Hub Theatre Company of Boston

REVIEW:  Hub Theatre Company of Boston explores secrets and hypocrisy in Molière’s witty ‘Tartuffe’

Posted on by The Sleepless Critic

Is Tartuffe a saint or sinner?

That is the main question broached by the cast of a mysterious character contemplated so often that it is a wonder if Tartuffe is less a person than legend.  However, when Tartuffe does appear, plenty of drama lay in his wake.

Directed comically by Bryn Boice and translated by Richard Wilbur, Hub Theatre Company of Boston presents Molière’s satirical comedy drama Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24.  This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis.  Click here for more information and for tickets.

June Kfoury, Lily Ayotte and Brendan O’Neill in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Though Molière ’s satirical comedy Tartuffe takes place during King Louis XIV’s reign in 1664, Hub Theatre Company of Boston mixes many aspects of the contemporary with the 17th Century French Common Era in costumes and nuanced dialogue.  Costume designer Marissa Wolf and Wig Maven Liv Curnen blend historical French high fashion including decorated coiffed wigs, silks, trendy lace up shoes, crinoline, and vivid patterns including paisley and tartan to match with jeans, sneakers, and racer striped pants which provides a bit of a contemporary edge.  Lily Ayotte as Mariane’s crinoline skirt cage however, felt gnawingly incomplete without a skirt over it even if it is in the name of high fashion.

Tartuffe, spoken in melodious coupling rhyme, is easy on the ears and adds lightheartedness to the production especially during its most serious moments.  June Kfoury as Madam Parnelle baits the hook on Tartuffe as she humorously lambastes everyone in the room including her family in a marvelously frank and offhanded manner except the one person absent and proclaims an unpopular opinion:  She considers Tartuffe a saint and praises his bold candidness.

Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Brooks Reeves as oblivious Orgon also thinks the sun rises and sets on Tartuffe and although Orgon comes off as a bit one dimensional, Reeves leans into the character’s absurdity and stubbornness to craft a character you end up rooting for. 

Lauren Elias in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Lily Ayotte as sweet and obedient Mariane is one of the best parts of the production.  Her engagement with the audience, reactions and physical comic timing is impeccable.  Ayotte and Robert Thorpe II as Valère share amusing chemistry and their scenes are full of charming banter.  Lauren Elias as maid Dorine is one of the few voices of reasons and a scene stealer in her own right navigating the plot through reason, good intentions, a good deal of sarcasm, and some popcorn (which acts as a fabulous gag during the show). 

Laura Rocklyn and Jeremy Beazlie in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Laura Rocklyn portrays cool and collected Elmire with finesse.  Elmire is a dynamic role and Rocklyn brings determination and confidence, especially to her more absurd scenes with Reeves and Jeremy Beazlie as Tartuffe, performing to great lengths for a laugh.

However, Jeremy Beazlie as Tartuffe, well, there is not much question how Tartuffe lives up to his legend which will not be revealed here.  Tartuffe explores hypocrisy and secrets while historically speaking to what was happening in France at the time and Beazlie depicts it to a fault stirring up a lot more than rumors by the time he takes the stage.

Jeremy Beazlie and Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Though Tartuffe may not be for everyone, it boasts a strong cast and witty moments that keeps one guessing how this unbridled string of events will end up right through the very end.

Hub Theatre Company of Boston presents Molière ’s satirical comedy Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24.  This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis.  Click here for more information and for tickets.

REVIEW:  Hub Theatre Company of Boston’s wildly revealing ’46 Plays for America’s First Ladies’

Posted on by The Sleepless Critic

Life in the White House has always been messy.

Resourcefully directed and choreographed by Ilyse Robbins, Hub Theatre Company of Boston continues politically satirical play, 46 Plays for America’s First Ladies live and in person at Club Café in Boston, Massachusetts through Saturday, August 3.  This semi-interactive production is approximately 90 minutes with no intermission and tickets are on a pay-what-you can basis.  Click here for more information and for tickets.

Lauren Elias, Sophia Mulharram, Yasmeen Duncan and Katie Pickett in ’36 Plays for America’s First Ladies’ Photo credit Andrew Keefe

It is quite a feat having to navigate each distinctive perspective of ’46 Plays for America’s First Ladies’ in a constrained and approximate 90 minute timeframe with no intermission, so this production hits the ground running.  It serves more as a crash course for each first lady starting from Martha Washington literally framed elegantly with a classic side view as buntings hang above and the American flag is occasionally projected behind her.   E. Rosser’s symbolic, patriotic and muted colonial style garments stay true to each setting with some occasional surprises along the way. 

Sophia Mulharram, Lauren Elias, Yasmeen Duncan and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

With a cast of five which includes Yasmeen Duncan, Lauren Elias, Eleni Kontzamanys, Sophia Mulharram, and Katie Pickett portraying multiple roles with time saving costume changes and Samantha Mastrati’s essential props efficiently hidden in various places on the stage ranging from historical to contemporary to absurd, these hard working and talented individuals still manage to make it look easy. 

From absurdity to solemnity to comedy to tragedy including a few music numbers, each play is creative and vastly different with modern nuances and exposing the herstory and women’s societal hierarchy as time marches on.  Some of the production makes assumptions and analyses the perspectives of these ladies as modern observers.  Much of it is surprising and at the same time sadly not given the tumultuous state of politics throughout history.

Lauren Elias, Sophia Mulharram, Yasmeen Duncan, and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

’46 Plays for America’s First Ladies’ offers a wealth of information in its limited timeframe backed up by direct quotes from these ladies stylistically displayed as each play progresses.  A vast array of scenarios took place in the White House (which was first deemed The White House by a First Lady) and the title ‘First Lady’ has its own interesting back story with some stories questioning who the first lady really was at the time.

The cast of ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

The elicit affairs, the worries, the losses, unspeakable tragedies, disasters, emotional turmoil, the hospitality, the gossip, mudslinging and slander all had its place in the lives of the Presidents and their first ladies.  Some did not know that their husband ran for President, some felt invisible while some reveled in their station as ambitious First Ladies and advised their husbands without getting credit, and some stuck to their domestic duties including one first lady who invented the pink bathroom. Some changed America forever for the better, one even deemed herself the Queen of America and that just the tip of the iceberg.

Yasmeen Duncan, Sophia Mulharram, Lauren Elias and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

It is not easy to delve into politics, especially these days. This fast paced production’s bold views are at times one sided and leading while exploring serious hot button issues in innovative and variety show style ways from vaudeville to comedic sketches to puppets to a play within a play and much more. While I enjoyed some parts more than others, the style of each play changes with each president and first lady with some revelations about these first ladies that just might unite us all.

Resourcefully directed by Ilyse Robbins, Hub Theatre Company of Boston continues politically satirical play, 46 Plays for America’s First Ladies live and in person at Club Café in Boston, Massachusetts through Saturday, August 3.  This semi-interactive production is approximately 90 minutes with no intermission and tickets are pay-what-you can.  Click here for more information and for tickets.

REVIEW: Firecracker moments drive Hub Theatre Company of Boston’s ‘Burn This’

Posted on by The Sleepless Critic

A freak accident and a strange wake beg a lot of questions.  Then suddenly, a combustible force enters Anna’s smoldering world and there is little she can do to stop it.

With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12th season with Lanford Wilson’s Burn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21.  This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission.  All shows are at a pay what you can basis.  Click here for more information and for tickets.

Steve Auger, Tim Hoover, Kiki Samko, and Victor L Shopov in Hub Theatre Company of Boston’s ‘Burn This’

Inside an upscale New York City loft apartment, Burn This delivers firecracker moments which starts as a slow burn.  The one with the long fuse is Kiko Samko as Anna, an often saintly dancer who is experiencing a creative block after the death of her roommate, Robbie.  With flirtatious flair and a dramatic persona that relieves some of the production’s tense moments, Steve Auger humorously portrays Anna’s other roommate, Larry.  Anna is involved in a complicated relationship with Tim Hoover as wealthy screenwriter Burton who is struggling with his next screenplay.  United in their grief over the loss of Robbie, they share hesitation about their future. 

Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

With the audience situated on two sides of the stage, Justin Lahue’s elegant and spacious set design of an upscale loft apartment features a cluttered kitchen, modern furniture and a broad black and white staircase as well as elements of artistic flair including a shadow painting of a dancer.  Distinct modern light bulbs hang from the ceiling and well-timed lighting by Emily Bearce bolsters the production’s warm and intense moments along with Asad Harwick’s occasionally startling sound design.  Costume designer Nohely Roman blends sophisticated and athleisure leaning on silks and a (surely) designer black tracksuit, pinstripes, and lace in bold and classic colors. 

Kiki Samko and Tim Hoover in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

Samko’s Anna is a complex character who shares a natural camaraderie with Auger and Hoover as they embark on some animated discussions about life and their artistic challenges.  Hoover as Burton is sensitive and protective of Anna and they clearly share a sweet rapport.  Anna is drawn to taking care of people and her patience and considerate nature does not always serve her well.

Kiki Samko and Victor L. Shopov in Hub Theatre Company of Boston ‘Burn This’ Photo credit to Tim Gurczak

Making a firecracker of an entrance is Victor L. Shopov as Robbie’s fast talking, furious, and often tumultuous brother, Pale and suddenly, Anna’s mostly predictable world abruptly experiences some chaos. Samko and Shopov possess some genuine chemistry and Burn This dives into extremes between calm and calamity in the form of Pale who infuses a lightning rod of energy into each appearance.  In a gray suit, Shopov’s Pale is an all business workaholic while Samko’s Anna is meditative and nonviolent.   Their encounters are fascinating and at times infuriating as Anna’s long fuse is perpetually tested to the point when you just want Anna to finally say enough while Samko and Shopov keeps the audience invested in the outcome.  Samko’s horrified stares and Shopov’s potent audacity are much more than meets the eye and this unique connection delivers some surprising results.  

Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

Burn This is an exploration of loss, the confusion that ensues, and the journey of finding hope when all looks bleak.  That journey can be uncomfortable but necessary in order to find the way through and Burn This lends some humor and hope, even in an uncertain future.

With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12th season with Lanford Wilson’s Burn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21.  This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission.  All shows are at a pay what you can basis.  Click here for more information and for tickets.

REVIEW:  Hub Theatre Company of Boston’s ‘Book of Will’ is storytelling at its best

Posted on by The Sleepless Critic

‘Good stories make for good lives.’

Just one of the many insightful musings that Lauren Gunderson injects into The Book of Will which is a rollicking, meaty and glorious tribute to Shakespeare and storytelling.  Get thee to The Book of Will! 

Lauren Elias and the cast of Hub Theatre Company of Greater Boston’s ‘The Book of Will’ Photo by Hub Theatre Company of Boston

Directed exquisitely by Bryn Boice, Hub Theatre Company of Boston continues Lauren Gunderson’s The Book of Will live and in person at The Boston Center for the Arts through Sunday, November 12.  The show is approximately two hours with one intermission and always, a pay what you can production.  Not a bad seat in the house.  Click here for more information and for tickets.

The show begins with a comedic flourish and keeps its energetic pacing throughout the production.  It is three years after Shakespeare’s death and a group of men gather and contemplate Shakespeare’s genius as well as the butchery and liberties that some theatres have taken since to depict his work over a pint at a tap house next to the famous Globe Theatre in London.  How to keep Shakespeare’s work alive the way it should be remembered?

Jessica Golden and the cast of Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston

The Book of Will offers commentary on many aspects of Shakespeare’s work and delivers some Shakespeare references and quotes passionately, but it is not necessary to be a Shakespeare fan to enjoy the humor and sheer love of the written word and theatre.   

The famous skull and brethren in Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston

The cast has crackling chemistry with commanding as well as shrewd comedic timing.  No one is afraid to go too far for a laugh or to capture meaningful moments.  Some of the performers take on dual roles which will not be revealed here.

Jessica Golden and Cleveland Nicoll are an adorable young couple while Laura Rocklyn and Brendan O’Neill are powerful and wise as they deal with challenging aspects of their long term marriage.  Rocklyn and O’Neill evoke a different form of endearing relationship.  Rocklyn, Nicoll, and O’Neill later share a powerful and beautiful sequence, especially demonstrated by O’Neill, as Nicoll and O’Neil contemplate the meaning of love and life.  Rocklyn is just one of many wise and wonderful female characters in this production.

Cleveland Nicoll’s shows off sharp comedic timing through his scene stealing expressions, eye rolls, stubbornness and outrage while Dev Lutra delivers a commanding and charismatic performance as Burbridge, the head of the King’s Men.   John Blair also offers a fascinating performance as Poet Laureate and Shakespeare’s ‘frenemy’ Ben Johnson.

Hub Theatre Company of Boston’s ‘The Book of Will’ set Photo by Hub Theatre Company of Boston

Payton Tavares’s straightforward set design features a timely wooden half moon stage, two tables and surrounding stools with barrels in the background and enhanced by rope.  Ellie De Lucia’s authentic Elizabethan era costumes feature gold trimmed vests and buttons, silky grand gowns, Venetian breeches, wingtip shoes, spectacles, corsets, peasant blouses with some rich colors and patterns.

What else is there to say but see this wonderful production that shall bring as much joy as it will stir the soul.

Directed exquisitely by Bryn Boice, Hub Theatre Company of Boston continues Lauren Gunderson’s The Book of Will live and in person at The Boston Center for the Arts through Sunday, November 12.  The show is approximately two hours with one intermission and always, a pay what you can production.  Not a bad seat in the house.  Click here for more information and for tickets.

REVIEW:  Hub Theatre Company of Boston’s zany and immersive dinner comedy ‘Slow Food’ survival of the hangriest

Posted on by The Sleepless Critic

Having to wait for food isn’t easy, but the crazy antics that result are quite extraordinary in Slow Food, a wild comedy that focuses on a long time married couple on their anniversary vacation who finds themselves in pursuit of their meal.  It’s a good thing that Hub Theatre Company of Boston cleverly sets this production in a dinner theatre setting because not only does the show address love, marriage, manipulative food service and more, but most importantly, the very art of being frustratingly hangry.

With witty direction by Daniel Bourque, Hub Theatre Company of Boston presents Slow Food through Saturday, July 30 live and in person at Club Café Boston at 209 Columbus Ave in Boston, MA.  This show is 90 minutes with no intermission and tickets are on a pay-what-you can-basis.  Club Café offers a discount on the menu when attending Slow Food.   Click here for more information and for tickets.

Jyoti Daniere as Irene, Victor L. Shopov as Waiter Stephen, and Steve Auger as Peter Photo courtesy of Lauren Elias/Hub Theatre Company of Boston

Club Café’s backroom was once artfully transformed into a hair salon setting for Steel Magnolias, one of Hub Theatre Company of Boston’s lighthearted past productions held at Club Café Boston.  Though a Palm Springs Greek restaurant setting is less of a stretch, set designer Justin Lahue’s subtle candlelit setting, vine adorned walls and framed photos onstage flow with the candlelight and Ukraine flags that frame Club Café while sound designer Ted Kearnan’s inviting Greek soundtrack sets the mood. 

Slow Food’s immersive and interactive vibe continues as Jyoti Daniere as Irene, Steve Auger as Peter and Victor J. Shopov as Stephen the Waiter wander through Club Café at various times, making it easy to engage in the frustrating hilarity of this pair as they attempt to navigate a stubborn, preoccupied waiter and each other through it all. 

Jyoti Daniere as Irene, Victor L. Shopov as Waiter Stephen, and Steve Auger as Peter Photo courtesy of Lauren Elias/Hub Theatre Company of Boston

Slow Food features a small and strong cast with dialogue that is pretty snappy at times.  Shopov pushes all the right buttons and stealthily builds tension as a nosy, savvy and neurotic waiter that doesn’t know his boundaries. With a dry sense of humor, natural chemistry, and a gift for pushing each other’s buttons, Daniere and Auger make a likeable and relatable couple. Daniere as perceptive, exasperated, and sympathetic Auger as business minded, occasionally distracted and blunt Peter know they must rally to negotiate a good meal if they can get past their personal grievances as secrets gradually unfold along the way.

Jyoti Daniere as Irene, Victor L. Shopov as Waiter Stephen, and Steve Auger as Peter Photo courtesy of Lauren Elias/Hub Theatre Company of Boston

Slow Food is only the name of the show and Club Café delivered quick and attentive service.  Try the delicious Raspberry White Chocolate Cheesecake for dessert.

Hub Theatre Company of Boston presents Slow Food through Saturday, July 30 live and in person at Club Café Boston at 209 Columbus Ave in Boston, MA.  This show is 90 minutes with no intermission and tickets are on a pay-what-you can-basis.  Club Café offers a discount on the menu when attending Slow Food.   Click here for more information, tickets, and for more about Hub Theatre Company of Boston.

REVIEW: Normalcy takes an eerie detour in Hub Theatre Company of Boston’s ‘Solitaire Suite’

Posted on by The Sleepless Critic

One thing rings true:  No good can come from a dying phone.

A dark highway and a last minute errand kick off the world premiere of Hub Theatre Company of Boston’s family-friendly supernatural thriller Solitaire Suite, a rich, engaging play by Trent England that explores a family’s strange occurrence over one evening.  With a dreamlike and tense score that underlies its various twist and turns, Solitaire Suite’s relatable cast are just part of what makes this as alluring a zoom production as it would be a stirring podcast.

Directed by Daniel Bourque, Solitaire Suite is nestled between two Shakespearean productions in Hub Theatre Company of Boston’s current season. While Shakespeare’s Much Ado about Nothing thrilled audiences last year and next is Shakespeare’s Love’s Labour’s Lost in the spring, Hub Theatre Company of Boston took a break from soliloquies and bravado for this psychological thriller continuing on Hub Theatre’s YouTube page on live stream and on Hub Theatre’s Facebook page through Saturday, February 27. Tickets are on a pay-what-you-can basis.  Click here for more information.

Solitaire Suite Screen Shot courtesy of Hub Theatre Company of Boston

Having seen a few of Hub Theatre Company of Boston’s productions, it is refreshing to see them present such a vast array of work over the years from period pieces to dark fantasy to southern rom-coms and  now what is deemed twilight zone meets zoom. 

Marty Mason bears most of the weight of this production as Celeste, a former city-lover turned suburban mother whose mysterious son keeps her guessing.  She delivers a natural and nuanced performance, sharing the evocative, lively, and multi-layered account of her family’s evening.  Cristhian Mancinas-Garcia is charismatic as Celeste’s quick-witted and laidback husband Pete and Michael Lin portrays their introverted and mysterious son, Tiger.

Solitaire Suite veers off into different directions and each detail is a window into each character’s psyche.  The dramatic and haunting cinematography, with sound design and digital design by Kyle Lampe and Justin Lahue respectively, contributes to the production’s ominous and suspenseful tone that takes on not only some supernatural aspects, but the tension brimming just beneath the surface within this seemingly close family.

Solitaire Suite unpacks a lot within its under an hour runtime and though all your questions might not be answered, the production is thought-provoking well beyond the production’s close.

Solitaire Suite continues through Saturday, February 27 and is also available on Hub Theatre Company of Boston’s Facebook page. Click here for more information and their current production. Hub Theatre’s next production is Shakespeare’s Love’s Labour’s Lost this spring.

REVIEW: Michael John Ciszewski’s ‘The Sun is Sleeping’ dwells in dreamlike introspection in 2020

Posted on by The Sleepless Critic

To some, the sun is an adversary.  To fast-living insomniac Simon, portrayed by Michael John Ciszewski, the sun is sleeping just when he is waking up.  Michael John Ciszewski’s second solo project, The Sun is Sleeping, is a personal, contemplative piece though Simon wants to be anything but contemplative.  He’d rather escape than be alone in his thoughts and his isolation, always looking for a quick fix as he dreams, loves, and parties big.

Having seen Ciszewski in other projects such as Lyric Stage Company of Boston’s The Little Foxes and his latest Hub Theatre Company of Boston’s virtual Much Ado about Nothing, Ciszewski has a strength for portraying intense, multi-faceted characters and Simon is no exception.  Steeped in city views, sunsets, and the crack of dawn, The Sun is Sleeping is a beautifully shot, relatable journey during these difficult times. 

Michael John Ciszewski in ‘The Sun is Sleeping’ Photo credit to Michael John Ciszewski

Click here for more information and how to watch The Sun is Sleeping, a one hour avant-garde film.

The Sun is Sleeping is part confessional, part introspection, and part escape, featuring a myriad of mixed emotions as Simon and other characters face a pandemic.  As Simon fantasies about an eternally happy existence and doubt seeps in, the audience is privy to each character’s meandering perspectives in their sheer yearning to bond with other people in any way they can.

  • Stephen Maier as Troubadour Photo credit to Michael John Ciszewski
  • Teresa Langford and Michael John Ciszewski Photo credit to Michael John Ciszewski
  • Regine Vital as Marie Photo credit to Michael John Ciszewski
  • Pier Lamier Porter as Sam and Rachel Belleman as Caroline Photo credit to Michael John Ciszewski

For the actors themselves facing an arts ‘intermission’ of this magnitude, it’s the thrill of the audience, lack of that type of expression, and entire way of life turned upside down that contributes to their unsettling uncertainty.  Pier Lamia Porter as Sam and Rachel Belleman as Caroline unite in a wistful zoom call that could speak to anyone right now.  It’s the longing and joy of being together.  Some of the show has a sense of humor, but much more of it is reflection showing we all have too much time on our hands and yet the sun still shines.

REVIEW: Hub Theatre Company of Boston makes virtual ‘Much Ado about Nothing’ something special

Posted on by The Sleepless Critic

It was love in the time of Covid.

Hub Theatre Company of Boston puts a 2020 twist on Shakespearean romantic-comedy classic, Much Ado About Nothing.  This lighthearted production not only battles the perils of love, but a modern-day pandemic. 

Shakespeare was no stranger to the times we are living in today.  He watched theatres close during the Great Plague of London in the 1600s and used his time wisely, writing King Lear, MacBeth, and Antony and Cleopatra during that time of isolation.  Tailoring this romantic comedy into 2020 isn’t too far of a stretch, especially in the humorous and clever manner in which Hub Theatre approaches these changes, not taking themselves too seriously.

Hub Theatre Company of Boston offered live streamed performances of Shakespeare’s Much Ado about Nothing until November 21 on a pay-what-you-can basis.  Astutely directed and adopted by Bryn Boice, the virtual performance is still available to watch on Hub Theatre Company of Boston’s Facebook page.  Click here to learn more about Hub Theatre Company of Boston and their future productions.

It is difficult to put together a show in the best of circumstances so Hub Theatre of Boston smartly steered into the skid by presenting this classic production, developing what theatre would have considered obstacles into strengths using the power of Zoom.  Romantic partners kiss (offstage), couples and groups schedule rendezvous in breakaway rooms, and masks are weaved right into the story varying from silly animals to refined Venetian costume masks.

Part of what keeps Much Ado about Nothing a relevant, insightful, and easily modern piece is its foundations inspired endless inspiration for contemporary rom-coms.  Adding tech talk and Covid-speak such as ‘turn off the cameras,’ ‘swipe right,’ ‘privacy issues,’ ‘your mic is on,’ and ‘venmo to payment’ does not seem too out of place onstage or on a laptop.  Its exuberant and mischievous tone steeped in romance, gossip, tricks, and trappings have universal and timeless appeal. 

This lively cast zealously adapts the production’s modern charm as they deliver wit, humor, and ripening drama in equal measure.  As Hero (Micheline Wu) is getting ready to marry Claudius (Jaime Hernandez), mutual friends decide to do some matchmaking of their own with sworn singles Benedick (Jon Vallente) and Beatrice (Lauren Elias). 

Wu is natural, charming, and sympathetic as blushing Hero and she shares sweet chemistry with Hernandez who delivers a robust performance as lofty and serious Claudio.  Sarcasm, wit, and banter are not lost on outspoken, headstrong, and stubborn Elias and Vallente, who exhibit crackling chemistry as Beatrice and Benedick.  One favorite line Hub Theatre gloriously did not change was when Benedick asks Beatrice, “You take pleasure then in the message?”  Beatrice replies, ‘Yea, just so much as you may take upon a knife’s point.’  Their bickering is as biting as ever.

Nettie Pickering brings gravitas to her portrayal as Don Pedro and providing contemporary comic relief are the hackers or in traditional terms the Watchmen led by officer Dogberry (John Kinsman) boasting a Boston accent.  Kinsman’s conceited and controlling Dogberry is amusing on his own, but shines in scenes with his watchman, portrayed with streetwise sass by Borachio (Lorraine Kanyike) and Conrade (Jessica Golden).   

Chelsea Kerl’s dynamic, edgy costumes and Justin Lahue’s bold digital design keep the show bright and buoyant even in its darkest moments…and there are a few.  Michael John Ciszewski has a flair for portraying dastardly characters and his elitist, tyrannical depiction of Don John is no exception.

The revelations hold up and pay off in Hub Theatre Company of Boston’s modern adaptation of Much Ado about Nothing.  A recorded version is still available on Hub Theatre Company of Boston’s Facebook page.  The production is on a pay-what-you-can basis.  Click here for more information on Hub Theatre Company of Boston and their eighth season.

REVIEW: Hub Theatre Company of Boston’s ‘Steel Magnolias’ boasts humor, heartache, and hairspray

Posted on by The Sleepless Critic

A good story is usually rooted in truth.

Robert Harling’s ‘Steel Magnolias’ is partially based on a true story.  Harling wrote the play, ‘Steel Magnolias’ in 1987 and based it off of real people he knew in Louisiana.  In the popular 1989 film (which included a parade of famous actresses such as Dolly Parton, Olympia Dukakis, Daryl Hannah,  and Shirley MacLaine), the part of M’Lynn was portrayed by Sally Field and Julia Roberts was Shelby.  Harling based M’Lynn on his mother and Shelby (whose real name was Susan) on his sister.

Directed by Paula Plum, Hub Theatre Company of Boston celebrates the 30th anniversary of the 1989 film with comedy drama ‘Steel Magnolias’ continuing at Hub Theatre Company of Boston’s summer home, Club Cafe through Sunday, August 3.  This show is on a pay-what-you-can basis.  Click here for more information and tickets.

The Sleepless Critic also recently spoke to Hub Theatre of Boston Artistic Producing Director’s Lauren Elias about ‘Steel Magnolias,’ the future of Hub Theatre Company of Boston, and more.  Click here for the podcast.

Set entirely in Truvy’s Beauty Shop in Chinquapin, Louisiana in 1985, this bittersweet tale follows a group of vastly different women who find strength in each other through hardships and triumphs with a great deal of understanding, humor, and hairspray.  Though it has its share of serious themes, ‘Steel Magnolias’ offers more humor and relatable moments seeped in a wealth of 80s references that include mentions of Jane Fonda, and Elizabeth Arden.

Hub Theatre Company of Boston Steel Magnolias full cast 2

From L to R: Maureen Adduci as Ouiser, Liz Adams as M’Lynn, Oye Ehikhamhen as Shelby (center), Lauren Elias as Annelle, June Kfoury as Clairee, and Catherine Lee Christie as Truvy Photo courtesy of Hub Theatre Company of Boston

With bold costumes by Chelsea Kerl and Wig Master Caroline Clancy, the show impressively rewinds the clock into the 80s big hair era and memorable fashion sense while highlighting each woman’s distinct personality.  It is also refreshing to look at back at life at a time before the internet where people shared time, recipes, and hair tips in person.

Directed impressively by Paula Plum, ‘Steel Magnolias’ also thrives through its smart casting and the developing chemistry and growth between these primarily outspoken southern women, keeping this popular show fresh.  With a gift for gab and gossip, Catherine Lee Christie portrays Truvy Jones with charm and sass.  As a big fan of the movie, it is hard to imagine this part for anyone other than Dolly Parton, but Christie, in an array of distinct, sparkling, and mismatched fashion, rises to the occasion.  Her scenes with Lauren Elias as mysterious and humble Annelle make for some quirky, heartwarming moments.

Hub Theatre Company of Boston Steel Magnolias full cast

From L to Right: Maureen Aducci as Ouiser, Liz Adams as M’Lynn, Oye Ehikhamhen as Shelby (center), Lauren Elias as Annelle, June Kfoury as Clairee, and Catherine Lee Christie as Truvy Photo courtesy of Hub Theatre Company of Boston

Maureen Adduci’s sardonic, frank, and darkly amusing Ouiser delivers some of the most entertaining moments in the show.  Adduci’s exhausted scowl alone in Truvy’s cheery beauty salon is enough to crack a smile.  Her sarcastic facade rings true with the priceless line, “I don’t see plays because I can nap at home for free…and I don’t read books because if they are any good, they are going to make them into a miniseries.”  June Kfoury as Clairee, a stylish and gossip-driven widow with good intentions and a knowing smile, amuses herself by teasing Ouiser and their exchanges create their own spark.

However, the most captivating relationship is the family dynamic between Liz Adams as M’Lynn and Oye Ehikhamhen as M’Lynn’s daughter Shelby.  The push and pull between the two make it easy to see them as mother and daughter.  As in any mother-daughter relationship, one minute they exchange nagging barbs and the next, nurturing affection.

Hub Theatre Company of Boston Steel Magnolias Liz Adams as MLynn and Oye Ehikhamhen

Liz Adams as M’Lynn and Oye Ehikhamhen as Shelby Photo courtesy of Hub Theatre Company of Boston

Liz Adams portrays M’Lynn with a quiet, palpable tightness and a bundle of suppressed feelings.  It is easy to feel the weight of the world on her shoulders.  This M’Lynn has a bit of a tougher edge and a dry sense of humor as she meticulously looks after everyone but herself.  Though M’Lynn and Shelby are both dramatic and stubborn, Oye Ehikhamhen as Shelby is a ceaselessly optimistic force where happiness is a requirement, not an option.  With a broad smile and easy chemistry with the entire cast, Oye as Shelby shines in a charismatic, compassionate performance.

Club Cafe’s stage is an air-conditioned, intimate space that includes tables set up for food and drinks.  In honor of the production, Club Cafe offers themed specialty cocktails such as Truvy’s Twister, Blush and Bashful, Wack-A-Ouiser, and Chinquapin Parish Punch.

Directed by Paula Plum, rewind the clock and take a trip south to Truvy’s for Hub Theatre Company of Boston’s ‘Steel Magnolias’ at Club Café  at 209 Columbus Ave through Saturday, August 3. This show is on a pay-what-you-can basis.  Click here for more information about Hub Theatre and tickets.  Hub Theatre Company of Boston is also taking donations of beauty products and toiletries at every performance to be donated to Rosie’s Place and other charities.