holiday

REVIEW: The 52nd annual ‘Midwinter Revels: A Solstice Celebration Tales from Ellis Island’ shares solace and warmth into a tapestry of traditions from around the world

Posted on by The Sleepless Critic

After a half century, the Midwinter Revels can not only still create fresh and concise storytelling while weaving in various cultures and traditions with a balance of joy and poignancy, but this year recalls a miraculous event in history that is not shared enough during the holiday season.

Innovatively written and directed by Patrick Swanson and guided by Carolyn Saxon as the Immortal Spirit of Place, Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15.  Each performance pays tribute to Revels supporters and this particular performance was dedicated to the The Rioff Family in honor of WGBH’s Brian O’Donovan.  This show is translated in ASL and is approximately two hours with one intermission.  Click here for more information and tickets.

The Ensemble of The Christmas Revels Photo by Roger Ide

Veteran reveler David Coffin’s enthusiasm reflected the same from the audience as he vigorously prepared them pre-production for the Revels live and interactive sing-along that features a vast array of carols and cultural songs.  Meticulously musically directed by Elijah Botkin and led by Keith Murphy of A Saint Patrick’s Day Celtic Sojourn, an intimate onstage band returns as the Liberty Band performing carols to folk to war songs from around the world right alongside the cast.  The joy and gratitude in singing in front of an audience again is as uplifting as ever and the cast’s a cappella harmonies are a glorious treat.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island does not just take place on Ellis Island, but provides the foundation for each of the tales shared during the production.  The tales of hardship and strife seem so different, but are somehow tied into shared experiences as immigrants from all over the world find themselves stranded together on Christmas Eve in 1924.  The spirit of the season is exemplified in several tales including a fiddle that needs mending featuring Maeve Leahy as Bridget and Ewan Swanson as Isaac.

From Left to Right Carolyn Saxon, Maeve Leahy and Ewan Swanson and the Revels Ensemble Photo by Paul Buckley

Adorned in a glimmering gown and gold wreathed crown, Carolyn Saxon makes a warm and welcome return to Revels this time as the Immortal Spirit of Place.  Her subtle charm and light humor enhance each aspect of the production as she guides the audience through various tales and periods in history in Nikes.  Saxon is clearly enjoying this enigmatic role becoming invisible when she wishes and popping up at felicitous and spontaneous moments. 

While last year’s show focused on saving a bar by venturing into the past, family is much more prevalent as members of the cast tie in pieces of their own cultural holiday memories into the production.  Irish and Jewish Dramaturg Nicole Galland contributed by drawing on her own experiences and upbringing.  With frank and humorous inflections, Reveler Stephanie Clayman is an amiable and avid storyteller as she brings some of those tales to life such as two well staged pieces of morally centered Jewish folklore and several Chanukah traditions.

Stephanie Clayman, Ewan Swanson, The Ellis Island Children, and the Midwinter Revels Adult Chorus Photo by Paul Buckley

David Coffin as Conor Riley revealed a miraculous event during World War I that took place on Christmas Eve in 1914.  For a brief time, soldiers showed camaraderie with their enemies as they joined together in song, games, and friendship.  It is a historical event that needs to be shared with as much frequency as annual holiday traditions such How the Grinch Stole Christmas, A Christmas Carol, or It’s a Wonderful Life.  That brief interlude of peace made such a significant impact on the world and Midwinter Revels depicts that moving period of time with Christmas in the Trenches, O Tannenbaum and Stile Nacht as the production spread itself beyond the Sanders Theatre stage.

The children are always a joy to watch and this year as the Ellis Island Children, they share upbeat, jumping rope rhythm for There’s a Big Ship Sailing and later with Las Posadas as Mary rides on a donkey.  It is just one example of the many endearing appearances they make in song and tale.

A brilliant performance comes from Ricardo Holguin who passionately performs a wondrous rendition of Mexican love song La Malgeuna followed by striking number El Relampago featuring women in gorgeous floral headdresses and sun drenched gowns by Heidi Hermiller.  Kelli Edwards’ multifaceted choreography is on full display throughout as well as for a tricky and intricate sword dance accompanied by an onstage accordion and drummer for The Straw Folk Mummers Play and Rogue’s Delight.

Maeve Leahy (left), Ewan Swanson (center), and dancers from Great Meadows Morris & Sword Photo by Paul Buckley
Rosalba Solis in ‘El Relampago’ Photo by Paul Buckley

Though the show lulled a bit on occasion, Midwinter Revels: A Solstice Celebration Tales from Ellis Island’s engaging tales bring unity and light and depicts how sharing different traditions can bring a new understanding and warmth into the darkest of times.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15.  Click here for more information and tickets.

REVIEW:  Whimsical and festive, Celebrity Series of Boston at Home extends the holiday season with Jason Palmer Quintet’s distinct and upbeat free digital concert

Posted on by The Sleepless Critic

We all just wanted the holiday season to last just a bit longer.

With the uncertainty and bitter temperatures in this New Year just weeks into 2022, it is difficult to part from the bustling excitement of last year’s holiday season.  Musicals, plays, concerts, and more burst onto the stage cautiously but assuredly to deliver holiday cheer, some escapism, and to offer new and hopeful insight into what we have all been going through.

Trumpeter Jason Palmer, tenor saxophonist Noah Preminger, pianist Kevin Harris, bassist Max Ridley and drummer Lee Fish continues digital stream for two more months. Photo courtesy of Celebrity Series of Boston

In December, The Jason Palmer Quintet lit up the Arlington Street Church in Boston live and in person amid festively adorned green and gold wreaths while sharing some new music twists to a few beloved Christmas carols.  Don’t expect to hear these traditional Christmas carols without some clever and spirited flair.

Celebrity Series of Boston at Home is extending the spirit of the season with their free pre-recorded digital concert, part of the Neighborhood Arts, Jazz and Contemporary Music Series, The Jason Palmer Quintet.  This warmhearted concert is accessible for two more months and runs under 90 minutes with no intermission.  Click here for more information and additional selections from Jason Palmer and his quintet.

Trumpeter Jason Palmer, tenor saxophonist Noah Preminger, bassist Max Ridley and drummer Lee Fish Photo courtesy of Celebrity Series of Boston

Infusing music dynamos Duke Ellington and brothers Elvin and Thad Jones into eloquent compositions, The Jason Palmer Quintet arranges what trumpeter Jason Palmer affectionately calls ‘derangements.’ These derangements weave unique and lighthearted spins into traditional carols while each performer has their own chance to shine. 

Bassist Max Ridley and drummer Lee Fish caught on camera! Photo courtesy of Celebrity Series of Boston

Some of the concert highlights include an extended and impressive trumpet solo to open the show in the smooth and mid-tempo Sunset and Mockingbird/Christmas Song and Lee Fish’s playful drum solo during Rudolph the Red Nosed Reindeer as the drum beat imitates hooves on a rooftop.  It’s a sweeping, quiet build to Rudolph’s catchy chorus.  Trumpeter Jason Palmer, tenor saxophonist Noah Preminger, pianist Kevin Harris, bassist Max Ridley and drummer Lee Fish are all so well in sync and it is fascinating to watch them pair off as the instruments ‘chat,’ jam, and gradually build before circling back to that familiar tune with an unexpected flair and flourish.

ChristmasTime is Here is an expressive, rumbling, and fast-paced imagining of Vince Guaraldi’s easygoing classic number.  With more hustle, the musicians glide and veer into their own peaks and valleys highlighted by dynamic pianist Kevin Harris tickling the keys under a church sign that reads ‘To the Glory of God.’

Pianist Kevin Harris in action Photo courtesy of Celebrity Series of Boston

What is certain about this quintet is if the viewer listens carefully to their clever compositions, one may detect an extra carol or two within their potent rhythms.  For example, stray lyrics to Sleigh Ride can be heard within an eclectic medley of Silver Bells/A Child is Born and Santa Claus in Coming to Town emerges from a rolling and upbeat Greensleeves medley.  They certainly kept this enthusiastic audience on their toes.

Celebrity Series at Home is extending the mistletoe and holly with free digital concert, The Jason Palmer Quintet for two more months.  Click here to view the concert, more information, and additional selections from Jason Palmer and his quintet.

REVIEW:  Boston Ballet’s virtual ‘The Gift’ spins retro Nutcracker gold

Posted on by The Sleepless Critic

If there wasn’t enough time to see The Nutcracker over the holidays or even if you have and would like to see more, the Boston Ballet is offering a spin on The Nutcracker Duke Ellington-style choreographed by Boston Ballet dancers right from your home.

With special commentary by jazz-enthusiast Eric Jackson nicknamed the ‘Dean of Boston Jazz Radio’ and host of GBH’s Eric in the Evening who rewinds the clock to take a peek at the inspiration behind Ellington’s timeless, progressive Nutcracker Suite, Boston Ballet along with Boston Ballet II and Boston Ballet School post graduates choreograph a lively program from 2020 that highlights and spins some of the Nutcracker’s best moments with their own vibe.

Viktorina Kapitonova and Tigran Mkrtchyan in The Gift; photo by Brooke Trisolini; courtesy of Boston Ballet

The Gift is a dynamic program where each dancer seems they are being moved by the music more than moving to the music.  As much as I am a fan of Boston Ballet’s classic works, there is something even more thrilling when it is infused with upbeat and contemporary flavor. 

From sleek and sophisticated flair to casual and carefree fun, Boston Ballet presents this virtual holiday treat The Gift through January 9 which includes behind the scenes footage and runs approximately 50 minutes.  Click here for more information and access to the show.

The exuberance and sparkling elegance of Viktorina Kapitonova and Tigran Mktrchyan accompanied by pianist Alex Foaksman bring to life the Snow Queen and King’s triumphant Pas de Deux.  All in sepia and crème, they move with a dreamlike sway culminating in a joyful and fanciful reunion.  Some other highlights within the striking variety of dances from Duke Ellington’s upbeat and catchy Nutcracker suite include Overture with choreography by Chyrstyn Fentroy as the number explores the mystery behind The Gift as a package hangs overhead and the dancers gradually get swept away by the song.  Toot Tootie Toot or Dance of the Reed Pipes with choreography by Gabriel Lorena is a brief sashaying escapade as dancers in flowing skirts strut and prance to Ellington’s light and airy rhythms enhanced by an intricate and memorable collective pose.  Peanut Brittle Brigade with chorography by Haley Schwan infuses swing and other dance styles to the beat of Ellington’s bluesy composition.

Boston Ballet in The Gift; photo by Brooke Trisolini; courtesy of Boston Ballet

Arabesque cookie or Arabian Dance with chorography by Haley Schwan, John Lam, Chyrstyn Fentroy, Paul Craig, and My’Kal Stromile, has a bustling rhythm and a retro feel as the number opens with a soloist’s fancy footwork.  It has urgency, poise, and athleticism as each soloist slides in shadow to a transforming color backdrop.  The Voga Vouty or Russian dance with choreography by John Lam showcases savvy and sophistication steeped in black and white as they perform a striking sequence in a spotlight. Chinoserie or Chinese Dance with choreography by Arianna Hughlett is full of mischievous and lighthearted fun as dancers creep and freestyle to the rhythm of Ellington’s chiming beat parting and uniting in shadow.

The finale culminates in a beloved Boston Ballet location worth waiting for.

The Boston Ballet’s virtual holiday treat The Gift continues through January 9 which includes behind the scenes footage.  Click here for more information and access to the show.

REVIEW:  Boasting two stellar leads, Central’s Square’s ‘The Half Life of Marie Curie’ full of inspiration and crackling chemistry

Posted on by The Sleepless Critic

For revolutionary physicist and chemist Marie Curie, not everything can be solved through a calculation.

On the verge of her second Noble Prize for Chemistry, anxious and introspective Marie Curie finds herself embroiled in a scandal and at one of the lowest points of her life.  Quite literally bursting onto the scene is brilliant and charismatic electromechanical engineer and suffragette Hertha Ayrton ready to bring humor and optimism to what seems like a bleak situation.

Lee Mikeska Gardner as Marie Curie Debra Wise as Hertha Ayrton Photo courtesy of Nile Scott Studios

Brimming with crackling chemistry between Lee Mikeska Gardner as Marie Curie and Debra Wise as Herthe Ayrton, Central Square Theater opened their fall season with Lauren Gunderson’s The Half Life of Marie Curie continuing through December 12 at the Central Square Theater in Cambridge, Massachusetts.  The show is 85 minutes with no intermission.  Click here for more information and tickets.

The stage is deceptively serene for Lauren Gunderson’s The Half Life of Marie Curie. Lindsay Genevieve Fuori’s colorful, innovative, and functional scenic design comes to life as stirring sound effects and a mysterious and foreboding piano score by sound designer Elizabeth Cahill make an intriguing combination fused with Whitney Brady-Guzman’s dynamic and surreal lighting.

A production that picks up from the very start, these two driven pillars of science with contrasting personalities are a fascinating pair to watch and listen to their musings.  Gunderson’s sharp script strikes a delicate balance between intellectual prowess and absorbing dramedy.  They share their views on life, family, and work with wit, humor and candor, yet instinctually encourage each other forward with respect and admiration.  Both are widows and mothers who struggle with how women were perceived in the early 20th century, but their sheer determination and passion for science ultimately make an indelible mark on the world.

Lee Mikeska Gardner as Marie Curie and Debra Wise as Hertha Ayrton in 1910s swimwear Photo courtesy of Nile Scott Studios

Adorned in a lovely feathered black hat and flowing emerald green dress, Debra Wise brings gravitas, confidence, ego, and clever charm as Hertha Ayrton.  From the moment Ayrton bursts onto the stage with a confident cock of her head, gleam in her eye, and cheerful intonation, a lightheartedness sets in to her passionate and outspoken persona as opposed to Curie’s darker sensibilities.  Dressed demurely in a rich purple dress, Gardner skillfully embodies tense Curie in her careful and calculated movements.  You can practically see the wheels turning in Curie’s constantly analyzing mind and consider the lengths she would go for the sake of her work.

Lee Mikeska Gardner as Marie Curie Debra Wise as Hertha Ayrton Photo courtesy of Nile Scott Studios

Marie Curie and Hertha Ayron’s exchanges are no ordinary gabfests.  From sexual politics to love to family and everything in between, Wise and Gardner, as different in their approaches are and as opposite their personalities, they understand each other as equals, colleagues, and kindred spirits. Celebrating each other’s triumphs and supportive in hardship, theirs is a true testament to unyielding and enduring friendship and it stands at the center of this auspicious and biographical story.

Directed astutely by Bryn Boice, Central Square Theater presents Lauren Gunderson’s The Half Life of Marie Curie through December 12 at the Central Square Theater in Cambridge, Massachusetts.  The show is 85 minutes with no intermission.  Click here for more information and tickets.

REVIEW: ‘Love, Repeat’ gets love right

Posted on by The Sleepless Critic

Viewing Warwick Film’s unconventional and heartwarming romantic comedy Love, Repeat makes this city lover long to return to New York City.  Steeped in New York City’s pinnacle, snow-covered beauty and featuring some of the city’s most iconic landmarks in muted enchantment brings on a wistful feeling.  New York City not only provides this film’s idyllic ambiance, but is portrayed as its own active character in James, an auspicious person who feels like he lucked out in love to his wife Barbara until they suddenly divorce.  James feels much like Manhattan, a lonely island.

Bill Connington as James in idyllic New York City in ‘Love, Repeat’ Photo courtesy of DARR Publicity/Love, Repeat

Whether you are still feeling the holiday spirit as any Hallmark movie fan would be or looking for a lighthearted tale of love and loss, Love, Repeat delivers.  January is also nestled between the close of the holiday season and the anticipation of Valentine’s Day.  Warwick Film’s Love, Repeat is available to stream and on DVD.  Click here for more information on the film and how to watch Love, Repeat.

MaxwellPurushothaman as Chris and Bill Connington as James in ‘Love, Repeat’ Photo courtesy of DARR Publicity/Love, Repeat

Written, executive produced, and starring Bill Connington as James, Love, Repeat largely portrays the difficult part of love.  It explores the kind of love that is tested after things go right, but done in a way that is optimistic, humorous, and never bereft of hope.

Marcus Ho as Chad, Maxwell Purushothaman as Chris, Stu Richel as Philip, and Bill Connington as James Photo courtesy of DARR Publicity/Love, Repeat

The setting may be idyllic, but this is not a tale of beautiful people with beautiful problems that are easily solved.  Love, Repeat boasts a dynamic, strong, and quirky cast helmed by Bill Connington as earnest, stoic and quietly romantic James Anderson.  Connington endearingly depicts James’s tension and hesitation as he wades into this unexpected period in his life while his artistic ex-wife Barbara, amiably portrayed by Leenya Rideout, seems ready to move on.  The pair possess a sweet and familiar chemistry.  There is nothing quite like getting romantic advice from your son and Maxwell Purushothanan as their bright, albeit blunt son Chris receives the lion’s share of the laughs.  Stu Richel as Phillip, James’s football-loving father resembles that “shoot-from-the-hip” charisma portrayed in Martin Crane from the hit TV show Frasier. 

Marcus Ho as Chad and Nandita Shenoy as Lavanya Photo courtesy of DARR Publicity/Love, Repeat

Marcus Ho as Chad and Nandita Shenoy as Lavanya are James’s chic and wildly dramatic friends as they amusingly swing from passionate to cynical at times in the very same scene.  The film also has its share of good naturedly silly moments including a spontaneous dance sequence and Vivia Font who deems a noteworthy portrayal as increasingly obsessive and comically driven Camilla.

The story is a bit rushed at times and it would have been nice to get more insight into Barbara’s character, but the characters are relatable enough to stay invested while delivering an authentic message about love, risk, acceptance, and relationships while taking in those marvelous city views.

Bill Connington as James at the MET Photo courtesy of DARR Publicity/Love, Repeat

Warwick Film’s Love, Repeat is available to stream and on DVD.  Click here for more information on the film and how to watch Love, Repeat.

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

Posted on by The Sleepless Critic

For what marks its 50th 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 50th 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 50th Anniversary of Christmas Revels available as a 2-CD set. 

Tony Williams Dance Center’s ‘Urban Nutcracker’ an immersive heartfelt letter to Boston in 2020

Posted on by The Sleepless Critic

2020 has made an indelible impact on our society affecting family life, schools, businesses, the arts, and the very nature in which we live.  When Urban Nutcracker returned for its 19th season in 2019 and took the stage at Boch Center’s Shubert Theatre, it delivered dazzling style, live, multi-genre music, and the thrill of a classic tale with a unique perspective.  It was one of the many inventive performances taking the stage at Shubert Theatre or at any venue in Boston during the holiday season.

Seeing it now evokes an air of wistfulness.  Being a lover of city life in Boston for decades, seeing it now makes me long for Boston’s exciting streets, sit in the Boston Common, walk through Faneuil Hall in its crowded, bustling glory, and watch people marvel at the lights and holiday spirit of the city.  Make Way for Ducklings, the Duck Boats, the Boston Harbor, live music at the Hatch Shell, and the crowds filing into Fenway Park are a memory this year.  Especially at this glorious time of year, the warmth of the holidays in phenomenal Boston fills this city-lover’s mind with nostalgia and an enduring fondness for its boundless energy and heart.  How it is missed.

Filmed in 2019 at the Boston’s Shubert Theatre and featuring the City Ballet of Boston, Tony Williams Dance Center’s Urban Nutcracker continues streaming for free for its 20th anniversary through Christmas Eve.  Click here to see the show and more information on Tony Williams Dance Center.

Nutcracker Prince portrayed by Tony Tucker battles Haissen Booth as the Rat King Photo credit to Peter Paradise Michaels/Urban Nutcracker

The dynamic orchestra is the first to set the show’s immersive tone as they greet the setting audience traveling through the aisles playing their horn-infused, big band sound on instruments stringed in colorful lights.   As the band settles inside a replica of the Hatch Shell above the stage amid Janie Howland’s amazing scenic design, identifiable landmarks such as the CITGO sign, Massachusetts State House, and Downtown Boston’s Custom House Clock Tower are set strategically on Boston’s city skyline.  The orchestra plays above the performers, delivering a robust sound in a plethora of music styles that match the cornucopia of festive costumes by Dustin Todd Rennels and Rebecca Cross as cultures from around the world unite onstage. 

Gianni Di Marco as Drosselmeyer and Juliet Brown as Ruby and the cast Photo credit to Peter Paradise Michaels/Urban Nutcracker

When Tchaikovsky, Duke Ellington, and David Berger combine for the eclectic score musically directed by Bill Whitney, it is a journey of unfettered entertainment.  Urban Nutcracker has a modern, relaxed, family-friendly vibe which is depicted in the show’s bright and jubilant colors, an urban-chic apartment with a distinctive tree, and the dance styles intonate a party that could happen anywhere in the city today especially as kids gather for a picture using a selfie stick.

Urban Nutcracker depicts all the classic scenes from Tchikovsky’s production with an inviting twist featuring a diverse, multi-talented cast.  In a magnificent coat and top hat, Gianni Di Marco is captivating as wise, charismatic and exuberant Drosselmeyer.  He not only wows adults and children alike with tricks and presents, but his sweet interactions with Ruby, portrayed by enchanting Juliet Brown and Stella Kotter, provide some of Urban Nutcracker’s most memorable moments.

Khalid Hill dazzles in multiple roles, but his tap dancing shines most on the city streets as dancers synchronize beats on trash cans.  Ronnie Thomas is excellent as a funky soldier doll bouncing and coasting around the stage.

  • Ruth Whitney and Joe Gonzalez as The Snow Queen and King Photo credit to Peter Paradise Michaels/Urban Nutcracker

The Snow Queen and King, portrayed by Ruth Whitney and Joe Gonzalez, is the picture of elegance surrounded by luminous snowflake dancers and a glittering view of the Boston Common.  Gonzalez also delivers a visually-rich and daring performance in a duet with Ruth Whitney as Arabian dancers.

Betsy  Boxberger Khalil stuns as the Sugar Plum Fairy not only in a beautiful, upbeat solo but in a later performance with Joe Gonzalez and Gianni Di Marco during a jazz-infused Nutcracker Suite.  The lifts themselves are spectacular.

  • Betsy Boxberger Khalil as Sugar Plum Fairy Photo credit to Peter Paradise Michaels/Urban Nutcracker

Several fun performances included athletic hula hoop dancers featuring Kendra Frank, a high-energy performance featuring skilled, tap-dancing workmen, Urban Nutcracker’s amusing answer to Bo Peep, but Urban Nutcracker’s answer to Make Way for Duckling featuring Michael Oliver Slayton as a tap dancing cop and an adorable troupe of ducklings led by Simone Wolfhorst, is a favorite, an unforgettable and endearing performance.

  • Oliver Slayton as Officer Michael and Simone Wolfhorst as Mrs. Mallard and her Ducklings Photo credit to Peter Paradise Michaels/Urban Nutcracker

Urban Nutcracker offers something for everyone without being boxed into any particular music taste while also delivering a timeless message of the season.   It also pays unparallel tribute to Boston and if you are feeling nostalgic for the city, make sure to see this show.

Tony Williams Dance Center’s Urban Nutcracker continues streaming for free through Christmas Eve 2020.  Click here for more information, how to access the show, and how to support this organization.

REVIEW: Concord Players make ‘It’s a Wonderful Life: A Live Radio Play’ savvy, vintage entertainment

Posted on by The Sleepless Critic

Before we tackle this vintage holiday favorite, I would be remiss not to mention the acclaimed founder of the Concord Players.  Fans of Louisa May Alcott’s Little Women know of the beloved drama club that was established in the book as well as the Pickwick Papers, the title a nod to Charles Dickens.  Beloved author Louisa May Alcott founded the Concord Players and Little Women has been staged annually as Concord Players reached their centennial year.  Perhaps the drama club in the book was part of her inspiration.

Speaking of Charles Dickens, A Dramatic Reading of Charles Dickens’ A Christmas Carol read by Johnny Kinsman will be the next Concord Players streaming event on YouTube Friday, December 18th at 7 p.m. Click here for more information on the event and how to support The Concord Players.

Classic holiday entertainment resurfaces the way mistletoe suddenly hovers over unsuspecting lovebirds at just the right moment.  One of the holiday season’s most anticipated classics is Frank Capra’s It’s a Wonderful Life, a 1946 film about life’s joys and struggles culminating on Christmas Eve starring Jimmy Stewart and Donna Reed.  It returns to the television screen every year with several opportunities to watch.

Directed commendably by John Pease, The Concord Players presented this beloved classic in November with a novel and nostalgic twist.  Rewinding the clock to Radio’s Golden Age in the 1940s on a dark, snowy night in Manhattan, NY, Concord Players streamed Joe Landry’s It’s a Wonderful Life: A Live Radio Play staged as a live radio broadcast on fictional station WCPR for a limited time on Broadway on Demand from Friday, November 20 through Sunday, November 22. 

The bright and festive studio stage was adorned in Christmas lights, garland, and a Christmas tree while a group of voiceover artists included Freddie Filmore as Announcer, Lana Sherwood, Sally Applewhite, Eileen Rivera, and Jake Laurette as George Bailey recreate the show on vintage sterling microphones, portraying a number of roles in the process.  Rachael Rabinovitz’s authentic and colorful costumes set a cheerful tone as performers dress in their festive Sunday best for the radio.

Optimistic George Bailey’s faith in life and humanity is challenged as he desperately struggles to figure out life’s meaning as a certain angel is vying for his very own set of wings.  Touching, poignant, and darker than one would expect, It’s a Wonderful Life is a timeless family production that reminds audiences what truly matters.  Foley artist and sound effect expert Elizabeth Havenor’s technical wizardry is a scene stealer as Concord Players bring new perspective to this classic tale.

The cast masters the tricky task of portraying 1940’s voiceover artists, while also embracing a number of beloved characters in the production.  Navigating between each individual character while voicing multiple characters young and old within the play take particular skill.  Craig Howard brings warmth and charm to wise, yet bumbling Clarence and it was fascinating to watch Howard change his voice to Sam Wainwright by placing a glass against his mouth.

It was refreshing to see Jay Newlon portraying dreamy George Bailey not with Jimmy Stewart directly in mind in a good natured, earnest, adventurous portrayal, though he needed a bit more fire during the show’s more climactic moments.  A particular highlight was witnessing the torment in George’s face as he struggled with leaving his hometown behind while also feeling obligated to stay.  His scenes with heartwarming and hopeful Rachael Rabinovitz as Mary Hatch and with Jenn Bubriski as Rose Bailey have beautiful candor.

John Alzapiedi delivered a versatile performance as a winning narrator, skillfully depicts Potter’s booming narcissism and menacing gravitas, and brings sympathetic Mr. Gower to life.

Sound designer Tim Powers was behind the show’s authentic vintage sound which included the organ-tinged, melodramatic music and jingles of old and a couple of engaging commercials “from our sponsor.”

Foley artist and sound effect coordinator Elizabeth Havenor seamlessly kept the show rolling as her busy hands maneuvered every sound seamlessly.  Allen and Anne Bantly must have brought new meaning to providing the appropriate props to keep Havenor up to speed.  She rang every bell, blew each whistle, and slammed every door while also creating an impeccably-timed ringing telephone to a wild storm to popping champagne.  It was amazing to see how all of it was done during radio’s golden age.  It’s a Wonderful Life is such a timeless show and yet translates so well into a live radio play that it never misses a beat.  

Concord Players will soon present A Dramatic Reading of Charles Dickens’ A Christmas Carol read by Johnny Kinsman will be the next Concord Players streaming event on YouTube Friday, December 18th at 7 p.m. Click here for more information on the event and how to support The Concord Players.

REVIEW: Company Theatre’s ‘A Christmas Carol’ immersive, haunting, and filled with holiday spirit

Posted on by The Sleepless Critic

The Company Theatre’s haunting, immersive, and meaningful A Christmas Carol is a frequent holiday tradition with good reason.  So much more than the Charles Dickens classic, the Company Theatre calls on the holiday spirit through subtle nuances in story and song and the exceptional festivities only become more fervent each December it takes the stage.  Sure, the Company Theatre weaved in the holiday spirit in other December productions such as last year’s Charles Dickens classic, Oliver the Musical (featuring Matt O’Connor as Oliver who returns as adorable Scrooge as a young boy) but this thought-provoking tale of charity, compassion, and forgiveness is the pinnacle holiday treat.

Company Theatre A Christmas Carol

Company Theatre’s ‘A Christmas Carol’ is sold out! Photo courtesy of The Company Theatre

The Company Theatre presents the Charles Dickens classic A Christmas Carol now through Sunday, December 22 at the Company Theatre in Norwell, Massachusetts.  This show is sold out.  Click here for their recently announced 2020 theatre season and how to support The Company Theatre.

A Christmas Carol is the classic tale of Ebenezer Scrooge, a wealthy, penny-pinching old miser who has no use for Christmas until his past comes back to haunt him on Christmas Eve.

With LED lighting and cinematography, heightened special effects, singing Carolers flooding the aisles,  enviable costumes by Kathryn Ridder, and snow glimmering over that bright, familiar cobblestone street where Scrooge must face his worst fears, A Christmas Carol is certainly a feast for the eyes.  The uplifting overture, orchestrated by Steve Bass and arranged by Steve Rogers, is tinged in popular Christmas carols, a preview of the wealth of carols and additional songs added to this festive production.  Ding Dong Merrily on High, O Come O Ye Faithful, Hark the Harold Angels Sing, Joy to the World, and Noel are among the production’s musical highlights.

Company Theatre A Christmas Carol Owen George as Tiny Tim as Bill Carter as Bob Cratchit

Owen George as Tiny Tim and Bill Carter as Bob Cratchit Photo courtesy of Zoe Bradford/Company Theatre

Directed by Zoe Bradford and Jordie Saucerman, The Company Theatre’s production of A Christmas Carol also sets itself apart by weaving in the beauty of the season within the excitement of its joyous ensemble cast.  Each cobblestone street character is as enthralling as the immediate cast, each with their own individual story and holiday motivation within the context of this beautiful London setting.  The action is so immersive that it can hide the immediate cast a bit.  One of the most endearing moments is the return of a lively trio running around the London streets holding up mistletoe for kisses as well as the uplifting and rollicking period dance numbers choreographed with style by Sally Ashton Forrest.

This production boasts a lively cast led by Phillip Hebert as miserly Ebeneezer Scrooge.  Hebert exacts Scrooge’s deep, searing signature growl, his sterling vocals cutting into the soul.  Scrooge toils, scowls, and his dire sense of humor is not lost on his cheerful and generous nephew Fred, portrayed with a crisp accent and inviting demeanor by Christopher Spenser.  In spectacles and a sour huff, Hebert is best in his dark gruffness. However, his overall interpretation becomes jollier as the show progresses as his arms stubbornly swayto the music, offering a lighter, increasingly heartening Scrooge.

Company Theatre A Christmas Carol Owen George as Tiny Tim and Philip Hebert as Scrooge

Owen George as Tiny Tim and Philip Hebert as Ebenezer Scrooge Photo courtesy of Zoe Bradford/Company Theatre

Bill Carter portrays humble, guarded, and sympathetic Bob Cratchit.  Hebert and Carter skillfully develop palpable tension as Carter, leery, speaks to Scrooge out of turn.  Kris Connolly portrays loyal and eternally patient Mrs. Cratchit.  Connolly and Carter deliver heartwarming scenes with their large, beautiful family including sweet Owen George as Tiny Tim as their voices lift for the bright and original song, Noel.

Adorned in a gorgeous lit crown and veil, Nicole Hall delivers warmth, yet a foreboding quality as the Ghost of Christmas Past.  Serene and gentle, she brings out the best in Scrooge’s curmudgeonly soul.  Majestic in a crown of holly and carrying a cornucopia, Dave Daly glides across the stage as charismatic, jolly and larger-than-life Ghost of Christmas Present and the equally endearing Mr. Fezziwig.  Lilly George and Brynn Hsu also shine as giggling Christmas sprites.  Covered in hazy light, Dan Kelly is remarkably ghoulish and crazed as Jacob Marley with some very impressive special effects.

Company Theatre’s A Christmas Carol pulls off a couple of surprises to this classic tale in the finale, and cannot leave out Megan Boutilier’s expressive and hilarious depiction of The Laundress.  She is marvelous.  If the holiday season is not spreading the joy that is should this year, Company Theatre’s A Christmas Carol will certainly encourage that heartwarming feeling, indeed.

The Company Theatre continues A Christmas Carol at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts through December 22.  The show is sold out, but click here for their exciting 2020 season.

REVIEW: One con deserves another as South Shore Theatre Works continues with lively ‘Chicago the Musical’

Posted on by The Sleepless Critic

With the recent premiere of the highly-anticipated FX biographical miniseries, Fosse/Verdon about the sizzling creative and romantic partnership between legendary filmmaker and choreographer Bob Fosse (Sam Rockwell) and spectacular Broadway dancer Gwen Verdon (Michelle Williams), it seems Fosse and Verdon’s influence is still everywhere.  So, it is not surprising that South Shore Theatre Works (SSTW) is taking on what SSTW’s Executive Director and President Richard Bento called, “a dream production of mine to direct,” Chicago the Musical continuing through Saturday, April 20 at Abigail Adams Middle School in Weymouth, MA.  This show is not for young audiences.  Click here for more information and tickets.

One of Fosse’s most popular creations was a dark satire dealing with corruption and murder during the Jazz age called Chicago the Musical.  This Tony award-winning production continues to thrill audiences as one of the longest running Broadway musicals and its most recent 2002 film adaptation was the 2002 Academy award-winning film starring Renee Zellwegger (Roxie), Catherine Zeta-Jones (Velma) and Richard Gere (Billy Flynn) garnered a few Academy Awards.

SSTW's 'Chicago the Musical' cast

The cast of ‘Chicago the Musical’ Photo by Annabella Valle/South Shore Theatre Works

How has Chicago the Musical earned its longevity?  The proof is in its clever, satirical storytelling that isn’t afraid to occasionally shock, its sizzling choreography, memorable characters, catchy music, and its frank, timeless message about humanity.  With an impressive, semi-interactive fifteen-piece orchestra led by conductor Doug Gerber that elevates the action onstage plus additional songs not featured in its most recent film adaptation, this darkly humorous production is off to a good start.

With a modest set featuring vintage theatre lights that illuminate the stage, director Richard Bento keeps this production in classic Fosse form dressing his dancers in black. The close-knit, tight choreography by co-choreographers Richard Bento and Amy Valle Wallace includes some dance crazes of the Jazz Age that make for some visual sizzle.  Though the classic number Cell Block Tango needs a bit more snarl, clever Razzle Dazzle boasts some sleek staging.

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Headlining this colorful cast is Stephanie Wallace as desperate, hot tempered and fast-living Roxie Hart.  With a great scowl and energetically navigating Roxie’s myriad of emotions, it is easy to see how Wallace relishes this character.  She is never better than during her natural and engaging signature song, Roxie Hart.

Jaclyn Cleary lends a mix of sharp sophistication and mayhem to Velma Kelly, a former dancer turned criminal.  Her wild, light eyes reveal a smugness and unsteadiness that will keep you guessing her next move.  Having seen Chicago the Musical quite a few times, I admire Jaclyn Cleary’s sleek vocals and not so by-the-numbers rendition of All That Jazz.  She and Matron Mama Morton, portrayed charismatically by Hanna Ford, have great chemistry.  They are two sides of the same coin in their rendition of Class.

Staring down her glasses with an ironically sophisticated air is Hannah Ford as Matron Mama Morton.  With a belt that certainly packs a punch, her rendition of When You’re Good to Mama clearly shows she knows how to pull some strings and depicts Mama in a different and refreshing way.

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Wielding a cane, Aaron Stolicker masterfully navigates the cast and the audience as suave, shrewd, and debonair Billy Flynn, sharply dressed in a black tuxedo.  He’s full on smirking charm in the number, All I Care About is Love and quite the storyteller in his rendition of They Both Reached for the Gun, a complex, energetic number with strong choreography.  J. Merlo adds some humor and some serious pipes as journalist Mary Sunshine.

South Shore Theatre Works continues Chicago the Musical through Saturday, April 20 at Abigail Adams Middle School, 89 Middle Street in Weymouth, MA.  Click here fore more information, tickets, and how to support South Shore Theatre Works, an organization that recently celebrated its third anniversary.  Click here for more information about South Shore Theatre Works and its Executive Director and President, Richard Bento.