In a matter of three minutes on a New York City subway, Subway Crushmakes a statement about ideas of perception and interpretation that continually resonates in our digital culture. It is a slice of digital life that escalates quickly and stands as a peek into a bigger picture ominously, candidly, and realistically captured by more than one person behind a phone. What is the truth behind what you are seeing and explores one of many ways information can be dangerously misinterpreted.
Still from ‘Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi
Both written and directed by Oriana NG, Subway Crush and French short film Waltz for Three are two profoundly different films. Crush exhibits escalation while a subtle revelation emerges in Waltz for Three. Increasingly feverish and frenetic Crush is candidly captured as it makes a significant statement about our contemporary culture while Waltz for Three is timeless and sophisticated with a stirring emotional core. Yet both films are built in misunderstandings that long to be resolved.
‘Still from Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi
With impactful direction and written by Oriana NG, Subway Crush and Waltz for Three continue to make the film festival circuit and were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.
Part of the cast of ‘Waltz for Three’
A quiet encounter has a profound effect on two people.
Surrounded by distinctive finery in a gorgeous castle in France, Agnès feels isolated. Ophélie Lehmann portrays reserved, soft spoken and unassuming Agnès who is quite certain what she wants when she invites Mikaël Mittelstadt as handsome Jean home. However, it is not for the reasons one might expect.
Ophélie Lehmann in ‘Waltz for Three’
In many ways, French short film Les Trois Valseurs (Waltz for Three) explores two worlds. This multilayered and unpredictable tale has a meaty emotional core for two likable people who have experienced a great deal in very different ways. The film takes its time, but does not drag as these two make discoveries about each other. The costuming and props, includes a distinguished victrola, an ethereal clock and a golden lighter, are delicate, detailed and gleaming and the way the two carry themselves evokes almost a dreamlike ambiance. With hair swept up and adorned in an elegant dress, stately and enigmatic Agnès is mature beyond her years while Mikaël Mittelstadt’s Jean is charming and uncertain with his whole life ahead of him. They share compelling chemistry and perceive each other in a new light as the film unfolds.
Mikaël Mittelstadt in ‘Waltz for Three’
Not all the film’s questions are answered and in many ways, the answers aren’t necessary. The genuine moments that gently unfold are encapsulated in their gradual understanding of one another.
Mikaël Mittelstadt and Ophélie Lehmann in ‘Waltz for Three’
Subway Crush and Waltz for Three were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.
As an avid bibliophile, this significant quote from Library Lion could not ring more true. Extraordinary things do happen when you read.
One of the big doors that unleash a limitless imagination is the library. Unlike streaming, movies or television, a book is a movie for your mind and Library Lion, one of Time Magazine’s top 100 Children’s books, highlights the joys of reading and what to expect at the library until someone unexpected arrives.
Wisely directed by Ran Bechor with impactful music by Yoni Rechtor and dynamic music direction by Tomer Sne, Adam Theater continues Michelle Knudsen’sLibrary Lion live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, January 25. This enchanting, semi-interactive, and family-friendly musical play is not limited to the stage and runs approximately one hour and 10 minutes with no intermission. Click here for more information and for tickets.
The full cast of Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studios
The commotion is electric among this youthful crowd anticipating what is about to take place onstage. Whether young or old, this charming musical production does not disappoint. Books and other set pieces come to life in subtle, yet charming special effects refreshingly crafted with limited use of CGI or sophisticated digital screens.
Cast members from Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio
Unveiling Cameron Anderson’s stunning multicolor and vibrant, multilayered rolling set, Library Lion features an exuberant cast which includes a realistic lion puppet created by Jim Hensen’s Creature Shop waltzing to Irene Wang’s mischievous and playful sound design. In striped garments, a puppetry trio which includes Sophie Kauffman, Sydney Grant and Sarah Nolen directed by Kate Brehm, operate and deliver a beautifully stylized lion portrayal from its powerful roars to its intricately blinking big blue eyes adorned with a multi-toned mane.
Puppeteers Sophie Kauffman, Sydney Grant and Sarah Nolen from Adam Theater’s production of LIBRARY LION. Photo by Nile Scott Studio
Eli Bijaoui’s clever and occasionally rhyming dialogue and simple, yet catchy songs by an intimate, three piece orchestra are well paced and mostly jovial as Jayden Declet as precocious Michelle and Aaron Mancaniello as reserved Kevin discover the wonders and virtues of the library with the help of Janis Hudson as charismatic and practical Ms. Merriweather, Robert Saoud as moody yet endearing Mr. McBee, and Clara Hevia as a lively yet frenzied storyteller.
l.-r. Janis Hudson, Jayden Declet and Ken Crossman in Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio
Declet and Mancaniello share an easy rapport and start some minor chaos as they venture through the library’s doors as a clock is perpetually set to when the library opens at 9AM. In a distinctive velvet coat and bowtie, Saoud is wonderful as Mr. McBee in a sympathetic depiction of a librarian who sticks by the rules but longs for something more. In a flowing floral dress, a pleasant voiced Janis Hudson depicts Ms. Merriweather with a breezy practicality and in this performance, more than a passing resemblance to Laura Linney. It is amazing how Hudson slips into characters with such finesse. Hevia rounds out the cast with quirky style and unique energy as the library’s storyteller.
Janis Hudson as Mrs. Merriweather confronts the Lion in Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studios
You don’t need to be familiar with the pop culture references or books to enjoy this production, but you may wish to revisit or read them for the first time when they are introduced into the story.
The library is a treasured sanctuary for many reasons and the Library Lion sings its well deserved praises where you can occasionally sing-along. Library Lion offers much more than life lessons, but delivers a compassionate and imaginative storyline that does not come off as preachy or condescending. It offers humor, silliness and heart that will keep children engaged and at one point, brings the audience right into the story. I say that is time well spent.
Cast members from Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio
Adam Theater continues Library Lion live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, January 25. Click here for more information and for tickets.
A violet pixelated galactic sky is marvelously portrayed from a spaceship bed and that is only the beginning.
Garrett McNally delivers a moving portrayal as inquisitive Auggie whose vibrant imagination spans the vast cosmos. Born with Treacher Collins Syndrome, Auggie’s world has always been limited to home schooling. However, when Auggie is about to attend fifth grade, Alison Luff as Auggie’s practical mother Isabel insists he attend public school. With guarded optimism, Auggie ventures apprehensively on this new journey.
Nathan Salstone, Garrett McNally, and members of the cast of Wonder. Photo: Hawver and Hall
Insightfully directed by Taibi Magar with Katie Spelman’s enchanting choreography and Ryan Cantwell’s uplifting music direction, American Repertory Theater (A.R.T.) continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. This family-friendly and engaging production is approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.
Wonder Production Photo Nathan Salstone, Javier Muñoz, Alison Luff, Garrett McNally, and Kaylin Hedges in Wonder. Photo: Hawver and Hall
Though Wonder is not based on a true story, Auggie’s story draws from real life experiences of individuals who struggle with this craniofacial condition. It tackles bullying, prejudice, empathy and kindness, but what sets this intriguing musical apart is how it delves into perspectives. Auggie may be the central figure in this musical, but a large part of the story focuses on each character’s perspective and the unexpected struggles of those who seem to have it better than Auggie at first glance. Learning to walk in another’s shoes has never been so important.
Set designer Matt Saunders with lighting designer Bradley King richly articulates this glowing musical’s significant themes symbolically through a multicolored and animated pixilated landscape rhythmically peppering a revolving stage. These pixels can enhance, enliven and moderate the musical’s weightier scenes, but particularly illuminating Auggie’s amazing cosmic universe. Imaginative backpacks, colorful streamers, expressive T-shirts and detailed, fanciful costumes are just a sample of Linda Cho’s exuberant costume design.
Wonder Production Photo Alison Luff and Garrett McNally in Wonder. Photo: Hawver and Hall
Wonder boasts its share of feel good moments featuring a strong cast. The chiming pop-infused score with lyrics and music by A Great Big World with Cody Spencer’s robust sound design keeps the show hopeful and optimistic even in the face of its heavier and poignant moments. Alison Luff as Isabel, Javier Muñoz as Nate, Kaylin Hedges as Via and Garrett McNally share a natural tight-knit chemistry facing the world as Hedges as Via affectionately calls her family ‘our little galaxy.’ There is a quiet earnestness built into this family when they step aside for one another. Hedges brings an affinity to this complex role with quiet yearning as Via through soaring vocals who consistently puts Auggie first in her solo, Around the Sun. Luff and McNally share a stirring bond in a fiddle-laden and powerful rendition of You are Beautiful.
Led by Melvin Abston as energetic Mr. Tushman, Beecher Prep School teachers share an idyllic infectious glee, enthusiasm, and occasionally lovable awkwardness as they navigate the curriculum with verve and charm.
Wonder Production Photo Garrett McNally and Donovan Louis Bazemore in Wonder. Photo: Hawver and Hall
Skylar Matthews charismatically shines as excitable and precocious theatre student Charlotte, especially during her engaging solo, You Didn’t Hear it From Me as she waltzes across the stage. Donovan Louis Bazemore seamlessly navigates conflicted Jack who brings warmth and sincerity to the number, Shoes. Paravi shows off sharp comedic timing while lightening a heartfelt moment with Hedges.
Garrett McNally (Auggie) and the cast of A.R.T.’s world-premiere production of Wonder bow in front of the Opening Night audience.
Nathan Salstone is no ordinary Moon Boy. From the exciting 3-2-1 Blast Off and throughout the production, Salstone’s mellifluous vocals and reflective demeanor with Auggie brilliantly elevates each scene.
Wonder is an intuitive, imaginative and heartfelt creation that celebrates the value of loyalty and friendship while sharing significant life lessons prevalent for all ages. You may step away from Wonder the Musical seeing a brighter world too.
American Repertory Theater continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. Click here for more information and for tickets.
Set in London 1843, A Christmas Carol is the classic tale of Ebenezer Scrooge, a wealthy, penny-pinching old miser who has no use for Christmas until his past comes back to haunt him on Christmas Eve. Only second to this tale are the amazing things I have heard about North Shore Music Theatre’s legendary production over the years.
Since 1989, North Shore Music Theatre has carved out a wonderful annual tradition retelling this thrilling Charles Dickens classic, A Christmas Carol: A Musical Ghost Story. What I was unprepared for was how exhilarating the experience would be.
Absorbingly directed and whimsically choreographed by Kevin P. Hill with inventive Music Direction by Milton Granger, Bill Hanney’s North Shore Music Theatre continues A Christmas Carol: A Musical Ghost Story through Sunday, December 21 live and in person at North Shore Music Theatre in Beverly, Massachusetts. This family-friendly theatre-in-the round musical experience is 2 hours and 20 minutes including one intermission. Click here for more information and for tickets.
Haunting, immersive, and meaningful, A Christmas Carol: A Musical Ghost Storyis a frequent holiday tradition with good reason. So much more than the Charles Dickens classic, North Shore Music Theatre mixes Christmas Carols, storyline twists, and calls on two athletic, infinitely energetic, and mischievous spirits invisible to the real world portrayed by Amy Bransky and Risa Michina to accompany Tommy Labanaris as an enigmatic magical narrator to unveil this thought-provoking tale of charity, compassion, and redemption. Labanaris’s charismatic vocals as narrator soothes while navigating the stage like a riveting magician.
Clocks glow, bookcases float, streets fog and mist, a weather woodstove smokes, windows and lampposts frost and a transparent wrought iron door and ornate chandeliers are all part of the innovative rising and descending set pieces by Howard C. Jones. Wondrous winter landscapes including snow covered rooftops, driving downpours, and festive, timely projections enhanced by twinkling, cheerful and ominous lighting by Jack Mehler as well as heightened special effects not limited the action just onstage engulf you in the unpredictable world of Charles Dickens.
Detailed bustles, pea coats, shimmering Victorian-era dresses in an array of patterns, flowing robes, cloaks, feathered hats and top hats are just a glimpse into Rebecca Glick’s stylish period costumes which certainly helps make A Christmas Carol a feast for the eyes. The uplifting overture, orchestrated by Milton Granger and arranged by Alby Potts and James Woodland, is tinged in popular Christmas carols, a preview of the wealth of carols and additional songs added to this festive production. The floating, live orchestra which includes a harp and recorder, are carefully spread out in sections around the theatre above and below the stage.
God Rest Ye Merry Gentlemen, Here we Come A-Wassailing, Ding Dong Merrily on High, We Wish You a Merry Christmas, and We Saw Three Ships are some of the famous Christmas Carols featured in with original songs that brighten this haunting tale.
North Shore Music Theatre’s production of A Christmas Carol also sets itself apart by weaving in the beauty of the season within the excitement of its joyous ensemble cast led by David Coffee as miserly Ebenezer Scrooge. Coffee adds traces of sadness in Scrooge’s frank and daring boldness as a damaged soul. Scrooge toils, scowls, and his dire sense of humor is not lost on his cheerful and generous nephew Fred, portrayed with jubilant warmth and perpetual optimism by Henry Thrasher who delights in pushing his uncle’s buttons in a wide smile. In spectacles and a sour huff, Coffee is best showing hints of melancholy beneath his insistent resistance to kindness. However, his overall interpretation becomes jollier as the show progresses as his arms stubbornly sway to music, offering as increasingly lighthearted Scrooge while observing glimpses of his complicated life.
Kevin Patrick Martin portrays humble, guarded, and sympathetic Bob Cratchit while Daniella Dalli depicts loyal, patient and occasionally exasperated Mrs. Cratchit in a moving performance. Martin and Dalli deliver heartwarming and stirring moments with their large and lovely family including sweet Fiona Kelly as Tiny Tim as their voices lift for We Wish You a Merry Christmas. Kelly charms Martin and Coffee instantly with We Saw Three Ships. The joyfulness in the Cratchit household, despite their circumstances, perhaps mirror the life Scrooge might have had with Caroline Siegrist as steadfast Belle and what might have been.
Grandly adorned in a gorgeous lit crown, veil and glittering pristine gown and glowing porcelain features, Daniella Dalli delivers warmth and angelic soprano vocals as the Ghost of Christmas Past, especially for the soaring number, Dream within a Dream. Serene and gentle, she brings out thawing in Scrooge’s curmudgeonly soul.
Majestic in a crown of holly, carrying a staff with and an air of warm yet firm benevolence, Davron S. Monroe skillfully glides across the stage boasting his signature melodious timbre as charismatic, jolly and larger-than-life Ghost of Christmas Present and as half of a pair of mirthful philanthropists alongside returning Russell Garrett. Alongside Davron, Violet Black and Joseph Hobbib captivate as foreshadowing spirits.
As green lanterns glow, Mark Worth is remarkably ghoulish as Jacob Marley with some very impressive special effects. A ghastly presence with gravelly vocals and chains that seem to go on for miles, Worth as Marley does a marvelous job as a tortured and distressed soul boasted by extraordinary special effects that never overwhelm Worth’s powerful performance. The silence is deafening as Nathan Haltiwanger delivers a veiled and mesmerizing Christmas Yet to Come. I most assuredly cannot leave out Cheryl McMahon’s marvelous return as expressive and hilarious Mrs. Dilber.
Even those most familiar with this classic tale will encounter some welcome twists and surprises. If the holiday season is not spreading the merriment that is should be this year, North Shore Music Theatre’s A Christmas Carol will certainly restore that heartwarming feeling, indeed.
A Christmas Carol: A Musical Ghost Story continues at North Shore Music Theatre live and in person in Beverly, Massachusetts through Sunday, December 21. Click here for more information and for tickets.
Memories can be tricky. As time goes by, perspective changes as a person grows, transforming a memory and gradually revealing details once never considered or understood before. Alison’s home seals in cartoonist Alison Bechdel’s intimate memories as she writes her memoirs through her work, ruminating on her childhood and upbringing to discover what makes her feel like she is stuck in life. Alison uses cartoons because drawing as a child, she recalls, ‘I need real things to draw from because I don’t trust memory.’
Five-time Tony award-winning musical Fun Home explores different perceptions of reality within the Bechdel household. They wrestle with it, deny it, but ultimately, must come to terms with it. Based on Alison Bechdel’s graphic novel memoir with complex direction by Logan Ellis, Taavon Gamble’s dynamic choreography and Jessie Rosso’s compelling music direction, The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. This poignant musical deals in some mature themes and runs 1 hour and 40 minutes with no intermission. Click here for more information and for tickets.
Lyla Randall and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin
The Huntington is known for its extraordinary sets and Fun Home is no exception. Beneath a delicately adorned chandelier, Fun Home takes an intimate look inside a family seemingly full of zeal and an antique house so tidy and flawless in all its finery flanked with towering bookshelves, a fireplace, grand piano, detailed wallpaper and richly placed stained glass, it neatly hides any cracks and crevices underneath. Tanya Orellana’s rolling sets meticulously combines Gothic Victorian-style details with Pennsylvania’s natural beauty in a portrait landscape of trees. While Fun Home unveils the Bechdel family’s complicated world piece by piece, it may also quite symbolically depict Alison’s increasing ability to see the forest for the trees.
Sarah Bockel in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin
Led by and musically directed by Jessie Rosso, this intimate, seven piece orchestra sits through an open piece of “sky” carved into the backdrop in a soothing, fiddle-laden soundtrack which blends light, airy, and melancholy. From its opening song, It All Comes Back to the Flying Away finale, Jeanine Tesori’s captivating musical numbers hold a spectrum of rich and multi-faceted meaning. The catchy, Partridge Family-inspired with a hint of Jackson 5 grand number, Rainbow of Love is a particular highlight, enhanced by matching reflective and fringed retro costumes, just a portion of Celeste Jennings’s colorful and era exacting costume design.
Sarah Bockel and Lyla Randall in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin
With its share of comedic and uplifting moments, Alison looks back on her relationship with her enigmatic and intellectual father Bruce and her traveling and ill at ease mother, Helen. Alison is the only individual that outwardly transforms in this piece, thanks to the exceptional work of Maren Phifer in for Lyla Randall as adorably precocious and impressionable Small Alison in braids and overalls who springs to life in an ingenious manner. Phifer performs an impeccable and chiming version of Ring of Keys and shines with Odin Vega as Christian and Caleb Levin as John in the darkly humorous title track, Fun Home in impressive harmony. Maya Jacobson aptly depicts naïve, anxious, excitable, yet awkward Medium Alison while Sushma Saha is walking confidence as cool and collected Joan.
Caleb Levin, Odin Vega, Lyla Randall in Fun Home; Directed by Logan Ellis; Photo by Marc J Franklin
With black rimmed glasses and short dark hair, Bockel slips into Alison’s wounded façade, a mature, jaded and intellectually-driven individual. With a dark sense of humor, Bockel is an omnipresent narrator on this emotional journey evoking confusion, warmth, sorrow, and frustration realizing every fine detail of Alison’s younger years while struggling to build strength into each new discovery.
Sushma Saha and Maya Jacobson in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin
Director Logan Ellis strives to examine the physical and intellectual similarities between Alison and Nick Dukart as Alison’s father and it is fascinating to witness their side by side similarities. Duckart allows Bruce’s flaws override what is often viewed as an overtly sympathetic performance. He skillfully lays bares the many sides of Bruce as a critical businessman and showman with a refined intellect, and perpetually occupied to become an expert on most everything. Seemingly a friendly, strict, and hardworking family man, Bruce is also secretive, unsettling, dazed and closed off. Duckart’s melodious and affecting baritenor vocals captures Bruce’s complex and unspoken feelings in each number, including the poignant song Pony Girl, but most notably in his harrowing rendition of Edges of the World.
Sarah Bockel and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin
Each Alison is earnest in portraying their wrought frustration in every moment they attempt to identify and make a genuine connection to him, but especially in the bittersweet song, Telephone Wire. Duckart depicts Bruce with a defensive irritability yet tempered with overpowering warmth for Alison which encapsulates some of the brighter moments in the musical.
Duckart and Jennifer Ellis as Alison’s conflicted musician mother Helen share tense and affective moments together and it is easy to see Helen’s teetering vulnerability within each argument and in all the weighted and lonely moments where Ellis imagines her life should be.
Unassuming, overwhelmed, and misunderstood surrounded by outward perfection, Ellis’s Helen lives her life distancing herself from reality putting others first reflected in the heartrending and beautiful number Days and Days, a number in which Ellis brought me to abrupt tears.
Jennifer Ellis in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin
Some things cannot be fixed. Painful and difficult times as well as those joyful moments might not have been as once imagined. The key is to learn from it and take the next step.
The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. Click here for more information and for tickets.
Some friendships are instant and others form through an inexplicable connection at just the right time.
The latter is the case for Laura Latreille as free spirited Alice who meets Lee Mikeska Gardner as intellectual Diana through a babysitting co-op with their two daughters. The daughters become fast friends and these unfulfilled mothers, fascinated with each other, become friends unexpectedly even in the face of their apparent differences.
Paula Plum’s engaging direction explores friendship, societal expectations and much more in David Auburn’s dramedy, Summer, 1976 which ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30. This candid two hander production contains adult content and runs 90 minutes with no intermission. Click here for more information about Central Square Theatre and more on their upcoming production, Yellow Bird Chase.
Laura Latreille and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios
Set in Columbus, Ohio during the Summer of 1976, two households sit side by side. One is a cheerful yellow while the other is composed of sensible brick. These distinctive houses by set designer Kristin Loeffler reflect two seemingly contrasting mothers’ personalities destined to become friends.
Justin Lahue’s colorful projections with Deb Sullivan’s illuminative lighting offers vibrancy to Kristin Loeffler’s summer set design through fireworks, sunsets, fireflies, clear blue skies and stoner psychedelic imagery.
Summer, 1976 is a reflective piece driven by a unique narrative. Instead of two women recalling their own memories individually onstage, they share the stage and react to each other’s animated memories conversationally while correcting and playfully ribbing each other along the way. The narration is a novel approach and it certainly draws on the compelling chemistry between Latreille’s Alice and Gardner’s Diana. Their joys, heartbreaks, mischievousness and secrets unfold as the other is engulfed in the other’s story.
Latreille portrays winsome, bold and seemingly carefree married housewife Alice exuberantly who tries not to think too far ahead while Gardner depicts immaculate, studious and practical single mother Diana who is always thinking ahead and encourages Alice to carefully think about her own future. Occasionally engaging with the audience, Gardner and Latreille challenge each other while exposing one another’s hypocrisies and mutual stubbornness with a clever twist which changes the way you witness this tale. It’s an important twist and revelation crucial to keeping this style of storytelling fresh. From migraines to life changing decisions, these two sincerely root each other on and some of the most fulfilling friendships thrive with tough love under the best intentions.
Laura Latreille in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios
Taking place during a pivotal and role shifting era for women from the 50s to the 80s, Summer, 1976 insightfully explores these two mothers and their life choices who long to see and understand each other clearly. It is the kind of familiar camaraderie prevalent in so many important relationships. I admire the way the production takes a relatable look at friendship and how it evolves throughout the years through a combination of comic and somber moments. Exploring the joyous and bittersweet, Summer, 1976 delivers a summer not soon forgotten.
Laura Latreille, and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios
David Auburn’s dramedy, Summer, 1976 ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30. This candid two hander production contains adult content and runs 90 minutes with no intermission. Click here for further details and more on their upcoming production, Yellow Bird Chase.
This production boasts a great deal of elaborate presentation and what an amazing presentation it is!
John Tiffany’s innovative direction, Gareth Fry’s robust sound design and a gleaming set by Christine Jones paves the way for more than a little magic as Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20. This exciting production runs two hours and 50 minutes with one intermission and some dark imagery may not be appropriate for children. Click here for more information and for tickets.
David Fine, Adam Grant Morrison, and Maren Searle in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman
Set Designer Christine Jones’s sterling and multi-dimensional set boasts gleaming wood and fine detail with stars and moons etched into a dome trim. Featuring spinning clocks, animated books, vaulted ceilings and swerving grand staircases, this sliding set follows its own meticulous rhythm integrating shadows which brilliantly capture the essence of Hogwarts and the iconic events of the beloved series and films. Capes swing in succession to its own mesmerizing beat in sharp and sweeping choreography that enhances the swift pace of this production.
The cast of ‘Harry Potter and the Cursed Child’ Photo By Matthew Murphy
The spellbinding and pulsating special effects by Jamie Harrison as well as the nostalgic return of beloved places and characters are the essential reasons why anyone, but especially Harry Potter fans, will delight in this show. As an avid Harry Potter fan having read the all the books including this screenplay and witnessed all the films, Harry Potter and the Cursed Child’s Easter eggs and recognizable spells are all familiar and welcome territory. A wizard disappearing into a mailbox, characters drifting through walls, and haunting characters looming larger than life is just a glimpse into the stupendous magic that takes place live onstage.
‘Harry Potter and the Cursed Child’ national cast Photo By Matthew Murphy
Seeing magic during recorded films is one thing, but to witness this magic materialize onstage is more than exciting. It is a thrill each and every time.
Starting during Harry Potter and the Deathly Hallowsepilogue, Harry, Ginny, Ron and Hermoine are at King’s Cross Station sending their children on the Hogwarts Express as new students to Hogwarts much like when Harry, Ron and Hermoine embarked on the Hogwarts Express for the first time years ago.
Much like J.K. Rowling’s beloved book series, this topsy turvy plot contains themes of family love, enduring friendship, and coming of age love that materializes between Adam Grant Morrison as Albus and David Fine as Scorpius. It also focuses on parenting, reputation and the consequences of one’s actions. Its winding plot is just intriguing enough to revel in the appearances of these characters and goes to great lengths to stretch the plot for the purpose of justifying revisiting all these iconic places through a time turner.
David Fine and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman
The production brings together both generations as Juliana Nightingale remarkably portrays mysterious Delphi Diggory and Larry Yando as sympathetic Amos Diggory urges Nick Dillenberg as Harry Potter to bring back Amos’s son Cedric using a time turner. When Harry refuses, Albus and Scorpius see it as an opportunity to prove themselves as great wizards.
Nightingale, Fine, and Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman
What I did feel like the production lacked is the amount of time given to other students at Hogwarts. So much time was dedicated to the OG characters that aside from acquaintances, Albus and Scorpius seem to be the only two people that truly connect in Hogwarts which is hard to believe at such a large university with numerous cast members. Perhaps this is due to the shortening of the production which was once divided into two parts and clocked in at over four hours.
Fine is exuberantly expressive, anxious and excitable as Scorpius Malfoy. Fine defines Scorpius with bursts of chatter and bravery infused with an occasional unhinged edge while Morrison as Albus Severus Potter is more introspective and resentful trying to live up to his father’s image.
David Fine in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman
Tom Felton may have returned in his OG role as Draco Malfoy on Broadway, but Ryan Hallahan is certainly up to the task in menacing and sarcastic ways punctuated by a delightfully upturned sneer and rich vocals as Draco. Hallahan’s Draco is an impressive adversary and protective father to David Fine as Scorpius while infusing traces of Draco’s own father, Lucius.
Dillenburg as Harry Potter is well suited for the role, though the character has become more egotistical and stubborn thinking he knows best which makes for fascinating scenes with Trish Lindstrom as softer spoken Ginny. Lindstrom amiably demonstrates Ginny’s maturity and bolder practicality, especially as she tempers Harry’s anxieties.
Matt Harrington amusingly captures quirky, outspoken, and underestimated Ron who provides more than a few playful moments. He also shares some sweet scenes with Rachel Leslie as shrewd and determined Hermoine.
David Fine, MacKenzie Lesser-Roy, and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman
Some actors in this large cast take on multiple roles with finesse. MacKenzie Lesser-Roy as giddy, giggling, bold and flirtatious Moaning Myrtle is an over the top scene stealer and unrecognizable in a dual turn as serene Lily Potter. Katherine Leask closely exacts Maggie Smith’s glorious timbre and cadence as firm, yet compassionate Professor McGonagall with winking good humor before stepping into the shoes of one of Harry Potter’s perilously disdainful villains not to be revealed here. Larry Yando impressively takes on the challenge of triple roles though some land better than others.
Wands abaze in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman
Twists, turns, rumors and revelations abound in this elaborate production tailor made for Harry Potter fans and for those who truly enjoy onstage wizardry! Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20. Click here for more information and for tickets.
For Mrs. Johnstone, life went awry as soon as the dancing stopped.
With ominous direction by Audrey Seraphin, sharply choreographed by Audrey Johnson with Gina Naggar’s musical direction, Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts. This poignant production is two hours and 50 minutes including one intermission. Click here for more information and for tickets.
Sehnaz Dirik Lauren Casey and Kate Funderburk and cast in ‘Blood Brothers’ Photo by Gary NG
Two households sit side by side. One adorned in floral stained glass and expensive trim while the other door stands weathered and chipped with a dated floral arrangement hung from the door by Leonard Chasse. However, these two households will connect through an inescapable bond that neither household can possibly shake.
Sehnaz Dirik in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG
Twins separated at birth is a story that has been told before, but this particular tale is introduced as the stuff of legend. Taking place in Liverpool, England from the 50s through the 80s, Blood Brothers is a musical about two households separated by social class. Sehnaz Dirik portrays fanciful and pregnant Mrs. Johnstone whose husband leaves her and their children. Now, a single mother trying to make ends meet, Mrs. Johnstone works for the wealthy Lyons family as their house keeper while Mrs. Lyons struggles to have children. When Janet Pohli as petty and unhappy Mrs. Lyons finds out Mrs. Johnstone is expecting twins, a manipulative plan slowly starts to take shape.
Blood Brothers doesn’t seem to fit squarely as a musical and would work just as well as a play. The show’s unconventional elements deliver a folk pop flair and the story is shared like a cautionary tale as characters sing at odd moments. Blood Brothers is a well cast production that depicts individuals of all ages with Janet Pohli as a particular standout in a commanding performance behind a meek smile as Mrs. Lyons, a woman who is not to be underestimated.
Janet Pohli and Zach Fuller in Theatre Uncorked ‘Blood Brothers’ Photo by Gary NG
James Honaker interestingly portrays her preoccupied workaholic husband Mr. Lyons who always seems half here and halfway back to work. It’s fascinating to watch them circle one another, interested in everything around them but each other.
Chris Edwards seamlessly steps into a number of roles which include some nefarious characters that haunt the production, but his main role is that of the mysterious narrator. Edwards pops up and lurks out of the shadows, especially when the production is about to take a dark turn. Edwards steps into each of these roles with ease infusing foreboding vocals and haunting reprises.
Dirik also aptly depicts tormented Mrs. Johnstone who is forced to make an impossible choice for the sake of her family and performs the lion’s share of the vocals aside from Edwards. Dirik expresses vulnerability and melancholy in her resonating vibrato without the malice she has exhibited in previous roles.
As for these legendary twins, Michael Mazzone as mischievous Mickey and Zack Fuller as shy and straight laced Eddie connect as carefree kids in a tale that spans decades. Seeming opposites, but share an instant connection like a missing link in impressionable Eddie’s life. The wide eyed gall in Mickey and his charming family seem to fill a void for this lonely and studious child.
Bold and fun loving, Lauren Casey shines as lovestruck Linda for Mickey. Casey’s gleaming smile and gentle demeanor with a bit of a tough streak is charismatic and charming. She also shows a great rapport with the rest of the cast and they run around the neighborhood on adventures.
Zach Fuller Michael Mazzone and Lauren Casey in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG
Blood Brothers covers a great deal of topics including social class inequality, recession, family, and heartbreak while tackling the sins that could come back to haunt you. The show spans decades and it at times seems long, but has its share of bright and moving moments of two families tied together by fate.
Michael Mazzone and cast in Theater Uncorked ‘Blood Brothers’ Photo credit Gary NG
Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts. Click here for more information and for tickets.
In a musical world of grunge and dragons, Lizard Boy stands alone.
Unforeseen circumstances bring together a quirky trio of characters and onstage multi-instrumentalists when Keiji Ishiguri as introverted, anxious and well meaning Trevor leaves his apartment hideaway once a year. Longing for real connection and a possible love interest in Peter Dimaggio as goofy, friendly and squeamish Cary, Trevor reluctantly practices a little faith over faith. However, so much can happen just stepping out your front door.
From left: Chelsie Nectow, Keiji Ishiguri, Peter DiMaggio Photo by Benjamin Rose Photography
Blending dark humor, fantasy, mythology, sci-fi, action and horror with harmonious musical flair, Lizard Boy takes an earnest look at isolation, trauma, and loneliness. It is going to take a lot more than a simple song or even an apocalyptic event to unleash Trevor’s true reasons for staying home or the inexplicable sting in Trevor’s back.
With Book and Lyrics by Justin Huertas, rhythmically directed by Lyndsay Allyn Cox and creatively Musically Directed by Violet Wang, SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22. With Playwright Justin Huertas in the audience during the performance I attended, this edgy production contains adult content and humor and runs 100 minutes with no intermission. Click here for more information and for tickets.
Illustrated with comic book-inspired chalk drawings, colorful graffiti and band posters scattering the walls, Set Designer Qingan Zhang’s intriguing set provides a hint of the 90s though it takes place in the present day. Sean Doyle’s mighty sound design can be overpowering at times, but there is a zing to the show’s perpetual harmonious rhythms (including the banging of a guitar case, carefully timed lightning and instruments that double as weapons) in a world where dragons really do exist. After all, this Lizard Boy musical has scales…get it? Clever.
From left: Keiji Ishiguri, Peter DiMaggio, Chelsie Nectow Photo by Benjamin Rose Photography
Costume designer Zoë Sundra delivers a daring rock vibe which includes spandex, eye liner, furs, racer pants, flannels, graphic tees, and chained red booties. With a blend of satirical and upbeat indie-rock tunes in unconventional rhythms using various instruments including a kazoo and the ukulele, Lizard Boy’s soundtrack is delivered with zeal and humor as this skilled trio must contend with each other for the sake of their world.
From left: Chelsie Nectow, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography
A portion of the tunes are delivered in a stream of consciousness fashion infused with pop culture references such as Ishiguri’s Trevor’s title track. Tambourine-tinged The Whoa Song boasts catchy and powerful harmonies you may be humming after the show is over. Clelsie Nectow depicts manipulative, relentless and occasionally unhinged Siren with raw prowess while delivering seething vocal rhythms faintly resembling Evanescence’s Amy Lee for A Terrible Ride. Peter DiMaggio and Keiji Ishiguri showcase their improvisation skills and vulnerability with Cary’s Song and Things I Worry About.
From left: Peter DiMaggio, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography
Though the plot can veer a bit too outlandishly at times, Lizard Boy is a wild musical journey with action, comic book violence, a resounding message and a few revelations in a world where true superpowers can come from the unexpected of places.
SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22. Click here for more information and for tickets.
Its cadence echoes into a peerless and infectious glee that troubled Khonen, depicted by Andrey Berkovskiy, finds irresistible. It does not take long to see that Khonen will go to the ends of the earth and beyond seeking that voice chiming in its ethereal splendor.
Unique, haunting, funny, charming, spiritual, and exceptionally creative, The Dybbuk: Between two worlds remains a mesmerizing must-see theatrical experience.
I never use the term ‘must see’ lightly, but it nonetheless fits this particular production in all of its unexpected and immersive twists and turns set exclusively inside a Jewish synagogue. Brimming with unconventional creativity and cultural tradition, The Dybbuk is a spectacular journey and a dark tale steeped in meticulously timed and atmospheric special effects as it unveils a thrilling and enchanting piece of ancient Jewish folklore.
Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova
Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues the Elliot Norton Award-winning The Dybbuk: Between two Worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16. This semi-interactive and well timed theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.
The Dybbuk: Between two worlds tackles love, marriage, faith, life, death, grief and the in between as well as the significance of a synagogue that still stands after all the turmoil it has endured. As the play observes describing a synagogue, ‘The walls are damp with tears.’ A synagogue can be the center of sorrow or great joy and community, but above all, it is a sanctuary of hope when all seems lost.
Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova
What makes this production so exciting, beautiful and so downright impressive is this complex and powerful classic tale is wrapped in a riveting experience. The Dybbuk is a grand and exhilarating journey, but it also depicts sweet moments of simplicity from Andrey Berkovskiy as restless Khonen and Yana Gladkikh as innocent Leah with finesse. Both characters shine in their perspective roles but Berkovskiy’s wondrous curiosity, playfulness, mischievousness, passion and anguish boast a spellbinding charisma. While his good intentions radiate in the smallest of gestures, Berkovskiy’s wide eyed wonder of this world and his boldness are often at odds as he agonizes over his fate. In long braids and ribbons, Gladkikh as sweet Leah demonstrates a beautiful vulnerability and conflict in her delicate and porcelain like features infused with a soothing and melodious voice that she also uses to sing. Gladkikh’s Leah is delightful, innocent, romantic, and naïve sharing with Berkovskiy a captivating, giddy, and endearing playfulness in a situation that is eternally complicated.
Deb Martin Photo by Irina-Danilova
This enthusiastic cast blends intensity and humor and although this is an ancient tale, Golyak strings together elements of the traditional and the contemporary. Wearing a string of pearls and a black dress, Deb Martin commands the stage as Leah’s grandmother with a rigid frame yet bold and heightened awareness. Shrewd and protective with a dry sense of humor, Martin as Frade is not to be underestimated while Robert Walsh brings broad cynicism and dark humor to stubborn Sender.
Robert Walsh in ‘The Dybbuk’ Photo by Irina-Danilova
The Dybbuk’s immersive and unpredictable setting is fueled by ingenious creativity in Jeff Adelberg’s luminous lighting design in shadows and glowing stars seamlessly paired with Fedor Zhuravlev’s robust and occasionally manually created sound that animates this dark, mystical and ancient world filled with rustic crystal chandeliers and scaffolding that sit beneath a vast skylight by scenic designer Igor Golyak with Sasha Kuznetsova. The Dybbuk’s emotive light and sound deliver an ominous quality, humor, and awe-inspiring surprise nothing less than magical. The transformation of a simple piece of plastic is just a sample of the inventive flair that helps to piece together this often poetic tale.
Anna Furman, Olga Aranova, and Yana Gladkikh Photo by Irina-Danilova
Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16. Click here for more information and for tickets.
