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REVIEW: Front Porch Arts Collective serves up a spirited and resonating ‘Chicken and Biscuits’

Posted on December 20 by The Sleepless Critic

‘Family is a loaded word.’

Spoken by one of the characters in Chicken and Biscuits by Douglas Lyons, this statement perfectly encompasses the essence of this spirited family dramedy. The holidays tend to bring out family dysfunction in rare form and Front Porch Arts Collective has it covered with Chicken and Biscuits delivered just in time for the holidays on December 9.

Judgment is passed at every angle and tensions run high as one family must reunite for a funeral honoring the family patriarch. As Jacqui Parker as Baneatta’s opening scene suggests, the power of prayer may be the only way for this family to get through this complicated day.

Matriarch Beneatta Jacqui Parker contemplates the family’s happy future in Front Porch Arts Collectives production of Chicken and Biscuits PHOTO credit Ken Yotsukura

Hosted by Suffolk University, Front Porch Arts Collective ventured into their first solo show in residence with The Huntington with Chicken and Biscuits at the Modern Theatre in Boston, Massachusetts through January 8. Directed reflectively by Lyndsay Allyn Cox, Chicken and Biscuits is one hour and 45 minutes with no intermission. Click here for more information and for tickets.

Everyone is part of the congregation in Modern Theatre’s modest sized theatre without a bad seat in the house. Set inside a sunlit church in Connecticut, one of the beautiful highlights of Erik D. Diaz’s transformative set design include the tree lined and then colorful stained glass windows with authentic hanging sanctuary lamps. Anna Drummond’s dynamic sound design lent to the heart and humor of the production while M. Berry’s exceptional lighting varied from somber to uplifting and every mood in between as revelations unfold. With fine details by Earon Chew Neasley, Zoe Sundra’s striking costumes which includes dignified hats varying from elegant to over the top, embellish each character’s distinct personalities. Prop master Lauren Corcuera’s intricate details completed the hospitable atmosphere, especially those homestyle chicken and biscuits.

Reginald Robert Cornelius preaches a sermon in Front Porch Arts Collectives production of Chicken and Biscuits PHOTO credit Ken Yotsukura

Though this production delves into grief and family dysfunction, it also delivers a wealth of high spirited comedy and stirring moments from a cast of vibrant characters. It does not take long to grasp that Father and Grandfather Bernard Jenkins was the glue that held this family together. His loss has touched each family member in a unique way while a few of the family members have their own unique ideas on how to celebrate his life.

Filled with quiet consternation, Jacqui Parker portrays compelling Baneatta who is just barely holding it together as she and her optimistic and charismatic husband Robert Cornelius as Reverend Reginald Mabry prepare to attend the service. Baneatta has a unique effect on each family member and Parker carries that aura with a certain gravitas. Though she and her husband appear to be opposites, Cornelius and Parker are impressive as a longtime married couple comfortable with each other’s idiosyncrasies. Cornelius has a natural charisma and delivers a particularly noteworthy and powerful performance as easygoing Reginald, especially as he addresses the congregation with a rousing sermon.

From her razor red fingernails to her curve hugging blue dress, Thomika Bridwell depicts outrageous and outspoken hairstylist Beverly Jenkins with Lorraine Kanyike as La’Trice Franklin, Beverly’s smirking aspiring rapper daughter, not far behind. Bridwell and Kanyike’s snappy comedic dialogue and chemistry make for some ludicrous and entertaining moments as they proudly march to the sound of their very own drummer. Fiercely protective and flirtatious, Beverly’s scene stealing personality is a force to be reckoned with while Kanyike, in a pleather vest and revealing pants, exudes La’trice’s confident, attention seeking demeanor which also contains a grain of insightful teenage wisdom.

L to R Mishka Yarovoy Thomika Bridwell and Adrian Peguero in Front Porch Arts Collectives Chicken Biscuits PHOTO by Ken Yotsukura

Mishka Yarovoy delivers an empathetic and endearing performance as Logan, who longs for as little as the family getting his name right and Adrian Peguero as conflicted Kenny mourns a grandfather who understood him best. However, Sabrina Lynne Sawyer stands out in a stellar performance as serious, distinguished, and multi-faceted Simone who struggles and strives for perfection.

Anxiety, gossip, bickering, and a few surprises are inevitable at most family gatherings whether it is on a holiday, a family reunion, or even at a family funeral. Chicken and Biscuits, named after Bernard’s favorite meal, can also provide comfort, grace, and love as long as everyone can sit together, take a breath, and listen.

REVIEW: The Company Theatre is up to magic and mischief in family-friendly ‘Matilda the Musical’

Posted on December 3 by The Sleepless Critic

Not even a Willy Wonka candy coated confection could properly prepare one for what the Company Theatre has in store onstage.

With book by Dennis Kelly and music and lyrics by Tim Minchin, The Company Theatre’s Matilda the Musical is a holiday-themed whirlwind of caricatured adults and rage-filled adolescence while at its core, an inspiring story of an extraordinary girl in a peculiar and unique world that could only come from renowned storyteller Roald Dahl’s innovative imagination. Add Lindsay Hoisington’s eye popping costumes that share their own story along with set designer Ryan Barrow’s striking, festive colors and Matilda the Musical made a refreshing debut from Company Theatre’s more traditional annual holiday fare.

Diana Lee as Lavender and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Inventively directed by Zoe Bradford with dynamic Music Direction by Melissa Carubia, The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18. Click here for more information and for tickets.

With a string of renowned children’s books that includes classics such as James and the Giant Peach and Charlie and the Chocolate Factory, it is easy to see award-winning author Roald Dahl’s trademark characterizations, sardonic humor, and peculiarities within a morally driven subtext delivered in Dahl’s Matilda, a novel published almost 35 years ago. Matilda went on to become a bonafide hit with children and adults and it was not long before a 1996 film adaptation arrived featuring Danny DeVito and his real life wife Rhea Perlman. In 2012, Matilda became a Tony award-winning Broadway musical before Netflix recently premiered Matilda the Musical featuring Emma Thompson around Thanksgiving. Like most theatrical adaptations, nothing is quite like the experience of seeing it live.

Mischief during the holidays in Company Theatre’s ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Expectations were skewed immediately with the darkly comedic and infectious opening number, Miracle where cute, wild, and blatantly naughty children zip around a Christmas tree fueled by Brad Reinking’s athletic, energetic, and fist pumping choreography. Keep an eye out for some amazing feats by Ben Cavallo-Smith and others.

Ben Cavallo-Smith and cast in ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Imagination and mischief run wild in Roald Dahl’s tale of an extraordinary girl making her way through a peculiar world. Roald Dahl tugs at the heartstrings in this absorbing children’s tale, but not before displaying a wealth of less than savory characters making Matilda’s life arduous. It is a darkly humorous tale guaranteed to delight children more than the grownups.

Annie Jones as Mrs. Phelps and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Clad in black and white, precious and precocious Matilda, portrayed with determination and quick wit by Reese Racicot, is one of the very few characters standing out in an ostentatious world where television is more important than cracking open a book. Racicot immediately charms from the spunky number, Naughty to mastering the heady lyrics in Quiet, punctuated by her light and airy vibrato. Racicot has a sweet rapport with Annie Jones as enthralled librarian Mrs. Phelps, who delights in Matilda’s significant and imaginative stories as well as Miss Honey, portrayed endearingly by Jennifer Beth Glick. With delicate and powerful vocals, Glick shines depicting Miss Honey’s quiet strength and good natured humbleness, especially for the tender and moving number, My House with Salvador Guillermo Garcia.

Brad Rafferty as Rudolpho, Emilee Dennis Leahy as Mrs. Wormwood and Jennifer Beth Glick as Miss Honey Photo credit to Zoe Bradford/Company Theatre

The adults are about as tempestuous and spoiled as their children. Matilda’s scheming con artist father Mr. Wormwood, portrayed with a sneer and manipulative glee by Todd Yard is not to be outdone by his equally shortsighted, narcissistic, and ballroom dancing wife and Matilda’s resentful mother, Mrs. Wormwood, depicted by Emilee Dennis Leahy with the sort of flirtatious, chaotic humor reminiscent of Jennifer Coolidge. Accompanied by Brady Rafferty as egotistical Rudolpho, Leahy demonstrates limber dance moves and a wild cha cha in the shimmering and comically shallow number, Loud. Never have a pair claimed to know so much know so little. Oliver Dunn as Matilda’s conspiring brother Michael Wormwood seems to be following in their stealthy footsteps as Yard and Dunn open Act II with humorous improvisation and vaudeville inspired number All I Know.

Todd Yard as Mr. Wormwood and Oliver Dunn as Michael Wormwood Photo credit to Zoe Bradford/Company Theatre

Matilda the Musical is not without its dark moments and that is exemplified in Matilda’s iron fisted headmaster, Agatha Trunchbull. A fearful and miserably barreling adversary depicted enthusiastically by Christie Reading, Trunchbull is a force to be reckoned with, but against these lively students, anything is possible highlighted by the brilliant and ironic number, When I Grow Up.

Christie Reading as Miss Agatha Trunchbull, Jennifer Beth Glick, and the students Photo credit to Zoe Bradford/Company Theatre

The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18. Click here for more information and for tickets.

Amid peerless Castle Hill and candlelight, Boston Lyric Opera delivers exquisite ‘Winter’s Evening’ on Operabox

Posted on January 6, 2021 by The Sleepless Critic

One this is for sure, Boston Lyric Opera can achieve elegance anywhere.

Boston Lyric Opera (BLO) had two remarkable debuts for their virtual concert, A Winter’s Evening. Directed sublimely by Nathan Troop, Boston Lyric Opera’s ‘A Winter’s Evening’ not only made its virtual debut on Operabox, but soprano Gabriella Reyes also made her effervescent debut with the Boston Lyric Opera, an event which she calls “a dream come true.”

BLO’s ‘A Winter’s Evening’ continues streaming through Sunday, January 10. Click here for more information. Boston Lyric Health Task Force helped coordinate the virtual performance to meet safety standards.

Surrounded by the gorgeous grounds at Castle Hill at the Crane Estate in Ipswich, Massachusetts, Miss Massachusetts 2020 Sabrina Victor, adorned in black fur over a glittering white gown, hosted this lovely evening with warmth and poise.

Boston Lyric Opera’s ‘A Winter’s Evening’ continues streaming on Operabox through Sunday, January 10. Photo credit to Boston Lyric Opera

Boston Lyric Opera also weaved in elements of hearth and home blending classic opera and festive classic songs as Gabriella Reyes and Sabrina Victor shared personal remembrances of holidays past. The show is the height of elegance, not only in the couture, but inside the Crane Estate’s majestic ballroom embellished with candlelight and Christmas trees.

Impressively accompanied by pianist Brett Hodgdon, Reyes, adorned in a black gown, showcased her broad range with a dynamic selection of songs that included a serene, bi-lingual version of Silent Night/Nochede Paz, passionate Quando M’en Vo from Puccini’s La Boheme, stirring Nana by Manuel De Falla, a dreamy and heartfelt When You Wish Upon a Star with lyrics by Ned Washington and music by Leigh Harline, and the inspirational classic Harold Arlen song, Over the Rainbow featuring its rarely sung introduction. Reyes masters the operatic selections, her light and powerful vocals make it all look easy.

Guitarist Zaira Meneses accompanied Reyes for a portion of the evening with a selection of songs that are meaningful to both of them including Grever’s Alma Mia and Sandoval’s Gracias a la Vita. Meneses’s vibrancy and flair, putting her entire body into her music with Reyes’s eloquence made for a stirring pair.

BLO’s ‘A Winter’s Evening’ continues on Operabox through Sunday, January 10. Click here for more information and how to subscribe to Boston Lyric Opera’s current season.

REVIEW: GBH’s inviting virtual ‘A Christmas Celtic Sojourn’ maintains warmth and tradition in 2020

Posted on December 28, 2020 by The Sleepless Critic

2020 has been many things, but traditional is not one of them. However, this year’s virtual A Christmas Celtic Sojourn brought back holiday traditions, beautiful performances, reflections, stirring carols, and dare I say a bit of normalcy to 2020.

With a selection of live performances and an option to watch on-demand, GBH’s A Christmas Celtic Sojourn was brought into your home in a warm, inviting, and spirited atmosphere. From a majestic, candlelit cathedral in Ireland to a festive outdoor step dance in Ottawa, Canada, it unconventionally included all the elements of what is beloved about this annual New England show and somehow broadened its possibilities worldwide.

Host Brian O’Donovan and fiddle player Jenna Moynihan at Rockport Music Photo credit to Dan Jentzen

Brilliantly directed by Jenna Worden, A Christmas Celtic Sojourn offered seven live streaming opportunities to watch virtually from your home Tuesday, December 15 at THE VETS in Providence, RI, Wednesday, December 15 at Hanover Theatre in Worcester, MA, Thursday, December 17 at The Zeiterion Performing Arts Center in New Bedford, MA, Friday, December 18 at Shalin Liu Performance Center in Rockport, MA, Saturday, December 19 at The Cutler Majestic Theatre in Boston, MA, and Sunday, December 20 in GBH Studios in Boston, MA These locations are usually where A Christmas Celtic Sojourn tours annually. A bonus encore presentation also occurred on Christmas Eve.

GBH’s virtual A Christmas Celtic Sojourn is still available. Click here for more information and to enjoy the show on-demand through January 2, 2021. A Christmas Celtic Sojourn would also like to hear what you thought of the program by visiting their Facebook page.

Celtic harpist, pianist, and Assistant Music Director Maeve Gilchrist Photo credit to Dan Jentzen

Though a portion of the performers were at home, audiences were treated to harmonies created from multiple locations nationally and internationally while enjoying festive, international scenery. For a person who has lacked the chance to travel the world this year, it was a more than welcome opportunity to take a glimpse and to share in some international traditions.

From the stirring, candlelit opening of beloved carol, O Come Emmanuel sung in Latin by Cathy Jordan from gorgeous Sligo Cathedral in Ireland, A Christmas Celtic Sojourn transported audiences to Ireland and to other places around the world as they were unable to bring Ireland to the stage. The show also boasted dueling harmonies simultaneously sung from Vermont, Scotland, and various parts of Massachusetts.

Host Brian O’Donovan brought a mix of humor, melancholy, and wistful reflections toward this difficult year, engaging storytelling, and fond tidings. Though this year has presented its challenges, A Christmas Celtic Sojourn still managed to keep the rituals and long-awaited music right at your fingertips delivering jubilant, soulful moments while still embracing winter’s dark and sacred stillness.

Music Director and multi-instrumentalist Seamus Egan with fiddlers Jenna Moynihan and Maura Shawn Scanlin Photo credit to Dan Jentzen

Thanks to Rockport Music, multi-instrumentalist and Music Director Seamus Egan, Assistant Music Director, Celtic harpist, and pianist Maeve Gilchrist, Bouzouki and Harmonium player Owen Marshall, guitarist Conor Hearn, and fiddle players Jenna Moynihan and Maura Shawn Scanlin returned to perform cheerful medleys and energetic jam sessions filmed in Rockport Music at Shalin Liu Performance Center in Rockport, Massachusetts. Seamus Egan’s brilliance shone through as he reached for multiple instruments for separate songs and at one point reaching for a banjo for a joyful freestyle.

Fiddle players Jenna Moynihan and Maura Shawn Scanlin with Bouzouki and Harmonium musician Owen Marshall Photo credit to Dan Jentzen

A traditional wassail in Edinburgh, Scotland, rollicking sing-along carols and dance from A Christmas Celtic Sojourn’s past, a peerless lullaby carol involving a newborn, original song and stirring new renditions of classic carols, a lighthearted percussive dance from Michigan by Nic Gareiss, and returning step dancer and choreographer Cara Butler reveling in her backyard to a jubilant tune in Ottawa, Canada are just some of the highlights of this carefully-executed, moving production. There were plenty of welcome surprises not to be revealed here.

Spending an awful lot of time at home and not in the car, music is less of a tradition in my house. GBH’s A Christmas Celtic Sojourn created a haven of holiday comfort in song that though we are far apart, some rituals and traditions can still stay the same.

GBH’s virtual A Christmas Celtic Sojourn is still available. Click here for more information and to enjoy the show on-demand through January 2, 2021.

REVIEW: Mikko Nissinen’s ‘The Nutcracker’ remains a visually-stunning journey for all ages

Posted on December 22, 2019 by The Sleepless Critic

With enchanting special effects and performances that would endear any holiday pessimist, Mikko Nissinen’s The Nutcracker once again returns with an entire world seeped in the fondest of daydreams for adults and children alike. With the enhancement of internationally-renowned Finnish lighting designer Mikki Kunttu and Tchaikovsky’s classic score conducted by Misha Santora, The Nutcracker is as picturesque as ever, emphasizing its mark as an annual holiday institution.

Boston Ballet The Nutcracker cast Photo by Liza Voll

The 150 dancers making up ‘The Nutcracker’s’ spectacular cast. Photo credit to Liza Voll/Boston Ballet

The castle on a cloud is only the prelude to an enchanting journey as Mikko Nissinen’s The Nutcracker returns to the Citizens Bank Opera House with new surprises. An elegant party, a valiant battle, and a variety of spectacular toys springing to life is just part of Clara’s exquisite journey when she is gifted an intriguing Nutcracker for Christmas.

The Boston Ballet takes the stage for Mikko Nissinen’s The Nutcracker continuing through Sunday, December 29. The Boston Ballet features discount youth pricing. Click here for more information and for tickets.

Stage view Photo courtesy of Jeanne Denizard

Robert Perdziola’s meticulously-detailed set and costume design not only create an inviting atmosphere whether inside a fire lit, multi-dimensional living room with a towering, emerald-lit Christmas tree or surrounding an outdoor fire pit where locals can keep warm, but also creates a pristine wintry wonderland where you can almost feel the chill. The ornate period costumes are gorgeous as women are adorned in velvet, silk, and ribbons and the men are dressed to the nines. Sweet, sophisticated, yet playful Clara, portrayed impressively by Emma Blake, is lovely in her pale blue coat, bonnet hat, and fur hand warmers.

Boston Ballet The Nutcracker Party Scene by Liza Voll

Party scene. Photo credit to Liza Voll/Boston Ballet

Christmas Eve is a magical time, especially for children. Paulo Arrais unveils some of that magic as charismatic and confident showman, Drosselmeier. Mustachioed Arrais is a grand presence as he delivers visions sprung from the imagination, showing children anything is possible.

Boston Ballet Nutcracker Ricardo Santos and Ji Young Chae by Rosalie O Connor

Harlequin Doll and Ballerina Doll. Photo credit to Rosalie O’Connor/Boston Ballet

Among the most memorable moments is a Soo-bin Lee’s convincing portrayal as a Ballerina Doll, her rigid movements out of the box a fascinating sight. Tyson Clark’s Harlequin Doll and Sun Woo Lee’s life size, exotic bear are exuberant, playful, and among the most highly- anticipated scenes in this production.

The appearance of the Nutcracker Prince, depicted by a chivalrous and gallant Derek Dunn, is extraordinary surrounded by bright, multicolored, shimmering ornaments in a magnificent tree. His appearance highlights one of the most spectacular and exciting special effects of the production that will not be revealed here. His encounter with Alec Roberts’s bold and at times humorous Mouse King is thrilling and partially what makes The Nutcracker a children’s classic.

Boston Ballet 'The Nutcracker' Mouse King and Wooden Soldiers by Liza Voll

Alec Roberts as the Mouse King and a valiant battle Photo credit to Liza Voll/Boston Ballet

Seo Hye Han and Tigran Mkrtchyan are visions as The Snow Queen and King on a sparkling silver sleigh as surrounding dancers joyfully flock and frolic in a glorious scene. Seo Hye Han and Tigran Mikrtchyan have a sweet chemistry as they join together in a captivating dance.

Boston Ballet The Nutcracker Snow fairies by Liza Voll

An enchanted winter wonderland. Photo credit to Liza Voll/Boston Ballet

Under glimmering chandeliers is a group of remarkable, electric performances which is less story progression and more showcase driven presented by the iconic and sparkling Sugar Plum Fairy, portrayed with finesse by Chisako Oga. Two pairs of Spanish dancers portrayed by Ekaterine Chubinidze, Haley Schwan, Daniel Cooper, and Benji Pearson, sway and twirl in a dazzling spectacle. Chyrstyn Fentroy and Paul Craig receive a rousing applause as a pair of exotic and athletic Arabian dancers while Desean Taber, Daniel Durrett, and Fuze Sun show off their flexibility and athletic prowess as a trio of leaping Russian dancers.

Among the most humorous scenes is an adorable appearance by Bo Peep accompanied by a mischievous black sheep and Graham Johns as towering and surprising Mother Ginger.

Boston Ballet The Nutcracker By Liza Voll

Clara, portrayed by Mia Steedle, Nutcracker Prince portrayed by Tigran Mkrtchyan, and reindeer by students of Boston Ballet School Photo credit to Liza Voll/Boston Ballet

Whether seeing Mikko Nissinen’s The Nutcracker for the first time or returning to enjoy it all over again, The Boston Ballet is as elegant and magical as you remember with enough refreshing additions to endure as a splendid holiday treat for the entire family.

The Boston Ballet takes the stage for Mikko Nissinen’s The Nutcracker continuing through Sunday, December 29 at the Citizen Bank Opera House, 539 Washington Street in Boston, Massachusetts. These performances feature group rates and discount youth pricing. Click here for tickets and for more information on Boston Ballet’s 2020 season.

Artistic Director and founder Tony Williams describes how ‘Urban Nutcracker’ became a hit

Posted on December 11, 2019 by The Sleepless Critic

What if the spirit of Boston as well as hip hop, tap, Mexican folk dance, flamenco, swing dancing and more were weaved into Tchaikovsky’s beloved holiday classic, The Nutcracker? Celebrating its 19^th anniversary, The City Ballet of Boston (CBB) presents Tony Williams’ family friendly Urban Nutcracker from Thursday, December 19 through Saturday, December 28 at the Boch Center Shubert Theatre in Boston, Massachusetts. Click here for more information and tickets. Click here for a sneak peek at the show.

Tony Williams, acclaimed choreographer, founder, and Artistic Director of the Urban Nutcracker and the Tony Williams Dance Center, talks about Urban Nutcracker’s humble beginnings and how it has evolved to become the hit it is today while every year featuring something new.

Founder and Artistic Director of Urban Nutcracker Tony Williams Photo courtesy of Tony Williams/City Ballet of Boston

Sleepless Critic: What I love about Urban Nutcracker is while the traditional Nutcracker is rooted in fantasy, the heart of the Urban Nutcracker is in Boston and its history. What inspired this concept?

Tony Williams: I was raised in Boston and danced in the premiere of the first major professional production of Boston Ballet’s The Nutcracker conducted by famed conductor of the Boston Pops Arthur Fiedler in 1965. I danced in the traditional Nutcracker for many years and when I stopped, I still performed large and smaller productions in and around Boston.

About 20 years ago, I started my dance school in Jamaica Plain. I had two male African American dancers working for me teaching tap and hip hop. In my school’s first year of enrollment, I had about 20 boys which is a huge amount of boys than in most dance schools. I had the makings of a youth cast for a production and wanted to showcase the kids, but most of the boys came for tap and hip hop where I was teaching ballet.

I thought about putting on The Nutcracker and the parents can be involved and bring their kids. With so many traditional Nutcrackers out there, maybe we can create an urban contemporary Nutcracker with hip hop, tap, and ballet incorporating our hip hop teacher Ricardo Foster and tap teacher Khalid Hill.

Coincidentally around that time, I came across Duke Ellington’s jazzy, big band Nutcracker Suite. I can use that and mix in the traditional Nutcracker like a soup and hope it turns out right. A smaller dance troupe also performed a Nutcracker in New York City around that time. Their background was in New York City and they based the show in Central Park. I decided to freshen up this old classic chestnut, The Nutcracker, and put it in present day Boston.

Sneak Peek of the Urban Nutcracker at this year’s Boston Tree Lighting in the Boston Common Photo courtesy of Tony Williams/City Ballet of Boston

SC: It has been very successful because I believe next year will be Urban Nutcracker’s 20^th anniversary in 2020.

TW: It’s amazing we’ve succeeded all of these years. We evolve, tweak, and polish the show every year and it’s a challenge financially to pull it all together. The first year we were on a shoestring budget.

People have supported the show all of these years and I feel fortunate it is still around. Not so much for my personal ego, but for the opportunity to have it for the City of Boston. You don’t have to know Boston in order to like the show but if you do, you will have more of a connection to it.

SC: You feature some traditional and international roots in the Urban Nutcracker such as The Russian Dance.

TW: We have the Russian Dance which we call Caviar Caper, the Arabian Dance we call Desert Chiffon, and the Chinese or Tea Dance which we call Ginseng Brise. Brise is the French word for a dance step in ballet.

This year, we have a major addition to Act II and one of the divertissements will be based on the story, Make Way for Ducklings by Robert McCloskey from 1941. We introduced ducks in the snow scene in the past and it didn’t quite fit. This year we are calling it Mrs. Mallard and her Duckling Delights with a tap dancing policeman and Mother Duck will dance on Pointe. The cute baby ducks have their own dance which the kids will love.

We’re doing a new Russian dance with two couples and many more surprises!

Urban Nutcracker cast Photo courtesy of Tony Williams/City Ballet of Boston

SC: How did this become a tradition? The reception must have been extraordinary that first year.

TW: The first year we were trying to introduce this new creation was right after 911 and the whole world was in a depression. A friend of mine told me it wasn’t the time to do this kind of show and I thought about that.

I was sad about what had happened, but working with the young kids brought about a rebirth of hope and I continue the show because of them. We did three sold out performances the first year at the Strand Theatre in Dorchester.

I was so nervous that first night and had no idea how it would be received. We had no money or advertisements except a great story in the Globe. From the opening dance in the prologue right before the story line began, the dancers and musicians in Downtown Crossing and Quincy Market danced outside with their hats out for donations. The ovation was so loud and that’s when we knew we had something.

SC: I understand that the show features The City Ballet of Boston. Is that your troupe?

TW: It used to be the Tony Williams Ballet Company, but last year it evolved into the non-profit City Ballet of Boston. The core group is comprised of eight cohesive adult professional dancers that have been with me for the second year. It is expected we have top notch professional dancers at the Shubert Theatre which is partly why I did that with the company. I call it City Ballet of Boston because we are proud of Boston. Hopefully, when I am no longer around, The CBB will be able to produce this show for generations to come.

A woman who happens to work at the Boch Center Shubert Theatre came for the first time last year and brought her three year old daughter while her husband was away on business. Her parents were visiting from Chicago and the four of them came to the show. She told me afterwards she really enjoyed the show, but was struck that her daughter, father, and mother were so raptly attentive to the show as well. Each generation enjoyed it!

SC: What are your future plans?

TW: We have the family production, Peter and the Wolf from April 29 to May 2, 2020 at the Calderwood Pavilion. We’ve been doing some classical and contemporary pieces and it will be something for everybody.

SC: You tend to mix contemporary with traditional dance.

TW: I do it because it is intriguing creatively, artistically, and it’s fun to work that way.

SC: That way you can keep surprising people with your work.

TW: I need to do something fresh not only for the audience and the dancers, but I get a charge out of that too.

Urban Nutcracker returns to the Boch Center Shubert Theatre, 265 Tremont Street in Boston, Massachusetts from Thursday, December 19 through Saturday, December 28. Click here for more information, tickets, and learn more about Tony Williams and his work.

REVIEW: Company Theatre’s enhanced, lively production of Lionel Bart’s ‘Oliver! ‘kicks this classic up a notch

Posted on December 8, 2018 by The Sleepless Critic

It was a nostalgic night witnessing Company Theatre’s livelier version of Lionel Bart’s musical, Oliver! having performed in the musical production in high school. While my part was limited to selling roses on a busy London street, the Company Theatre opened up an entire world for the holidays with enhanced flair for Lionel Bart’s Oliver! continuing through Sunday, December 16 at The Company Theatre in Norwell, Massachusetts. The production has recently sold out. Click here for more information on the Company Theatre and their future productions.

Directed by Zoe Bradford and Jordie Saucerman and musically directed by Steve Bass with choreography by Sally Ashton Forrest, Lionel Bart’s Oliver! is the latest version of this Charles Dickens’ classic. This family production has enjoyed several tours and revivals in different parts of the world in its close to 60-year history.

It’s is the tale of a workhouse orphan who get entangled in a series of unfortunate events that lead him to face many adversaries, but stays strong in his search for hope and love. With a large cast featuring memorable numbers such as Consider Yourself, As Long as He Needs Me, I’d Do Anything, and the title song, Oliver, this tale has its share of dark and humorous moments while delivering an important message about humanity that is especially relevant during the holidays.

Matthew O’Connor as Oliver Photo courtesy of Company Theatre

During the holiday season, the Company Theatre tends to make whichever production they have chosen bigger and more spectacular in line with the spirit of the season. Lionel Bart’s Oliver! stays consistent with that tradition featuring extended, more upbeat musical numbers, grander sets, and sharper choreography, especially during the sweeping numbers and quicker pacing of Food, Glorious Food and Consider Yourself.

From the humble, stone-lined workhouse surroundings with a single banner that reads, ‘God is Love’ to a bright street setting, Ryan Barrow’s impressive, rolling set design details the diversity of 1840’s London. Set pieces dropping from the ceiling was a particular highlight.

The musical’s classic line, ‘I want some more’ has never sounded more humble than from the adorable countenance of Matthew O’Connor as Oliver, a sweet, naïve, but daring workhouse orphan boy who, by uncontrollable circumstances, has an opportunity to see life beyond the workhouse walls. He shares some amusing camaraderie with Colin Paduck as the Artful Dodger, portrayed with a thick, regional accent and a charismatic grin. They stay in time with the children’s ensemble’s compelling choreography, an energetic bunch light on their feet during some of the production’s most challenging numbers.

The Sowerberrys Christopher Spencer as Mr Sowerberry and Christa Dunn as Mrs. Sowerberry Photo courtesy of The Company Theatre

Mr. and Mrs. Sowerberry are wonderfully wicked together. With a nasal voice and prominent sideburns, Christopher Spencer is quite comical as dour Mr. Sowerberry and Christa Dunn as stern and maybe a bit tipsy Mrs. Sowerberry. With a prominent stance and a great voice, Francis Sheehan takes on the gruffly bombastic parish beadle Mr. Bumble.

Company Theatre's Oliver - Oliver Fagin and Artful Dodger

Colin Paduck as The Artful Dodger, Christopher Hagberg as Fagin, Matthew O’Connor as Oliver and the children’s ensemble Photo courtesy of Company Theatre

With a white beard, black hat, and flowing overcoat, Christopher Hagberg delivers a limber, stealthy performance as Fagin. Hagberg captures the magic of Fagin, his deceptively good nature and comic greediness put on display in the number, You’ve Got to Pick a Pocket or Two and the fiddle-infused Reviewing the Situation.

Company Theatre's Oliver- Nancy, Oliver, Bet, and Artful Dodger

Brittany Rolfs as Nancy, Matthew O’Connor as Oliver, Aliyah Harris as Bet, and Colin Paduck as the Artful Dodger Photo courtesy of the Company Theatre

Brittany Rolfs brings sass and saavy to the role of Nancy, a sweet but tough woman who has mixed with the wrong crowd. From her passionate, tenacious version of As Long as She Needs Me to the catchy harmony of the playful, rollicking number, Oom-Pah-Pah, Nancy is a force of her own onstage, sweet with the children, but always certain of what she wants.

With a deep seated growl and a menacing stare, Damian Smith steps into the role of troubled Bill Sikes. In this production, The Company Theatre brings a new dimension and lesser known angle to this character as he stalks the city streets. Remington is a welcome addition to the cast as scene stealing Bullseye, Bill Sikes’s dog.

Company Theatre celebrates 40 years Photo credit Jeanne Denizard

The Company Theatre’s Renovation fund Photo credit Jeanne Denizard

The Company Theatre is capping off its 40th season with Lionel Bart’s Oliver! continuing through Sunday, December 16. Click here for how to support the Company Theatre and here for more on their 2019 season.

Americana Theatre Company’s David Friday and Nick Mitchell talk ‘It’s a Wonderful Life: A Live Radio Play’

Posted on December 6, 2017 by The Sleepless Critic

Over 70 years ago, despair, hardship, hope, and generosity encompassed a holiday tale that quickly became a film classic. Based on Philip Van Doren Stern’s short story, The Greatest Gift, Frank Capra’s It’s a Wonderful Life became an annual family tradition for generations and The Americana Theatre Company is bringing back this popular, unique retelling of this beloved story suited to the film’s time period. With a small cast inhabiting over 40 roles with a Christmas Eve setting, It’s a Wonderful Life: A Live Radio Play is performed as a 1940s radio play with a cast of just five actors. The show runs from Wednesday, December 6 through Saturday, December 16 at Plymouth Center for the Arts in Plymouth, Massachusetts. Click here for more information and tickets.

A few cast member from Americana Theatre Company’s ‘It’s a Wonderful Life: A Live Radio Play’ through December 16 Photo courtesy of Americana Theatre Company

Managing Director of the Americana Theatre Company David Friday and Director Nick Mitchell discuss the inspirational transformation of It’s a Wonderful Life into an interactive, onstage, and in-studio live radio show.

Sleepless Critic: What I like so much about It’s a Wonderful Life: A Live Radio Play is the nostalgic 1940s setting fits right in line with the time period of the film. How did this idea come about?

Nick Mitchell: Radio plays have taken off and a lot of companies are doing live, mock radio plays by bringing in the effects and the different voices from the actors. It was only a matter of time before authors got a hold of pieces like It’s a Wonderful Life. Two different versions of the script are available for It’s a Wonderful Life that is a formatted radio play. The one we’re using is by Joe Landry who condensed it into anywhere from 40 actors, but five are recommended and five is what we are going with.

SC: Those five actors will play 40 roles as I understand.

NM: Yes, indeed. George Bailey is played by Jesse Sullivan, Emily Turner Marsland as Mary. They play just those roles, but Josh Nicholson, David Friday, and Erin Friday, the Director of Education for Americana Theatre, play everybody else.

SC: I understand your voices will be enhanced with microphones, sound effects, and there will also be an authentic ‘Applause’ sign.

NM: The ‘Applause’ sign is funny. David made this fully working sign. I kept thinking during the rehearsal process whether it is bright enough for the audience to see it. However, audiences have responded to it the minute that sign lit up. It was fun to watch.

Cast of It’s a Wonderful Life In Studio Photo courtesy of Americana Theatre Company

SC: It also makes it more interactive for the audience too.

DF: The opening speech of the show explains to the audience that the broadcast will be in a radio studio. Other performances of this show have to be done on a large stage and broadcast on the radio to a different venue. In the opening speech, the announcer says that people at home are going to be able to hear you so laugh, applaud, cry, and it will all be part of the show. It really tries to get everybody involved including our stage manager. He can be seen in the production booth window. We added that nice little twist.

SC: Have there been any surprises during this show’s run such as unexpected reactions to certain scenes?

DF: It’s one of my favorite movies of all time. I see it every year just like most people do and get a little misty when I watch it. At the end of one evening’s performance, quite a few audience members were crying or very close to it. It is good for us. It just tells us we’ve been able to capture the spirit of the original film.

It’s nice and I’ve actually seen a couple of online Facebook comments that people can’t wait to go home and watch it. They enjoyed the show and want to watch it because the show recaptured something in a way that they have never seen it and want to go back and relate it to what they know. People even thinking that way is a large victory for us.

SC: What is the best reason one should come see the production?

NM: In this digital age, we get entertainment where and when we want it with a push of a button. I think at this time of year, a show and format like this reminds us to set aside some time with people that mean something to us and be entertained. In the process, see how many lives we’ve touched in the meantime.

SC: It’s a live show so anything can happen.

NM: It will, believe me.

It’s a Wonderful Life: A Live Radio Play continues through Saturday, December 16 at Plymouth Center for the Arts, 11 North Street in Plymouth, Massachusetts. Reserve tickets by clicking here or call 1-508-591-0282. Tickets will also be available at the door. Follow the Americana Theatre Company of Facebook for more information about this amazing theatre company and future productions.

Holiday Pops makes annual return to Symphony Hall with sing-a-long carols, holiday cheer, and Santa Claus

Posted on November 30, 2017 by The Sleepless Critic

The spirit of the season comes knocking as the Holiday Pops make their way to Symphony Hall bringing sing-a-long carols and brimming with holiday cheer. For over 20 years, decking out Symphony Hall has become an annual Boston tradition, seeped in the luminous sights and sounds of the season and welcoming audiences from near and far. At the helm once again is renowned maestro Keith Lockhart to conduct Holiday Pops 2017 from Tuesday, December 5 and continuing through Christmas Eve. Cap off the year and return to Symphony Hall for a special New Year’s Eve Party featuring the Boston Pops led by returning bandleader Bo Winiker. Click here for more information and for tickets.

Keith Lockhart leads the Holiday Pops Photo courtesy of Stu Rosner/BSO

Holiday Pops features approximately 40 evening and matinee performances featuring an array of beloved carols, storytelling, and a traditional holiday sing-along. Morning kid matinees are also available which includes photos with Santa and much more. Children under 2 get in free. Kicking off on December 2, The Holiday Pops will also be on the road touring New England with Keith Lockhart and Santa in tow for The Boston Pops Holiday Tour. Click here for tour dates and locations.

Bring Holiday Pops home with the Boston Pops all-live CD. Savor the sounds of the season right in the living room with A Boston Pops Christmas: Live from Symphony Hall, virtually bringing the listener right through the Symphony Hall doors to enjoy a time-honored Christmas tradition for the entire family.

With Keith Lockhart leading the Boston Pops, A Boston Pops Christmas: Live from Symphony Hall features a gorgeous Christmas medley from American Idol finalist Melinda Doolittle along with audience favorites such as Dr. Seuss’s How The Grinch Stole Christmas, The Twelve Days of Christmas, Sleigh Ride, The Christmas Song, Rudolph the Red-Nosed Reindeer, and Merrily We Sing Along.

Photo courtesy of Bo Winiker

Click here for tickets, call SymphonyCharge at 888-266-1200, and are also available at the Symphony Hall Box Office, 301 Massachusetts Ave, Boston, Massachusetts. A Boston Pops Christmas: Live from Symphony Hall CD is available through ITunes, Amazon, and Amazon MP3.

A beloved, annual musical tradition, Reagle Music Theatre of Greater Boston presents ‘ChristmasTime’

Posted on November 25, 2017 by The Sleepless Critic

Photo courtesy of Reagle Music Theatre of Greater Boston

The Nativity Photo courtesy of Reagle Music Theatre of Greater Boston

Raggedy Ann Photo courtesy of Reagle Music Theatre of Greater Boston

Carolers Photo courtesy of Reagle Music Theatre of Greater Boston

Teddy Bears Ballet Photo courtesy of Reagle Music Theatre of Greater Boston

Adorned in brightly lit snowflakes, sparkling, emerald Christmas trees and wreaths around the Robinson Theatre stage and festively lined with wooden embroidered angels, Reagle Music Theatre of Greater Boston brings back their masterful, musical theatrical production of ChristmasTime for two weekends from Friday, December 2 through Sunday, December 10. Click here for more information.

With an enormous cast of nearly 200 consisting of adults and children from Massachusetts representing two dozen regional towns, ChristmasTime is a musical revue accompanied by a live orchestra. The sets and costumes are adorned with festive flair and audiences will witness classic family favorites come to life such as ‘Teddy Bears Ballet’ Radio City Music Hall’s ‘The Parade of the Wooden Soldiers,’ and ‘The Living Nativity’ as well as captivating dance performances. The show blossoms into a sweet dedication to the Christmas season.

This annual celebration has a strong following, so purchase tickets now. Each show will be held at Reagle Music Theatre, 617 Lexington Street in Waltham, Massachusetts on Saturdays and Sundays December 2, 3, 9, and 10 at noon and 4 p.m. One Friday evening performance will be held on December 8 at 7 p.m.

‘Night Fever: An Evening of the Bee Gees’ January 14 Photo courtesy of Reagle Music Theatre of Greater Boston

Reagle Music Theatre of Greater Boston will kick off the New Year with Night Fever: An Evening With the Bee Gees for one day only on Sunday, January 14 at 2 p.m. Click here for more information and tickets or call 781-891-5600. Tickets are also available at the theatre box office and Reagle gift cards make a great present for the holidays. Make Christmastime a family holiday tradition. Follow Reagle Music Theatre of Greater Boston on Twitter and Facebook for all their upcoming events.