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REVIEW: Exploring the world of the sick, American Repertory Theater’s intense ‘Night Side Songs’ not just a lullaby

Posted on April 10, 2025 by The Sleepless Critic

It’s a shock that will take you out of your world.

Then reality sets in.

With stirring direction by Taibi Magar and musically directed by Alex Bechtel, American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Communal, meaningful and creative, this interactive theater in the round experience runs approximately one hour and 40 minutes with no intermission. It contains strong language and adult themes. Click here for more information and for tickets.

It explores the news everyone dreads. Finding out you are sick.

Witnessing its 41^st performance, this intimate cast depicts a number of characters in different scenarios while occasionally engaging the audience in a casual atmosphere. It time jumps from the 12th century to the present day while addressing the calendar date the performance takes place and is dedicated to the sick, healthcare workers and caregivers by blending themes about relationships, sickness, mortality, and grief through acting, song and sing-along utilizing improvisation along the way.

Robi Hager in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs immerses itself into uncomfortable and harrowing territory with patches of hope and beauty that will either be fascinating and draw you in and never let go or hope it’s all over soon. It may not be for everyone, especially if you are squeamish about certain aspects of illness but have no choice but to get through it. Much like being sick can be.

Mary Testa in A.R.T.’s world-premiere production of Night Side Songs. Produced in Credit: Nile Scott Studios

This warm and dedicated group showcases a number of scenarios, but the main storyline centers around Yasmine who discovers she has cancer at 41 years old in Worcester, Massachusetts. Brooke Ishibashi delivers a raw and heartrending performance as Yasmine who must navigate her life in an entirely different way in an attempt to get well while facing obstacles in her path. Mary Testa offers wit and self deprecating humor as Yasmine’s well meaning but overbearing and anxious mother Desiree who assures Yasmine that they come from a family of miracles. Isibashi shares some endearing moments with Jonathan Raviv as warm and nurturing Frank.

Brooke Ishibashi and Jonathan Raviv embrace in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Each performer delivers affecting and inviting vocals and their solo performances are the most memorable. The onstage musicians also interact with the performers and audience and the songs by The Lazours are an eclectic variety ranging from catchy to cathartic to ballads. Some of the highlights in the therapeutic sing-along include Let’s Go Walking, Into the Sky and the poignant Will You Let me Know.

Jordan Dobson in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs approaches this handful of tales with dark humor, absurdity, science and realism peppered with relatable scenarios. It can be uneven in tone at times. How can anyone not relate to overwhelming and unexpected medical bills and drug side effects, but a song showcasing how people inaccurately make assumptions how someone gets sick in The Reason comes off more condescending than sincere and funny. Illness is filled with fear and uncertainly. People just don’t know what to say.

Jonathan Raviv in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Part unconventional love story and part tragedy, Night Side Songs expresses appreciation for the little things in life and relies more on camaraderie and community than faith and optimism while traveling to some grim places. It is informative offering coping methods with the unexpected and it is important to have a show like this to bring support and solidarity in times like these, but however I was moved, I was still left uncomfortable.

American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8. Click here for more information and for tickets.

REVIEW: Apollinaire Theatre Company’s ‘Every Brilliant Thing’ counts its blessings

Posted on January 5, 2025 by The Sleepless Critic

As famous author Kurt Vonnegut once remarked, ‘Enjoy the little things in life, for one day you’ll look back and realize they were the big things.’

Bringing to light life’s simple pleasures, Every Brilliant Thing emphasizes that no matter what, there is always something to be grateful for, even when it seems impossible to find.

Amusing, heartfelt, poignant and immersive, Every Brilliant Thing is an interactive piece of experimental theater storytelling that hinges on involvement and its success depends on the combination of a charismatic and efficient storyteller and a game audience.

Cristhian Mancinas-García and Parker Jennings in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Directed insightfully by Danielle Fauteux Jacques and an excellent choice for the New Year, Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19. Alternately starring Parker Jennings and Cristhian Mancinas-García, this refreshing and informative production is presented in both English and Spanish and runs approximately 70 minutes long with no intermission. Click here for more information and for tickets.

Set in 1988 and beyond, the small but mighty little things in life are easier to find through the eyes of this seven year old storyteller, even when facing traumatic times. The prospect of dressing up as a Mexican wrestler, roller coasters, and wearing a cape are just a few of the brilliant things that make life worth living. Why would anyone want to throw it all away?

Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Transforming this Chelsea theater space into a cozy, multi-level room with vintage flair, scenic and sound designer Joseph Lark-Riley invites the audience to feel right at home featuring scattered living room chairs, flowers, plush couches, a dining room, and rugs spread out on the floor. Danielle Fouteux Jacques as lighting designer adds vintage flair with a variety of eclectic lamps and Lark-Riley’s upbeat selection of American Standards from the swing era and beyond. Music and exacting sound effects also play a significant and symbolic role in this production which leaves lots of room for originality and imagination with makeshift props and much more.

It takes a special ability to solely make an audience comfortable while bringing them into your confidence. Cristhian Mancinas-García rises to the occasion with unassuming sincerity and playfulness that adds levity to the production’s somber moments. Sharing his journey with earnestness and ingenuity, he warmly brings this zany and game audience cheerfully into elements of the production.

Every Brilliant Thing is ideal for people who wish to play along and participate in minor ways, but if you are performance shy, maybe sit in the back. It has some flexibility and a way of bringing the audience uniquely together while leaving you at the edge of your seat for what is next.

Fast paced and improvisational, Every Brilliant Thing infuses a life affirming journey into a shared experience while spontaneously drawing connections into its articulate and occasionally arbitrary script. Mancinas-García tackles a challenging piece and it is amazing how well he draws each connection into the story as each little joy is revealed in its amusing and ardent beauty that one can only long to reflect on them a bit longer.

Parker Jennings and Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

For some, the New Year can bring great hope and immense reflection. Every Brilliant Thing has a way of delivering both in love, loss, grief, and trauma with moments of humor and joy. It is short enough that it never wears thin and long enough to tell a complete, meaningful and relevant tale that will be sure to carry weight for many and a solid reminder of the joy in the smallest of things and a restored appreciation of everything.

Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19. Click here for more information and for tickets.

REVIEW: Reflections and camaraderie navigate Midwinter Revels’ uplifting ‘The Selkie Girl and the Seal Woman: A Celtic and Cabo Verdean Celebration of the Solstice’

Posted on December 22, 2024 by The Sleepless Critic

Island waves and a Celtic touch navigate two interpretations of a classic folk tale.

Directed with ruminating holiday cheer by Debra Wise and versatile music direction by Elijah Botkin, the 54^th annual Midwinter Revels presents The Selkie Girl and the Seal Woman: A Celtic and Cabo Verdean Celebration of the Solstice live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday, January 12, 2025. This traditionally interactive production is approximately two hours 30 minutes with one intermission. Each performance has a sponsor and dedication noted in the program. Click here for more information and for tickets.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Athéna-Gwendolyn Baptiste

This year’s Midwinter Revels occasionally takes to the seas sharing interconnected stories of identity, culture, traditions, ancestry and much more. Aiden Parkinson portrays a cynical Celtic poet while Cedric Appolon and Kortney Adams depict a family of New Bedford newcomers from Cabo Verde who receive a mysterious package and Candida Rose Baptista is a beautiful yet elusive stranger that unleashes a new perspective.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Andrew Burke-Stevenson Kortney Adams and Aiden Parkinson

Jeremy Barnett’s festive and inviting set is steeped in the spirit of the season with illuminated lanterns, strings of old fashioned multicolor bulbs and white lights adorned on garlands and wreaths by lighting designer Jeff Adelberg as well as detailed shelves packed with a variety of books and knickknacks. Featuring a number of traditional and contemporary Cape Verdean and Celtic instruments, the intimate Cambridge Brass Ensemble onstage orchestra beautifully delivers a wide array of music genres including Celtic, jazz, and Cabo Verdean tunes as well as a mix of moving, humorous and traditional Midwinter Revels carols for sing-along such as an a cappella SILENT NIGHT led by David Coffin who hosts with his usual welcoming charm and good humor.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus

Ugly Christmas sweaters, street wear, velvet vests, plaids, wild patterns and period pieces are only a fraction of the convivial costuming by Heidi Hermiller weaved into this large cast. Candida Rose Baptista stuns in a gold embroidered royal blue draped gown as she shares unique, uplifting and memorable Cape Verdean tunes such as SÓ SABI sing along and later the catchy and uplifting Batuku tune FAMILIA, DESPEDIDA & SIMA NOS È SO NOS along with the Sea Change Chorus amid beautiful fish and island projections.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley Lourenco “Pelé” Fernandes, José Lúis “JL” Spencer, and Candida Rose Baptista

One of the best parts of the production is the spooky number Skin and Bones performed by flashlight that may bring you a chill. David Coffin and Mary Casey also take the stage for an amusing and eloquent a cappella version of the Irish folk number THE HUMORS OF WHISKEY and step dancer Rebecca McGowan impressively shares her spellbinding skills peppered into the production.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Sea Change Chorus and Rocky Road Children’s Chorus

Uniquely creating the motion and depths of the high seas, the adorable The Rocky Road Children with harmonious fiddler Liz Hanley perform the ORO MA BHADIN lullaby. The Rocky Road Children also shine for The WREN SONG while keeping the beat with sticks accompanied by bodhrán Abe Finch and David Coffin on recorder. David Coffin, accompanied by a trio of musicians called the Bailemian Band performs a wonderful rendition of THESTAR OF THE COUNTY DOWN.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley The Midwinter Revels Straw Men Mummers

Parkinson performs a stirring rendition of OISÍN AND TÍR NA NÓG and shares some reflective scenes with Appolon and Adams as they gradually learn from each other in shared experiences.

It was fascinating to witness the variations upon this symbolic and metaphorical Selkie story which share significance with each other in their own way from an Irish and then a Cape Verdean perspective. Rather than delving into a traditionally streamlined plot this year, this musical production spends more time in camaraderie and fellowship sharing individual fables and tales while celebrating the Winter Solstice and holiday season with warmth and comfort. Bringing a number of traditions together, the Midwinter Revels make merry the spirit of the season with reflections, humor and hopefulness in its own charming way.

Midwinter Revels: The Selkie Girl and the Seal Woman – December 2024 Photo by Paul Buckley David Coffin and the cast of Midwinter Revels

Midwinter Revels presents The Selkie Girl and the Seal Woman: A Celtic and Cabo Verdean Celebration of the Solstice’ live and in person at the Sanders Theatre in Cambridge, Massachusetts through Sunday, December 28 before becoming virtually available through Sunday January 12, 2025. Click here for more information and for tickets.

REVIEW: Boasting a heartwarming and zippy soundtrack, a marvelous ‘Dr. Seuss’ How the Grinch Stole Christmas! The Musical’ revels in the wonders of the beloved book

Posted on December 18, 2024 by The Sleepless Critic

Whether you like the Grinch or not, be sure to witness this remarkable version of Dr. Seuss’ How the Grinch Stole Christmas! The Musical. It is a humorous and dazzling way to spend 85 minutes taking in the holiday spirit with the family.

By sticking to Dr Seuss’ imaginative vision, the beloved book springs to life onstage in a vibrant and thrilling way. Past film adaptations have been overdone and bogged down with side stories and imagined history, but not this musical. As an avid fan of the book and the famous 1966 animated TV special, I was thrilled to see this musical firmly faithful to Seuss’ literary vision. Dr. Seuss’ How the Grinch Stole Christmas! The Musical expands parts of Seuss’ vision that already exists in the book for a heartwarming and interactive experience about the value of love and camaraderie.

James Schultz as THE GRINCH and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

With steadfast direction by co-directors Matt August and Bob Richard while Richard also navigates the musical’s energetic choreography, Dr. Seuss’ How the Grinch Stole Christmas! The Musical continues live and in person at Boch Center Wang Theatre in Boston, Massachusetts through Monday, December 23. Click here for more information and for tickets.

From the reflective perspective of Evan Blackwell as Old Max and Chamberlin Little as Young Max who both play their parts to perfection as Narrator and character respectively, Dr. Seuss’ How the Grinch Stole Christmas The Musical is a musical comedy about a Grinch who claims to hate Christmas and feels he must stop Christmas from coming…but how?

W. Scott Stewart as Old Max and Xavier McKnight as Young Max in the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Greeting the audience with a white wreath on a red Who populated backdrop, this cheerful and interactive musical is the perfect length at 85 minutes with no intermission and brings to life the book in a way the padded film adaptations never did. Featuring a number of catchy and heartfelt numbers weaved through its rhyming dialogue, enhancing this tale into a musical is hardly a stretch because the Whos love to sing.

Boasting three dimensional illustrated moving set pieces directly from the book, John Lee Beatty’s innovative set design include an enchanting illustrated three dimensional tree lit with glowing white and red bulbs, the Grinch’s illustrated snow covered cave and the drawn fireplace mantel with colored stockings. It also offers glimpses of the animated classic in red and gold bulbs hanging across the ceiling adding bursts of color.

Craig Stelzenmuller’s playful lighting often follows the action and brings sparkle to an already bright and cheerful set design. Blue and green lights flash, glitter and move along like its own character in this wonderful tale as it also creates brief and foreboding shadows as the Grinch makes his grand entrance.

The Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Boasting piled high hairdos, Sarah Smith’s festive, textured and Seuss-centric costumes in red, pink, white and green form wild shapes accessorized with oversized bows, bowties and elf shoes. However, the Grinch’s vivid green and furry costume with exacting makeup is ideal right down to his long and slender fingers.

James Schultz as THE GRINCH in the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel

Occasionally frightful but more often comical with his deep and versatile baritone voice, Matt Forbes is excellent as the cool and temperamental Grinch sharing gripping and amusing scenes with Little as Max as well as endearing ones with Trinity Vittoria De Vito as angelic Cindy Lou Who. De Vito’s chiming vocals and captivating demeanor impressively deliver the gentle and touching ballad, Santa for a Day as she interacts with Forbes with blind adoration. Little as Young Max is devoted and lovable with an expectant grin to the Grinch’s perturbed scowl and dastardly smirk as they join together for I Hate Christmas Eve with the Whos and in a playful rendition of This Time of Year with Blackwell as Old Max.

James Schultz as THE GRINCH, Sofie Nesanelis as Cindy-Lou Who and the Touring Company of Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical. Credit_ Jeremy Daniel.

Delivering the famous tunes you already know like Blackwell’s amazing rendition of You’re a Mean One Mr. Grinch and Welcome Christmas, Mel Marvin also builds on famous excerpts from the book for original songs such as the warm Who Likes Christmas, thunderous I Hate Christmas Eve, and wild Whatamawho where the Grinch famously exclaims, ‘Oh, the noise, noise noise noise!’

With sing-along opportunities and thrilling special effects as Blackwell shares this classic children’s tale, Dr. Seuss’ How the Grinch Stole Christmas! The Musical holds its own to the book and the famous 1966 animated TV special live onstage reflecting on all the themes of the book such as materialism, bullying, and greed with a beautiful message and holiday treat fitting for the entire family.

Dr. Seuss’ How the Grinch Stole Christmas! The Musical continues live and in person at Boch Center Wang Theatre in Boston, Massachusetts through Monday, December 23. Click here for more information and for tickets.

REVIEW: Money is king in Maggie Kearnan’s ‘How to NOT Save the World with Mr. Bezos’ at Boston Playwrights Theatre

Posted on November 23, 2024 by The Sleepless Critic

How much is that going to be?

Let’s talk about billionaires, gargantuan amounts of money and how to use it.

At least, that is what Becca A Lewis as sleuth Forbes journalist Cherry Beaumont has on her mind in a mysterious interview with Jeff Bezos as he faces a federal case against him in the year 2030. Accompanied by narrator and fact checker Robbie Rodriguez at the ready, How NOT to Save the World with Mr. Bezos is a deep dive into wealth, envy, greed, and blind rage as lines gradually blur between fact, falsehood and fiction.

With unsteady direction by Taylor Stark, Boston Playwrights Theatre presents Maggie Kearnan’s How to NOT Save the World with Mr. Bezos at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 24. This interactive production contains graphic adult themes and runs approximately 100 minutes with no intermission. Click here for more information and for tickets.

Boston Playwrights Theatre’s Fall Rep Festival features two new productions from living authors taking place on one stage and scenic designer Maggie Shivers certainly makes distinctive use of the space for two vastly different productions. Multicolor light streams through adjustable windows in a modern office setting but Courtney Licata’s props are the real kicker which includes red solo cups. Anna Drummond’s immersive sound design with Zachary Connell’s foreshadowing light design proves effective as the production intensifies.

Mark W Soucy in Boston Playwrights Theatre’s ‘How to NOT Save the World with Mr Bezos’ Photo by Benjamin Rose Photography

With a biting and abrupt laugh and in a vest which seems more like a life preserver, Mark W. Soucy depicts a confident, expeditious yet preoccupied Bezos full of humble brags and word play until the stakes get high. Lewis as Cherry is lively, amusing and occasionally unhinged in a three piece suit and black sneakers. Soucy and Lewis spar with engaging flair as both vie for the upper hand as impressive fact checker Robbie Rodriguez works overtime taking the audience temporarily in and out of the production to clarify each character’s statements.

Mark W Soucy and Becca A Lewis in Boston Playwrights Theatre’s ‘How to NOT Save the World with Mr. Bezos’ Photo by Benjamin Rose Photography

How to NOT Save the World is fueled by some jaw dropping facts about wealth and offers quite the perspective of how much money billionaires really possess. Among some of the most fascinating are it would take 570 years to spend Bezos’s wealth if Bezos spent 1 million dollars a day or the value of a 430,000 house means just 32 cents to him. It also offers even handed facts about Bezos’s life. At one time, he was the most powerful person in the world.

Mark W Soucy Becca A Lewis and Robbie Rodriguez in Boston Playwrights Theatre’s ‘How to NOT Save the World with Mr Bezos’ Photo by Benjamin Rose Photography

However, the show begins to veer off course and some of the most absurd parts of the production, which infuses a classic tune, do not seem to fall as they should and comes off rather unnecessarily as the interview takes an unexpected turn.

Becca A Lewis and Mark W Soucy in Boston Playwrights Theatre’s ‘How to NOT Save the World with Mr. Bezos’ Photo by Benjamin Rose Photography

Amazon executives have a room where they can let out a primal scream during the holiday season and by the end of the production, I was ready to do so, but not for the reason the show encourages. As one toils at work especially with this inflation, it is difficult for the average person to get ahead. As satirical as the show may suggest, it relies on a society so enraged it cannot see past its most base instincts to supersede every other reasonable thought and bereft of hope for a bleak future. Shouldn’t humanity get more credit than that?

Boston Playwrights Theatre presents Maggie Kearnan’s How to NOT Save the World with Mr. Bezos live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 24. This interactive production contains adult themes and runs approximately 100 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company serves up more than laughs in ‘Dinner for One’

Posted on November 16, 2024 by The Sleepless Critic

Simple acts of kindness make all the difference.

This is not lost on James who is earnestly willing to bend over backwards to make Miss Sophie happy on her birthday. Dinner for One is not sentimental or sappy, but demonstrates a lovely bond between valet James and elegant aristocrat Miss Sophie in her twilight years.

Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios

Directed endearingly by Weylin Symes, Greater Boston Stage Company continues Dinner for One live and in person at the newly-renovated Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, November 17. This remarkable and semi-interactive production runs 70 minutes with no intermission. Each production is slightly different due to the audience’s initial participation. Click here for more information and for tickets.

Greater Boston Stage Company recently unveiled a classic theatrical makeover which includes stylish new light fixtures, carpeting and seats. The classic vintage quality and celebratory nature of Dinner for One seems a perfect match for the theatre’s new look to open Greater Boston Stage Company’s 25^th season.

Red velvet streamers draped alongside crystal chandeliers is just part of Katy Monthei’s festive set design which includes matching detailed wooden furniture, a grand staircase, fireplace, nostalgic photographs and a lively phonograph in anticipation of Miss Sophie’s annual birthday dinner gathering. With Jeff Adelberg’s atmospheric and symbolic lighting and David Remedios’s piano-infused soundtrack, Dinner for One depicts the elusive passage of time through a clock without hands hanging overhead.

In tux and tails by costumer Deidre Gerrard, Paul Melendy as dapper James demonstrates his sharp comic wit through his cordial and self aware engagement with the audience considering them honored dinner guests, his meticulously detailed manner in planning Miss Sophie’s festivities, and in what ensues when best laid plans sometimes go awry. This production has some surprises and a great deal of physical humor in which Melendy handles with aplomb moving skillfully around the house. From a mumbling Jerry Lewis-style imitation to an amorous suitor to a boisterous Sir Toby, Melendy as James exacts accents and distinct mannerisms seamlessly to Miss Sophie’s delight.

In a sophisticated lace floral and taffeta gown, Debra Wise as proper Miss Sophie is as game and dazzled with every charming and rollicking gesture delivered by Melendy, but with a sneaking and relatable awareness of life’s fragility. With head high and chin cocked, Wise’s Miss Sophie is used to a certain way of doing things, but is at her best when she lets her guard down.

As funny as this production becomes, the quiet fondness between Debra Wise as Miss Sophie and Paul Melendy as James is the real enchantment of this production. More than dedication, there is a genuine admiration between them. In its simplicity and big heart, Dinner for One is a unique experience with as much humor and beauty demonstrated in what is said as what is left unsaid.

Greater Boston Stage Company continues Dinner for One live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, November 17. This remarkable and semi-interactive production runs 70 minutes with no intermission. Each production is slightly different due to the audience’s initial participation. Click here for more information and for tickets.

REVIEW: Chuang Stage’s visionary ‘Nüwa in Fairyland’ explores the nature of love and belonging

Posted on May 30, 2024 by The Sleepless Critic

Words matter. Formalities matter. Commitments matter.

Wise words firmly stated by Jen Alison Lewis as Maryanne in Brandon Zang’s Nüwa in Fairyland, an insightful coming of age tale that crosses imagination with a number of interweaving elements in order to bring consolation and understanding in the face of change.

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage continues Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for the Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1. This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission. Pay-as-you-are tickets are available. Click here for more information and for tickets.

Jen Alison Lewis and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Nüwa in Fairyland is primarily centered on the relationship between good natured, competitive, and playful Benji depicted by Trevyn Wong in an impressive and charismatic performance and Jen Alison Lewis as Maryanne, Benji’s protective and steadfast adopted mother. Benji is starting to question his heritage beyond what he knows of his adopted life in America after seeing a documentary on China and Maryanne immediately feels anxious and uneasy. Meanwhile, Bowen Huang movingly depicts a mystical creature frantically searching for a missing child. There may be a connection here, but Nüwa in Fairyland explores a broader vision and branches out into fascinating territory and parallels that interweave imagination, reality and a certain Shakespearean play in order to cope with what is next.

Matt Goldstein, Trevyn Yong, and Jen Alison Lewis in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Navigating its various settings with precision while making the most of its theatrical space, Qingan Zhang’s ethereal and floral scenic design is highlighted by splendid translucent imagery and a sense of immersion due to Anna Drummond’s soothing and atmospheric sound design and Ashley Yung’s ambient lighting. From feathers to crowns to capes to embroidered armor, Sandra Zhihan Jia’s costumes blend the fanciful with the contemporary while infusing a traditional Shakespearean influence.

Jen Alison Lewis and Matt Goldstein in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

This capable cast has very good camaraderie and comedic timing as they find nuances not necessarily in the script which enhance certain sweet moments within the production. A gleeful glance, an awkward gesture, and a delayed pause help to strengthen the bond within this small cast. Henry Dolgoff as chatty and anxious Damian share several of these moments infatuated with Wong in an array of awkward and mixed signals. Matt Goldstein as stern yet supportive Mr. Bailey and Lewis as Maryanne both share some soulful moments with Wong as Benji struggles with where he belongs.

Trevyn Wong and Henry Dolgoff in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

However, Bowen Huang shines as stunning Nüwa in an intense, sage and sympathetic performance. Spoken in both Chinese and English, Huang is expressive, passionate, brave, and empowered with a wonderful charisma and zealousness convincingly drawing others to her plight in an unfamiliar place. The cast collectively explores the bonds of love in a thought provoking and multi-layered journey while both Huang and Lewis uniquely and beautifully discover the unforeseen and unyielding expectations of motherhood.

Bowen Huang and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage presents Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1. This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission. Pay-as-you-are tickets are available. Click here for more information and for tickets.

REVIEW: Imaginary Beasts conjures a boisterous ‘The Spider and the Fly’

Posted on October 29, 2023 by The Sleepless Critic

With a collection of zany characters such as a Moth, a Praying Mantis, a Gossamer Fairy, Figment, a Land Octopus, and a sleepy constable named Bluebottle, it is clear that The Spider and the Fly has no shortage of zealous imagination.

With so many productions that rely on the zip and zing of digital effects, CGI, and AI, it is exhilarating to see director Matthew Woods solely rely on homespun creativity and audience interaction to bring to life a vivid and unpredictable gothic children’s tale.

Imaginary Beasts ‘The Spider and the Fly’ cast Photo by Matthew Woods

Directed artfully by Matthew Woods, Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 live and in person at Chelsea Theatre Works in Chelsea, Massachusetts. The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up. Click here for more information and for tickets that are quickly selling out.

Blending vintage with the contemporary, The Spider and the Fly is quite the inquisitive adventure with lots of high jinks, scheming, plotting, sleuthing, and memorable and poetic dialogue that delivers a meaningful message about inspiration, friendship, and doing what is right. A panto is a form of wintertime family entertainment in the UK that weaves in puns, wordplay, jokes, and more. The Spider and the Fly is somewhat a panto within a panto as the cast embarks on an ardent journey to inspire a writer inside the writer’s own head.

Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and the Fly’ Photo by Matthew Woods

Brooks Reeves relishes in the part of King Cumbercrown who will stop at nothing to stop the Panto from happening, even if it means corrupting everyone in his path. Reeves is up to no good and his scheming and crafty behavior is such fun to watch as Reeves’s blue face scowls and sneers at the any sign of happiness and joy behind hypno spiral goggles.

The black and purple painted set design by Jason Taschereau has a vintage and mesmerizing quality while Cotton-Talbot-Minkin’s captivating and colorful costumes exude a gothic, fanciful and vintage edge with a dash of steam punk. As the look is inspired by silent films, outrageous patterns combine with bow ties, top hats, sparkling converse sneakers, lace, corduroy, pearls, flowered shoes and boots. Though it is gothic, it is not scary, but creative, inviting, and imaginative.

Laura Detwiler as the Great Author and Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and The Fly’ Photo by Matthew Woods

The continual audience engagement fuels this wild tale that does meander and veer off course occasionally, but it is difficult to notice with such a lively cast of characters that weave in some random contemporary pop and winking adult references. The Wednesday dance challenge, Rhianna, and random television show references are just a few examples.

Jamie Semel as Young Woodby and Evan Turissini as Madame Bijou in Imaginary Beasts ‘The Spider and the Fly’

Some of the cast depicts more than one role. Evan Turissini is all drama and also relishes in the part of lovelorn, flirty, and attention-seeking Madame Bijou, especially while vying for the attention of Bluebottle, portrayed with British flair by Colin McIntire. Sophia Yael Koevary as Daisy Mae and Jamie Semel as Young Woodby share some sweet scenes. With choreographer Laura Detwiler’s dynamic choreography, Camille Charlier as the Gossamer Fairy and Lindsay Eagle as The Ghost of Mary Whosie-Whatsit perform a harmonious rendition of Mills Brothers’ The Glow Worm. Another memorable tune comes straight from the audience as the cast invites the crowd to believe in a spark, depicted by Erin FM and navigated by Beth Owens.

For a show about inspiration, The Spider and the Fly doesn’t need much coaching as it delves into this exciting production with a quick pace with lots of heart.

Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 at Chelsea Theatre Works in Chelsea, Massachusetts. The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up. Click here for more information and for tickets that are quickly selling out.

REVIEW: The Arlekin Players powerful and interactive ‘The Gaaga’ (The Hague) brings war under the microscope

Posted on June 23, 2023 by The Sleepless Critic

What if during the pain and strife of war, leaders were rounded up and required to stand trial for war crimes? What if during that trial, the very nature of war is peeled away to only exact more questions?

The Arlekin Players are known for daring and original productions fueled with a strong and universal message and this time, the audience had a say in this interactive trial through the eyes of a child.

Taisiia Fedorenco as Taya in Arlekin Players ‘The Gaaga’ Photo by Irina Danilova

Innovatively written and directed by Sasha Denisova, Arlekin Players Theatre and the Zero-G Virtual Theatre Lab presented The Gaaga (The Hague) live and in person at Beat Brew Hall in Harvard Square in Cambridge, MA as well as a virtual option from June 2 through June 18. This show contained some adult themes and is 2 hours and 40 including one 10 minute intermission. Click here for more information.

The cast of Arlekin Players ‘The Gaaga’ Photos by Irina Danilova

The Gaaga delves into some heavy and heady content, but also has its share of satiric humor and spectacle told in an interactive manner through a child’s game delivered through a dark and intriguing performance by Taisiia Fedorenco as Taya in a bomb shelter in Mariupol, Ukraine. Taya’s “game” is a trial that Putin, portrayed with striking resemblance by hair and makeup designer Anna Furman and depicted somewhat superficially as a child would see Putin by Paulina Dubovikova, and his network of operatives is on trial for their crimes in the Ukraine. The audience is privy to the trial and then some as each operative parade out for aiding Putin in crimes against humanity.

It is a powerful, gritty, harrowing, tense, and deeply personal production that leaves many more questions that it does answers about war, its consequences, and the dilemma of who is truly responsible for its uprising. Though the cast is a dynamic group made of mostly conniving and power hungry adversaries all looking for a scapegoat, The Gaaga adds unexpected dimension to this almost assuredly doomed bunch, but things are never quite as cut and dry.

Taya is not just any girl. She wants the audience (who can choose to be part of the online jury) to not just see her as narrator and orchestrator of the game, but to get to know her by revealing her favorite soup and what she loves as evidenced by tell tale surroundings including a rocking horse, tea set, and pink doll house. It’s such a purposefully ironic and metaphorical setting by Environmental Designer Irina Kruzhilina which perhaps symbolizes the loss of innocence as war talk overpowers a child’s playthings. Lighting designer Kevin Fulton enhances the crucial, mood setting atmosphere from a drab and dismal Dutch prison to the satirical buoyancy of a theatrical performance. Sound designer Brendan F Doyle and composers Szymon Orfin and Jacek Jedrasik add spectacle and with a cryptic, but at times humorous soundtrack that includes classic rock and original score.

Ilya Volok as Patruschev Photos by Irina Danilova

The originality of The Gaaga varies from treacherous individuals dancing exuberantly in strange garb to being interrogated in a bathtub through the unique lens of security cameras and other means of revelation including a bleary and bombed window. Quite a few of the cast members make powerful impressions especially handling dual or multiple roles such as Garrett Sands as a malicious soldier, Robert Walsh as Surovikin, Joe Biden and others, but Ilya Volok as conspiracy theorist Patruschev gives a mesmerizing performance, especially in a particularly commanding, absorbing, and unsettling monologue which combines comedy and cruel irony.

Not only is the audience asked show questions as trivia during pivotal points in the production, but invites others to share their thoughts. Some questions are tongue in cheek, but others are sure to be considered long after the production is over.

Arlekin Players Theatre and the Zero-G Virtual Theatre Lab presented The Gaaga (The Hague) live and in person at Beat Brew Hall in Cambridge, MA as well as a virtual option from June 2 through June 18. Click here for more information.

REVIEW: By song and by sea, interactive musical comedy ‘Toothy’s Treasure’ makes waves in Boston

Posted on June 6, 2023 by The Sleepless Critic

A pirate’s life is not for everyone, but when it comes to the possibility of treasure, perhaps anyone might be willing to learn.

Widely interactive with its share of comedic pop culture references and more, musical comedy Toothy’s Treasure by Brayden Martino and composed by John-William Gambrell arrived for one weekend only at Boston Center for the Arts live and in person from Wednesday, May 31 through Sunday, June 4. The production was 95 minutes with no intermission and offered pay-what-you-can tickets. Click here for more information.

The Off-Broadway cast of ‘Toothy’s Treasure’ Photo by Brayden Martino

What is great about the day in the life of a pirate is that every day is different and the same can be said for Toothys Treasure. Part sink-or-swim improvisation, musical comedy, and interactive tale, Toothy’s Treasure is never the same production twice. The core plot may remain the same, but Toothy’s Treasure steers in various directions and with the amount of improvisation actually involved, it can be tricky to keep this type of show from starting to veer off course. However, it does keep the cast and the audience on their toes.

He’s a Pirate or otherwise known as the Pirates of the Caribbean Theme song, Under the Sea, and Ruth B’s Lost Boy are just a few of the mood setting preshow tunes piped into the Black Box Theatre to warm up the crowd as cast members humorously mingle. Easter eggs such as a cereal box, skeleton, a cardboard rudder, and multi-purpose wooden boxes hold a purpose or two as the show progresses.

As pirates are often in peril, a crack team of multi-talented actors are on hand to weather the storm, albeit like all pirates, with more than a bit of self preservation. Cait Winston is more than up to the challenge as not only a lively parrot puppeteer, but with a knack for maneuvering other humorous roles along the way. Creator Brayden Martino, in lavender threads, is commanding, foppish, and egotistical as Captain Moldy Bones who leads a crew including Chloe Gardner and Mabel White to replace a certain missing crew member on their voyage to locate Toothy’s buried Treasure. Charlize Vermaak and Dylan Gombos also lend spontaneity and playfulness to various roles.

The Off-Broadway cast of ‘Toothy’s Treasure’ Photo credit to Brayden Martino

The musical aspect holds promise, especially as certain lyrics are cleverly altered to fit ever changing scenarios performed by an onstage musical trio. A few highlights include the catchy opening number Thank you Scurvy which explores the next quest for this dastardly and swashbuckling crew. My Lady the Sea is a charming piece delivered with devoted fervor by Mabel White as Squid Lips and the introspective What Would I Do boasts humorous and well timed sound effects skillfully engineered by Bella Cario, Brayden Martino, and Evelyn Dumeer. Break the Mold by Chloe Gardner, who depicts humble and earnest Wet Shoe, brims with boldness and sincerity.

The show is strange, silly, humorous, and adventurous with a sincere message, but features a bit more improvisation for its own good and might benefit from sticking a bit more to structure. However, Toothy’s Treasure is a funny and entertaining piece of theatre that allows the audience to be part of the story and to decide if it’s indeed a pirate’s life for you.

Toothy’s Treasure by Brayden Martino and composed by John-William Gambrell arrived for one weekend only at Boston Center for the Arts live and in person from Wednesday, May 31 through Sunday, June 4. Toothy’s Treasure has taken the stage off-Broadway and in Boston. Click here for more information and when it will return Off-Broadway in New York.