on a mysterious presence that haunts the famous Palais Garnier Opera House in Paris, France.  New opera house co-owners Ben Cavallo-Smith as Monsieur Richard Firmin and Weston Hammond as Monsieur Giles Andre make a distinguished and at times humorous pair in vintage suits with tails as they start to realize things are not what they seem.

‘Masquerade’ ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Phantom of the Opera boasts some enduring yet challenging music numbers and the cast may feature students up to 18 years of age, but their vocals are well beyond their years.  Jillian Pongonis as Christine and Catrina Riker as Carlotta hit some extraordinary notes for being so young and it was a joy to hear Riker’s Think of Me and Prima Donna as she prances around the stage in signature diva fashion, bold and comical as she shouts her demands.  Carlotta’s sophisticated gowns become more extravagant as the musical progresses and the cast hits its outrageous stylish stride for Masquerade.  Salvator Guillermo Garcia, whose past performances with ACT include Jean Val Jean in Les Miserables, has a supporting and memorable role as Ubaldo Piangi.  Garcia not only does a wonderful job vocally in Hannibal and Notes with the cast, but his occasional tenuous smirks and smiles enhance the musical’s humorous moments.  

Gilbert Dabady as The Phantom and Jillian Pongonis as Christine Daae Photo courtesy of Zoe Bradford/Company Theatre

Pongonis may be slight in stature, but her powerful vocals exceed her years as does Gilbert Dabady as The Phantom.  Dabady and Pongonis’s duet of The Point of No Return may seem a bit mature for their ages, but Angel of Music and  Music of the Night are beautifully performed and Pongonis’s stirring rendition of Wishing You Were Somehow Here Again is a must see.  Dabady is mysterious and threatening as the Phantom, his deep and resounding vocals all the more menacing offstage. Dabady and Pongonis are a complex and charismatic pair while Charlie Flaherty is well suited for the daring and charming Raoul.  Amid a pale blue rooftop, Christine and Raoul perform a sweet rendition of All I Ask of You. 

Charlie Flaherty as Raoul and Jillian Pongonis as Christine Daae in ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Clever blocking and reigned in sets aptly accommodate the Company Theatre stage. Tints of haunting purple, vintage marble columns, nostalgic lighting, eerie skulls, an angelic stone statue, onstage gold lined opera box seats, a brass organ, monkey music box, and a candelabra lit lair on a misty lake help recreate iconic scenes and special effects that bring this somewhat opera within an opera to life.  As a big Phantom of the Opera fan, Academy of the Company Theatre’s Phantom of the Opera captures this moving and mystical musical best known for Andrew Lloyd Webber’s classic soundtrack and makes the magic of the longest running show on Broadway last a little longer in Norwell. 

Academy of the Company Theatre (A.C.T) presents Andrew Lloyd Webber’s The Phantom of the Opera live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts through February 19.  The musical is sold out.  Click here for more information on the Company Theatre and its upcoming events.

REVIEW:   NYC Indie Theatre Film Festival’s drama ‘Get it Together’ cleverly subverts expectations

Posted on by The Sleepless Critic

College students Mary Hewitt (Andie Lerner) and Harold Kruger (Eric Bermudez) decide to meet upstairs at a house party in a small town in Pennsylvania.  At first glance one can form a few assumptions about this scenario, but Get it Together’s clever dialogue and building tension only keeps the viewer guessing on what could possibly be next in its approximately 45 minute timeframe.

Written and directed by Michael Quinn, Get it Together is a drama film in the New York City Indie Theatre Film Festival (NYCITFF) which continues streaming online through Sunday, February 20. This film contains some mature themes.  Click here for more information and how to get access to a wide range of short and full length films in a variety of genres.

From having fun to sharing secrets to betrayal to creepy and back again, Mary and Harold have a bit of a history.  Deep thinking Scarlett and secretive Horan have peculiar and evolving chemistry and it is interesting to see the way the tone of the film changes at the drop of a hat. 

The push and pull of the dialogue constantly ambushes expectations.  Are these two people adversaries, acquaintances, friends, lovers?  Each carefully selected line of dialogue will leave the viewer constantly guessing about what these two mean to each other.  It is an encounter that will possibly simmer in your mind long after the film is over.

Get it Together, part of the New York City Indie Theatre Film Festival (NYCTIFF) continues streaming online through Sunday, February 20.  Click here for more information and how to get access to a wide range of short and full length films in a variety of genres.

REVIEW: Lively and insightful, Lyric Stage Company’s award-winning play, ‘The Wolves’ howls

Posted on by The Sleepless Critic

Woven into the lush, green indoor turf is a unique narrative with the clever earmarks of adolescence in Sara DeLappe’s Pulitzer Prize-winning play finalist, The Wolves.  Framed as a soccer match, this unconventional ensemble drama kicks off like a rocket, luring the audience into the tumultuous chattering of a competitive, all-girls soccer team who are about to learn a few valuable lessons about life and themselves in and out of the game.

Directed by A. Nora Long, Lyric Stage Company’s The Wolves continues through Sunday, February 3 at 140 Clarendon Street in Boston.  The show is 90 minutes with no intermission and contains some mature themes.    Click here for more information and tickets.

The Wolves play

Photo courtesy of The Lyric Stage Company of Boston

Taking place entirely in an indoor soccer arena, Shelley Barish and Elizabeth Cahill’s exciting setting fits into the team’s boundless energy.  Sports fans take note:  Trained by soccer consultant Olivia Levine, The Wolves are the real deal, showing off authentic as well as physically complex moves throughout the performance.

What makes this show particularly interesting is the remarkable way the story is told.  With a 90 minute running time matching the length of an average soccer match, a horn blaring not only kicks off the latest match within the performance, but sometimes humorously ties in to interrupt a heated conversation.  As the audience as spectators peek into this team’s lives, the progressive nature in which they learn discipline, tolerance, and how to listen to each other is subtle, yet one of the most powerful parts of this compelling narrative.

The Wolves with orange slices

Cast consists of Lydia Barnett-Mulligan, Sarah Elizabeth Bedard, Simone Black, Olivia Z. Cote, Chelsea Evered, Grace Experience, Julia Lennon, Valerie Terranova, and Jurielle Whitney Photo courtesy of Lyric Stage Company

These teammates have a natural and at times, rumbling chemistry in their uninhibited conversations.  Whether they are delving into gossip around school, technology, getting their driver’s permits or scandalized by their maturing bodies, their viewpoints stay consistent with their level of maturity (right down to the abuse of the word, “like”) which can sometimes be insightful and other times, hilarious.

Though each cast member exhibits their own distinct personality in their matching uniforms, Valerie Terranova, who is making her debut on the Lyric Stage with this show, is a particular highlight as serious, optimistic player #25.  The wise, unassuming way she leads the team shows that while the other girls may only see what is right in front of them, #25 sees where the game might take them, united, one victory at a time.

Laura Latreille (Soccer Mom) and cast Photo courtesy of Lyric Stage Company
Simone Black as #00 Photo courtesy of Lyric Stage Company of Boston

 

The Wolves may even serve as a nostalgic trip down memory lane, when you were a teenager and everything was the best thing in the world or the worst, the raging excitement of life.  It may even leave you scratching your head, trying to recall if being a teenager girl was really like this.  The undeniable answer, for the most part, was yes.

The Lyric Stage Company continues Sara DeLappe’s The Wolves through Sunday, February 3 at 140 Clarendon Street in Boston, Massachusetts.  Click here for tickets and more information.  Subscriptions and dinner packages are also available.  Follow The Lyric Stage on Twitter and Facebook for their upcoming productions and more.

The Academy of the Company Theatre Teen Conservatory presents the dark comedy, ‘Heathers the Musical’

Posted on by The Sleepless Critic

What does it take to be popular?  Long before Glinda sang about it in the hit musical, Wicked, or queen bee Regina George and the Plastics ruled the school in the satirical teen comedy film, Mean Girls, the Heathers dominated Westerberg High in the dark cult comedy film, Heathers.  Heathers takes a bitingly funny and satirical look at teen life and all the drama that comes with it.   Directed by Steve Shannon with musical direction by Melissa Carubia with the Academy of the Company Theatre’s summer workshop program, The Academy of the Company Theatre Teen Conservatory proudly presents Heathers the Musical (High School Edition) on Thursday, July 13 and Friday, July 14 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts at 7 p.m.  This show contains mature themes.  Click here for tickets and here for more information on the Academy of the Company Theatre.

Heathers the Musical is based on the 1988 film adaptation that stars Winona Ryder, Shannen Doherty, and Christian Slater.  A television adaptation is also currently in development.  Taking a look at the ruthless side of high school, clever Veronica Sawyer finds her way into the Heathers, Westerberg High’s ultimate, cruel clique, just as she encounters mysterious new boy at school, J.D.  In a wild scheme, Veronica plans to show the world life is so much more than popularity.

Performances for the Academy of the Company Theatre’s Teen Conservatory of Heathers the Musical (High School Edition) take place at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts on July 13 and 14 at 7 p.m.  Click here for tickets or call the box office at 781-871-2787.  Click here for more on the Company Theatre and its extensive upcoming productions like Disney’s The Little Mermaid and follow them on Facebook, Twitter, and Instagram.

Renowned conductor Charles Floyd talks Boston Pops and Gospel Night’s 25th anniversary featuring CeCe Winans

Posted on by The Sleepless Critic

For 25 years, the Boston Pops has made Gospel Night a highly-anticipated tradition.  A glorious, enthusiastic audience which includes newcomers and returning fans greet Conductor, pianist, and composer Charles Floyd, the Boston Pops Gospel Choir, and a selection of guest artists.  This year, multiple Grammy award-winning Gospel singer Cece Winans headlines this special 25th anniversary concert for one night only on Saturday, June 17 at Symphony Hall in Boston, Massachusetts.  Click here for more information and for tickets to this monumental concert event.

Renowned conductor, pianist, and composer Charles Floyd talks about his longtime role with Gospel Night and its evolution as well as dreams he never imagined coming true.

Charles Floyd leading the Boston Pops (Stu Rosner)

Renowned conductor, pianist, and composer Charles Floyd leading the Boston Pops Photo courtesy of Stu Rosner/Boston Pops

 

Sleepless Critic:  The Boston Pops Gospel is an incredible event each year.  The last time I went, it seemed like the Boston Pops Gospel Choir was a nonstop celebration, joyfully continuing even after the concert was over.

Charles Floyd:  Everybody looks forward to that part of the program because it is probably the most energetic.  The music can be very exciting and uplifting.  We like to feature something that the gospel choir performs without the orchestra.  The orchestra wants to go into overtime and that gets into an issue, but if the building is still open, there’s no reason why the choir can’t stay to do a couple more numbers if they enjoy singing and the audience is going to stick around.  When the formalities are done, it’s a nice moment when people can just let their hair down.

SC:  The concert is so uplifting you don’t want to leave anyway.  You have been with Gospel Night for 23 years, almost since its start.

CF:   I appeared the second year.  I was called because the conductor the first year could not do it the second year.  I had to take a year away back in 2004, so this is my 23rd and it’s their 25th, but I am celebrating 25 years just like they are.

SC:   It must be amazing to see how it has evolved over the years.

Gospel Night at the Boston Pops (Stu Rosner)

Gospel Night at the Boston Pops Photo courtesy of Stu Rosner/Boston Pops

CF:   It’s been an honor to be a part of it.  I was working with Miss Natalie Cole for close to 14 years.  We had done a few concerts with the Boston Pops, and at the time, Maestro Lockhart and I were in the running in some capacity to step in.  Keith got the gig and I was very happy for him.  It was great for the community and I was somewhat new, and so they called and asked if I had done that sort of thing.  I said I have and only had about 6 weeks’ notice to prepare.  It was little bit nerve-wracking to put together an entire program, write orchestration that didn’t exist, and then learn the classics and light classics on top of having to cater to guests artists.  We balanced out the program with Keith conducting the first part of the program and I conducted the 3rd part of the program, Rhapsody in Blue.  Keith had to be at Tanglewood and other places as the date of Gospel Night moved around.  That’s kind of how it happened.  When the door opens you walk through or the door might not open again and here we are.

SC:   Some of the best things happen spontaneously.  This year, CeCe Winans will be the featured artist on Saturday, June 25.  Do you have a hand in who performs each year?

CF:   I am involved in the process.  I don’t always have control over who the artist will be because a certain artist that I may want to work with may not be available, but they are nice enough at the Pops office to ask who they could look into.  They come up with their own ideas too.   We all put our cards on the table and explore the possibilities.  CeCe is big in the Gospel world and was available.   We’re really excited to have her as our guest.

Boston Pops CeCe_Winans

Legendary, Grammy award-winning Gospel singer CeCe Winans Photo courtesy of the Boston Pops

SC:  Will there be any surprises on this 25th anniversary celebration?

CF:  I don’t think I’ll be flying in from the balcony on a cable, but we do have a few things. (Laughs)  The first part of the program is mostly Americana.  We’ll start the program with Fanfare for The Common Man.  It recently would have been JFK’s 100th birthday.  Maybe the first part will feature the music of John Williams edited together and text added from the speeches of the late president JFK called, Let the Word go Forth.  Some of the music by John Williams will accompanying the narration is from the movie, JFK.  We are just going to celebrate a little Americana with CeCe Winans and the choir is going to perform some favorites over the past 25 years.  We may never get out of there. (Laughs)

SC:  It is fitting since the Boston Pops season is dedicated to John Williams this year.

CF:  Absolutely.  Tying the program together with Boston Pops tradition as well as the Gospel music tradition and its history has been a challenge and a lot of fun.  I look forward to it as well as some many other people.

Boston Pops John Williams leads Film Night, 6.6.14 (Stu Rosner)

Acclaimed composer and conductor John Williams leads Film Night Photo courtesy of Stu Rosner/Boston Pops

SC:  I’m glad you have been part of the Gospel Night tradition for 23 years and I know you performed all over the world.  Music has been a part of your life since you were 4.

CF:  That’s when I finally got to a piano.  I used to bang on cables and pretend like I was playing.  Everybody thought it was so cute.  By the time I got to a piano, I was 4 and I was already taking out melodies and ordering things by year.  It was another six months before I started taking formal lessons, but yeah, music has been a part of my entire life.

You never know what life is going to hold when you are young.  Just because you start playing the piano no matter how good or bad you are at it, there is no guarantee of what the future will hold.  I took physics and journalism just as a back up in high school, but once I got to college, I dedicated myself completely to music and didn’t try to be a master of all trades.  All through 10 years of conservatory and grad school, it was all piano.  I was not a conducting major and I found myself in a situation where a conductor was needed, I was the only person who could step in at the time, so I got serious about conducting.  I started studying all kinds of things such as opera, had to go through all the symphonies and all the major works of all the major composers.  I learned so much about accompanying singers with the baton from listening and attending operas.  I played for singers my entire life, but to watch a conductor accompany a singer is something I don’t think a lot of people really appreciate at least the way that I did and what I learned from it.  It’s been fun and as long as the work keeps coming in, that’s the greatest thing.  Just to keep going.

SC:  What have been your career highlights?  I understand you also performed Howard Shore’s The Lord of the Rings Symphony at his request.  That must have been tremendous.

Charles Floyd and Melinda Doolittle perform on a Gospel Night Program in 2010 (Stu Rosner)

Charles Floyd and Melinda Doolittle perform on Gospel Night in 2010. Photo courtesy of Stu Rosner/Boston Pops

CF:  I was trying to explain it to my sister and family not long ago.  People talk about having their dreams come true.  My situation is a little backwards.  It’s not a question of my dreams not coming true, but most everything that has transpired in my career were things I never dreamed of in the first place.  If I had said when I was eight years old that in 2017, I would be celebrating 25 years at Symphony Hall with the Boston Pops or working with an orchestra at Carnegie Hall with James Taylor and Sting or sitting at an event next to Harry Belafonte or conducting orchestras for Natalie Cole or playing the piano for somebody else.  These are usually once in a lifetime events and I’m grateful that they continue to happen.  New things are coming in all the time and I couldn’t be more grateful and happier.

Click here for Gospel Night tickets, call SymphonyCharge at 1-888-266-1200, or visit the Symphony Hall box office during business hours at 301 Massachusetts Ave in Boston, Massachusetts.  Follow The Boston Pops on Facebook and Twitter for updates.