hypocrisy | The Sleepless Critic

REVIEW: Featuring a stellar cast, a riveting and indelible ‘Parade’

Posted on March 18, 2025 by The Sleepless Critic

A blanket and balloon have never held greater meaning under Georgia’s magnolia trees and endless sunshine.

Taking place nearly 50 years after the Civil War in 1913, Max Chernin depicts Leo Frank, a quiet and disciplined Jewish Brooklynite who is working hard to build a life in Georgia with his Southern wife Lucille, portrayed by Talia Suskauer, when one harrowing night changes everything. Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime.

When truth is set aside, where is there to turn?

Winner of two 2023 Tony Awards for Best Revival of a Musical and Best Direction of a Musical by Michael Arden with evocative choreography by Lauren Yalango-Grant and Christopher Cree Grant, the national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23. Based on a true story, this riveting production runs 2 hours and 30 minutes including one intermission. Click here for more information and for tickets.

Max Chernin (center) and company in the National Tour of PARADE, photo by Joan Marcus

It is particularly significant that Parade is on tour in Boston due to Massachusetts’ foundational roots including its Cradle of Liberty nickname, but also timely because Parade’s Boston run occurs through Purim, a Jewish festival rooted in the Book of Esther celebrating a historic Jewish triumph over oppression.

This captivating musical is based on a gripping true story and evokes a wide range of emotions. Like a parade, it spectacularly unfolds with an opening drum roll of The Red Hills of Home boasting gorgeous harmonies, splendor and Michael Arden’s acclaimed and seamless direction as well as Dane Laffrey’s moving and sweeping scenic design.

Adorned in vivid bunting as lights descend from the ceiling, Dane Laffrey’s elaborate and rolling set transforms from a wide open field into a wooden courtroom blending Sven Ortel’s descriptive projection design of dramatic and documentary-style elements revealing historical photos of the real people, places and newspaper headlines as crucial dates trace the events of the story. Billowing clouds and colorful landscapes stand out vividly between the black and white footage. Susan Hilferty and Mark Koss impressively capture the essence of the era in pastels, frills, smocks, three piece suits, newsboy caps, parasols, and brimmed hats.

The National Touring Company of PARADE, photo by Joan Marcus

Having seen Jason Robert Brown’s The Last Five Years, Brown has a gift for articulating a vast range of complex emotions and glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and from rueful to optimistic. The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought provoking.

Max Chernin and company in the National Tour of PARADE, photo by Joan Marcus

Featuring a large and stellar cast of approximately 30 people with many of them portraying more than one role, I was blown away hearing the depth and resonance of this particular array of amazing and occasionally a cappella vocals under Charlie Alterman’s magnificent music direction. Chernin’s vocals have a unique beauty as he embodies Leo’s stark loneliness and deft humor in How Can I Call this Home. With gravitas and sincerity, Chernin is excellent as Leo as he shares his thoughts in melodious vocals and quiet candor especially during his remarkable ballad, It’s Hard to Speak my Heart. He has elevating chemistry with Talia Suskauer as spirited and resourceful Lucille and they create powerful harmony for the lively and optimistic duet It’s Not Over Yet and a stunning rendition of All the Wasted Time.

Talia Suskauer and Max Chernin in the National Tour of PARADE, photo by Joan Marcus

Jack Roden is mesmerizing as Frankie Epps, especially during a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmonies to foreboding of a boy maturing in an instant. Roden and Olivia Goosman as exuberant Mary Phagan share some endearing scenes for the catchy The Picture Show.

Olivia Goosman, Jack Roden and company in the National Tour of PARADE, photo by Joan Marcus

Griffin Binnicker shines as charismatic yet contentious Tom Watson as he leads the urgent Hammer of Justice and Michael Tacconi is notable as scandal thirsty reporter Brett Craig desperate to revive his career in the darkly playful hymnal Real Big News.

Parade’s layered and stirring choreography is demonstrated in the hypnotic turn and parallels of The Factory Girls to the mischievous spring of Pretty Music with impressive Chris Shyer as slick Governor Slaton jubilantly spinning ladies across the dance floor. Another highlight is the clanking rhythms and chilling choreography of Feel the Rain Fall with Ramone Nelson’s commanding vocals as mysterious Jim Conley and the telling and satirical number Where will you Stand when the Flood Comes.

Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE, photo by Joan Marcus

Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking. A haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of storytelling that is sure to stay with you long after the production is over.

Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus

The national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23. Click here for more information and for tickets.

REVIEW: Praxis Stage’s ‘The Arsonists’ create a spark

Posted on September 12, 2024 by The Sleepless Critic

Who really is the stranger at your door?

Directed ominously by Bob Scanlan, suspicion takes a front seat as Praxis Stage presents Max Frisch’s British absurdist satire, The Arsonists at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, September 15. This semi-interactive production is approximately two hours with one intermission. Click here for more information and for tickets.

‘The naked truth told enough, nobody believes it’ is a variation of Nazi Joseph Goebbels’s Big Lie propaganda technique, ‘Repeat a lie often enough, it becomes the truth.’ The Arsonists build on that here as being blind to the obvious.

First published by Max Frisch in 1953, The Arsonists has since evolved from a radio play to television and a stage production under other names such as The Fire Raisers or The Firebugs. It delves into many issues including hypocrisy, fascism and propaganda.

Michael Anderson as Pre-show MC and other roles in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

In an unnamed town, place, and setting, The Arsonists is unorthodox right from the start and focuses on Kim H. Carrell as Gottlieb Biedermann who is contrary in many ways. Relishing in his upper middle class affluence in an expensive ascot in lieu of a tie while smoking cigars, Biedermann just finishes reading about arsonists setting fires in people’s homes in his neighborhood when a towering stranger with bleached blond locks arrives at his door. Anxious, preoccupied and frustrated Biedermann reluctantly lets him in.

Daniel Boudreau and Kim Carrell in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

The stranger is Daniel Boudreau as charismatically chatty and homeless former circus wrestler Joe Schmitz. Boudreau and Carrell share a gnawing awkwardness as Boudreau’s Schmitz voraciously eats and insists he is looking for a little humanity. Boudreau delivers another impressive performance as Schmitz not entirely unlike his persuasive character Goldberg in The Birthday Party and he shares a darkly fascinating rapport with Zair Silva as mysterious thrill seeker Will Eisenring.

Zair Silva and Daniel Boudreau in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

The Arsonists reveal some of life’s minor truisms such as when people dismiss behavior over the weather to mask negative emotion and more serious ones such as overlooking any event if it was not reported in the news. Carrell as Biedermann is fixated on appearances and insists that we are all human beings regardless of status yet disassociates himself with people and is extremely ruthless in other areas of his life. Along with Julia Trueblood as Biedermann’s equally anxious wife Babette, they wish to appear accommodating even if that is not necessarily the case.

Annunciating Mr. Biedermann’s name for emphasis, Stephanie Charlton is humorous as practical and edgy maid Anna, reflecting much of the exasperation the audience feels at Beidermann’s increasingly bizarre behavior exemplified by an amusing moment amongst an otherwise somber scene between Biedermann and Anna arguing over table settings.

Julia Trueblood and Stephanie Charlton in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

There is musical accompaniment to The Arsonists by vocalist Miss Mary Mac, Music Director David Krimsky and Malachi Connolly on guitar with percussionist Benedict Dawn-Cross highlighted by a grim cover of R.E.M’s It’s the End of the World as We Know it as part of this cabaret-style show. Mackenzie Adamick’s sound design is often immersive and lends to some of the show’s tension as a timer sporadically ticks in the background. The most impressive part of Kevin Fulton’s lighting is inside a hidden door that is realistic, convincing and won’t be revealed here.

Miss Mary Mac on vocals and the band Photo by Praxis Stage

Like Praxis Stage’s previous absurdist work for The Birthday Party, The Arsonists may render you speechless, a bit disoriented and frustrated, yet you may also find yourself invested in this production’s motivations and outcome especially in shifty Boudreau as Schmitz and Zair Silva as Eisenring. Both absurdist works examine the human condition and deliver its share of truisms from an absurdist perspective but unfortunately, The Arsonists leaves little to interpretation as both productions culminate in a dining room table showdown in which the tables turn.

The Greek chorus of firemen, composed of five actors including Alison Butts, Abby Duell, Jean Dany Joachim, Gabriel Pagan and Jessica Newman, appear to pose as a neighborhood watch. The idea is intriguing, but their welcome wears thin at first chorusing at times what the audience might be thinking before coming off as condescending, repetitive, and unnecessary with the exception of a brief haunting song sung by Jean Dany Joachim right after intermission.

Chorus: Left to Right Abby Duell Jean Dany Joachim Gabriel Pagan Alison Butts and Jessica Newman in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

At one point, the show encourages you to think for yourself and yet, the show is not without its subtle biases and political leanings. It may have been more thought provoking if left ambiguous as the play is already witty and relevant on its own.

Directed ominously by Bob Scanlan, Praxis Stage presents Max Frisch’s The Arsonists continuing at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, September 15. This semi-interactive production is approximately two hours with one intermission. Click here for more information and for tickets.

Boston Camerata’s Artistic Director Anne Azema talks Fortune and greed in classic satire ‘The Tale of Fauvel: A Political Fable from Medieval France’

Posted on October 26, 2018 by The Sleepless Critic

With a dose of comedy and memorable music, The Boston Camerata kicks off its 64^th season with an enduring satire on hypocrisy, abuse, and greed called The Tale of Fauvel: A Political Fable from Medieval France on Sunday, October 28 at the First Church of Boston at 4 p.m. Based on a 14^th century poem the Roman de Fauvel, this compelling piece focuses on corrupt rulers and the effect they have on society. Click here for more information and for tickets.

The Boston Camerata’s Artistic Director Anne Azema portrays Fortune in this political fable. She describes her pivotal role, the show’s contemporary significance, and plans for the future.

Sleepless Critic: You took on the role of Fortune in Tale of Fauvel: A Political Fable from Medieval France. No doubt Fortune must play a powerful role in this piece.

Anne Azema: Fortune or Lady Luck, a kind of pagan Goddess surviving into the Christian Middle Ages, is a powerful presence and presented as a female in medieval literature. According to the Carmina Burana text, she holds the world in her hands, sits on her wheel, will raise some and crush others – and will leave you shirtless, with a bare back. Fauvel, the Orange-Maned Horse, has put in his mind to conquer the entire world by wooing and then marrying Fortune. Little does he know Fortune’s answer to his courtship is a severe put-down.

SC: This show is a satire, but it carries a contemporary significance ahead of the midterm elections.

AA: Fauvel began Camerata’s long series of story-telling programs, an effort that continues to this day. I think Fauvel’s truculent criticism of hypocrisy, abuse, and greed in public life continues to be as relevant as the headlines in today’s newspapers. Some of the lines from 1310 seem so relevant, it will give you shivers.

Anne Azema and Shira Kammen Courtesy of The Boston Camerata

Director Emeritus and narrator Joel Cohen Photo courtesy of the Boston Camerata

Timothy Leigh Evans as Fauvel Photo courtesy of the Boston Camerata

Michael Barrett, voices Photo courtesy of the Boston Camerata

Steve Lundahl, winds Photo courtesy of the Boston Camerata

Shira Kammen on vielle, harp Photo courtesy of the Boston Camerata

Steve Lundahl, winds Photo courtesy of the Boston Camerata

Shira Kammen on vielle, harp Photo courtesy of the Boston Camerata

Michael Barrett, voices Photo courtesy of the Boston Camerata

Timothy Leigh Evans as Fauvel Photo courtesy of the Boston Camerata

Director Emeritus and narrator Joel Cohen Photo courtesy of the Boston Camerata

Anne Azema and Shira Kammen Courtesy of The Boston Camerata

SC: What was it like working with the cast?

AA: A complete joy! Our core team has performed this piece in various configurations before. Aside from our three singers, we will have two instrumentalists and a narrator, who will share, in irreverent English verse, the adventure of our Horse, Fauvel.

We are also happy to include Longy School of Music of Bard College students and Brandeis students. They will all take part in the revels of Fauvel’s Wedding Night!

SC: What inspired you to bring it to the Boston Camerata stage this season?

AA: Its manuscript source is interesting on many levels so it is well known both to musicians and literary types who have an interest in early repertoires. It’s a vehement diatribe in verse against the abuse of power in Paris of 1310, but there is a visual aspect to the book which includes beautiful illuminated miniatures. The music, an anthology so to speak, of varied genre and style of pieces, were songs that were circulating in Paris at the time. They were either recycled from other sources to fit the narrative or composed to illustrate the purpose.

Camerata developed a first version of Fauvel in the 90s as a commission for Warner/Erato. Within the Boston Camerata’s repertoire are programs both recently created and ‘classic’. Our Fauvel falls into this latter category. We are delighted this production continues to be in demand both here and in Europe.

SC: What sort of music will this show offer?

AA: Written many centuries ago but very accessible, the music is direct and acoustical. It’s a mixture of voice(s) and instruments in a small setting. The public is close to the performers and has an ‘organic’ access to them. The trademark to our performances is a blend of spontaneity, energy, and emotional commitment with careful research and scholarship.

SC: Though this show has its moments of humor, this piece is message-driven. What is the best reason you think people should see this show?

In the end, I believe what is important is spending an entertaining hour or more together. Although the music is seven centuries old, it is totally enjoyable. Its beauty and energy will bring you to another powerful place and frankly, speaking of humour and satire, we all need to blow off a little steam in this highly fraught moment.

The cast in action. Photo courtesy of the Boston Camerata

SC: Boston Camerata’s 64th season boasts a wonderful lineup including Christmas performances Puer Natus Est: A Medieval Christmas and Gloria! An Italian Christmas in December. How do you select each season’s performances?

AA: My choices are driven by my personal interests, the teams we have, the repertory book we want to keep alive, and by our mission to create new programs combined with touring and recording demands. The idea is to keep us and our audiences alert, perky, and open to new experiences.

SC: I understand you are also a soloist, often writing your own pieces, touring, or recording. Please tell me about that.

I just returned from touring Canada with a One Woman Show, a show which presents music of the 12th and 13^th century. These recitals, alone or with colleagues, offer a different way of connecting with the public and demand a deeper relationship with the music.

SC: What work you are currently working on?

AA: I will continue to look at narratives/storytelling and prepare several recording and media projects in the coming seasons. Besides our medieval shows, we’ve been involved in early American music. We are also working on the release of our Naxos CD recorded last season in the context of a Canadian, American, and Dutch project. We recorded The Harmonia Mundi CD in September and that will contain some powerful, motivating American songs of resistance and rebellion!

For one day only, The Boston Camerata presents The Tale of Fauvel: A Political Fable from Medieval France on Sunday, October 28 at the First Church of Boston at 4 p.m. Click here for more information and tickets and be sure to follow The Boston Camerata on Facebook for all their latest news.