inpersonevents | The Sleepless Critic

REVIEW: The Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

Posted on November 20, 2023 by The Sleepless Critic

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton. Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history. Very likely taking place at the historic Old South Meeting House which is also celebrating its 300^th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard.

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis, Phillis in Boston offers a unique and heartfelt perspective of this courageous woman. In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries. Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it. Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae. S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream. Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley. Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest. With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

REVIEW: Fueled by a tight knit cast, August Wilson’s ‘Seven Guitars’ by Actors’ Shakespeare Project strums a spiritual and resonating tune

Posted on February 25, 2023 by The Sleepless Critic

A shadow lingers over Pittsburgh, Pennsylvania.

In the aftermath of World War II, grief and death lingered like a shadow over the world’s existence. In the late 40s in the Pittsburgh Hill District of Pennsylvania, that shadow hovers over a close knit group of friends in August Wilson’s gripping mystery, Seven Guitars. Love, loneliness, grief, friendship, and the blues strike a chord as each character in Seven Guitars search for their share of happiness in an area nicknamed ‘The Crossroads of the World.’

Directed conscientiously by Maurice Emmanuel Parent, Actors’ Shakespeare Project presents August Wilson’s Seven Guitars through March 5 live and in person at Hibernian Hall in Boston, Massachusetts. Hibernian Hall provides an intimate theatre setting without a bad set in the house. Seven Guitars is intended for mature audiences and runs for two hours and 45 minutes with one 15 min intermission. Click here for more information and tickets.

Vera at the Funeral (0034).jpg: Maya Carter (front) with Johnnie Mack, Dereks Thomas, Regine Vital, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Written after August Wilson’s Fences, it is easy to see a few of the earmarks of Wilson’s lauded work including Wilson’s rich and cadenced dialogue. Fences and Seven Guitars are set in Pittsburgh in a neighborhood backyard, and some of the characters in Seven Guitars and Fences share some loose similarities including the ill-advised, but unwavering loyalty from Rose Maxson in Fences and Vera Dotson in Seven Guitars.

Jon Savage’s inviting backyard scenic design features a multi-tiered set, colorful garden plot, mood setting hanging string lights, and an inhabited patio dining set. From lively to tense and shocking moments, Amanda E. Fallon’s affective lighting combined with Abe Joyner- Meyers’s mood induced sound design and Dewey Dellay’s haunting and carefully crafted music composition impressively maneuver this evolving and multi-layered production. Costume Designer Nia Safarr Banks utilizes classic colors and retro patterns to enhance each character’s distinct personality including vintage flowing dresses and plumed bowler hats.

Red at the Funeral (0042).jpg: Johnnie Mack, Dereks Thomas, Maya Carter, Omar Robinson, and Regine Vital in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

However, one of greatest strengths of this particular production is Parent’s great care in the cast’s tight bond. Whether pondering their own mortality, listening to the radio, shooting the breeze or gripped by a suspenseful moment, the cast easily draws in the audience by their natural and captivating chemistry.

Schoolboy with Bandmates (2793).jpg: Anthony T Goss, Dereks Thomas, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Following the funeral of Floyd ‘Schoolboy’ Barton (Anthony T Goss), Seven Guitars follows a group of friends that gather to honor a complicated man. Goss skillfully depicts Barton’s sass, swagger and charm, but also his admirable determination and dream to be among the haves than the have-nots. His resolution for success makes him sympathetic despite his egotistically justifiable wrongdoings. He has compelling chemistry with Maya Carter who delivers a moving performance as devoted, spiritual, and skeptical Vera. Carter’s intense opening monologue is relatable and heartrending and Carter only gets better from there. On a lighter note, Regina Vital’s fiercely independent, loyal, and charismatic Louise provides a wealth of humor and fun, especially when she goes toe to toe with Omar Robinson as Canewell, Dereks Thomas as Red Carter, or Valyn Lyric Turner as Louise’s seemingly impressionable niece Ruby. Robinson as talkative and good natured Canewell, Thomas as ladies man Red, Mack as Hedley and Goss as Floyd share some engrossing camaraderie whether it is for a spontaneous dance with makeshift instruments, playing pranks on each other, or sharing their riveting musings about the future. However, when they are enjoying themselves, it is a relaxed vibe that is a joy to watch.

Hedley Plays Along (1671).jpg: Johnnie Mack, Dereks Thomas, Anthony T Goss, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Johnnie Mack delivers a searing and multi-dimensional performance as peculiar, lonely and hardworking dreamer Hedley. In overalls and an apron, Hedley has lofty dreams and supportive friends, but lives in a sad reality. Mack seamlessly navigates Hedley’s intermittent moods with rising tension weaved into some compassionate moments.

Visions of grandeur, ambition, and destiny play more than a medley in August Wilson’s Seven Guitars on a landscape that has experienced harsh realities. For August Wilson’s richly drawn and dynamic characters, one cannot help but share their hopes for a brighter future.

Actors’ Shakespeare Project presents August Wilson’s Seven Guitars through March 5 live and in person at Hibernian Hall in Boston, Massachusetts. Click here for more information and tickets.

REVIEW: The Company Theatre is up to magic and mischief in family-friendly ‘Matilda the Musical’

Posted on December 3, 2022 by The Sleepless Critic

Not even a Willy Wonka candy coated confection could properly prepare one for what the Company Theatre has in store onstage.

With book by Dennis Kelly and music and lyrics by Tim Minchin, The Company Theatre’s Matilda the Musical is a holiday-themed whirlwind of caricatured adults and rage-filled adolescence while at its core, an inspiring story of an extraordinary girl in a peculiar and unique world that could only come from renowned storyteller Roald Dahl’s innovative imagination. Add Lindsay Hoisington’s eye popping costumes that share their own story along with set designer Ryan Barrow’s striking, festive colors and Matilda the Musical made a refreshing debut from Company Theatre’s more traditional annual holiday fare.

Diana Lee as Lavender and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Inventively directed by Zoe Bradford with dynamic Music Direction by Melissa Carubia, The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18. Click here for more information and for tickets.

With a string of renowned children’s books that includes classics such as James and the Giant Peach and Charlie and the Chocolate Factory, it is easy to see award-winning author Roald Dahl’s trademark characterizations, sardonic humor, and peculiarities within a morally driven subtext delivered in Dahl’s Matilda, a novel published almost 35 years ago. Matilda went on to become a bonafide hit with children and adults and it was not long before a 1996 film adaptation arrived featuring Danny DeVito and his real life wife Rhea Perlman. In 2012, Matilda became a Tony award-winning Broadway musical before Netflix recently premiered Matilda the Musical featuring Emma Thompson around Thanksgiving. Like most theatrical adaptations, nothing is quite like the experience of seeing it live.

Mischief during the holidays in Company Theatre’s ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Expectations were skewed immediately with the darkly comedic and infectious opening number, Miracle where cute, wild, and blatantly naughty children zip around a Christmas tree fueled by Brad Reinking’s athletic, energetic, and fist pumping choreography. Keep an eye out for some amazing feats by Ben Cavallo-Smith and others.

Ben Cavallo-Smith and cast in ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Imagination and mischief run wild in Roald Dahl’s tale of an extraordinary girl making her way through a peculiar world. Roald Dahl tugs at the heartstrings in this absorbing children’s tale, but not before displaying a wealth of less than savory characters making Matilda’s life arduous. It is a darkly humorous tale guaranteed to delight children more than the grownups.

Annie Jones as Mrs. Phelps and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Clad in black and white, precious and precocious Matilda, portrayed with determination and quick wit by Reese Racicot, is one of the very few characters standing out in an ostentatious world where television is more important than cracking open a book. Racicot immediately charms from the spunky number, Naughty to mastering the heady lyrics in Quiet, punctuated by her light and airy vibrato. Racicot has a sweet rapport with Annie Jones as enthralled librarian Mrs. Phelps, who delights in Matilda’s significant and imaginative stories as well as Miss Honey, portrayed endearingly by Jennifer Beth Glick. With delicate and powerful vocals, Glick shines depicting Miss Honey’s quiet strength and good natured humbleness, especially for the tender and moving number, My House with Salvador Guillermo Garcia.

Brad Rafferty as Rudolpho, Emilee Dennis Leahy as Mrs. Wormwood and Jennifer Beth Glick as Miss Honey Photo credit to Zoe Bradford/Company Theatre

The adults are about as tempestuous and spoiled as their children. Matilda’s scheming con artist father Mr. Wormwood, portrayed with a sneer and manipulative glee by Todd Yard is not to be outdone by his equally shortsighted, narcissistic, and ballroom dancing wife and Matilda’s resentful mother, Mrs. Wormwood, depicted by Emilee Dennis Leahy with the sort of flirtatious, chaotic humor reminiscent of Jennifer Coolidge. Accompanied by Brady Rafferty as egotistical Rudolpho, Leahy demonstrates limber dance moves and a wild cha cha in the shimmering and comically shallow number, Loud. Never have a pair claimed to know so much know so little. Oliver Dunn as Matilda’s conspiring brother Michael Wormwood seems to be following in their stealthy footsteps as Yard and Dunn open Act II with humorous improvisation and vaudeville inspired number All I Know.

Todd Yard as Mr. Wormwood and Oliver Dunn as Michael Wormwood Photo credit to Zoe Bradford/Company Theatre

Matilda the Musical is not without its dark moments and that is exemplified in Matilda’s iron fisted headmaster, Agatha Trunchbull. A fearful and miserably barreling adversary depicted enthusiastically by Christie Reading, Trunchbull is a force to be reckoned with, but against these lively students, anything is possible highlighted by the brilliant and ironic number, When I Grow Up.

Christie Reading as Miss Agatha Trunchbull, Jennifer Beth Glick, and the students Photo credit to Zoe Bradford/Company Theatre

The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18. Click here for more information and for tickets.

REVIEW: Hub Theatre Company of Boston’s zany and immersive dinner comedy ‘Slow Food’ survival of the hangriest

Posted on July 27, 2022 by The Sleepless Critic

Having to wait for food isn’t easy, but the crazy antics that result are quite extraordinary in Slow Food, a wild comedy that focuses on a long time married couple on their anniversary vacation who finds themselves in pursuit of their meal. It’s a good thing that Hub Theatre Company of Boston cleverly sets this production in a dinner theatre setting because not only does the show address love, marriage, manipulative food service and more, but most importantly, the very art of being frustratingly hangry.

With witty direction by Daniel Bourque, Hub Theatre Company of Boston presents Slow Food through Saturday, July 30 live and in person at Club Café Boston at 209 Columbus Ave in Boston, MA. This show is 90 minutes with no intermission and tickets are on a pay-what-you can-basis. Club Café offers a discount on the menu when attending Slow Food. Click here for more information and for tickets.

Jyoti Daniere as Irene, Victor L. Shopov as Waiter Stephen, and Steve Auger as Peter Photo courtesy of Lauren Elias/Hub Theatre Company of Boston

Club Café’s backroom was once artfully transformed into a hair salon setting for Steel Magnolias, one of Hub Theatre Company of Boston’s lighthearted past productions held at Club Café Boston. Though a Palm Springs Greek restaurant setting is less of a stretch, set designer Justin Lahue’s subtle candlelit setting, vine adorned walls and framed photos onstage flow with the candlelight and Ukraine flags that frame Club Café while sound designer Ted Kearnan’s inviting Greek soundtrack sets the mood.

Slow Food’s immersive and interactive vibe continues as Jyoti Daniere as Irene, Steve Auger as Peter and Victor J. Shopov as Stephen the Waiter wander through Club Café at various times, making it easy to engage in the frustrating hilarity of this pair as they attempt to navigate a stubborn, preoccupied waiter and each other through it all.

Slow Food features a small and strong cast with dialogue that is pretty snappy at times. Shopov pushes all the right buttons and stealthily builds tension as a nosy, savvy and neurotic waiter that doesn’t know his boundaries. With a dry sense of humor, natural chemistry, and a gift for pushing each other’s buttons, Daniere and Auger make a likeable and relatable couple. Daniere as perceptive, exasperated, and sympathetic Auger as business minded, occasionally distracted and blunt Peter know they must rally to negotiate a good meal if they can get past their personal grievances as secrets gradually unfold along the way.

Slow Food is only the name of the show and Club Café delivered quick and attentive service. Try the delicious Raspberry White Chocolate Cheesecake for dessert.

Hub Theatre Company of Boston presents Slow Food through Saturday, July 30 live and in person at Club Café Boston at 209 Columbus Ave in Boston, MA. This show is 90 minutes with no intermission and tickets are on a pay-what-you can-basis. Club Café offers a discount on the menu when attending Slow Food. Click here for more information, tickets, and for more about Hub Theatre Company of Boston.

REVIEW: Tension mounts for an endearing couple in Lyric Stage’s meaningful production, ‘The Light’

Posted on June 16, 2022 by The Sleepless Critic

One night can change everything.

Genesis and Rashad think they know each other well. This lovable couple jokes, knows each other’s likes, quirks, habits, and dreams, and yet in one night, they start to see each other in a new and unfamiliar way.

With multi-layer direction by Jacqui Parker, Lyric Stage Company presents Loy A. Webb’s The Light through June 26 at Lyric Stage Company live and in person in Boston, Massachusetts. The show is 70 minutes long with no intermission and is Lyric Stage’s final show of the season. This show contains mature topics. Click here for more information and tickets.

Dominic Carter as Rashad and Yewande Odetoyinbo as Genesis in ‘The Light’ Photo by Mark S Howard

Surrounded by Baron E. Pugh’s inviting apartment setting which includes a purple couch, teal chairs, and colorful accents by Lauren Corcuera while sketches of Beyoncé, Maya Angelou, Michelle Obama and Ruth Bader Ginsberg hang overhead, Genesis and Rashad know this isn’t just any night. It’s their anniversary.

Yewande Odetoyinbo as Genesis and Dominic Carter as Rashad in ‘The Light’ Photo by Mark S Howard

Elmer Martinez’s expressive lighting enhances the evocative nature of this production. It is a meaningful show hinging on the strengths of its leads and Yewande Odetoyinbo as school principal Genesis and Dominic Carter as firefighter Rashad are more than up to the task. While both characters are stubborn, Odetoyinbo’s grounded and witty nature as Genesis strikes an important balance with Carter’s optimistic and playful sense of humor as Rashad. Carter is charismatically charming and leads in some of the production’s funniest moments while Odetoyinbo as Genesis is best as the tension builds. It is a joy to watch as they zing each other, tease, dream about the future, debate, and share some of their most treasured memories together. Their innate and compelling chemistry attract such a fondness for this couple that it is easy to get lost in what seems like their complete compatibility.

However, realizations and revelations run deep on this special night. Webb’s clever script invites the audience into this couple’s intimate relationship in all its charms with some passing notes of underlying resentment while carefully laying its cards on the table and raising the stakes through every twist and turn. Odetoyinbo and Carter are a true force as they approach the humor, tension and the difficult and serious topics with compassion.

The Light makes the most out of its 70 minute run time. It has good pacing and escalates quickly, fueled by Odetoyinbo and Carter’s natural chemistry as the show veers toward its powerful conclusion.

Lyric Stage Company presents Loy A. Webb’s The Light through June 26 at Lyric Stage Company live and in person in Boston, Massachusetts. The show is 70 minutes long with no intermission and is Lyric Stage’s final show of the season. This show contains mature topics. Click here for more information and tickets.

REVIEW: Mikko Nissinen’s ‘Swan Lake’ returns in riveting and enchanting splendor

Posted on June 4, 2022 by The Sleepless Critic

Mikko Nissinen’s Swan Lake will enchant you from the start.

Swan Lake has stood the test of time for generations and it is no mystery why. Seeped in regal splendor, Swan Lake is a visually-striking portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest. Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

With seamless musical-direction by Mischa Santora, Tchaikovsky’s majestic score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet rises out of Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Performed in memory of John W. Humphrey, Swan Lake has returned to the Boston Opera House for the first time since Mikko Nissinen re-imagined the ballet in 2016. This four-act performance has one intermission. Click here for more information and tickets.

Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake. Swan Queen Odette, portrayed with graceful fragility by Lia Cirio, catches his eye and it is love at first sight. It soon becomes clear that the swans were once women cursed by sorcerer Von Rothbart, depicted menacingly by Tyson Clark. Tyson Clark as Rothbart is an incredible and unpredictable force as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.

Golden-braided, ornate headpieces, flowing pastel garments, parasols, garlands, exquisitely feathered tutus and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight by lighting designer Mark Stanley.

Marked by such precision, Mikko Nissinen’s choreography is ballet at its finest. Emily Entingh and Sage Humphries are visually-stunning rising gracefully and beautifully fluttering out of the mist. A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe, delicate strokes. The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist. It still stands as one of the beautiful displays of ballet I have ever seen.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Gene Schiavone, courtesy of Boston Ballet

In the castle gardens, dancers whimsically join together in a feast dance with goblets and joyfully present the prince with rich garlands. While the castle garden depicts almost a dreamlike setting, an equally opulent ballroom with vast ceilings lit in red later depict a livelier setting as a grand and dynamic lineup of guests gather to charm the kingdom including princesses, czardas, and Neapolitans.

Patrick Yocum is impressive as Prince Siegfried as he evokes loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance as if floating across the stage. Light and dark in Tchaikovsky’s Swan Lake is demonstrated impeccably in Lia Cirio in a complex, dual role. As guarded Odette, her every move diligent and yet her statuesque beauty and downcast demeanor enrich her mysterious and powerful presence. Tingling violin resonates in Tchaikovsky’s emotive score as Cirio and Yocum share a hesitant and sweet encounter. He tenderly lifts and comforts her at every turn. Cirio can craftily engage an audience and masters her dual role as mysterious and confident Odile. That striking look she gives reminded me of the fire she brought to her 2020 performance in Boston Ballet’s Carmen. Cirio’s cunning smile and playful charisma gleam as Yocum takes her hand playfully and yet, almost possessively in a spellbinding and exhilarating dance.

Swan Lake is such a haunting and beloved tale of tender grace and arduous passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s Academy award-winning Black Swan. Mikko Nissinen has adjusted a few scenarios in Swan Lake since its re-imagining in 2016, but only for its betterment to create an even more thrilling, illuminative and memorable experience.

Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Click here for more information and tickets.

REVIEW: Featuring Grammy award-winning mezzo-soprano Krista River and special guest musicians, A Far Cry ended season with a stirring ‘Sunset’

Posted on May 23, 2022 by The Sleepless Critic

Having witnessed A Far Cry’s triumphant return to performing live and in person last September as they kicked off their 15th season with Circle of Life, it was an honor and fitting to review Sunset, A Far Cry’s final concert of the season. Sunset was originally scheduled for March 2020 and this Grammy-nominated, self-directed chamber orchestra was thrilled to finally present it onstage. With a heartfelt introduction by Sarah Darling, Boston-based A Far Cry brought a diverse repertoire of suspense, tragedy, and soaring vocals by mezzo-soprano Krista River before joining a collection of promising musicians including Project STEP for a robust finale.

A Far Cry criers at Jordan Hall Boston MA Photo credit to A Far Cry

Following opening group Project STEP, A Far Cry took the gorgeous Jordan Hall stage in Boston, MA for their final concert on Friday, May 13 for 90 minutes with no intermission. A Far Cry will cap off their 15^th season with a Spring Soiree on June 1 at the Nathaniel Allen Center for Arts and Culture in Newton, MA. The event includes a sneak peek of next season, outdoor cocktails, hors d’oeuvres, and a charity auction with the option to attend in person or virtually. Click here for more information and here for a look at A Far Cry’s upcoming season.

Grammy-nominated Chamber Orchestra A Far Cry Photo courtesy of A Far Cry

Elegantly dressed in flowing dresses and suits, A Far Cry opened their final concert with all 18 criers for Julius Eastman’s Joy Boy. A piece likened to the feeling of falling in love, Joy Boy has a trickling and mounting intensity as the orchestra gradually comes to life. It is fascinating to watch the ebb and flow in Joy Boy’s soothing opening rhythms which escalate to a gripping crescendo before lulling into its resonating finale.

Imagine moments before a stunning discovery in a suspenseful film. That’s the escalating tension built around Lutoslawski’s fiery Musique Funebre, Spanish for Funeral Music. A Far Cry performs this chilling and somber dirge with rich, Hitchcockian flair enhanced by a stroke of the viola and plucking, creeping rhythms. Fueled by searing drama and violin-tinged, pulsing urgency, A Far Cry plays furiously to bring this masterful work to an exciting and astounding climax that might leave you with a few goose bumps by the finale.

‘Il Tramonto Photo credit to Sarah Darling/A Far Cry

Led by Grammy award-winning mezzo-soprano Krista River’s airy and soaring vocals, A Far Cry took on Respighi’s classic piece, Il Tramonto, which is an Italian phrase translated as The Sunset. It is a popular piece having been featured in films such as the western classic, The Good the Bad and the Ugly. Adorned in a shimmering blue gray gown with her hair swept into an updo, River’s expressive vocals and her stirring countenance brings out the surreal poignancy of this tragic romance. Based on a poem by Percy Bysshe Shelley, Il Tramonto has a moving story behind it and possibly inspired by a real life disaster in Indonesia.

Mezzo-soprano Krista River Photo credit to A Far Cry

A Far Cry recalled how music has been “cathartic journey” and like many in the arts and beyond, the love for the arts has been tested, especially in the last few years. Joined by promising musicians in New England Conservatory, NEC Prep, and Project STEP, A Far Cry brought this concert to a robust and wondrous close with Vicente Lusitano’s Aspice Domine and Ralph Vaughan Williams’s Fantasia on a Theme, the latter dedicated to an inspiring teacher that encouraged young musicians to pursue their musical aspirations. Highlighted by a duo of skilled violinists, this group of musicians brought A Far Cry’s 15^th season to a glorious close with a mix of fragility, power, and a stirring finale.

Students in Project STEP Photo credit to Project STEP/A Far Cry

A Far Cry will cap off their 15^th season with a Spring Soiree on June 1 at the Nathaniel Allen Center for Arts and Culture in Newton, MA. The event includes a sneak peek of next season, outdoor cocktails, hors d’oeuvres, and a charity auction with the option to attend in person or virtually. Click here for more information and here for a look at A Far Cry’s upcoming season.

REVIEW: ‘Rock of Ages,’ Company Theatre’s grand return to the stage, is packed with big dreams, spectacle, and wry rock nostalgia

Posted on August 17, 2021 by The Sleepless Critic

If you decide to visit Hollywood, California, stop by the Bourbon Room, a real bar and nightclub inspired by the legendary fictional bar and nightclub in jukebox musical Rock of Ages. The Bourbon Room opened last year in honor of the show’s 20^th anniversary and if it contains half the wild antics of this edgy musical, it will be worth the trip.

The excitement was tangible as the Company Theatre prepared for their return to its signature indoor stage for the debut of Rock of Ages on Saturday, August 7. The crowd was pumped for an uproarious good time as the booming sounds of 80s hits enlivened the stage and nostalgia took over not only for hair bands and jelly bracelets, but for a live show in person and in glorious color.

Caitlin Ford as Justice and Janis Hudson as Denise Dupree Photo courtesy of Zoe Bradford/Company Theatre

Directed by Zoe Bradford, musically directed by Steve Bass, and choreographed by Sally Ashton Forrest, The Company Theatre presents Rock of Ages without an intermission through Sunday, August 22 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. This show is not for young kids. Please note this show run has some rotating cast members. Click here for more information and for tickets.

Packed with colorful characters doused with a mix of rock raunchiness and self aware humor, Rock of Ages holds a mirror up to the era of excess and distinct self expression. Steering this club is Brad Reinking as Lonny, the Bourbon’s impulsive no-holds-barred co-owner, resident storyteller, and narrator. According to Company Theatre’s Director of Development Michael Hammond, Reinking improvised a portion of the dialogue with local references and contemporary quips the audience and not even the cast saw coming. Reinking shines as Lonny, his strong voice and penchant for dark humor work well in a script that never takes itself too seriously.

Brad Reinking as Lonny Photo courtesy of Zoe Bradford/Company Theatre

Part love story, part rebellion, and mostly musical, Rock of Ages is set in the 80s on the Sunset Strip where idealistic Sherrie (Emily Lambert) and guitar strumming dreamer Drew (Braden Misiaszek) long for stardom and are not sure where to start. They set their sights inside the fledgling Bourbon Room, an aging nightclub and bar in danger of being shut down unless someone takes action.

Shane Hennessey as Stacee Jaxx Photo courtesy of Zoe Bradford/Company Theatre

Performed by an intimate group of musicians led by Steve Bass, Rock of Ages is fueled by a wide range of 80’s hits that are clearly a trip down memory lane for some including Journey, Bon Jovi, REO Speedwagon, and Foreigner enhanced by Forrest’s intense choreography. Emily Lambert boasts powerful vocals as wide-eyed yet determined Sherrie and does a terrific job teaming up with Caitlin Ford as complex yet confident Justice in a powerful medley of Quarterflash’s Harden My Heart and Pat Benatar’s Shadows of the Night. Lambert also shines in a sweet yet intense rendition with Misiaszek for Extreme’s More than Words, Bad English’s To Be with You, and Warrant’s Heaven medley. Melissa Carubia as spunky and resourceful renegade Regina is all spirit and heart for Twisted Sister’s We’re Not Gonna Take it and light and amusing rendition of Starship’s We Built this City and Styx’s Too Much Time on My Hands.

Shane Hennessey makes a big entrance as mysterious Stacy Jaxx (in a nod to another famous 80s rocker) to Bon Jovi’s Dead or Alive. Ryan Barrow’s vibrant set design is on point especially one scene in a nightclub bathroom. It is easy to feel the grime watching that signature nightclub bathroom from the audience. Janis Hudson portrays compelling Denise Dupree with a tough façade, dry humor, and a Joan Jett vibe while Christopher Spencer offers some refreshing and sometimes goofy comic relief as Franz.

The Rock of Ages cast Photo courtesy of Zoe Bradford/Company Theatre

That is just a taste of the wide range of rock numbers in store. A jukebox rock musical, Rock of Ages is best enjoyed as an extended MTV music video at a time when music was mainly performed on MTV. The rock medleys have cheek and sass and in the real world oozing with serious drama (where to start) Rock of Ages is meant as pure entertainment and each fun loving character a representation of a lighter time. You may find yourself bobbing your head, singing along, or both to the catchy tunes you may or may not have lived through, but nonetheless have stood the test of time in their own vibrant way.

Prior to the Rock of Ages musical on opening night, Company Theatre offered a VIP pre-show that featured plenty of 80s nostalgia and delicious treats including Pop Rocks, shrimp cocktail, cheese and crackers, vintage-style cupcakes, and a special Ecto Cooler cocktail.

Kay and Judy at Company Theatre’s VIP preshow Photo courtesy of Jeanne Denizard

The Company Theatre presents Rock of Ages without an intermission through Sunday, August 22 at The Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information, upcoming events, and tickets.