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REVIEW: Merrimack Repertory Theatre’s insightful ‘Erma Bombeck: At Wit’s End’ will delight more than the domestic housewife

Posted on March 6, 2022 by The Sleepless Critic

At long last, it is here and I can’t help being thrilled.

When Merrimack Repertory Theatre (MRT) first announced that Erma Bombeck: At Wit’s End would be part of MRT’s upcoming season, my heart leapt. Having taken great joy in reading Bombeck’s comical works such as The Grass is Always Greener over the Septic Tank and If Life is a Bowl of Cherries, What Am I Doing in the Pits, I had high expectations for this production that ended up being delayed a few times due to Covid.

Karen MacDonald in ‘Erma Bombeck: At Wit’s End’ Photo credit to Megpix/Meghan Moore

Sponsored in part by WBUR and intuitively directed by Terry Berliner, Merrimack Repertory Theatre presents Erma Bombeck: At Wit’s End virtually and live in-person at the Merrimack Repertory Theatre in Lowell, MA through March 13. The show is just over one hour with no intermission. Click here for more information and tickets.

Erma Bombeck’s column about life as a housewife made her a household name. She became the most distributed column in America and it is easy to see why. Before I ever grasped the concept of being a housewife, I loved reading Erma Bombeck. As an adult and still not a housewife, I still revel in her sharp and timeless humor. She never misses a beat relating to women everywhere and though her advice dates back as early as the 60s, most of it remains relevant today.

Dan Zimmerman’s intriguing multi-level and colorful set is a relic of a 1960’s house equipped with period kitchen cabinets, dated upholstery, an old phone, and retro household appliances. Joel Shier’s lighting is subtly appealing alongside Scott Stauffer’s charming and well-timed sound effects. Though MacDonald is only present onstage, a supporting cast can be heard that lends to the pacing and a larger sense of realism to the production.

In classic pearls and a blue floral dress, Karen MacDonald as Erma looks the quintessential housewife as she takes the audience from 1962 through 1996. Bombeck longed to be a foreign correspondent and instead became a suburban housewife residing in Cherrywood Acres in Dayton, Ohio. She quipped, ‘I blazed a trail all the way from the laundry room to the sink.’

Allison and Margaret Engel’s screenplay is chock full of clever anecdotes and MacDonald’s warm and inviting presence gradually feels like visiting with an old friend. The quick, peppy, and semi-interactive screenplay is peppered with Bombeck’s astute observations as she shares her remarkable journey to becoming a writer, her zany family life, and gathering her sense of self over the years.

Much like Julia Child of the same generation, Bombeck is self-deprecating in her imperfections and prides herself on honesty. MacDonald slips into Bombeck’s natural and relatable tone comfortably brimming with advice, but never in a ‘know-it-all’ sort of way. A few of her marvelous observational gems include ‘Why take pride in cooking when they don’t take pride in eating?’ or ‘My idea of housework is to sweep the room with a glance’ or ‘What doesn’t kill you now, comes back a few days later to try again.’

That last piece of advice also resonates with the darker side of Bombeck’s humor. Surprisingly, Erma Bombeck had her share of haters and struggles. However, she proves herself a source of strength and fortitude. Even her most serious reflections and recollections are met with a jovial and contemplative quip. Though the production is considered mostly lighthearted, MacDonald as Erma manages to find humor in pain which is a rare quality indeed.

Merrimack Repertory Theatre presents Erma Bombeck’s ‘At Wit’s End’ virtually and live in-person at the Merrimack Repertory Theatre in Lowell, MA through March 13. Click here for more information and tickets.

REVIEW: Warmth and humor reign in Company Theatre’s traditional ‘Steel Magnolias’

Posted on February 12, 2020 by The Sleepless Critic

One of my favorite lines from Robert Harling’s classic comedy drama, Steel Magnolias is stated by sarcastic and dour Ouiser, portrayed here by Ellen Peterson. “I do not see plays, because I can nap at home for free. And I don’t see movies ’cause they’re trash…and I don’t read books, ’cause if they’re any good, they’re gonna make ’em into a miniseries.”

This type of straight shooting and self deprecating humor is what has made Steel Magnolias thrive over the last 30 years. Steel Magnolias has been adapted so many ways from stage to screen, but what Ouiser leaves out is her unmitigated opinion about a partial true story.

Company Theatre continues with the comedy drama ‘Steel Magnolias’ through Sunday, February 16. Photo courtesy of Company Theatre

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

In that same vein, who better to direct Steel Magnolias than someone native to this popular play’s southern setting? Directed with local flair by Natchitoches native Johnny Nichols, Jr, The Company Theatre presents Steel Magnolias through Sunday, February 16 at the Company Theatre in Norwell, Massachusetts. Click here for more information and tickets.

Unlike the film, the play is set entirely in Truvy’s Beauty Spot in 1980’s Louisiana. 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.

Director Johnny Nichols, Jr not only adds local attributes unique to the show’s setting such as the voice of local DJ Rick Terrell, but the 80s come alive with music distinctive to the era and various references such as Princess Grace, Cher, and Elizabeth Arden. Costume designer Paula Ninestein and Wig Master Ryan Barrow emphasize the era with fringe and florals highlighting each woman’s distinct personality while Truvy’s is an expansive salon that includes a boom box and a wall to wall mix of pastel floral and lace on busy wallpaper and curtains. However, what was most refreshing about this era is to look back at a time before the internet where people shared time, recipes, and hair tips in person.

From L to R: Juliana Dennis as Clairee, Ellen Peterson as Ouiser, Karen Cavallo as M’Lynn, Stephanie Wells as Truvy, Hannah Cunniff as Annelle, and Abilgail Chase as Shelby (center) Photo courtesy of Company Theatre

Though other productions have put a daring spin on Steel Magnolias over the years, Company Theatre’s production is traditional, warm, and thrives on the growth between these primarily outspoken southern women. With her signature blond locks and a gift for gab and gossip, Stephanie Wells depicts fun loving salon owner, Truvy. As a big fan of the movie, it is hard to imagine this part for anyone other than Dolly Parton, but in a black fringe blouse and pumps, Wells puts her own spin on sweet, welcoming, and confident Truvy. Her scenes with Hannah Cunniff as mysterious and humble Annelle make for some quirky, heartwarming moments. Wearing an awkward smile, Cunniff portrays Annelle with quiet unpredictability.

Ellen Peterson’s sardonic and darkly amusing Ouiser delivers some of the most entertaining moments in the show. A bit softer than other productions but no less amusing, Peterson depicts Ouiser more dramatic than sour. Ouiser has a casual style, but costume designer Ninestein make an intriguing statement by having her also wear a distinctive string of pearls, showing Ouiser may not be quite who she seems. Her sarcastic facade rings true with the priceless line, “I’m not crazy. I’ve just been in a bad mood for forty years.”

Widow Clairee, portrayed with warmth and stylishness by Juliana Dennis, is a down to earth perfectionist with an interest in keeping up with the times while Ouiser couldn’t be bothered. With good intentions and a knowing smile, Clairee amuses herself by teasing Ouiser and their exchanges create their own spark.

However, the most compelling relationship exists between Karen Cavallo as M’Lynn and Abigail Chase as M’Lynn’s daughter Shelby. Though Sally Field depicted M’Lynn with a tough sadness, Cavallo’s M’Lynn exudes a sweet demeanor and quiet anxiousness. Cavallo is impressive navigating this complicated character. Chase as Shelby seems cast on the younger side, but exhibits growing maturity as the show progresses. It is easy to see why they are mother and daughter and not just by their remarkable resemblance. Cavallo is sensible while Shelby is impulsive and as with any mother-daughter relationship, one minute they exchange nagging barbs and the next, nurturing affection.

Company Theatre’s Beauty Spot photo booth in lobby Photo courtesy of Jeanne Denizard

Rewind the clock and take a trip south to Truvy’s for Company Theatre’s Steel Magnolias at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts through Sunday, February 16. Click here for more information and tickets, here for details on their upcoming “Galentine’s Day” and here for more on their 2020 season.

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.

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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.

REVIEW: SpeakEasy Stage’s award-winning drama ‘Between Riverside and Crazy’, a powerful, darkly comical look at a family gone awry

Posted on October 20, 2018 by The Sleepless Critic

“Eat vegetables. Fiber is your best friend. Potassium combats blood pressure.” This sage, conventional advice was delivered in a humorous moment by Pops in an earnest attempt to be an average, conventional dad. Though wise in his own way, Walter “Pops” Washington is anything but conventional as an alcoholic widow, father, and head of a wildly dysfunctional household in the Pulitzer Prize-winning drama Between Riverside and Crazy that recently completed its run at the SpeakEasy stage at the Calderwood Pavilion in Boston, Massachusetts. This production is not meant for children. Click here for more information on the SpeakEasy Stage, winner of the 2018 Boston’s Best by the Improper Bostonian, and its upcoming productions.

Directed by Tiffany Nichole Greene and written by Stephen Adly Guirgis, Between Riverside and Crazy takes an edgy, at times controversial look at a struggling family who is losing their connection to each other while trying to survive by any means necessary. With darkly humorous moments that delve into issues of racism, privilege, and deception, this message-driven production grows every bit as crazy as the title suggests. However, things are certainly not all that they seem and the show is all the better for it. The Washington family has a great deal of underlying heart and blunt honesty, but it takes some digging to get there.

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Lewis D. Wheeler, Maureen Keiller, Stewart Evan Smith, Tyrees Allen, and Octavia Chavez-Richmond in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.

The real strength in Between Riverside and Crazy is in its energetic, complex performances. With a gravelly voice, more than his fair share of obstinacy, and traces of Red Foxx from Sanford and Son, Tyrees Allen slips smoothly into Walter’s tough skin with an inner turmoil that is always brimming to the surface, at the brink of revealing itself. Every snarl, agitation, and sorrow flows eloquently, delivering a powerful punch to a performance that should not be missed. It is easy to spot his outspokenness brashness in his son Junior, portrayed with a tough exterior, but with charm and secretiveness by Stewart Evan Smith. Their exchanges, like most of the show, are quick paced and snappy, and if it wasn’t for the darker nature of this show, shows earmarks of any relatable American family.

Completing this family is Alejandro Simoes who delivers a quiet and sympathetic performance as Walter’s adopted son Oswaldo. A bit naïve and with a secret of his own, Simoes delivers a clever and at times shocking performance of a troubled individual who is not all that he seems.

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Octavia Chavez-Richmond and Stewart Evan Smith in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.

With over-sized gold earrings, a tiny outfit and a Puerto Rican accent, Octavia Chavez-Richmond portrays the mysterious and often humorous Lulu. Chavez-Richmond delves into this juicy, darkly comical role with gusto every time she takes the stage. She is particularly funny during an exchange with Junior about their future and during a subtle, fascinating scene with Oswaldo and Junior discussing Ring Dings, bologna, and grape soda.

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Octavia Chavez-Richmond, Tyrees Allen, Lewis D. Wheeler, and Maureen Keiller in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.

Maureen Keiller as warm, but complicated Detective O’Connor and Lewis D. Wheeler as brown nosing Lieutenant Caro are outspoken New York police officers who have a history with Walter. Some of the most memorable scenes of the show are between Keiller, Allen, and Wheeler, each exchange between them like a fascinating game of poker. Although brief, Celeste Oliva offers a bold, pivotal, and controversial performance as Church lady.

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Celeste Oliva and Tyrees Allen in SpeakEasy’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.

As a lit Christmas tree sits in the corner and what looks like a functioning kitchen, Eric D. Diaz and Wooden Kiwi do a wonderful job to portray a warm and inviting apartment equipped with a built in brick terrace, a set that is consistent throughout the entire show. The staging is also strong as simultaneous scenes play out throughout the household, not a moment of it distracting.

Though it is not a show for everyone, its underlying themes, powerful performances, and meaty, twist-filled story delivers its award-winning appeal. Between Riverside and Crazy kicked off Speakeasy Stage’s 28^th season. Next for the SpeakEasy Stage is the contemporary, Tony award-winning musical Fun Home, continuing through November 24. Click here for more information of their current season which includes the the Tony award-winning musical Once and The View Upstairs.

REVIEW: Despite boat’s limited view of the band, sold-out 70s funk and disco ‘Booty Vortex’ boat cruise still made waves

Posted on September 2, 2018 by The Sleepless Critic

Taking off from Boston Harbor to Gilligan’s Island and Hawaii Five-O’s adventurous theme songs, this was one three hour tour that kept party cruisers on their feet. Plenty of sun poured into the boat as fans wore their shiny, disco best boarding the Mass Bay Lines off of Rowes Wharf boat to witness the annual return of the nine piece 70s Funk and Disco band, Booty Vortex on their sold-out 21+ Booty Boat cruise Sunday, August 26 at 4 p.m. The cruise offered a cash bar and various concessions. Click here to find out Booty Vortex’s full schedule as well as a closer look at their talented band members.

This particular Mass Bay Lines boat was not ideal for a concert cruise. The roof where the band played was completely covered and attendance at full capacity, which offered limited ways to see the band perform up close. Booty Vortex’s past performance on the Provincetown II provided an open floor plan and dance floor so attendees had more room to move and witness the band take the stage. However, the band’s upbeat tunes provided plenty of reasons why Booty Vortex has developed such a strong following.

Past performance on Provincetown II for Rock and Blues concert cruises.

Calling themselves Boston’s finest funk and disco band, Booty Vortex is indeed unconventional, full of character, and possesses a bit of a wild side. Their enthusiasm is infectious, their voices powerful, and their music, a collection of mostly 70s disco cover songs, are tailored for a truly devoted 70s and retro dance crowd.

From saxophone to keyboard player, Booty Vortex delivers a full retro, big band sound. Some of their lively sense of humor is found in their self-proclaimed group member names composed of Huggy Bear Jeremy D. Valadez on saxophone, Brass Tornado Mark Coronado as Manager and Trumpet player, Gold Fingah James Tootle as MD/Keys and Vocals, Minty Fresh Dave Burnett on Bass, E-Bop Erik Barnes on Guitar, Tiger Lily Eva Davenport as Media and Vocals, Pixie Stix Maureen Medieros on Percussion, Rufus Russell Bogartz on Trombone, and Papi Erick B. Cifuentes on Drums.

Full Booty Vortex band on Mass Bay Lines boat Photo credit Erin Frawley/Booty Vortex

The nine piece extravaganza has a unique style, their music not too hard or loud and songs range from danceable to at times, mellow. They charmed audiences with pop tunes and disco hits such as Hues Corporation’s Rock the Boat, Lakeside’s Fantastic Voyage, Patti Labelle’s Lady Marmalade, Alicia Bridges’ I Love the Night Life, Tavares’s Heaven Must Be Missing an Angel, A Taste of Honey’s Boogie Oogie Oogie, George Benson’s Give Me the Night, Donna Summer’s Bad Girls, The Trammps’s Disco Inferno, Rose Royce’s Car Wash, Bee Gees’s You Should Be Dancing, Hot Chocolate’s You Sexy Thing, Chic’s Freak Out, Dee-lite’s Groove is in the Heart, KC and the Sunshine Band’s Get Down Tonight and Shake Your Booty, prompting the crowd to sing along.

Photo courtesy of Jeanne Denizard

Under sunny skies with no need for a jacket, the Booty Boat cruise provided some of Boston’s most beautiful sights including the Boston Harbor Islands and a lovely and hazy view of the city. It was primarily a smooth ride, with just a few instances of rockiness.

Booty Vortex will next appear at the C-Note in Hull on September 8. Photo credit to Erin Frawley/Booty Vortex

Easing their way back to Rowe’s Wharf, Booty Vortex closed out the evening with Sister Sledge and Jade’s We are Family and Journey’s hit Don’t Stop Believing. Booty Vortex next takes the C-Note stage in Hull on September 8. Click here for more of their future tour dates around Massachusetts and Rhode Island. Follow them on Facebook and Twitter.

Hingham Civic Music Theatre will soon debut the humorous fairy tale with a twist, ‘Shrek the Musical’

Posted on October 16, 2017 by The Sleepless Critic

Hingham Civic Music Theatre debuts ‘Shrek the Musical for two weekends only from Oct 21 through Oct 29 Photo courtesy of Hingham Civic Music Theatre

Can an intimidating green ogre have what it takes to become an unlikely hero? Get to know Shrek, Donkey, the Gingerbread Man, Three Blind Mice, The Three Little Pigs, Pinocchio, and many more iconic fairy tale creatures in an entirely new way as Hingham Civic Music Theatre debuts Shrek the Musical at the Sanborn Auditorium in Hingham Town Hall Saturday, October 21 and continuing for two weekends through Sunday, October 29. Based on William Steig’s imaginative fairy tale that later launched into a beloved animated film starring Mike Myers and Cameron Diaz followed by many popular film sequels, Shrek the Musical adds a bit more to this thrilling, family adventure. Click here for more information, tickets, and how to participate in the HCMT Fundraising campaign.

Featuring real life husband and wife Chris DiOrio as Shrek and Leslie DiOrio as Princess Fiona, Shrek is a lone, but not lonely, green ogre who lives a quiet swamp life until life as he knows it is threatened, forcing him to embark on an daunting quest to save a mysterious princess. With heartwarming songs such as Don’t Let Me Go, Big Bright Beautiful World, This is How Dreams Come True, and the Monkees classic, I’m a Believer, Shrek the Musical offers enough witty humor and heartwarming moments that will entertain children and adults alike.

Directed by Lisa Pratt, music by Jeanine Tesori, musically-directed by Mark Bono, with choreography by Tara McSweeney Morrison, Hingham Civic Music Theatre presents Shrek the Musical on Saturdays, October 21 and 28 as well as one Friday performance on October 27 at 7:30 p.m. Sunday matinees will be held on October 22 and 29 at 2 p.m. All shows take place at Hingham Town Hall, 210 Central Street in Hingham, Massachusetts. Click here for further details, tickets, and be sure to follow Hingham Civic Music Theatre on Facebook for upcoming events and more.

REVIEW: Kristin Chenoweth thrills Boston with her unshakable optimism, humor, and unstoppable vocals

Posted on May 9, 2017 by The Sleepless Critic

“Boston is my second favorite place in the world,” reveals a glimmering Kristin Chenoweth, “Don’t tell New York.” Wearing a black, glitzy cocktail dress paired with shining silver pumps and a megawatt smile, award-winning singer and film, television, and musical theatre actress Kristin Chenoweth excitedly burst onto the Boston Symphony Hall stage, standing before an equally shimmering microphone as the crowd roared. “I feel like I’m in Oklahoma,” she revealed, sipping from a large Dunkin’ Donuts cup, “It feels right.”

It also felt right for the enthusiastic, packed house as Chenoweth kicked off her one night only, Celebrity Series of Boston debut of An Intimate Evening with Kristin Chenoweth on Sunday, April 30. Symphony Hall was appropriately lit in Chenoweth’s signature color as Greek statues above the balconies gave off a violet and pink hue.

Celebrity Series of Boston at Symphony Hall Photo courtesy of Jeanne Denizard

Greeting the audience with Should I be Sweet by Vincent Millie Youmans from the musical, Take a Chance, a thrilling, flirtatious ode debating the perfect way to present oneself, Chenoweth immediately lured the audience in with her engaging, vivacious, and wonderfully charming personality as well as her rich, unstoppable vocals. From beautiful stories about her parents to her unfailingly optimistic, humorous, and unbridled reflections on her life and career, Chenoweth proved not only a brilliant entertainer, but an incredible joy just to spend time with.

Accompanied by her Worcester-raised Music Director Michael Orland on piano, who is also the vocal coach to the hit show, Little Big Shots, Kristin Chenoweth spoke about a few of her past career highlights in television such as GCB, West Wing, Glee, Pushing Daisies, and Hairspray Live, to new projects such as a recently filmed pilot set in Boston as well as her new role on American Gods that premiered on Starz that same evening. Chenoweth also revealed a few significant roles that horrified her God-fearing parents, having been raised in the Bible belt in Oklahoma. For instance, having heard about Chenoweth’s new role as a witch in Wicked, Jerry and Judy Chenoweth shockingly asked, “Is the show satanic?” She also launched into the scandalous Broadway tune from the hit musical, A Chorus Line called Dance Ten Looks Three, cheekily toning down the lyrics to coincide with her conservative upbringing.

Photo courtesy of Robert Torres/Celebrity Series of Boston

What makes An Intimate Evening with Kristin Chenoweth so powerful is for that evening, Chenoweth’s uplifting view of life helped to make life a bit more bearable, even in its sadder moments. Her recitation of The Obituary of the Pillsbury Doughboy was a particular highlight as a moment of silly humor following a glorious and emotional rendition of the beloved song, Bring Him Home from the musical, Les Miserables as she alluded to the Boston and Oklahoma bombings, a painful reminder of what Boston and her hometown have in common.

Chenoweth warmly shared her early experiences longing to become a ballerina, her surprising friendship with Julie Andrews, and what inspired her latest Grammy-nominated album full of Chenoweth’s favorite songs from the American Songbook, The Art of Elegance. She sang a poignant, timeless selection from the album by Hoagie Carmichael and Johnny Mercer, I Get Along Without You Very Well. She also delivered a few of her signature songs with lively exuberance such as Taylor, The Latte Boy and Popular from the musical, Wicked, her soaring, silvery, classically-trained vocals dancing from pop to operatic, perfectly complementing her witty sense of humor.

Kristin Chenoweth on Symphony Hall stage

Kristin Chenoweth with the Boston Conservatory and the Boston City Singers Photo courtesy of Robert Torres/Celebrity Series of Boston

Chenoweth surprised the audience by bringing out the Boston Conservatory and Boston City Singers to join her onstage to perform as she expressed her love of mentoring students and her love of all faiths. “For those who don’t believe,” Chenoweth added, “this will be over in four minutes.” Accompanied by the two choirs, she launched into the worship song, Upon this Rock. Her performance closed with what Chenoweth refers to as her anthem, I was Here, though her tender, memorable encore, Smile, may have also stayed with the audience long after the show was over.

Click here to see where the award-winning Kristin Chenoweth will be touring next as well as how to get a copy of her latest album, The Art of Elegance. A few performances remain in the Celebrity Series of Boston’s season. Click here for tickets and for a closer look at this season’s shows and here to take a peek at their recently announced 2017-18 season. Follow Celebrity Series of Boston on Facebook and Twitter for updates.

Milton Players present comedy, ‘Vanya and Sonia and Masha and Spike’ as well as upcoming auditions

Posted on January 29, 2017 by The Sleepless Critic

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‘Vanya and Sonia and Masha and Spike’ cast Courtesy of Elizabeth Bean

Taking a zany, comedic look at a dysfunctional family’s bickering and grudges, Milton Players proudly present the Tony award-winning play, Vanya and Sonia and Masha and Spike through Sunday, February 5 in Canton, Massachusetts. The original, off-Broadway cast included Emmy and Tony award-winner David Hyde Pierce and Golden Globe-winner Sigourney Weaver. Click here for more information and tickets.

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Liz Echmen as Cassandra and Kevin Lowney as Vanya Courtesy of Elizabeth Bean

Written by Christopher Durang and directed by Wendy Stuart, Milton Players’ 84^th season offers a show about middle-aged siblings and their wild circumstances, culminating in a fight over their ancestral home. With sharp dialogue derived from Anton Chekhov, ‘Vanya and Sonia and Masha and Spike’ feature local cast members Kevin Lowney as Vanya, Barbara Schapiro as Sonia, Claire Lukazcyn as Masha, Chris Cartier as Spike, Liz Eacmen as Cassandra, and Jana Urban-Geyer as Nina.

Jana Urban-Geyer as Nina and Chris Cartier as Spike Courtesy of Elizabeth Bean

Remaining performances take place on Friday, February 3 and Saturday, February 4 at 8 p.m. One matinee show will be held on Sunday, February 5 at 2 p.m. All shows are held at Brayton School Auditorium in Canton, Massachusetts. Click here for tickets, here for directions, call 617-698-7469, or email them at email@miltonplayers.org for further information.

Milton Players changes gears with their spring production, Frederick Knott’s ‘Dial M for Murder’ directed by Eric Stulb. Adapted into a thrilling film by Alfred Hitchcock, auditions will be held on Tuesday, February 7 and Wednesday, February 8 at 7 p.m. The show kicks off in April. Click here for more information on auditions and more. Follow Milton Players on Facebook for further updates.

Cohasset Dramatic Club will hold auditions for captivating musical, “If/Then”

Posted on January 12, 2017 by The Sleepless Critic

Starting over isn’t easy, especially in the Big City. Cohasset Dramatic Club is thrilled to debut a remarkable musical about a single woman moving to New York City to make a new start. From the producers of the Pulitzer Prize-winning team behind the show, Next to Normal, If/Then is an insightful, contemporary musical about Elizabeth, a recently divorced woman and all the endless possibilities that lay before her in the Big City.

Originally starring Idina Menzel and based on a book by Brian Yorkey, If/Then contains musical numbers including A Map of New York, You Never Know, and Surprise. Cohasset Dramatic Club presents If/Then for two weekends only from Thursday, March 9 through Saturday, March 18. Click here for more information about the show.

Directed by Lisa Pratt, musically directed by Sarah Troxler, and choreographed by Tara Morrison, Cohasset Dramatic Club is holding auditions for the musical, If/Then on Wednesday, January 18 at 41 Highland Ave in Cohasset, Massachusetts at 7 p.m. Auditioners should prepare 24-36 bars of a song from the show and the evening will also consist of cold readings from the script. Rehearsals will begin on Sunday, January 22. Click here for further details and character descriptions.

Before If/Then, Cohasset Dramatic Club presents their fourth annual festival consisting of 10-minute plays, Briefs on February 3 and 4. This festival will feature cabaret seating, food, and beverages. Click here for more about the Cohasset Dramatic Club and follow them on Facebook.

REVIEW: Magnificent and visually-stunning, Holiday Pops offers flawless holiday cheer

Posted on December 31, 2016 by The Sleepless Critic

Woven into a wide spectrum of Christmas carols, spiritual hymns, and holiday music capped off with a rousing sing-along, is the stuff that makes the Holiday Pops so appealing each year. Whether it’s through the excitement of the all volunteer Tanglewood Festival Chorus or maestro Keith Lockhart sharing his own Christmas memories, The Boston Pops adds their own unique, personal flair to each heartfelt performance, making it easy to alleviate the stress of the season and happily embrace what truly matters each year. In its 21^st season, The Holiday Pops at Boston Symphony Hall continues through December 31. The Boston Pops also offers special presentations of the film, “Back to the Future” with live orchestra and New Year’s Eve led by acclaimed bandleader, Bo Winiker. Click here for more information and for tickets.

Elegantly adorning the intrinsically-detailed gold balconies are white, twinkling lights and multi-colored bulbs on thick, festive wreaths, just a sampling of the stunning, festive surroundings inside Symphony Hall. The hall also offers its share of playful, humorous decor including orchestra harps topped off with Santa hats. During the show, the stage spontaneously came to life with a variety of scenery reflected above the stage, from flickering candles to sweeping, dancing snowflakes. Holiday Pops also featured a stirring presentation of winter scenes created by visual artist and astronomer Jose Francisco Salgado, PhD. With a lit sky swirling violet with chiming bells, the presentation’s depiction the Northern lights to the song, The Adoration of the Magi from Three Botticelli Pictures lent a mystical, peaceful tone.

This powerful performance of Holiday Pops offered equal doses of reflective material and lightheartedness, the first half insightful and striking. A Christmas prelude that included Hark the Harold Angels Sing, kicked off a reflective, wondrous first half woven in with maestro Keith Lockhart’s personal reflections of the holiday season such as a wonderful story about his father. A lullaby sounding Christmas oratorio, Break Forth O Beauteous Heavenly Light followed by the Hanukkah song, Light One Candle depicted sacrifice, unity, and hope. Holiday Pops also offered a jubilant calypso of Mary’s Little Boy Child, as the Tanglewood Festival Chorus, dressed splendidly in black and white, playfully swayed to the beat.

Brimming with beloved classic Christmas carols and guest appearances by Santa and more, the second half of Holiday Pops was a vibrant, yuletide spectacle of Christmas cheer. While old fashioned Christmas bulbs glowed to the beat, The jolly Tanglewood Festival Chorus delivered a string of Christmas waltzes, singalongs, and more including the annual reading of Clement Charke Moore’s Twas The Night Before Christmas by special guest, NBC Boston’s Melody Mendez. Boston’s delightful, signature versions of Sleigh Ride and the incredible and amusing 12 Days of Christmas were welcome additions to the mix as Santa Claus expertly conducted the rousing Chorus. Holiday Pops gave a final encore of Let There Be Peace on Earth, as Earth shone overhead, brilliantly conveyed the quiet hope for the upcoming New Year.

The Boston Symphony Orchestra has a tremendous lineup in the New Year! All performances take place at Boston Symphony Hall, 301 Massachusetts Ave in Boston, Massachusetts. Click here for tickets to any of BSO’s upcoming performances, through SymphonyCharge at 888-266-1200, and at the Symphony Hall Box Office, 301 Massachusetts Ave, Boston, Massachusetts. Listen to the Holiday Pops at home with “A Boston Pops Christmas: Live from Symphony Hall” album available through ITunes, Amazon, and Amazon MP3.