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REVIEW: Well suited for the holiday season, The Huntington’s ‘The Heart Sellers’ a true Friendsgiving

Posted on December 12 by The Sleepless Critic

For some, the holidays can be the most wonderful time of the year and for others, the loneliest. What good fortune to find someone to make the holidays brighter.

Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’s The Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.

Judy Song, Jenna Agbayani; photo by T Charles Erickson

It seems like destiny that Luna and Jane should meet. On Thanksgiving Day 1973, imaginative Korean chatterbox Luna, exuberantly portrayed with an infectious smile by Jenna Agbayani, invites quiet Filipino Jane, depicted with reserved and humorous wit by Judy Song, to her apartment shortly after meeting that day. Not only do they happen to be wearing the same colorful coat from Kmart, but they also see a familiarity in each other that they cannot quite place.

Agbayani as Luna warmly exclaims, ‘We have nothing so it is not a mess!’ Scenic and costume designer Junghyun Georgia Lee’s modest one bedroom studio apartment impressively rewinds the clock to the 70s featuring wood paneling, a burnt orange couch, retro wallpaper and dated appliances. The apartment has quite a realistic and detailed appearance right down to the dingy surface on the sliding glass doors. Lee’s retro costumes add cheerful splashes of color to the setting.

Jenna Agbayani, Judy Song; photo by T Charles Erickson

This dynamite duo has crackling and good humored chemistry that make the show a treat. It is not only in what they say, but the way they communicate without words. Agbayani and Song exhibit sharp physical comic timing in an overwhelmed glance, awkward mannerisms, and relatable reactions to the other’s way of life. Song as Jane is exceedingly polite and timid, but her expressions often give away what she really thinks.

Both are immigrant housewives who have never heard of Thanksgiving before and it is endearing to watch them share a genuine interest in each other’s stories, dreams, memories, how they are adjusting to life away from home, and in their fervent attempts to celebrate together.

With more than a generous helping of heart and humor, The Heart Sellers also comes with a great deal of realizations and reflections questioning where these two women belong in their new world during a pivotal time. They are important questions still addressed today.

The Heartsellers stands as a lively, wonderful and worthy visit centered on friendship. Bring a friend, a date, or a loved one because this is one story meant to be shared.

REVIEW: Company Theatre delivers an inspiring and ever enchanting Rodgers and Hammerstein’s family-friendly musical, ‘Cinderella’

Posted on December 10 by The Sleepless Critic

The Company Theatre proves that magic does not just come from a wand in Rodgers and Hammerstein’s Cinderella.

Boasting more magic than other popular adaptations, Cinderella brings to light the virtues of being humble, loyal, generous, and yearning to make a difference in the world. What is wonderful about this adaptation is Rodgers and Hammerstein invites the audience to root for the Prince as much as Cinderella herself.

Resourcefully co-directed by Zoe Bradford and Sally Ashton Forrest with lively musical direction by Steve Bass, The Company Theatre continues Rodgers and Hammerstein’s Cinderella live and in person at the Company Theatre in Norwell, Massachusetts through December 17. Based on the book by Oscar Hammerstein II and a new book by Douglas Carter Beane, this family-friendly musical is approximately two hours with one intermission and appealing for all ages. Click here for more information and for tickets.

Cinderella’s Glass Slipper Image by Zoe Bradford

The Company Theatre always has a way to make the holidays a bit brighter with their December show. Whether bathed in starlight or snow, Ryan Barrow’s moving set fluctuates from a modest village landscape including towering forest, rustic well and a vine crept stone wall to glimmering and fanciful surroundings featuring a large golden clock, a sophisticated marble staircase, pristine white florals, crystal chandeliers, and a gold embroidered living room. Dean Palmer Jr’s warm lighting and Ellie De Lucia’s radiant costume design eloquently depicts the musical’s mid to late 1800s setting through illuminating candlesticks and lanterns, opulent gowns, and gold embroidered suits and vests.

Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein create a robust fairy tale with Cinderella that features characters fleshed out much more soundly than other adaptations. The only adaptation that may come close is the imaginative 1998 film based on the Charles Perrault fairytale, Ever After: A Cinderella Story starring Drew Barrymore.

Cinderella features an exuberant cast in this smart and warmhearted fairytale. Prince Topher, portrayed with shrewd charisma by Sean Donnelly, is valiant, humble, good humored, and protective, proving his virtue in every aspect of his performance. What is wonderful about these characters is it is not just understood who they are. They are not stereotypes, but consistently showing their mettle by growing and transforming in significant and unpredictable ways.

Emily Lyons as Charlotte, Melissa Carubia as Gabrielle, and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Could an ugly stepsister have her own love interest? In this story, anything is possible. Rather than a rehash or a contemporary twist, this twist is rather timeless. It has much more to offer than the often simplistic style of Cinderella’s tale.

Cinderella focuses on a humble young girl who is a servant to her wicked stepmother and ugly stepsisters. However, when the kingdom announces a masked ball for Prince Topher to find a wife in order to become king, every maiden in the kingdom is clamoring for an invitation.

Donnelly’s Prince Topher is handsome, generous, and a practical dreamer that protects his kingdom from any threat that comes its way. However, he also questions his place in the world, knowing he has much more to offer than his lot in life as King as expressed insightfully in the upbeat Me, Who I Am in a compelling duet with Melissa Paz as Cinderella. Both also shine for the lyrically rich number Ten Minutes Ago. Donnelly depicts Topher with dignity and sincerity, making it easy to root for such a character on his own virtues. He shares some complex scenes with Christopher Hagberg as Sebastian who spends his time raising the Prince and overseeing the kingdom. Status conscience and mysterious, Sebastian provides a unique vision of the Prince’s future.

Wearing a kerchief and simple blue skirt, Ella, who is nicknamed Cinderella, is witty, selfless and compassionate. A bright and soaring soprano, Paz as Cinderella works without complaining and tolerating every cruelty she encounters without repayment. She is also obedient under the most ridiculous of demands. She befriends adorable and comical puppet woodland creatures who bop to the music, sing along, and every once in awhile, scene steal in their own right.

Emily Lyons as Charlotte, Vickie Gerard-Culligan as Madame, and Melissa Carubia as Gabrielle in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Cinderella’s ugly stepsisters are not a pair of braying bookends, as some adaptations suggest. They are individuals with their own goals in mind. Melissa Carubia portrays awkward, bashful yet clever Gabrielle and Emily Lyons depicts narcissistic and brutally frank Charlotte. Both have excellent comic timing. Lyons shines in an array of humorous quips for the animated Stepsister’s Lament. Obsessed with status and wealth, Vickie Gerard-Culligan as status hungry Madame is often flagrant and nonchalantly cruel as she wraps herself in her own little world. Gerard-Culligan reveals a fascinating side to Madame briefly in a delightful rendition of Lovely Night with Gabrielle, Charlotte, and Cinderella, but is always focused on exactly what she wants.

Vickie Gerard-Culligan as Madame and Melissa Paz as Ella in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Ryan Rappaport delivers a zealous performance as purposeful revolutionist Jean-Michel, but could not help but think of him at times as a character missing from Les Miserables. He is determined to change the world and every change starts at home. With playful and powerful vocals, Joey Thordarson is a riot as distinguished town crier Lord Pinkelton, gleeful in his important work.

Always amazing Dru Daniels as Marie is much more than she seems, delivering inspiring showstopper There’s Music in You and the catchy signature tune, It’s Possible.

Dru Daniels and Melissa Paz in Company Theatre’s ‘Cinderella’ Photo by Zoe Bradford

Rodgers and Hammerstein’s Cinderella offers timeless and rich commentary on this classic tale with a beautiful and important message about believing in the impossible. Even adults may shed a happy tear or two.

REVIEW: Celebrity Series of Boston brought vintage effervescence to Boston with renowned touring group Paul Taylor Dance Company

Posted on April 24, 2023 by The Sleepless Critic

Forget those troubles and get happy with the lively, comedic, and exciting Paul Taylor Dance Company.

Infusing classical, big band, and swing with a modern twist, The Paul Taylor Dance Company zealously delivered comedy, athleticism, romance, drama as well as some reflective moments wrapped in vibrant costumes by Marc Eric and Santo Loquasto with Donald Martiny’s exuberant set design.

Celebrity Series of Boston presented renowned national touring group, Paul Taylor Dance Company for a limited engagement from April 14-16 live and in person at the Boch Center Shubert Theatre. The show was two hours including two intermissions. Click here to see where Paul Taylor Dance Company will perform next and here for a look into Celebrity Series of Boston’s upcoming events.

Somewhere in the Middle by Amy Hall Garner Madelyn Ho w L-R Devon Louis Lee Duveneck Austin Kelly John Harnage Photo by Ron Thiele

Bright colors gleam over a black landscape as Count Basie’s booming, horn-infused rhythms measure carefree spins and leaps in Somewhere in the Middle. Effervescent and gleeful in bursting lime, coral, teal, and mustard by Mark Eric, Madelyn Ho, Lee Duveneck, Devon Lewis, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, and Austin Kelly delivered childlike wonder and an uplifting glow tumbling in somersaults and breezy lifts to heart thumping rhythms by Sarah Vaughan, Count Basie, Duke Ellington, and Bill Evans. This joyful, upbeat spectacle, with captivating choreography by Amy Hall Garner, was only outdone by the subtle and spontaneous moments prevalent throughout the production. A cheerful shout, an impulsive wave, a kiss on the cheek, a snap of the fingers, or a swift tap on the shoulder brought unique distinction to the performances, making it all the more thrilling.

Brandenburgs Full Cast photo by Ron Thiele

Brandenburgs, featuring music by Bach and his Brandenberg concertos, is an athletic, sophisticated, and romantic foray into classical ballet. Featuring piano and fiddle-laden rhythms, dancers John Harnage, Eran Bugge, Madelyn Ho, Lee Duveneck, Alex Clayton, Devon Louis, Maria Ambrose, Shawn Lesniak, and Jake Vincent strut and promenade across the floor in regal stances which are at times, untamed, open, but always seamless by Paul Taylor. Devon Lewis and Maria Ambrose deliver a romantic and moving Pas de deux which is the first of two reflective pieces within this production.

Somewhere in the Middle by Amy Hall Garner Maria Ambrose Devon Louis Photo by Ron Thiele

Brandenburgs is a vigorous, rich, and robust performance that continues this compelling celebration, the second in a three part production. Adorned in gold trimmed and flowing garments in various shades of green, the group’s impressive linear and synchronized movements depict elegance and grace ending their dance as it began.

The Paul Taylor Company saved the best for last with Company B, a salute to the famous Andrew Sisters. Featuring the full cast that includes Christina Lynch Markham, Madelyn Ho, Kristin Draucker, Lee Duveneck, Alex Clayton, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, Devon Louis, Jake Vincent, Jessica Ferretti, and Austin Kelly, the ten song tribute features enough liveliness and humor to lift anyone’s spirits. Accessorized with flowers and simply dressed in flowing skirts and pants, white shirts, and accented red belts faithful to the late 30s and early 40s, Paul Taylor’s timely choreography infuses some popular dances of the era including the jitterbug, swing, the twist, and the polka in a mix of spontaneity, poignant reflections, and comic wit.

One of the many highlights included a humorous spin to the Andrews’ upbeat and horn-infused rhythms of Oh Johnny, Oh Johnny Oh! Featuring Lee Duveneck as a skipping Johnny in horned rimmed glasses and a gleeful smile, it is an unconventional, carefree and refreshing swing number about a guy who unwittingly attracts all the girls. As the Andrew Sisters’ frank vocals state ‘You’re Not Handsome, it’s true’ the catchy song boasts more than its share of amusing, spontaneous, and sweet moments.

Company B Lee Duveneck w cast Photo by Ron Thiele

Rum and Coca Cola features the art of the gaze as the tables are turned with Madelyn Ho under the captive eye of a spellbound group of men. In a flowing, red trimmed skirt, Madelyn’s hip shaking, and high kicks as she flirtatious fans herself knock the boys off their feet.

Though the production is mostly spirited and joyous, Company B does make references to the poignancy of wartime with I Can Dream, Can I featuring Christina Lynch Markham’s beautiful solo dance recalling a faraway soldier. The urgent Joseph! Joseph! depicts women, uncertain of the future, pleading to build a future with their boyfriends before they are shipped off to war. Maria Ambrose and Devon Louis reunite for another duet for There will Never Be Another You, a bittersweet and symbolic number as memories of men pass by in haunting shadow by Jennifer Tipton.

Paul Taylor Dance Company had a limited engagement in Boston, but they are still touring. Click here to see where the Paul Taylor Dance Company will perform next and here for more of Celebrity Series of Boston’s dynamic, upcoming performances this season.

REVIEW: Boston Lyric Opera unveils a spellbinding ‘Bluebeard’s Castle/Four Songs’

Posted on April 2, 2023 by The Sleepless Critic

As waves splash against the Flynn Cruiseport Boston, Boston Lyric Opera unleashed a chilling tale of seduction and secrets.

Ryan McKinny as Bluebeard in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Conducted masterfully by David Angus and craftily stage directed by Anne Bogart, Boston Lyric Opera unearthed Bartok’s Bluebeard’s Castle/Four Songs for a limited engagement live and in person from March 22-26 at Flynn Cruiseport in South Boston’s Seaport District. The show was 90 minutes with no intermission and had some adult themes. Click here for more information and for what is next for Boston Lyric Opera.

Aunt Lydia (Caroline Worra) leads the handmaids through their prayers in Boston Lyric Opera’s production of “The Handmaid’s Tale,” ran through May 12, 2019. BLO.org. Photo by Liza Voll/Boston Lyric Opera

Lauded Stage Director Anne Bogart was behind the innovative transformation of Margaret Atwood’s harrowing dystopian novel, The Handmaid’s Tale, into an opera and presented that vision in glorious triumph while the hailed author sat in attendance. See more about that experience here. Anne Bogart’s riveting vision of Bluebeard’s Castle/Four Songs is another brilliant and dark reckoning in which with each astounding discovery, the plot thickens.

Naomi Louisa OConnell opens BLOs Bluebeards Castle Four Songs with an Alma Mahler song featuring pianist Yukiko Oba. PHOTO by Liza Voll.

Suspenseful, passionate, and deeply romantic, Bluebeard’s Castle/Four Songs heightens the emotional impact of the libretto with Alma Mahler’s multifarious Four Songs. Conducted zealously by David Angus with pianist Yukiko Oba, Four Songs as a companion piece which amplifies the magnitude of what Judith is about to see.

A mysterious and passionate tale, the real seduction behind Bluebeard’s Castle is the symbolism that results as Judith, Bluebeard’s new wife, longs to let light in and see more of his ancient castle. She desires to learn everything about Bluebeard, a man she has given everything up for including a fiancé. However, Bluebeard would rather leave well enough alone and enjoy the love they have found.

Bass-baritone Ryan McKinny as Bluebeard and mezzo-soprano Naomi Louisa O’Connell’s otherworldly and ascending vocals bring vitality and urgency to each phrase and as a duet, their blended vocals are an ethereal experience. O’Connell is stunning as willful and persistent Judith, her oceanic teal gown glimmering against her incandescent red hair as she proclaims her love and deepest wishes for Bluebeard and their future together. Boasting a thick gray beard, McKinny’s stately, rugged and romantic Bluebeard is equally persistent at first. It is fascinating to watch the duo in an impassioned verbal tug of war, their thrilling chemistry becoming more and more feverish with each request. McKinny and O’Connell also have a believable playfulness that round out their relationship and temporarily ease that mounting tension.

Judith Naomi Louisa OConnell and Bluebeard Ryan McKinny celebrate the castle garden in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Trevor Bowen’s impeccable and deceptive costuming added an alluring mystique to the production with Bluebeard in velvety deep blue and purple lined with gold, Judith in aquatic teal and what seemed like dancers adorned in glittering and flowing, yet bridled garments which included Marissa Molinar, Aliza Franz, Olivia Moon, Sasha Peterson and Cassie Wang. Victoria L. Awkward does a wonderful job in keeping these clandestine individuals within this changing landscape in a perfect blend of subtlety, vulnerability and strength while Judith and Bluebeard remain at center stage.

Judith Naomi Louisa-OConnell comes to terms with her potential fate in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Bogart’s spectacular staging alongside set designer Sara Brown plays a pivotal role in Bluebeard’s dark secrets and it is done with elegance and ingenuity. The vast and multi-layered kingdom is revealed in Bluebeard’s inky and lavish bedchambers in an inventive display of silk sheets as rippling rivers, a vast and boundless secret garden on a bed of roses, and mountains of peerless gold and jewels. With Brian H. Scott’s artful lighting creating shadowy and ominous tones with startling streaks of red, Bluebeard’s Castle/Four Songs was a foreboding tale of love, power, desire and the sacrifices one is willing to make for the truth.

Conducted masterfully by David Angus and craftily stage directed by Anne Bogart, Boston Lyric Opera unearthed Bluebeard’s Castle/Four Songs for a limited engagement live and in person from March 22-26 at Flynn Cruiseport in Boston Harbor. Click here for more information and for what is next for Boston Lyric Opera.

REVIEW: Take a wondrous romp ‘Into the Woods’

Posted on March 27, 2023 by The Sleepless Critic

What lies beyond happily ever after?

From David Patrick Kelly’s initial rich and spirited vocals as Narrator uttering the classic line, ‘Once upon a Time’ from a treelike podium, it is easy to see that Into the Woods is no ordinary fairytale. To Stephen Sondheim’s complex tapestry of famous storytelling numbers ranging from stirring ballads to catchy compositions, Into the Woods brings together some of literature’s most famous fairytale characters on a multi-arc journey through an enchanted wood. It’s a place where fortune smiles, but like every fairy tale, the road winds with surprise twists, turns and resounding life lessons for adults and children alike.

INTO THE WOODS 12 : The Company of Into the Woods Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Directed shrewdly by Lear deBessonet, seamlessly choreographed by Lorin Latarro with meticulous music direction by John Bell, the Grammy and Tony award-winning musical Into the Woods continues direct from Broadway live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, April 2. The musical is 2 hours and 45 minutes including one intermission. Click here for more information and for tickets.

Into the Woods boasts some absorbing special effects and Tyler Micoleau’s affective and multicolored lighting enlivens David Rockwell’s moving and immersive set with includes an onstage orchestra and a monstrous full moon.

INTO THE WOODS 25 : David Patrick Kelly Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Storytelling has never sounded better with David Patrick Kelly at the helm. Kelly brings gravitas and zealously delivers this humorous, adventurous, and poignant tale which includes a baker and his wife’s unfortunate encounter with a witch that drives them to embark on an unexpected journey. Into the Woods was revived on Broadway last year and with that, the characters seem more boisterous, the jokes sleeker, and cast’s quick witted comic timing and bold and hilarious adlibbing enrich the characters and their plights while occasionally breaking the 4^th wall.

INTO THE WOODS 21 : (L to R) Jason Forbach and Gavin Creel Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

The chemistry between this savvy cast crackles and they master Sondheim’s technically challenging harmonies in several collaborative numbers including the musical’s title track. Andrea Hood’s edgy, vibrant and lavish costumes are well suited for Nancy Opel as Cinderella’s stepmother and Ta’nika Gibson and Brooke Ishibashi as Cinderella’s fashion conscious stepsisters. Opel’s sarcastic fervor and tight lipped Cheshire smile is reminiscent of Jennifer Saunders and the conceited trio relishes in their own villainy. Gibson and Ishibashi is a pair of self-absorbed bookends who comically parade in their excessive glory, unaware of how foolish they seem. Diane Phelan impressively depicts an exasperated and contemplative Cinderella, her soaring and angelic vocals shine for the deliberative, A Very Nice Prince and conspiratorially for On the Steps of the Palace.

INTO THE WOODS 1 0 : (L to R) Gavin Creel and Katy Geraghty Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

The show’s edgy and coordinating costumes are also prevalent on a pair of egotistical and coiffed Prince Charmings in dazzling fuchsia by Jason Forbach and in brilliant yellow by Gavin Creel. Every bit the scene stealing pair, the two prance and pose like rock stars, their comic timing on point for the backhanded and love struck, Agony. Creel also utilizes some of that lively charm and Jim Carrey-esque energy with some menacing glee for Hello Little Girl with Katy Geraghty in a surly little scowl as blunt, daring, and voracious Red Riding Hood. Geraghty’s strong willed Riding Hood is fierce and exhibits incredible dry wit throughout the production, but especially with Sebastian Archelus as the proud and humble Baker and Stephanie J. Block as the conflicted Baker’s Wife in a bit of physical humor involving a loaf of bread. Archelus and Block are married in real life which only enhances their playful and affectionate duet, It takes Two. Block emotive eyes and desperate demeanor draws sympathy toward her plight, even in her occasionally warped reasoning for Maybe There’s Magic.

INTO THE WOODS 1: (L to R) Aymee Garcia, Cole Thompson, and Kennedy Kanagawa Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Cole Thompson is wonderful as idealistic and naïve Jack in an amazing rendition of Giants in the Sky and has some sweet and humorous scenes with Aymee Garcia as Jack’s protective and practical mother as well as Kennedy Kanagawa, who is one of a few lively personalities depicted splendidly through puppetry.

Montego Glover glides along the stage maliciously as The Witch, but maybe unlike one found in any other fairytale. Glover depicts this harsh and complex practicality with vigor, finesse, and perhaps as a wearied storyteller all her own. The Witch’s multi-faceted demeanor stuns in a harrowing rendition of Stay with Me and in a riveting The Last Midnight.

INTO THE WOODS 7 : Montego Glover Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Into the Woods made its musical debut in 1987 and there is a reason it still thrives over 35 years later. It still has that timeless wonder, humor and charm, but more importantly, it metaphorically encapsulates realistic complexities of life in a fairytale that reaches happily ever after…and beyond.

The Grammy and Tony award-winning musical Into the Woods continues direct from Broadway live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, April 2. Click here for more information and for tickets.

REVIEW: Fueled by sardonic wit and intense humor, The Huntington’s ‘The Art of Burning’ crackles

Posted on February 4, 2023 by The Sleepless Critic

Cutting sarcasm, sardonic wit, and a feigned smile does little to contain Patricia’s smoldering rage lurking just beneath the surface. No question Patricia has every reason to harbor resentment considering what she is going through affects her entire family. As a painter, it is important for Patricia to express her mounting feelings through art, but what if the pain is so deep that not even a canvas can exorcise that anger?

Directed methodically by Melia Bensussan, The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. The show is 85 minutes with no intermission, contains adult themes, and is not appropriate for children. Click here for more information and tickets.

Adrianne Krstansky, Michael Kaye, and Rob Barkhordar in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning takes an unconventional look at love and all of its side steps, misunderstandings, and complications. It also delves into betrayal, divorce, survival, and all of the lingering emotions simmering just below the surface. With dark humor that can be disquieting at times, The Art of Burning explores the complexity of human relations including a few of its vast repercussions.

Rom Barkhordar and Vivia Font in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Jane Shaw’s haunting score and Aja M. Jackson’s vivid lighting enriches scenic designer Luciana Stecconi’s paradoxical, gleaming, and seemingly modest scenery set against a striking and evocative frame. Jackson’s lighting is crucial for each inventive scene change while the foreboding score keeps the tension rising throughout the production. Kara Harmon’s bold costume design not only reflects each character’s distinct personality, but plays a pivotal role in the show’s mounting tension.

The Art of Burning is also fueled by a powerful cast highlighted by Adrianne Krstansky’s captivating portrayal of Patricia and Clio Contogenis, who makes an impactful impression as conflicted Beth. Krstansky achieves a delicate balance between a strong and sympathetic woman who, for the most part, is holding her own in spite of her circumstances when she is not taking takes things a bit too far. The complexity of that balance still makes her likable even at her lowest points. Patricia’s sardonic wit and realism is nearly bereft of any boundaries. She seems to have lost her inhibitions long ago somewhere in the turmoil of her discoveries.

Michael Kaye and Laura Latreille in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Contogenis weaves in some of Krstansky’s biting humor and pensiveness as Patricia’s daughter as she faces her own unique challenges along the way. These issues are handled delicately and with vulnerability. Rom Barkhordar portrays Jason, a character with some misplaced optimism and a certain lack of empathy and yet Barkhordar weaves in a subtle obliviousness that Jason can almost be forgiven for. He has some meaty scenes with Krstansky and Contogenis that would be concerning if they were not so humorous. Mark, portrayed by Michael Kaye, seems to depict the onlooker and voice of reason, but things are much more complicated than they appear. Some sobering aspects of Mark and Charlene’s marriage are incredibly relatable and humorous. Kaye and Laura Latreille as capricious Charlene have a fascinating dynamic onstage. Vivia Font takes a memorable turn as Katya as she wrestles with the weight of her decisions.

Snodgrass’s witty, poignant, and intermittently humorous dialogue makes a strong statement about the state of our contemporary world and exposes some hard realities. The truth is people are all a little lost but even at its bleakest times, love may still find a way through it all.

Clio Contogenis and Adrianne Krstansky in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. Click here for more information and tickets.

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

Posted on December 24, 2022 by The Sleepless Critic

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

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

The Ensemble of The Christmas Revels Photo by Roger Ide

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

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

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

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

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

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

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

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

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

Maeve Leahy (left), Ewan Swanson (center), and dancers from Great Meadows Morris & Sword Photo by Paul Buckley

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

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

REVIEW: Embrace SpeakEasy Stage Company’s illuminating ‘English’

Posted on November 18, 2022 by The Sleepless Critic

Learning a new language brings all kinds of emotions to the surface. One is swept out of one’s own element and that can be as exciting as it is daunting. It can also become a long and awkward struggle to capture the essence of a new culture while steeped in a new language. Though one is gaining something new, one might also be losing a bit of themselves.

Thoughtfully directed by Melory Mirashrafi, Speakeasy Stage Company continues Sanaz Toossi’s English at Calderwood Pavilion in Boston, Massachusetts live and in person through Saturday, November 19. The performance reviewed was audio described and one hour and 45 minutes with no intermission. Click here for more information and tickets.

The company of English. From left: Deniz Khateri, Josephine Moshiri Elwood, Lily Gilan James, Zaven Ovian, and Leyla Modirzadeh. Photo by Nile Scott Studios.

One of the most fascinating messages in SpeakEasy Stage Company’s English is the realization that one can learn many languages, but can only know one. That one native language is the foundation for all the rest. In learning to speak a new language, it can reshape what comes naturally.

English delves into the lives of four students living in Iran who are learning the English language for TOEFL, a standardized test that stands for Test of English as a Foreign Language. The production is mostly in the English language with no subtitles. It takes a moment to catch on, but Mirashrafi cleverly depicts when characters are speaking in their native tongue.

Leyla Modirzadeh as Roya in SpeakEasy’s production of English. Photo by Nile Scott Studios.

This multi-generational cast has various and deep seated reasons for learning English and this production resonates universal truths of having to learn a new language whether by choice or necessity. English does explore the political climate of learning English in Iran, but what is most memorable are the hardships, victories, competitiveness, and the often flustered frustration of learning a peculiar new facet of life. Each individual demonstrates a different degree of longing to belong. It is not difficult to relate to this small and dynamic cast in their obstacles, earnestness, but most importantly, in the strength in who they are. Deniz Khateri depicts complicated Marjan, who seems to firmly place herself in the world of the language she teaches. In a multi-layered performance, Khateri as Marjan is engaging and encouraging, but also firm and mysteriously guarded. She lends to the show’s tension and subtle humor and has unique chemistry with each student. Lily Gilan James portrays wide-
eyed and optimistic Goli with effervescent candor. She stands on her own mistakes while earnestly articulating the nature of her wishes.

Leyla Modirzedeh as wise and headstrong Roya is strongly urged to learn English to communicate with new members of her long distance family. A sympathetic character, Modirzedeh powerfully evokes Roya’s sincerity and her struggle between her heritage and this new way of communicating. Zaven Ovian depicts Omid with easygoing charm and he shares some compelling scenes with Khateri as Marjan and with witty, outspoken and understandably frustrated Elham, a standout performance by Josephine Moshiri Elwood. Elham is a complex individual who is as compassionate as she is bold and is often hardest on herself.

Josephine Moshiri Elwood as Elham in SpeakEasy’s production of English. Photo by Nile Scott Studios.

Nina Vartanian’s culturally sound and vivid costumes pop in Janie E Howland’s realistic classroom staging and enhanced by an elegant, multicolored portrait in teal, orange, red, brown, and beige.

English is an honest, straightforward, warmly funny, and universally relatable journey of discovering a new language and in all of its difficulties, deciding whether or how to embrace it. See English and embrace its life lessons.

Deniz Khateri (left) and Zaven Ovian in SpeakEasy’s production of English. Photo by Nile Scott Studios.

SpeakEasy Stage Company presents Sanaz Toossi’s English live and in person at the Calderwood Pavilion in Boston, MA through Saturday, November 19. Click here for more information and for tickets.