Imagining your first day in a new place can bring excitement, anxiousness and dread.
However, Kufre is optimistic his first day will be wonderful as he arrives from Nigeria to his new home in Inwood, New Jersey. He daydreams about all the friends he will make and how much everyone will like him when he starts at a Harlem Youth Center in Harlem, New York. However, things do not turn out quite like he imagines.
Insightfully directed by John Adekoje, Boston Arts Academy with Wheelock Family Theatre continues the world premiere of Mfoniso Udofia‘s Kufre and Quay, the fifth production in the Ufot’s nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Boston Arts Academy in Boston, Massachusetts through Saturday. July 26. This bilingual production runs approximately two hours with one intermission and boasts open captions that come in handy during the performance. Click here for more information and for tickets.
Levi Mngomezulu in Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
Having seen Ufot’s second production The Groveand the fourth productionHer Portmanteau, it was wonderful to see the progression in the Ufot Family after watching things from Iniabasi’s perspective in Her Portmanteau and seeing things through her son’s eyes in this production. However, you can witness and enjoy this production without watching the others.
Lighting designer Karen Perlow with Projection designer Justin Lahue innovatively lay out in multiple strips that elegantly reveal black and white photos of Harlem to framed family photos to the solar system to subtle streams to the green landscape of Nigeria. Cliff Notez’s rich and catchy sound also contributes to the transformative quality and cultural aesthetic of this production in daydreams and reality.
The cast of Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
It’s the hottest day of the year on Sunday, July 21, 2018 and Levi Mngomezulu as 12 year-old Kufre, the son of Iniabasi Ekpeyong and grandson of Abasiama Ufot, is adorable right from the start. Bright eyed and charming, Mngomezulu as Kufre doesn’t realize the kind of impression he will make on the other kids and along with Ayannah Joseph as Aissatou, they have their own ideas about this new boy from Nigeria. Until Kufre meets Ngolela Kamanampata as warm and theatre loving 13 year-old Laquasha Price or ‘Quay’ and under the guidance of Jalyse Ware as counselor Miss Ey Yo Miss, Kufre has encountered more challenges than he ever expected.
Jackie Davis, Levi Mngomezulu, and Ramona Lisa Alexander in Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
Jalyse Ware beautifully portrays compassionate counselor Miss Ey Yo Miss, who helps to run Harlem’s The Zone Youth Center. As this production does, Miss Ey Yo Miss uses theatre though a talent show to establish connection and navigates this youth group with clever finesse. Composed of Zay Williams, Selah Thande, Jedrian Latimore, Ezra Schwartz-Bart, Londyn Lacy, Shai-Anne Neufville, Ja’Mon Johnson and Ayannah Joseph, the group shares a real rapport with each other as individuals and as a collective as they speak over one another and make humorous comments as they embark on new activities.
Ngolela Kamanampata and Levi Mngomezulu (in foreground) in Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
Kamanampata is delightful as Quay as she attempts to bring Mngomezulu as Kufre out of his shell, especially demonstrated in an imaginative theatre activity that Kufre is hesitant to learn.
Ramona Lisa Alexander as Iniabasi Ekpeyong and Jackie Davis as Abasiama Ufot both deliver powerful performances as they discover more about Kufre and his experiences at the Zone.
Kufre and Quay is a moving coming of age tale that gradually increases in intensity, especially in the second act. It tackles language, misunderstandings, cultural disconnect, and how each generation affects another while discovering new ways to relate and grow together.
Levi Mngomezulu and Ngolela Kamanampata in Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
Boston Arts Academy with Wheelock Family Theatre continues the world premiere of Mfoniso Udofia‘s Kufre and Quay, the fifth production in the Ufot’s nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Boston Arts Academy in Boston, Massachusetts through Saturday. July 26. Click here for more information and for tickets.
Leave it to two strong leads to make trash an intriguing subject, especially when it is linked to tales of the heart.
Keenly directed by Rebecca Bradshaw, Gloucester Stage Company continues the regional premiere of Lindsay Joelle’s dramedy, The Garbologists live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Sunday, July 26. This two-hander production runs 92 minutes with no intermission and contains adult humor while offering some eye opening facts and a look into the physical demands working as a sanitation worker. Click here for more information and tickets.
Fueled by Julian Crocamo’s quirky and arresting sound design which clicks and integrates car horns, crackling glass, and Snow White’s ‘Heigh ho’ expression remixed to a thumping beat, The Garbologists delves into the lives of two seemingly different strangers placed together on ‘junior jack’ Marlowe’s first day of work.
Wearing a New York Rangers winter hat, veteran sanitation worker Danny, depicted with a thick New York accent and seemingly tough and sarcastic demeanor by Paul Melendy, is tasked with the job of training Thomika Marie Bridwell as newbie Marlowe. Outspoken, playful, street smart, and not above bending the rules, Danny is frank, casual and forward while serious and intellectual Marlowe is quiet and reluctant to share details into why she turned to this line of work. As they discover more about each other, their complicated and tumultuous relationship veers from ‘teach me’ to ‘don’t speak to me’ through small victories, misunderstandings, and growing tension as their time together progresses. They may also have something more to learn from each other than they realize.
A detour, one way and parking sign, bike lane, crosswalk, a Starbucks sign, fire hydrant and a stop light spread out on marked black pavement are included in Kristin Loeffler’s authentic thoroughfare setting while garbage bags are strewn to the side. Official high visibility and reflective jackets and orange gloves are just portion of Jen Greeke’s costuming which includes formal and work attire which offers glimpses into each individual’s personality. Taking place during a Manhattan winter, Anshuman Bhatia’s glaring and flashing lighting evokes a sense of solitude and loneliness in the early morning still cold air as Danny and Marlowe navigate in a steel garbage truck to their next stop.
Melendy and Bridwell share a fascinating camaraderie and sharp comedic timing which makes watching these opposites react to each other thoroughly enjoyable. Their aside looks, Danny’s prankster nature, and Marlowe’s intolerance for idle chatter make silences deafening and their banter and actions unpredictable. They are also two people trying to overcome their current situations in their search for happiness. Dealing with grief and family dysfunction, The Garbologists explores two people trying to overcome their current situations in search for happiness. The production contains its share of moving and poignant moments which broadens this pair’s depth and vulnerability as they deal with complex challenges in and out of work.
In this delicate and challenging time for New York sanitation workers, The Garbologists opens a world into a day in the life of a civil servant with talk of taxes, tips, what actually happens to garbage when you throw something away and just how dangerous and crucial in what can be an underappreciated line of work. At one point, Melendy’s Danny reflects, “There is a lot you can learn about a person by what they throw away” which is real food for thought.
Gloucester Stage Company continues the regional premiere of Lindsay Joelle’s dramedy, The Garbologists live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Sunday, July 26. Click here for more information and tickets.
Time is of the essence in Back to the Future the Musical.
Innovatively directed by John Rando with Chris Bailey’s energetic choreography and dynamic Music Direction by Matt Doebler, Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20. This zippy production runs 2 hours and 40 minutes with one intermission and is currently on national tour. Some subtle themes and dialogue are toned down to make this musical more family friendly. Click here for more information on their next stop and for tickets.
David Josefberg in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
No one will ever be Michael J. Fox or Christopher Lloyd in these particular roles. Moreover, I am a firm believer the original film is perfectly cast and a reboot or any other adaptation will never quite live up to the original 1985 hit film. However, I do think that there are a lot of thrills and fun to be had in some of the extensions from the film such as Back to the Future: The Ride and Back the Future: The Musical which boasts some spectacular and immersive special effects and quick pacing to make this production more like a theatrical thrill ride.
To think Back to the Future was conceived when producer Bob Gale discovered his father’s high school yearbook and wondered if they would have been friends if he and his father attended high school together. Back to the Futurethe Musical not only boasts technological and scientific wizardry, but is also a family tale. Marty, in a likable portrayal infused with some of Fox’s notable inflections by Lucas Hallauer, knows his family is not on the fast track to success as Luke Antony Neville as uncompromising Principal Strickland insultingly blares at Marty into his Matterhorn in Got No Future.
Luke Antony Neville and Lucas Hallauer in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
Marty wishes his family were on a different path as Marty’s family is swiftly introduced in Hello-Is Anybody Home? Hallauer explains, ‘My dad would come in third in a two man race.’ Introverted, anxious and painfully shy, Mike Bindeman captures the awkwardness of Marty’s father George who takes what he gets while trying to avoid confrontations at all costs. Zan Berube delivers strong vocals and embodies Marty’s mother Lorraine with ease.
With a memorable laugh, wild facial expressions and threatening presence, Nathaniel Hackmann is well cast as obnoxious and calculating Biff as if the film’s Biff, depicted by Thomas F. Wilson, went back in time for this role.
Nathaniel Hackman, Lucas Hallauer, Mike Bindeman and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
Some of the cast leans on some of the original cast’s inflections, but David Josefsberg as eccentric Doc Brown, makes the character his own and shares a warm rapport with Lucas Hallauer as Marty reminiscent of the hit film.
David Josefberg and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
Fast talking and excitable, Josefsberg exudes Doc’s wise and unwavering optimism while dreaming of an immense future in the motivational ballad, For the Dreamers as well as in lighter moments in a bit of self aware humor for It Works and the synthetic sounding 21st Century as the stage lights in sparkling, flashy and futuristic costumes when it is not leaning into scientific white lab coats.
This production would have worked just as effectively as a play and does not necessarily need to be a musical, but the cast’s powerful vocals, especially by Cartreze Tucker who is a highlight as optimistic visionary Gordie Wilson in an extended role, work. Tucker boasts sensational vocals as Gordy Wilson for the inspirational number, Start Somewhere.
Cartreze Tucker and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
Back to the Future The Musical also makes some clever choices that capture the spirit of the film while building on some of the film’s themes such as Doc Brown’s inspirational For the Dreamers and the nostalgic harmony in Cake which is a welcome trip into 50s nostalgia and ironic humor while offering mellifluous harmony. Other songs such as the cringe My Myopia and Pretty Baby are better left as brief scenes than full songs. Something about that Boy brings together multiple scenes featuring Berube, Hackmann, and the cast. Fifties classics such as Johnny B. Goode and Earth Angel recreate classic scenes from the film as well as selections from the film’s iconic soundtrack by Huey Lewis and the News.
Lucas Hallauer and Zan Berube in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
The multicolored costumes capture two iconic eras as well as ensembles right out of the 1985 film. High tops, slouch socks, jean jackets, diner attire, frilly retro patterned dresses, Marty’s orange vest, and Lorraine’s classic pink prom dress are just a sample of this array of distinctive retro apparel. The fifties and the eighties are defined by certain characteristics, but it does not overpower the film’s universal themes.
Filled with retro pieces and realistic projections, the rolling and rotating sets are impressively detailed from an elaborate tree bursting with fall leaves, Lorraine’s bedroom similar to the hit film and Doc Brown’s house complete with portraits of his legendary mentors and inventors under twinkling stars.
Lucas Hallauer and the DeLorean in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
The story is good, but the electrifying special effects are worth the price of the ticket as the real star, the DeLorean, roars to life. Chris Fisher’s impressive illusion design, Tim Lutkin and Hugh Vanstone’s intricate and futuristic lighting, Finn Ross’s realistic video design, and Gareth Owen’s rumbling sound design unite to create an elaborate time jumping experience that immerses the audience into this compelling journey.
Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20. The production is also currently on national tour. Click here for more information on their next stop and for tickets.
There’s no place like home or Oz, especially when it comes to North Shore Music Theatre’s immersive production of The Wizard of Oz.
With Matthew Stern’s splendid music direction and featuring rarely heard full versions of The Wizard of Oz’s classic numbers including Over the Rainbowand If I Only Had a Brain, TheWizard of Oz focuses on a sweet Kansas farm girl and her trusty dog who find themselves in a strange land with no idea how to get home and a witch suddenly in their wake.
Creatively directed by Robert W. Schneider with Brianna Fallon’s lively choreography and Alex Berg’s robust sound design, North Shore Music Theatre continues beloved musical, The Wizard of Oz live and in person through Sunday, July 20 at North Shore Music Theatre in Beverly, Massachusetts. The action is not limited to the stage and runs two hours and twenty minutes including an intermission.
Not only is this theatre in the round experience family friendly, but tailored to be universally enjoyed by all ages with plenty of refreshing surprises and originality as if you are seeing this classic again for the first time. Click here for more information and for tickets.
Opening with Pamela Hersch’s encompassing and picturesque projections which unveil a unique and moving message before this classic tale begins to unfold, it was easy to see that North Shore Music Theatre’s The Wizard of Oz is going to be one for the ages. In braids and a gingham sepia dress, Bridget Delaney as Dorothy vocally glides through the full version of Harold Arlen’sOver the Rainbow and her luminous performance suggests a certain Judy Garland appeal. A beautiful soprano, Delaney embodies Dorothy with unrestrained curiosity and a determined spirit, yet careful not to let her impulsiveness get the better of her. Her endearing interactions with her little dog Toto, portrayed with impressive poise by Bug Minnie, make them a delightful pair.
Featuring a couple of songs and a few characters not included in the 1939 film, North Shore Music Theatre keeps this classic musical with a lion’s share of freshness and surprises. For example, though the Jitterbug number is not included in the final 1939 film, it is an inviting and catchy jazz-inspired addition as black, yellow and white striped creatures invade the stage with stealthy and humorous intensity.
I cannot say enough about costumer Travis M. Grant with wig and hair designer Rachel Padula-Shuflet creating an incredible array of vintage and vibrant ensembles crucial to artfully transform each scene and Fallon’s inventive chorography, especially evident in its exhilarating and surreal tornado sequence. Poppies swirl elegantly, trees chat animatedly, and snow materializes with a graceful flourish. Jack Mehler’s dynamic lighting includes the vivid yellow brick road thrillingly or hauntingly enhances Ryan M. Howell’s meticulously executed and imaginative set.
The Wizard of Oz’s large and captivating cast is an exuberant and enthusiastic bunch that elevates each memorable scene and may appear from anywhere around the venue. Astute comic quips and improvisational moments including clever pop culture references give this classic an updated feel without taking away from the musical’s poignancy and heartfelt timelessness. In a sparkling ball gown in various shades of pink and surrounded by adorable munchkins, Kerry Conte’s bright vocals and warm and nurturing demeanor veer away from the egotistical, vivacious and chipper voiced diva established in other iterations of Glinda. This epic musical also boasts remarkable dual roles that will not be revealed here, but are surprisingly brilliant casting choices for this classic tale.
Decked out in a amazing black gown peppered with glimmering red sparkle, Michele Ragusa’s unpredictable Wicked Witch delivers a mischievous cackle and is depicted occasionally a bit more humorously, putting a lighter spin on the character. Ragusa clearly relishes the role in an energetic and intimidating performance. David Coffee amiably captures the mysterious, well meaning, and avid storytelling Professor Marvel.
Ethan Carlson is an expert tumbler and his pliable body and warmth make him a wonderful Scarecrow. Sean Bell as Tinman and E. Mani Cadet as Cowardly Lion both deliver endearing and humorous performances and this trio truly make the characters their own. Cadet’s spirited demeanor and quick wit make the number, If I Were King of the Forest a lot of fun and baritone Bell brings charismatic charm in a tender rendition of If I Only Had a Heart. With Delaney as Dorothy, this quintet develop a lasting and compelling camaraderie that ring especially true during the numbers We’re Off to See the Wizard, Merry Old Land of Oz, and huddled together for Lions and Tigers and Bears.
Simply put, it is one of the best staged versions I have ever seen and was moved several times during the production. North Shore Music Theatre’s The Wizard of Oz is a magical, spirited and unforgettable musical journey that still profoundly resonates to everyone young at heart.
Dash down this yellow brick road and immerse yourself in North Shore Music Theatre’s production of The Wizard of Oz which continues through Sunday, July 20 live and in person at North Shore Music Theatre in Beverly, Massachusetts. Click here for more information and for tickets.
Eddie Noel Rodriguez and the cast of Reagle Music Theatre of Greater Boston’s ‘Evita’
Evita, with music, book and lyrics by award-winning collaborators Andrew Lloyd Webber and Tim Rice, is a rock opera set in Argentina from 1934-1952. Part of what makes Evita such a captivating work is its vibrant pacing and memorable soundtrack. Based on the life of Maria Eva Perón, Evita’s life moves much like the soundtrack’s quick rhythms as it journeys through song from night club to city street to majestic balcony with barely a pause for applause. Cameron McEachearn’s grand set divulges Eva’s life in its sheer magnitude in its sterling balcony with brick bursting out of its cracked walls.
This version of Evita includes songs not featured in the 1996 film of the same name. The Art of the Possible, a cryptic number not in the film and featuring a group of officers, is particularly engaging. Eva, in a powerful performance by Isabella Bria Lopez, is a young woman taking Argentina by storm and sees opportunity in Juan Perón, depicted with regal like mindedness by Ryan Mardesich.
Eddie Noel Rodríguez as Che; Isabella Bria Lopez as Eva Perón; and the Cast of Evita
Lopez exudes stealthy charm in a knowing smile when she first appears as a teenager. However, behind her feigned naiveté, Eva is shrewdly on the move as soon as her feet hit the ground for the catchy and effervescent number, Buenos Aires. Lopez takes Eva from a vivacious teenager onward and excels at her developing influence and maturity through the years.
She hits her vivacious stride with Buenos Aires which delves into her instant love for the city and keeps up the brisk pace for this demanding role throughout, though some notes at times can sound a bit strident. She delivers an impressive version of Evita’s signature number, Don’t Cry for Me Argentina, glowing in a pristine glittering gown, one of Ellie De Lucia’s 400 vintage costumes in a multitude of dress patterns from casual to elegant to military garb. The production’s visceral ensemble ranges from heartwarming to heartbreaking as they collectively portray the elite to peasants to Eva’s fascinating family.
Eddie Noel Rodríguez as Che; Isabella Bria Lopez as Eva Perón; Ricardo “Ricky” Holguin_ as Magaldi
No one succeeds without opposition. Che, depicted with charisma and sardonic wit by Eddie Noel Rodriguez, resonates as part keen observer and part narrator while representing not only the poor working class, but perhaps the truth in his personable delivery. In a vest, gray slacks and a scally cap, he occasionally engages the crowd, but his primary focus is on Evita. Tempering each scenario with satirical flair, Rodriguez captures the essence of Che and makes the role uniquely his own as he travels on a risky path for speaking up. From his mocking observations in Oh What a Circus as well as And the Money Kept Rolling In, his humorous duet in Good Night and Thank You with Lopez, and the reflective ballad, High Flying Adored, you’ll be glad to be taking this musical journey with Rodriguez.
Ricardo “Ricky” Holguin and cast in Reagle Music Theatre’s ‘Evita’
Boasting rich and charming vocals for Magaldi’s signature song, On This Night of a Thousand Stars, Ricardo “Ricky” Holguin blends sensitivity, melodrama, and humor to bombastic night club singer, Magaldi and was a hit with the audience. Other notable numbers include a tender rendition of Another Suitcase in another Hall by Rebekah Rae Robles and the stirring harmony of Santa Evita.
Rebekah Rae Robles in Reagle Music Theatre of Greater Boston’s ‘Evita’
Engulfing the audience from the moment of Eva Perón’s death from the very beginning, Reagle Music Theatre’s Evita delivers a darker and more distinctive version of Evita.Baron Pugh’s alarming red and yellow lighting intensifies the fanaticism, dark humor and the power struggle not only between Eva and Juan tempering Eva’s supercilious ambition to run things behind the scenes, but among the masses and in the hypnotic cries of ‘Perón!’ Previous versions portray Eva and Juan as likeminded, but share a genuine love. Here they seem more like fellow conspirators and Lopez’s You Must Love Me becomes less of a realization or statement, but a desperate plea.
Isabella Bria Lopez; Ryan Mardesich and the Cast of Evita
Reagle Music Theatre of Greater Boston’s Evita offers a unique and memorable perspective that sets it apart from other versions in its resonating and cautionary storytelling while leaving room to get lost in the music and motivations of this intriguing, enigmatic and controversial figure yearning for the spotlight.
Reagle Music Theatre of Greater Boston proudly presents Andrew Lloyd Webber’s Tony award-winning musical, Evita through Sunday, July 20 at The Robinson Theatre in Waltham, Massachusetts. Click here for more information and for tickets.
Mississippi blues singer-songwriter, guitarist and teacher has punk roots?
Ryan Lee Crosby has navigated quite a journey into the music world after setting his sights on his first guitar at three years old. I had the honor of interviewing Mississippi blues singer-songwriter, guitarist and teacher Ryan Lee Crosby about a new album, current international tour and what ultimately draws him to music. Click here to learn more about Blues musician Ryan Lee Crosby, hear his music and where he will perform next.
Ryan Lee Crosby Photo by Lisette Rooney
Sleepless Critic: I understand you were involved in punk at one point?
Ryan Lee Crosby: Yeah, when I first started performing publicly, I was involved in a post punk band called Cancer to the Stars. Labels are a tricky thing, but I suppose you could say that it was a post punk band.
SC: Ok, and what kind of sound did you have?
RLC: Well, we played together just shy of four years and our sound changed quite a bit over time. When we initially began about 25 years ago, we were drawing from electronic music like drum, bass and early ambient music from The Imbeciles, Brian Eno, Joy Division and Gang of Four. It was a rock trio, but we were interested in evoking electronic sounds with guitar, bass, drums and vocals.
Our sound became louder, more aggressive and noisier. By the time we ended, it was more like *sigh* a dark sounding rock band. It’s hard to describe. I think we had a lot of unusual influences such as Hip hop and trip hop. It was electronic and Nirvana was an influence too, so it was a lot of different things.
SC: I ask you that because I reviewed a documentary of a hard core punk band at the NYC Indie Film Festival a few years ago and the punk documentary was paired with a jazz documentary. You can make your own rules with jazz and punk, so perhaps that is how they related.
RLC: Yeah, I feel that there is an overlap between punk and blues too and it doesn’t surprise me to hear that punk and jazz can be considered in the same context. Where things become really interesting is in all those styles of music, I think it is also embedded in blues and punk.
I’m not a jazz musician, but I own some jazz records and within all of those, they are musical expressions of a yearning for freedom and a longing to transcend boundaries, make your own rules and your own community. Those are the threads that make them feel resonant.
I think of how brisk the momentum might be in 1940s bebop holding it alongside the hardcore punk of a band like Bad Brains. They may sound like completely different types of music to the casual listener, but I think there’s a lot we can get when we let go of what something looks like or where it’s from and feel into the underlying quality of the work. So, I think the rhythm and a sense of the momentum and drive in the rhythm a lot of times have a lot to do with that.
Ryan Lee Crosby with guitar Photo by Lisette Rooney
SC: I agree and great insight into how all these genres can tie together. You are a blues musician now, but how did you discover the guitar and how did you evolve into the artist you are now?
RLC: My first memory of the guitar is the one my mom had when I was three years old. It was kept in a separate room and I was not supposed to go in there. I remember going into this room and seeing the guitar under a light bulb so there was this light shining down on it. I didn’t start to play until much later. My uncle and both my brothers played guitar so I came to it a little bit late. My mom didn’t play, but I used that guitar on my first record and it disappeared somewhere in my early 20s. I don’t know what happened to it. Guitar was kind of a means of relieving pressure and something that helped me relax into myself.
I am a guitarist, music teacher and have an English degree. I never used my English degree, but it was something I enjoyed studying in school. I went to Northeastern University because I was interested in their Music Business program, but after about a year of being in the program, I realized that it wasn’t really for me. My parents didn’t want me to drop out of college and I didn’t have the heart to disappoint them so I stayed in school and got an English degree.
SC: I understand you have an avant guard blues style of playing the guitar.
RLC: Well, I’m very interested in regional traditions and Mississippi in particular. I spent time with a number of older practitioners down there, especially my primary mentor, Jimmy “Duck” Holmes. I relate to playing the blues in that way. That is oral tradition passed from person to person and my relationship to the blues is being as traditionally oriented as I can be. I want to honor the way as I understand music is taught and passed on. I also have these other genres and styles in my background and while I am organized around traditional Mississippi Blues, it all goes through the filter of my own life experience which includes a lot of other contexts. It’s traditional to a degree, but there are a lot of entrances that come into it so I end up doing things like playing an electric 12 string guitar or sometimes using an ambient slide guitar and other things that you wouldn’t normally hear in traditional Mississippi blues.
Ryan Lee Crosby Photo by Lisette Roone
SC: You are in the middle of a big tour, but you are a Boston guitarist and singer-songwriter.
RLC: I lived in Boston for just shy of 25 years and that is home to me. A lot of my formative experiences all happened living in or around the city. I feel like a Bostonian at heart, but I have been living in Rhode Island for the last three years.
I recently played at Satellite at Remnant Brewing in Cambridge, MA and it was really lovely. A couple of shows in Boston this year, but for a lot of my life, I would play around town pretty frequently at places like TT the Bears, the Middle East, Atwoods, The Lizard Lounge and Passim. For the past few years, rather than trying to play in town every month, I’ll try to do two really intentional performances a year.
I have two or three weeks worth of tour dates that have not been announced yet, but this fall, I plan to do a good loop around New England, New York, NYC and then go down to Mississippi and do a loop in the South.
SC: What makes the concerts in the South different than the ones in Boston? If the blues is influenced in Mississippi, it must be a different feeling there.
RLC: Oh yeah, absolutely because the cultures are so different. Blues traditions were influenced by and created in Mississippi. If I go to play the Bentonia Blues Festival, that’s the style of music I love in the town it was created. If I’m playing that style in Blues in Boston, Rhode Island, Europe and elsewhere in the world, sometimes I’ll have to explain this kind of music. If I’m playing where the music originated, I don’t have to explain anything. If I do have to explain anything, I have to explain why I’m there.
In the South, audiences respond to an outgoingness that is not second nature to me as a New Englander. The mood of the exchanges is just different in lots of ways. Performing in Europe feels more like performing in New England. Europe has cultural differences too, but I feel more cultural differences in the South than in the Netherlands or in Germany. Going to the source where the music originates from is a powerful feeling.
I grew up in Northern Virginia until I was 11 and then moved to New England. Northern Virginia is just barely in the South and I don’t know how to connect what draws me to Mississippi, but it draws me somehow.
Ryan Lee Crosby Live
SC: Are you working on new music?
RLC: My new record, At the Bluefront, is out August 20 and we’ve been putting singles out from that album once a month or so. I believe there are three songs that they can listen to either at my band camp page, my website or through streaming services and I am working on new material as well.
SC: Do you have a favorite track that you really want people to listen to?
RLC: The first song is Catfish Blues featuring Jimmy “Duck” Holmes who sings and plays on the track which is a real honor. He’s on half the album. People can hear another song called Mistreating People which is a pretty traditional Bentonia Blues style as well.
SC: It’s a tough industry to be a musician. What is your biggest joy in what you do?
RLC: What keeps me going is a heartfelt desire and a longing that comes from what feels like right from the center of my being to feel connected. Music is an opportunity for us to connect to ourselves, connect to beauty, to meaning, to purpose and can give us a path and connect us to each other in community and in collaboration and to a sense of something bigger than ourselves. That’s what I’ve always wanted my life to be about and I feel very fortunate that I’ve been able to live that life and to keep on going.
SC: What I love the most about music is after a song is created, it doesn’t change. You can revisit it and you can change as you get older, but the music stays the same.
RLC: When you produce a recording or document, it can live on. It’s a beautiful thing.
Ryan Lee Crosby is currently on tour. Click here to learn more about Blues musician Ryan Lee Crosby, hear his music and where he will next take the stage.
This sad little flower shop on Skid Rowe holds a secret.
From John Stone’s playfully ticking sound design to Erik D. Diaz’s fascinating ‘blooming’ set,’ Greater Boston Stage Company makes two things abundantly clear: Don’t feed the plants and everyone’s life should be narrated by a streetwise Greek chorus.
Directed with comic edge by Ilana Ransom Toeplitz and Chris Shin’s zany chorography, Greater Boston Stage Company continues horror comedy rock sci-fi musical, Little Shop of Horrors live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, June 29. This production runs approximately two hours with one intermission. Click here for more information and tickets.
Kayla Shimizu, Stephen Markarian and Bryan Miner in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios
Celebrating its 65th anniversary this year, Little Shop of Horrors embarked on quite a journey to become the cult classic it is today. Originally based on Jack Cullier’s 1932 story GreenThoughts, Little Shop of Horrors was originally a 1960 B movie featuring a then lesser known Jack Nicholson before it was developed into a 1982 stage musical and then a 1986 musical film adaptation featuring Rick Moranis, Bill Murray and John Candy. The musical also introduced sadistic dentist Orin, portrayed by Steve Martin in the film.
It’s a seemingly simple tale about young love on Skid Rowe in a fledgling flower shop that houses a curious and unique breed of plant. Some critics have compared it to the daring tone of the cult classic, ‘Rocky Horror Picture Show,’ but Little Shop of Horrors is usually delivered with a more subtle brand of campy charm.
This wild tale is headlined by the sweet and sassy sounds of female Greek chorus trio Chiffon, Crystal, and Ronnette who pop up in the most unexpected places during the production. With few exceptions, the music, with lyrics by award-winning composer Alan Menken, have a catchy, rock n’ roll vibe including tunes that pay tribute to 60s girl groups.
Becky Bass, Corlandt Barrett and Pearl Scott in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios
From casual street garments to flashy glam by Chelsea Kerl, these three dazzling vocalists certainly know how to make an entrance. Cortlandt Barrett as Chiffon, Becky Bass as Crystal and Pearl Scott as Ronnette are a tough, humorous, and street-smart trio who unveil the real ins and outs of Skid Rowe through harmony, kicking it off with the catchy signature track, Little Shop of Horrors and especially showing off their mellifluous vocals for Skid Rowe (Downtown).
The set of Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios
With haunting and ominous illumination by Corey Whittemore, Erik D. Diaz combines creepy and dilapidated featuring vintage brick storefronts, beaten up garbage cans, a weathered Mushnik Florist sign, and an eerie projection screen splashed with blood at center stage. What Diaz does with the set is vivid, remarkable and transformative right down to its carefully timed shop bell. Set in the 1960s, Little Shop of Horrors is packed with 50s and 60s references such as I Love Lucy, Howdy Doody, Donna Reed, and Betty Crocker.
The cast of Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios
The show has a gift for funny and ironic contrasts with a cast that has increasingly complicated motives. Wearing black-rimmed glasses, a baseball cap and a sweater vest, William David Kay stepped in for Stephen Markarian offering an earnest portrayal as Seymour, a sympathetic yet conflicted botanist. Anxious and occasionally clumsy, Kay emphasizes Seymour’s inherent, inescapable loneliness as he struggles to remain forthright and honest as the show progresses. He shines in the darkly tender number Grow for Me and in his awkward adoration for trusting, insecure and frequently unlucky Audrey, portrayed sweetly with a light accent and plucky charm by Kayla Shimizu. In a particularly comical moment, Seymour warmly hopes to take Audrey to “a fancy dinner at Howard Johnson’s.”
Photo of Kayla Shimizu, Stephen Markarian* and Bryan Miner* by Nile Scott Studios.
Shimizu’s lovely soprano vocals carry a lullaby or a soulful belt beautifully. She shares her simple, 50s domestic dreams in a funny and tender rendition of Somewhere That’s Green and with Seymour in a powerful rendition of Suddenly Seymour.
Stephen Markarian* Audrey II and Kayla Shimizu Photo by Nile Scott Studios.
Disheveled and desperate in colorful and busily patterned suits, Bryan Miner is wonderful as worn and frustrated flower shop owner, Mr. Mushnik. Tightly wound and barely holding onto hope, Miner’s Mushnik is especially clever with William David Kay as Seymour for the manipulative and comical calypso-infused number, Mushnik and Son. Mushnik may be too smart for his own good.
Audrey II, Stephen Markarian* and Bryan Miner* in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios
I’ve seen a few versions of Little Shop of Horrors and this is the edgiest production I have seen. Jared Troilo works overtime to portray a number of satirical characters that are impressively goofy and fun. Troilo is next level sinister in a no-holds-barred performance as Orin, a belligerent, gyrating, narcissistic biker dentist punctuated by a berating sneer and a glottal “dull” utterance. It occasionally crosses the line from darkly funny to disquieting and overdone.
Becky Bass, Pearl Scott, Cortlandt Barrett and Jared Troilo in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios
However, the real spectacle is Audrey II, the sly and soulful plant that changes everything. Anthony Pires, Jr. boasts versatile and grimly wise vocals as well as a gift for pleading exemplified in the rock number, Feed Me. Inventively manipulated by Sydney Grant, Audrey II is a comical and extraordinary specimen right down to bright colors and shiny, dangling teeth. Audrey II is handled in such an innovative, natural, and humorous way, the results are truly captivating.
Audrey II, Kayla Shimizu and Stephen Markarian in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios
Greater Boston Stage Company’s Little Shop of Horrors continues live and in person through Sunday, June 29 at the Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information, tickets, and for details about the Little Shop of Horrors raffle.
They were classmates with dreams beyond the classroom…and it all changed.
After a successful run in New York, Arlekin Players Theatre continued Tadeusz Slobodzianek’s historical drama, Our Class live and in person at Calderwood Pavilion in Boston, Massachusetts for a limited run through Sunday, June 22. Directly sharply by Igor Golyak and based around true events, this experimental and interactive work is approximately 2 hours and 45 minutes with one intermission and the action is not limited to the stage. While the production is not graphic and bloody, it depicts violence through a mix of narration and dramatization that is remains raw and heartbreaking. Click here for information.
Richard Topol and cast in ‘Our Class’ Photo by Olga Maturana
Spanning from 1926 to 2007, Our Class traces a tumultuous time in history as a group of Polish students, composed of five Jewish and five Catholic students, connect and grow up together through World War II and beyond. While some students end up together, others live to regret ever knowing each other. From the innocence and mischief of childhood including sing-along, playtime, and crushes to turmoil, prejudice and much worse, this group of students make discoveries about each other in collective joy as well as pain and torment in a raw, unflinching, and harrowing account which includes the horrific Jedwabne pogrom massacre in 1941.
Richard Topol and cast Photo by Irina Danilova
Presented in an experimental and documentary-style dramatization of historical events, Our Class delivers some beautiful moments through song, camaraderie and childlike wonder as well as how hate, fanaticism, hypocrisy and corruption set in and how those closest to you can turn on each other. Knowing it is true makes it all the more unsettling and difficult to watch as this account delivers a collection of significant lessons from an enormous and increasingly populated blackboard by chalk drawing designer Andreea Mincic and a steel ladder as part of Jan Pappelbaum’s innovative and unfolding scenic design.
Song of ‘Our Class’ Photo by Irina Dailova
The chalkboard serves multiple purposes as home video, illustration and various forms of cinematography by Projection and Video Designer Eric Dunlap and Igor Golyak who embellish the comic, tense, and heartrending portions of this production. The props and creations developed onstage by these characters veer from heartwarming to harrowing using balloons and various classroom objects to uniquely chronicle the events onstage.
From glaring brightness to starlight to lurking shadows, Jeff Adelberg’s evocative lighting varies from harsh to haunting and moody alongside Ben Williams’ striking sound design.
Kirill Rubtsov, Ryan Czerwonko, Jeremy Beazlie, Gigi Watson in ‘Our Class’ Photo by Pavel Antonov
Wearing numbered T-shirts for a classroom photo, this collaborative cast skillfully takes on dual roles and the same actors cleverly depict their characters growing up through improvisation and vocal dexterity as decades pass. In a particularly humorous ensemble moment which weaves in Or Schraiber’s dynamic choreography, the classmates contemplate whether or not to dance to a playful kazoo-infused medley. It is one of sparingly few pieces of lightheartedness amidst the turmoil.
Chulpan Khamatova Photo by Irina Danilova
It is difficult to single out standout performances when this production hinges so much on complex and seamless collaboration. However, it is amazing that Deb Martin as Zocha delivered a dedicated and stellar performance despite her recent real life injury improvising onstage using a wheelchair. Chulpan Khamatova as Rachelka and Kirill Rubtsov as Rysiek give multilayered performances while Richard Topol as charming and idealistic Abram, Zach Fike Hodges who is especially compelling in dual roles including Jakub, and Gigi Watson as Dora are all unforgettable.
Deborah Martin and Gigi Watson in ‘Our Class’ Photo by Olga Maturana
The production is lengthy and it feels like it at times, though that can also be expected covering over an 80 year time span. These creative and cautionary lessons are as poignant and significant as they are devastating as these characters face bullying, grief, death, impossible choices and shattered dreams in a world gone mad. It may be too chilling and tense for some, but powerful nonetheless.
Full cast of ‘Our Class’ Photo by Olga Maturana
Directly sharply by Igor Golyak and based around true events, Arlekin Players Theatre continued Tadeusz Slobodzianek’s historical drama Our Class live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, June 22. Click here for more information.
This description speaks volumes about legendary playwright Tennessee Williams’ autobiographical and deeply personal play, The Glass Menagerie. De’ Lon Grant serves as narrator, the protagonist Tom and perhaps Williams himself focusing on the dysfunctional Wingfield family, the delicate nature of life, and the hope of what the future holds. This memory play was the first of its kind and Tennessee dedicated it to his sister in real life.
De’Lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry
Exquisitely directed by Doug Lockwood, Gloucester Stage presents their 46th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28. The show runs two hours and 25 minutes including one 10 minute intermission. Click here for more information and for tickets.
Adrienne Krstansky and Liza Giangrande in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry
There is a certain magic in The Glass Menagerie, even as dreams and reality collide. Taking place during the Great Depression in the 1940s, hope and illusion inhabit a cramped apartment in Saint Louis, Missouri even as dusty dining room chairs are uncovered in a dank room. Thin, translucent curtains, dining room chairs and a square of iridescent light shine in this space as De’lon Grant as Tom, Liza Giangrande as Laura, and Adrienne Krstansky as Amanda make themselves at home. Jenna McFarland Lord’s amazing set design infused with Aubrey Dube’s rich and crucial sound design is a breath of fresh air and holds a surprise which will not be revealed here.
Nia Safaar Banks successfully rewinds the clock to this vintage era with floral tea length dresses, wide brimmed hats, suspenders, and page boy hats. Amanda Fallon blends inviting and haunting illumination to this production which is often moody, veering from the evocative red flash of dancehalls to soft and luminous candlelight casting vivid shadows in the background.
Patrick O’Konis and De’lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry
In a long coat and brimmed hat, Grant weaves in and out of his dual role charismatically recalling Wingfield history and recollections while playing his part as Tom as the play unfolds. The Glass Menagerie’s small cast holds challenging and meaty characters steeped in deeply rooted flaws. Some of the family and societal issues that are brought up in Williams’ timeless work, The Glass Menagerie could have been written yesterday. Working as a workhouse shipping clerk, Tom has grander dreams and secretly struggles as the man of the house since his adored father left the family. Liza Giangrande portrays Tom’s helpful, quiet, anxious, sweet and imaginative sister Laura who has lived with a disability her entire life. Pretty and slight with delicately braided hair, Giangrande delivers a meaningful performance as Laura exuding quiet strength in this sympathetic character as she struggles between escaping the world and a longing to fit in.
Liza Giangrande and Patrick O’Konis in Gloucester Stage Company’s ‘The Glass Menagerie’ Photos by Shawn Henry
Patrick O’Konis is enchanting as Jim O’Connor who dreams of a life beyond working in a factory with Tom. Easygoing and ambitious, O’Konis makes quite an impression with Amanda and Tom while sharing some endearing moments with Laura.
At the center of the family is Adrianne Krstansky as Tom and Laura’s chatty, bubbly and yet anxious and controlling mother, Amanda Wingfield. Visibly shaking at times and fiddling with her clothes, Krstansky delivers a brilliant and unsettling performance as Amanda who veers from sing song excitement and fixation to alarm and paranoia handing out backhanded compliments. Dwelling on past charms and occasionally reminiscent of Blanche in A Streetcar Named Desire, Amanda fixates on her days of prosperity when she was the bell of the ball. Ruminating on symbolic jonquils, she nitpicks, fusses, plots, plans and worries over her children’s success and happiness hoping to find Laura a husband.
De’Lon Grant, Lia Giangrande and Adrienne Krstansky in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry
Boasting raw and compelling characters, The Glass Menagerie is an affecting drama that mixes relatable humor, cruelty, regret, and generational trauma, but also joy, sweetness and amazement. Strong are the ties that bind. It is poignant, hopeful and it unveils a certain beauty in this family’s unwavering strength in these hard times.
With exquisite direction by Doug Lockwood, Gloucester Stage presents their 46th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28. Click here for more information and for tickets.
Commanding the stage and the audience is pitch perfect Aimee Doherty as conspiring Dolly Levi who sings for her supper as a successful matchmaker. A shrewd businesswoman, Dolly sees what life can hold for everyone else in Yonkers and beyond, but her confidence wanes when it comes to a second chance at love.
Aimee Doherty* (Photo by Mark S. Howard)
With innovative direction by Maurice Emmanuel Parent, uplifting Music Direction by Dan Rodriguez and buoyant choreography by Ilyse Robbins, Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22. This immersive musical’s action is not limited to the stage and runs approximately two hours and 30 minutes with one intermission. Click here for more information and for tickets.
Having seen other versions of Hello, Dolly! before, I’ve always been impressed by the charm of fast talking and resourceful Dolly Levi. However, this particular production integrates modern and classic elements by having Dolly Levi not only at the cast’s service, but yours as well. Making a bustling entrance, Doherty passes out her business card to members of the audience and occasionally shouts out her services as the musical progresses and she always makes a sale.
Aimee Doherty* and Joshua Wolf Coleman* (Photo by Mark S. Howard)
It also infuses modern elements without losing the Golden Age atmosphere while satirically commenting on outdated ideas of a woman’s role in society. At one point, Joshua Wolf Coleman as Horace Vangergelder quotes one of his late wife’s expressions, ‘Marriage is a bribe to make a housekeeper think she is a householder.’ Hello, Dolly! delivers a bit of tongue in cheek humor through clever bits of improvisation from a contemporary perspective.
Stephen Caliskan, Aimee Doherty*, Sophie Shaw and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)
Janie E. Howland cleverly makes the most of the space and the expansive nature of New York through multilevel staging, a worn sign of Yonkers on one side of the stage and Grand Central on the other punctuated by a sprawling map on New York on the ground. Images of the Statue of Liberty and the sparkling George Washington Bridge stands out in the distance while a glittering gold and black wrought iron staircase sits center stage adorned with Dolly’s signature white feather.
From tap to ballroom to a polka to lithe and athletic choreography, Robbins keeps this musical showcase lighthearted and lively especially demonstrated through a humorous Waiter’s Gallop, the patriotic Motherhood March, the elegance of Dancing, Put on Your Sunday Clothes and the its dazzling title track.
Aimee Doherty* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)
With contagious steely eyed conviction and unrelenting confidence, Aimee Doherty shines as Dolly Levi who can hustle with the best of them. Her first velvet maroon and black gown, one of many stylish gowns of the Victorian era, shares some similarity to Mary Poppins, another dynamo problem solver who can make anything happen. Boasting an array of feathers, detailed parasols, lace, sequins, fans, boots, bustles and three piece suits, but costume designer’s Kelly Baker’s sharp and meticulously detailed floral hats are showstoppers.
Michael Jennings Mahoney*, Joshua Wolf Coleman*, and Max Connor (Photo by Mark S. Howard)
Doherty shares some amusing scenes with Joshua Wolf Coleman as gruff and old fashioned rich widower Horace Vandergelder who often do not see eye to eye as Dolly has been hired to find him a match. Coleman demonstrates old fashioned practicality through the upbeat It Takes a Woman. Meanwhile, Max Connor as Barnaby and Michael Jennings Mahoney as Cornelius work for Horace and make a naïve and humorous duo, longing for adventures of their own. Kristian Espiritu delivers a dreamy rendition of Ribbons down my Back and shares giddy chemistry with Mahoney as Cornelius. With flabbergasted facial expressions enough to make you laugh, Mark Linehan is a bit of a scene stealer as hilariously snooty frazzled head waiter Rudolph.
Jackson Jirard and Mark Linehan* (Photo by Mark S. Howard)
The show is also campy and the over the top excitement can be fun, but might not work for everyone. Hello, Dolly delivers a number of madcap high jinks, but also genuine heart in the cast’s earnest search for love. Featuring a few characters who are widowed, it is just as much about matchmaking as it about a second chance at love. Having not seen this musical for many years, this wistful aspect seems more prominent in all of its adventurous optimism. Doherty delivers a stirring rendition of Before the Parade Passes Me By with a building hopefulness and authenticity longing to truly embrace life again.
Kristian Espiritu,* Michael Jennings Mahoney* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)
Lyric Stage’s Hello, Dolly may inspire you to forget your troubles for little while and immerse yourself in Dolly’s world. Mahoney as Cornelius at one point also delivers a tender rendition of It Only takes a Moment and wondrously proclaims, ‘Isn’t the world full of wonderful things?’ It just might help you notice them too.
Aimee Doherty* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)
Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22. Click here for more information and for tickets.
