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REVIEW: Company’s One’s ‘Hoops’ take on greater meaning

Posted on July 31, 2024 by The Sleepless Critic

Not to be mistaken for basketball, Hoops are jewelry individuals wear as a fashion piece, display cultural or ancestral significance or to make a statement as Bronx-born Puerto Rican Jennifer Lopez once fiercely remarked during a comedy sketch on The Tonight Show, ‘Don’t make me take off my Hoops!’ It served as a warning to host Jimmy Fallon that Lopez was not to be messed with.

Hoops can add subtle and delicate elegance or stand out as its own remarkable, not-to-be-missed fashion statement. I love my own hoops. Whether formal or casual, they go with everything and fit in for every occasion. Produced in all patterns, colors, and sizes, Hoops are unmistakable and certainly have a way of expressing themselves.

So it is no secret that this topic is right up my alley.

L to R Tiffany Santiago, Kaili Y. Turner, and Karimah Williams in Hoops Photo by Ken Yotsukura Photography

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA. This semi-interactive production is free with pay-what-you-want options, contains some adult language and is a dense 90 minutes with no intermission. Click here for more information and for tickets.

Brandie Blaze in Hoops Photo by KenYotsukura

Lively and pulsing rhythms greet the audience as multi-talented DJ Brandie Blaze spins tunes by local Boston artists as the production begins. This is not the kind of show where one watches and remains silent. The audience is encouraged to get up and dance, clap and show their enthusiasm as Blaze introduces this fervent cast who uniquely take the stage in their own style.

Part dance party, part testimonial and reflections, and part history lesson with a mix of comedic scenarios, the cast of Hoops share personal experiences, coming of age stories, and dig in deep into the idea that a piece of jewelry can make such an impact. Whether it is to feel closer to their family through an heirloom or to build confidence for an intimidating event, each individual has an original reflection on how their hoops made a difference in their lives. Sometimes the production gives hoops a bit too much credit, but it is effective serving as a reminder that they had the courage and power to get through these challenges within themselves.

L to R Albamarina Nahar and Tiffany Santiago in Hoops Photo by Ken Yotsukura Photography

The cheerful, hoop-inspired set design by Payton Tavares with Grace Kroeger has a bit of a ‘90s feel featuring bursts of neon green, pink, yellow and blue with dripping paint decorated on blocks. The DJ Booth is stylish and cozy featuring embellished shelves, vinyl, and flowers lining the walls. Each character decked out in their own signature pair of hoops, Erica Schoenberg’s colorful, urban and summer-inspired costumes makes each individual stand out as they portray various roles.

Elijah Brown in Hoops Photo by Ken Yotsukura-Photography

In large and sparkling hoops, affable Brandie Blaze hypes up the audience by singing and rapping to Blaze’s original music. Sharp and upbeat choreography by Jenny Oliver keeps the show exciting as Elijah Brown, Albamarina Nahar, Tiffany Santiago, Kaili Y. Turner, Karimah Williams and Beyoncé Martinez not only break out into dance, but collaborate well together onstage sharing a spectrum of stories and anecdotes about sharing hoops, breaking hoops, status, generational wealth and their own individual journeys.

L to R Brandie Blaze Kaili Y. Turner Tiffany Santiago Karimah Williams and Albamarina Nahar in Hoops Photo by Ken Yotsukura Photography

Funny, upbeat, and poignant, Hoops is a meaty exploration about feeling good about oneself while taking on the weight of the world with flourish.

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA. This semi-interactive production is free with pay-what-you-want options and is a dense 90 minutes with no intermission. Click here for more information and for tickets.

REVIEW: The Huntington makes history with a remarkable ‘Toni Stone’

Posted on June 10, 2024 by The Sleepless Critic

Everyone should live for something the way Toni Stone lives for baseball and everyone should also know Toni Stone’s history making story.

It is also almost impossible to think of another person more enthusiastic than the glow that appears across Eunice Woods’ face as she talks about beloved baseball. The devotion, the stats, the storytelling, and Stone’s very nature is engrained in this exciting sport and that is only the beginning of Toni Stone’s story.

The cast of Toni Stone in Toni Stone; directed by Lydia R. Diamond; photo by T. Charles Erickson

Based on a true story and engagingly written and directed by Lydia R. Diamond with innovative choreography by Ebony Williams, The Huntington continues Toni Stone live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, June 16 and streaming online through July 14. The show runs 2 hours and 20 minutes including one intermission. Click here for more information and for tickets.

Toni Stone, depicted in this performance by understudy Eunice Woods, approaches baseball with a fearlessness and blind ambition that would inspire anyone to pursue their dreams. A historical figure and natural athlete willing to do whatever it takes to fit in while ignoring the naysayers, Stone possesses the kind of determination needed to become the first woman to play baseball professionally on a regular basis. However well Stone knew baseball though, other areas in life came with uncertainty.

Left to right: Jonathan Kitt, Jennifer Mogbock in Toni Stone; directed by Lydia R. Diamond; photo by T. Charles Erickson

At the center of this production is Woods as Stone who wittily and engagingly recalls what brings her to the plate playing for an all-male Negro League called The Indianapolis Clowns. The collective team, which Stone affectionately refers to as ‘my boys,’ share a teasing and genuinely likable rapport as they transform into other roles in Stone’s recollections. In a pinstriped suit, Jonathan Kitt portrays smooth and mysterious Alberga with enlightened charm and protectiveness while Stanley Andrew Jackson’s wise and nurturing Milly delivers a number of the show’s well timed dry humor and encouragement.

Left to right: Stanley Andrew Jackson, Jennifer Mogbock in Toni Stone; directed by Lydia R. Diamond; photo by T. Charles Erickson

From a bar scene to a steel mill factory to a picturesque stadium setting with flood lights and absorbing lighting by Brian J. Lilienthal, Scenic Designer Collette Pollard’s nostalgic and functional set makes the most out of the Huntington stage as Woods shares Stone’s time jumping memories. The impressive set is likened to a little piece of vintage Fenway Park as the green worn wooden stadium with bleachers display billboards for Stetson and Gimbel to reflect the late 1940s and early 1950s. Aubrey Dube’s rich sound design echoes the swing of the bat, the roar of the crowd, and the sonic play-by-play announcer while Lucas Clopton’s big band and jazz-inspired original music resonates with the ‘Nifty Fifties.’ Bold colors enhance the Indianapolis Clowns in authentic style uniforms right down to the striped baseball stirrups while other costumes add a hat or a subtle touch as members of the team play multiple roles by Costume designer Mara Blumenfeld and Wig, Hair, and makeup artist Earon D. Nealey.

Left to right: Jennifer Mogbock in Toni Stone; directed by Lydia R. Diamond; photo by T. Charles Erickson

Ebony Williams’ dynamic choreography combines athleticism and a touch of Broadway while infusing sweeping 50s era dance moves starting with the swooping opening chorography that not only depicts Stone’s laser focused passion for the game, but the very essence of why people love baseball. After all, Boston is a city steeped in baseball history and known for its avid fans, so it is no surprise that Boston would be an ideal location for this groundbreaking individual to share her story.

Left to right: The cast of Toni Stone in Toni Stone; directed by Lydia R. Diamond; photo by T. Charles Erickson

Though I do think the show would be further appreciated by fervent baseball fans, Toni Stone’s story is essentially about an individual who is discovering who she is and who she wants to be beyond what society expects from her. Often misunderstood from childhood, Stone faced an uphill battle with few who shared her vision, but never took her eyes off of her heart’s desire. Woods not only depicts Stone’s unconventional and confident persona, but also in braving racism, segregation, and harrowing obstacles and challenges with a combination of anxiety yet unshakable faith that she can do anything with enough persistence. Woods as Stone is funny, lively and confides in the audience like we are old friends.

Based on a true story and engagingly written and directed by Lydia R. Diamond with innovative choreography by Ebony Williams, The Huntington continues Toni Stone live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, June 16 and streaming through July 14. The show runs 2 hours and 20 minutes including one intermission. Click here for more information and for tickets.

REVIEW: New England Dance Ensemble presents evocative ‘A Child’s View of the Holocaust’

Posted on April 30, 2023 by The Sleepless Critic

New England Dance Ensemble founder Barbara Mullen knows that if people do not know history, they are doomed to repeat it.

On Sunday, April 16, the New England Dance Ensemble (NEDE) performed A Child’s View of the Holocaust at Temple Beth Abraham in Nashua, NH. The show was free and a benefit for the nonprofit organization. The temple generously served lunch prior to the production. This ballet was 40 minutes with no intermission followed by a brief Q and A session and the show is currently streaming online. The audience was encouraged to pause in quiet reflection rather than applaud. Click here for more information.

A Child’s View of the Holocaust presented by New England Dance Ensemble Photo credit to NEDE

Barbara Mullen, NEDE’s Artistic Director, first produced A Child’s View of the Holocaust in 1990 and it has become an educational tool for thousands of audiences in its over 30 year history. Its purpose is to memorialize the youngest victims of the Holocaust to ensure society will never forget and these horrors will not ever be repeated. Few survived to tell their story, but relatives of a few of the victims were present in the audience on April 16.

Set in 1939, A Child’s View of the Holocaust is a depiction of how insidiously and methodically the new Nazi regime darkened the world and lured millions of victims. One million out of six million victims of the holocaust were children. It shows the progression of once innocent school children in braids and plaids as they wave at their friends shortly before a new and harrowing reality unfolds. The panic, the shame, the indignation, and the implied brutality are difficult to watch, but the discovery and final understanding is the most poignant piece in the production.

The Nazis, led by Anya Petravicz, snake like a menacing train. Stiff, militaristic, and linear, the dancers invade with expressions vacant and unyielding. Coordinated by ballet master Andrew Matte, the production has a wealth of physical engagement that implies violence, but is no less powerful.

Students in ‘A Child’s View of the Holocaust’ Photo credit to NEDE

A Child’s View of the Holocaust is a collaborative and stirring production delivered with careful grace, skill, and sensitivity by these young performers. However, Harrison Conellier as the Holocaust’s first victim and Ipeksu Yucel as a Jewish mother offer powerful performances in evocative surprise, anger, and anguish as they are forced into impossible decisions in this journey to find light in the depths of loss.

New England Dance Ensemble continues to offer this important production to different institutions for educational purposes. NEDE will next present The Lorax followed by The Nutcracker in the fall. Click here for more information.

REVIEW: Lexus Broadway in Boston’s ‘Hamilton’ – history and the hype

Posted on February 22, 2023 by The Sleepless Critic

Having witnessed Lin Manuel Miranda’s dynamite, hip hop improvisational event Freestyle Love Supreme live in Boston prior to seeing Hamilton, it is easy to see some of the inspiration and contemporary influences on the renowned historical rap musical, Hamilton which centers around one of America’s founding fathers, Alexander Hamilton. As an illegitimate orphan immigrant from the West Indies, Hamilton created a legacy and became one of the forefathers of the constitution, but not without making enemies and causing scandal along the way.

Directed by Thomas Kail and inspired by the book, Alexander Hamilton by Ron Chernow, Broadway in Boston presents Tony award-winning Hamilton live and in person at the Citizens Bank Opera House in Boston, Massachusetts through March 12. Click here for more information and for tickets.

Hamilton Joseph Morales and Nik Walker will lead the second national tour of Hamilton as Alexander Hamilton and Aaron Burr, respectively. Other principal roles in Hamilton will be played by Ta’Rea Campbell as Angelica Schuyler; Marcus Choi as George Washington; Elijah Malcomb as John Laurens/Phillip Schuyler; Shoba Narayan as Eliza Hamilton; Fergie L. Philippe as Hercules Mulligan/James Madison; Kyle Scatliffe as Marquis de Lafayette/Thomas Jefferson; Danielle Sostre as Peggy Schuyler/Maria Reynolds and Jon Patrick Walker as King George. The second national tour also includes Tia Altinay, Amber Ardolino, Conroe Brooks, Cameron Burke, Evan S. Cochran, Phil Colgan, Desmond Sean Eillington, Hope Endrenyi, Lili Froehlich, Daniel Gaymon, Camden Gonzales, Jennie Harney, Stephen Hernandez, Kristen Hoagland, Abby Jaros, Emily Jenda, Wonza Johnson, King David Jones, Carina-Kay Louchiey, Brandt Martinez, Taeko McCarroll, Tyler McKenzie, Justice Moore, Antuan Magic Raimone, Julian Ramos, Jen Sese, Willie Smith III, and Julius Thomas III. Photo by Joan Marcus

One of Hamilton’s most memorable lines reflected on legacy. It is defined as “planting seeds in a garden you never get to see.” Hamilton has an innate urgency as big as Hamilton’s persistent and risk taking drive. Having emigrated from the West Indies where life was short to New York, Alexander knew many in the West Indies at that time did not expect to live past 20 as he arrived in New York with big aspirations according to the musical at 19 years old.

Hamilton’s life was lived without a second to lose and the show emphasizes this with vigor, roaring cannons by sound designer Nevin Steinberg while Howell Binkley’s peak lighting blares in the distance for My Shot. In spite of a mountain of obstacles, Alexander knew this was his chance to rise up and bring the United States to freedom.

Quite the opposite is the leisurely sarcasm of King of England’s King George, an amusingly smug performance by Neil Haskell as he waits in the wings for his estranged renegades’ surefire defeat and return. Wearing a gleaming crown, Haskell’ s droll and intriguing remarks are so certain and so methodically threatening in You’ll Be Back as he drives his once followers into submission from a distance. In feigned loyalty and villainy, he remarks, “You were mine to subdue.”

One of the strongest and most fascinating aspects of the musical is Jared Dixon’s regal, sophisticated and reserved Aaron Burr to Pierre Jean Gonzalez’s impulsive and expedient Alexander Hamilton. Dixon is exceptional as Burr, emphasizing how these two greats are so alike and so incredibly different as is demonstrated in the stirring number, Dear Theodosia. Burr and Hamilton’s building tension, especially while working with an inspiring Marcus Choi as wise, firm, reasonable and commanding George Washington, is among the best parts of the production. Aaron Burr Sir, Non-Stop, and The Room Where it Happens emphasize this gripping tension while Choi makes a formidable Washington as he delivers soaring vocals in an exhilarating rendition of One Last Time.

Hamilton’s reflective number Hurricane is an indelible performance fueled by Andy Blankenbuehler’s intricate and purposeful choreography while contemporary meets vintage colonial flair in a stream of clever storytelling for the playful Helpless and then the discerning Satisfied. Hamilton’s colonial era setting hits the mark with costumes by Paul Tazewell ranging from bustiers to velvet suits to sweeping ball gowns in muted colors. Ta’Rea Campbell is extraordinary as conflicted Schuyler sister Angelica. Her silvery vocals depict her charisma, determination, but steadfast loyalty established in Helpless and Satisfied. She has intriguing chemistry with Hamilton as she deliberately matches her sister Eliza with him. Nikisha Williams is well suited for wide eyed, altruistic, and unwaveringly supportive Eliza as demonstrated in the touching duet That Would be Enough with Gonzalez and the complex and poignant It’s Quiet Uptown enhanced by Blankenbueher’s sweeping choreography.

Shoba Narayan, Ta’Rea Campbell, and Nyla Sostre – Hamilton National Tour Photo credit Joan Marcus 2018

Hamilton has had quite a sterling reputation over the years. Witnessing this musical the first time brought incredibly high expectations, so perhaps those high hopes was not fair to the musical itself. It was a unique and immersive experience featuring some fast paced and catchy numbers, but also a wealth of heady and historical dialogue delivered in rap libretto, which sometimes made the musical difficult to follow. Streaming it with subtitles certainly helped on Disney Plus and returning fans of Hamilton are already familiar with the story and soundtrack, but though the style is contemporary and innovative, it was a bit frustrating trying to capture every word. Perhaps it is wise to experience Hamilton through the soundtrack and/or streaming before watching it live.

Much acclaim to Alexander Hamilton who literally picked himself up by his bootstraps and created such an incredible legacy. Hamilton is packed with some lesser known historical facts about United States history and history buffs will especially enjoy it as events unfold. Hamilton is full of patriotism and stands as a much needed reminder of the kind of timeless zealousness that originally established America’s independence and freedom as it pulses to its own contemporary beat.

Broadway in Boston presents Tony award-winning Hamilton live and in person at the Citizens Bank Opera House through March 12. Click here for more information and for tickets.

REVIEW: Central Square Theater brings Lloyd Suh’s ‘The Chinese Lady’ to light

Posted on November 26, 2022 by The Sleepless Critic

Afung Moy is majestic, idealistic, and beautiful. In 1834, she has set foot on American soil from China at just 14 years of age to share her background, culture, and experiences. However, the details behind her arrival as well as her time and purpose in the United States is where the real story lies.

Directed impressively by Sarah Shin and in partnership with the Chuang Stage, Central Square Theater reveals a little known yet impactful figure in Lloyd Suh’s The Chinese Lady live and in person at Central Square Theater in Cambridge, Massachusetts through December 11. This semi-interactive production is 90 minutes with no intermission. Click here for more information and for tickets.

Sophorl Ngin as Afung in ‘The Chinese Lady’ Photo credit to Nile Scott Studios.

The Chinese Lady is gripping from the start and much of that is due to its two powerful leads that at first share amiable banter, humor, and building tension. With bright and expressive eyes, Sophorl Ngin depicts Afung Moy with compelling curiosity as she gradually discovers the life that has been set out in front of her. Ngin’s sweet and understated ingenuity beams adorned in exquisitely-detailed gold embroidered lavender and lilac attire crowned with a colorful guan by costume designer Sandra Zhihan Jia.

Scenic designer Qinan Zhang has a meticulous eye for detail and each piece of furniture and prop provides a significant purpose. Nothing in this vast room is just for show. Translucent curtains blanket the room and add a mysterious quality to the space. Steel structures hang above a Chinese floral blossoms arrangement and the matching end tables and chair quickly become essential to this historical account.

Jae Woo as Atung and Sophorl Ngin as Afung Photo credit to Nile Scott Studios

From China’s history of inventing tea to the gruesome details of foot binding, Ngin delivers her lines pragmatically and with a cheery glow, treating her time onstage at first an adventure with delusions of grandeur. With a wide eyed countenance, Ngin brilliantly depicts Afung from her imaginative humor and naivete to the subtle evolution in her ripened demeanor, weary walk, and her conflicted style of speaking as years gradually progress. The Chinese Lady is confronted with the ugly side of humanity and lays it bare as her time slowly fades into a land she has little choice but to adapt to it.

Ngin as Afung and Jae Woo as her older translator and guide Atung illustrate their absorbing camaraderie as they embody their complex characters, particularly exemplified in a chilling scene with the President. This intense and carefully executed scene is riveting and difficult to witness, but punctuates the sheer marvel of these two together onstage. Jae Woo portrays Atung as mysterious, subdued, polite, and unassuming as he keeps himself as minimal as the furniture. He is kind, protective, and squarely knows his place, but hints at a painfully buried intensity. Woo handles this complicated and austere character with tight lipped finesse in spite of or more hauntingly, because of all he has been through.

Sophorl Ngin as Afung and Jae Woo as Atung Photo credit to Nile Scott Studios

The Chinese Lady is best experienced without revealing the true nature of the story. Afung’s endearing personality provides a temporary distraction of what is actually happening onstage. Director Sarah Shin and author Lloyd Suh’s clever unfolding of historical and contemporary events and the actors’ subtle navigation in their performances on issues that are anything but subtle are weaved into a striking and message driven historical work that peels away that subtlety piece by piece and by the final act, leaves everything astonishingly and unsettling bare.

Central Square Theater reveals a little known yet impactful historical figure in Lloyd Suh’s The Chinese Lady live and in person at Central Square Theater in Cambridge, Massachusetts through December 11. This semi-interactive performance is 90 minutes with no intermission. Click here for more information and tickets.

REVIEW: Somber, funny, bleak, and hopeful, PTP/NYC’s ‘Standing on the Edge of Time’ waxes political and poetic

Posted on July 27, 2021 by The Sleepless Critic

Opening with a remarkable reflection connecting theatre to the human heart, a bare stage shows signs of life once again.

Potomac Theatre Project (PTP/NYC) opened their virtual summer play series earlier this month with Lunch, a clever show that unconventionally explored the art of conversation. Directed judiciously by Cheryl Faraone, Standing on the Edge of Time waxes both political and poetic in conversation as it explores the bleak yet hopeful state of the world through a selection of works from different authors.

Standing on the Edge of Time is the second of three summer virtual plays presented by PTP/NYC and continues through July 27. Viewings are free and donations are encouraged. This show was filmed adhering to Covid guidelines, runs approximately 90 minutes, and has mature themes. Click here for more information, how to view the show, and how to support PTP/NYC’s mission.

From the haunted balconies of an old, empty theatre, even the dead wrestle with their wild, melancholy, and world-weary experiences in Mac Wellman’s Crowbar. This segment provides the perfect framework leading into various works that delve into contemporary issues from freedom, frustration, road rage, and relationships to downsizing, grief, sex, and paranoia.

Mac Wellman’s ‘Crowbar’ Alex Draper as Mr. Rioso Photo courtesy of PTP/NYC

Though each segment is written by different authors, its engaging format provides a flow that rarely veers off course. The show boasts poetic and timely musings such as Mornings at the Lake with Madison Middleton and Spell of Motion by Stacie Cassarino with Stephanie Janssen featuring some beautiful outdoor cinematography as well as haunting James Saunders’ Next Time I’ll Sing to You with Tara Giordano. Though the majority of Standing on the Edge of Time is thought-provoking, these quieter segments provide respite from the production’s heavier topics and satirical themes.

Stacie Cassarino’s ‘Mornings at the Lake’ with Stephanie Janssen Photo courtesy of PTP/NYC

Some highlights include Dominique Morisseau’s relatable and occasionally humorous Skeleton Crew, the zany and unique ideas presented in David Auburn’s What Do You Believe about the Future, and the surprising facts revealed of history repeating in Constance Congdon’s Tales of the Lost Formicans.

The cast portray a myriad of roles, but apart from Crowbar, do not seem like they are playing particular characters for the most part. The lively cast seems like a semblance of individuals exploring contemporary issues, fears, and unique ideas of the future.

David Auburn’s ‘What Do you Believe about the Future?’ (L to R) Stephanie Janssen, Christopher Marshall, Madison Middleton, Gabrielle Martin, Aubrey Dube, Becca Berlind, Wynn McClenahan, Maggie Connolly, Francis Price and Gibson Grimm Photo courtesy of PTP/NYC

PTP/NYC’s Standing on the Edge of Time continues streaming through Tuesday, July 27. Click here for more information. Please note there is a final segment following the production’s credits. PTC/NYC will present their final virtual summer show, A Small Handful from August 13-17.

REVIEW: SpeakEasy Stage Company’s ‘TJ Loves Sally 4 Ever’ a striking satire

Posted on May 10, 2021 by The Sleepless Critic

It’s hard to miss the message behind TJ Loves Sally 4 Ever, a bold, semi-interactive satire that takes a deep dive into prominent social issues such as racism and sexual harassment by putting a contemporary spin into troubling pieces of history. Taking cues from Dear White People, TJ and Sally 4 Ever is anything but a love story and highlights the frustration evident within each of its characters as they attempt to convey their own point of view.

Directed by Pascale Florestal, SpeakEasy Stage Company presents TJ Loves Sally 4 Ever virtually through Thursday, May 13. The show run 1 hour and 35 minutes without an intermission and is not suitable for children. Viewer discretion is advised. Click here for more information and tickets. Resources for this production can also be found on speakeasystage.com and a panel discussion is available here after seeing the production.

Jared Troilo and Tah-Janay Shayone in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company

Speakeasy Stage Company’s TJ Loves Sally 4 Ever heeds social distancing guidelines through some careful blocking and innovative technology. Though a couple of frames look a little awkward, the majority of the show flows naturally.

Sally, portrayed with levelheaded wit by Tah-Janay Shayone, portrays a college student who is starting a job under obnoxious, egotistical, controlling (and much more) Dean Jefferson. Flailing about with a subversive glint in his eye, Jared Troilo delivers an unabashed, grimly humorous performance as Dean Jefferson. Dru Sky Berrian as Pam and Sadiyah Dyce Stephens portray Sally’s caring, protective, and partying sorority sisters and Jordan Pearson as blunt and tenacious Harold will do just about anything for change.

Jared Troilo and Jordan Pearson in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company

Though this satire at times misses its mark, TJ Loves Sally 4 Ever’s unconventional premise and delivery distinctively portrays Sally and the cast’s exasperation as they bring to light the hypocrisies and arrogance within our society as each try to forge a path toward a brighter future. Choreographed cleverly by Kira Cowan Troilo, a particular highlight involves a dance sequence between Pearson and Troilo that quite literally drives home the scene’s inherent message. Rachel Padula-Shufelt’s colorful and detailed costume design from Sally’s symbolic outfit to a scene featuring colonial gowns enhances the production’s strong and serious subject matter.

Left to Right: Dru Sky Berrian, Tah-Janay Shayone and Sadiyah Dyce Stevens in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company

The show effectively takes a hard, long look tying in the past, present, and is ultimately optimistic for a compassionate future. Speakeasy Stage Company’s TJ Loves Sally 4 Ever continues virtually through Thursday, May 13. Click here for more information, tickets, and how to support the SpeakEasy Stage Company.

REVIEW: Christmas Revels 50th virtual anniversary delivers mirth, merriment, and reflection

Posted on December 29, 2020 by The Sleepless Critic

For what marks its 50^th year, Christmas Revels has been entertaining audiences by delving into vast cultures and recreating historical moments and holiday traditions with drama, dance, humor, and song. Christmas Revels made its debut in 1971 and though it is limited to the screen this year, this engaging production brought a mix of new material while glimpsing some of their best performances in their long history.

Father Christmas makes an appearance in The Christmas Revels annual “Mummers Play” Photo courtesy of Revels

Having never seen Christmas Revels before, it was a lot to take in and quite a feat to encapsulate the best moments in such a broad time frame. Catching glimpses of some of their special guests, returning favorites, and new faces was an innovative way to recap a half century of productions, but it also had me longing to see more, especially as I glimpsed some of their best, most enduring performances.

Christmas Revels is still available to stream on-demand through Thursday, December 31. Click here for more information and how to support future Revels productions. The 50^th Anniversary of Christmas Revels is also available as a 2-CD set. Click here for more information.

Statues: Paula Plum as James Otis and Richard Snee as Josiah Quincy Photo courtesy of Revels

Harvard University’s Sanders Theatre is as majestic and welcoming as ever even as it fills for a virtual audience. The dark, wooden stage is softly-lit with two stately, marble Greek statues sitting on each end as a grand, dimly-lit bronze chandelier floats overhead. Hosted by acting dynamos Paula Plum and Richard Snee as James Otis and Josiah Quincy who were immortalized as those legendary statues on the Harvard University stage and the only souls who have seen every Revels performance and then some, Christmas Revels blends humor, stirring moments, and a wistful trip down memory lane to witness some of Revels’ earliest performances as it gradually became what it is today.

From humorous moments to joyful carols such as 1984’s Yorkshire Here We Come A Wassailing, Go Tell it On the Mountain with Janice Allen and Joy to the World featuring choruses from Christmas past and virtual Christmas present, and a serene Dona Nobis Pacem featuring renowned cellist Yo-Yo Ma, Christmas Revels does not predictably explore its past in sequence, but in clever moments such as merging a past and more recent performance of a song by various performers, setting a different tone to its enduring meaning.

Yo-Yo Ma with Audience: Cellist Yo-Yo Ma performs the peace round “Dona Nobis Pacem” with members of the Revels Virtual Audience Photo courtesy of Revels

One of the best and most exciting examples of this was in 1997’s and 2015’s Lord of the Dance featuring David Coffin, Neena Gulati, and Patrick Swanson as they explored eastern and western Hindu traditions. Audience members were on their feet as enthusiastic performers led audience members to spill out into the Sanders Theatre’s lobby singing along. 1993’s Kukko dance featuring the Karelian Folk Ensemble stood out as one of the more exotic cultures while 1997’s Niska Banja featuring the Revels Women, New England Romanian Ensemble, and Cambridge Symphonic Brass Ensemble revealed beautiful and distinctive garb. 2007’s Shopsko, choreographed by Petre Petrov with Mladost Folk Ensemble, The Village Band, and Cambridge Symphonic Brass Ensemble offered memorable upbeat and bustling Bulgarian dance.

Johnny Nichols, Jr. and Carolyn Saxon perform the spiritual “Hold On” in a segment linked to Maya Angelou’s poem “Still I Rise”, exploring the ongoing journey towards justice and equality Photo courtesy of Revels

Janice Allen and the Silver Leaf Gospel Singers took the stage in 2000 for a stunning, acapella version of Amazing Grace while 1986’s impressive Appalachian Clogging with Ira Bernstein and the Big Gap String Band and Jean Ritchie delivered a captivating Kentucky folk carol, Christ Was Born in Bethlehem. Another indelible moment rested in a powerful medley of 2000’s Underground Railroad featuring Sheila Kay Adams and Janice Allen, Jordan Ashwood, and Cyrus Brooks, Silver Leaf Gospel Singers, Roaring Gap Chorus, Rocky River Children, Carolyn Saxon, and Johnny Nichols, Jr.

Christmas Revels’ ever changing repertoire is too numerous to mention every highlight, but there are plenty of surprises.

The detailed, rustic sets and the meaningful, meticulous costumes ranged from festive to humorous to haunting. It was marvelous to witness the virtual technology that was such a big part of this production. The virtual choir delivered moving, crisp carols and seeing the creators including founder John Langstaff and Revels Directors Patrick Swanson and George Emlen united in present time without actually being onstage provided some comfort that technology can still make some things possible.

Christmas Revels is still available to stream on-demand through Thursday, December 31. Click here for more information and how to support future Revels productions. Click here for more information on The 50^th Anniversary of Christmas Revels available as a 2-CD set.

Lexus Broadway in Boston boasts sizzling season including ‘Hamilton,’ ‘Waitress,’ Disney’s ‘Aladdin,’ and more

Posted on April 18, 2017 by The Sleepless Critic

Rodgers and Hammerstein’s ‘The King and I’ continues through April 23. Jose Llana as The King of Siam & Laura Michelle Kelly as Anna Leonowens Photo courtesy of Matthew Murphy

‘Wicked’ returns June 7 through July 23. Photo courtesy of Joan Marcus

‘Finding Neverland’ debuts at Boston Opera House August 8 through 20. Photo courtesy of Broadway in Boston

The magic of Disney’s ‘Aladdin’ debuts July 3 through August 18, 2018. Photo courtesy of Broadway in Boston

Tony award-winning ‘Fun Home’ debuts October 17 and continues through October 29. Photo courtesy of Broadway in Boston

The highly-anticipated ‘Hamilton’ debuts September 18 and continues through November 18. Photo courtesy of Broadway in Boston

Phantom of the Opera’s sequel, ‘Love Never Dies’ debuts January 30 and continues through February 11, 2018. Photo courtesy of Broadway in Boston

‘On Your Feet’ debuts April 17 and continues through April 29. Photo courtesy of Broadway in Boston

Andrew Lloyd Webber’s ‘Phantom of the Opera’ returns September 13 through October 1. Photo courtesy of Broadway in Boston

‘Waitress’ debuts February 20 and continues through March 4, 2018. Photo courtesy of Broadway in Boston

As the beloved Rodgers and Hammerstein’s classic musical The King and I hits the Boston Opera House stage, Lexus Broadway in Boston recently offered a peek into its upcoming 2017-18 season. From Andrew Lloyd Webber’s masterpiece and its stirring sequel to arguably the most sought after show in the world right now, Lexus Broadway in Boston has a phenomenal season ahead full of magic, family connections, unstoppable dance, and topping it off a serving of delicious pie. All productions take place at the Boston Opera House in Boston, Massachusetts. Subscriptions for the upcoming season are available now. Click here for tickets and more information.

The magic begins this summer with the return to Oz and Neverland. Get an inside look of how Glinda and the Wicked Witch of the West became two of the most iconic characters in literary history. Visually-stunning with a rich, inventive story line that integrates some of Oz’s most memorable characters, see the spectacular musical, Wicked from June 7 through July 23. Behold the extraordinary story behind J.M. Barrie’s Peter Pan and the family that inspired that magical vision. Integrating Peter Pan’s beloved characters in a unique way, seek Finding Neverland for a limited time from August 7 through 20.

A promising talent, a veteran singer, a ghost dwelling in an opera house, and two bewildered businessmen are part of Andrew Lloyd Webber’s haunting and phenomenally-successful musical, Phantom of the Opera, returns from September 13 through October 1. Also arriving in Boston is Andrew Lloyd’s Webber’s Love Never Dies, the highly-anticipated sequel to Phantom of the Opera from January 30 through February 11.

A number of productions are making their debut in Boston. Topping off the list is arguably the most sought after tickets in the world right now. Hamilton is a contemporary retelling of America’s history arriving at the Boston Opera House September 18 through November 18, 2018.

Take a look inside Fun Home, 2015’s Tony award-winning Best Picture musical. Fun Home is an auto-biographical tale about the joy and challenges of growing up. Not recommended for children under 13, Fun Home debuts in Boston from October 17 through October 29.

Also making its Boston debut is On Your Feet! The Story of Emilio and Gloria Estefan, a meaningful and uplifting musical about the extraordinary life of Emilio and Gloria Estefan. On Your Feet is filled with lively music which includes an array of hits songs from the title track, Get On Your Feet to Coming Out of the Dark. On Your Feet! debuts on April 17, 2018 to Sunday, April 29, 2018.

Waitress is saving the best for last. Currently on Broadway starring Grammy award-winning singer-songwriter Sara Bareilles who also wrote Waitress’s music and lyrics, Waitress is a romantic comedy musical about a waitress gifted at baking pies. She is unhappy in her small town existence until a surprise helps her to put her life into perspective. Waitress serves up its own delights from February 20 through March 4.

All musicals take place at the Boston Opera House, 539 Washington Street in Boston, Massachusetts. Click here for the full list and for tickets. Follow Lexus Broadway in Boston on Facebook and Twitter.