intermission | The Sleepless Critic

REVIEW: Boston Ballet ‘Spring Experience’ an extraordinary awakening

Posted on May 19, 2024 by The Sleepless Critic

Dancers seemingly lie dormant, fires burn, a multi-limbed creation, and athletic feats from a Barre to calypso-inspired rhythms is just a portion of the imagery demonstrated in Boston Ballet’s 60^th season closer, Spring Experience. It embraces the eclectic and the unusual while ever bringing ballet to another level.

Ken Ossola’s ‘The Space Between’ photo by Liza Voll; courtesy of Boston Ballet

The Boston Ballet presents Spring Experience live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, May 19. The production is approximately two hours and 15 minutes with two intermissions. Click here for more information and for tickets.

Boston Ballet in Ken Ossola’s The Space Between; photo by Rosalie O’Connor; courtesy of Boston Ballet

A suspenseful world premiere, a carefully orchestrated Barre experience fueled by James Blake’s innovative works, and a provocative fan favorite create an exceptionally curious and intense set of performances.

The Space Between builds a steady anticipation through its urgent and haunting piano-infused rhythms as dancers lie dormant or may be in sleeping state. As each dancer comes to life and two perform an elegant pas de deux, Choreographer Ken Ossola’s highlights the speed and agility of the dancers in a combination of freestyle and synchronized movements to horn-infused rhythms enclosed on a sloped and curved midnight blue landscape, part of Benjamin Phillips’s multi-color schemed set design brightened by Brandon Stirling Baker’s transformative headlights. Women dancers appear defiant as they prowl, jostle and swing with the push and pull of being navigated by men to the electronic hissing of Mischa Santora’s electronic rhythms. Adorned in Lisa Dezmelyk’s translucent costumes in floral and shimmering patterns, the group leaps and align together which includes María Álvarez, Lia Cirio, Chyrstyn Fentroy, Seo Hye Han, Abigail Merlis, Chisako Oga, Haley Schwan, Jeffrey Cirio, Tyson Ali Clark, Paul Craig, Daniel Durrett, John Lam, Daniel Rubin, Gearóid Solan, Schuyler Wijsen, and Patrick Yocum. The Space Between culminates into a grand finale with a new moving creation.

In Blake Works III (The Barre Project), the Barre highlights this performance steeped in synthetic vocal rhythms as María Álvarez , Graham Johns, Lia Cirio, Sangmin Lee, Ji Young Chae, Gearóid Solan, and Tyson Ali Clark showcase their contact with it. Simply staged with a black back drop and Barre, María Álvarez and Graham Johns perform a playful and lively pas de deux into lifts, twists, and tight leaps. William Forsythe’s urgent and slinky choreography navigate the zip, zing and hip hop tempo of James Blake’s catchy tunes showcasing each dancer’s athletic prowess gripping the Barre. A particular highlight is moving to the tender and haunting rhythms of James Blake’s romantic Lullaby for the Insomniac and 200 Press. Dancers demonstrate tight and urgent leaps in funky rhythms and at what point, letting the arms do the walking on the Barre at fascinating angles in an edgy and eclectic display.

Ji Young Chae in William Forsythe’s Blake Works III; photo by Liza Voll; courtesy of Boston Ballet

The final piece is still one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Jiří Kylián‘s Bella Figura Photo by Liza Voll; courtesy of Boston Ballet

Jiří Kylián and Ken Ossola’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow. In many ways, it bucks tradition as the dancers float and slide between closing curtains as one dancer, topless, wraps herself in only a black stage curtain. The curtain seems to have a mind of its own as it frames, shrinks, and chases the dancers. Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away. As fires burn, Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements. It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect. In gathering rich red skirts which is part of Joke Visser’s bold costume design, topless men and women looking the same glide along the stage. It is a memorable, distinctive performance as the piece continues even as the music concludes.

Boston Ballet in Jiří Kylián’s Bella Figura; photo by Rosalie O’Connor; courtesy of Boston Ballet

The Boston Ballet presents Spring Experience live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, May 19. The production is approximately two hours and 15 minutes with two intermissions. Click here for more information and for tickets.

REVIEW: New York City Indie Theatre Film Festival Short Films: Matthew Modine’s ‘I Am What You Imagine’, Ryan Spahn’s ‘Router,’ Don Castro’s ‘Your Blue Heart’ and more

Posted on February 18, 2024 by The Sleepless Critic

The eighth annual New York City Indie Theatre Film Festival is back this year and runs from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53^rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and for tickets.

Intermission

Ryan, portrayed by Michael Barringer, is smoking. In a white fur, a bun on top of her head, and large earrings, chatty Laura, portrayed with finesse by Laura Butler Rivera, has something to say about it.

In fitting black and white cinematography, Intermission is an unpredictable and seeming tongue in cheek foray into smoking. It is also a humorous and fascinating film featuring Rivera and Barringer who have peculiar chemistry. Rivera is mysterious, quirky and shrewd in a conversation with unexpected results.

Ryan Spahn’s Router

Hearing strange noises?

Being alone in the house can be creepy. A creak, shadows on the walls, and was that a scream? With intriguing cinematography by Thomas Brunot, just the glow of a cell phone to light the way and a cryptic message drives this twisty tale for a wifi signal. The wide eyes of Britt Vicars and a spooky and original score by Pablo Signori build the tension and reeling suspicion as Vicars inches her way in this battle through the dark.

Don Castro is LITO by the window in ‘Your Blue Heart’ Photo credit to NYCITFF and Don Castro

Don Castro’s Your Blue Heart

With expressive black glasses and red flip flops, Don Castro as Lito is making breakfast alone in the kitchen. Your Blue Heart is a moving journey into memory. Spoken in Filipino and shot in Woodside, Queens, Castro and Ron Flores as Rey have a sweet rapport featuring stirring and original music by Paul Aranus.

Kate Szekely in Still Photo credit to NYITFF and Kate Szekely

Ash Singer’s Still

The battle to be still with the jarring feeling of anxiety is overwhelming. Heart racing and breathing can be deafening. Still delves into the life of Kate Szekely who is arduously trying to shake that terrible feeling through various methods including the meditative phrase ‘I am surrounded by abundance.’ Composer Shira Bouskila and Somer Bingham’s haunting and unique sound composition ebbs and flows throughout the film in relatable unease, dread, and calm.

Matthew Modine’s ‘I am What You Imagine’ Photo by Adam Rackoff

Matthew Modine’ I Am What You Imagine

I am what you Imagine is a vivid, kaleidoscopic and visceral journey that explores the true meaning of life from the very beginning. With mesmerizing editing and visual effects by Terence Ziegler as well as surreal photography by Matthew Modine and Kevin Joseph Grossman, I am What You Imagine is a powerful film that should be experienced rather than explained and boasts a surprise ending.

Jeff Hathcoat and Ellen McQueen in ‘Late Sleeper’ Photo credit to NYITFF and Peter Hardy

Peter Hardy’s Late Sleeper

What happens to a late sleeper? A shadow sits at the window.

Filmed in black and white, Peter Hardy’s Late Sleeper delves into this concept with creepy creativity and intriguing results featuring Jeff Hathcoat and Ellen McQueen.

REVIEW: Teatro Chelsea hits close to home with compelling family dramedy ‘619 Hendricks’

Posted on June 28, 2023 by The Sleepless Critic

When a house is chock full of memories, sometimes it is difficult to let go.

Shortly after the death of brothers Nesto and Richie’s parents in Laredo, Texas, the aptly titled 619 Hendricks is an address which holds the livelihood of Nesto and Richie’s immediate futures, but for very different reasons.

Directed thoughtfully by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1. Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish may have been at an advantage. This bilingual production is 100 minutes with one 10 minute intermission. Click here for more information and for tickets.

Cristhian Mancinas Garcia as Richie and Juan Carlos Pinedo-Rivera as Nesto in ‘619 Hendricks’ Photo credit to Teatro Chelsea

619 Hendricks is an affecting and sincere dramedy of a vibrant Latino family with some tough decisions ahead of them. It achieves a delicate balance of sentimentality and practicality as Nesto and Richie discuss the future of their family house which will be financially split between the two of them. Scenic designer Payton Tavares creates an appropriately tattered atmosphere including intricately torn brick walls and strips of blue wallpaper under vintage photographs perhaps symbolizing the house’s need of repair is not just external. The intimate manner in which the audience is situated offers a uniquely exclusive peek into this house of many secrets. 619 Hendricks explores grief, jealousies, stubbornness, sibling rivalry, and desperation as the show teeters between humor and tension even occasionally within a single statement.

Juan Carlos Pinedo-Rivera as Nesto, Juan Pedro Paniagua as Tio Chago, and Cristhian Mancinas Garcia as Richie in ‘619 Hendricks’ Photo credit to Teatro Chelsea

This lively cast captures a natural and animated familial rhythm as they lovingly tease and chide each other as they roam the house. Nesto and Monica Risi as wise and tolerant Marta make an amiable pair striving to do what is best for their family. Juan Pedro Paniagua as Tio (Uncle) Chago and Eliza Guzman-Hostas as Tia (Aunt) Carolina provide a refreshing lightheartedness as they humorous banter while the brothers discuss a topic that is all too universally familiar within families, especially after a loved one has passed.

Two brothers are at odds over the family house, but the house is just the tip of the iceberg. Their family issues run deep and the drama unfolds steadily and consistently as tension mounts. Nesto and Richie have contrasting temperaments which make their bickering, needling, and manipulations that much more explosive. Nesto, portrayed with a big personality and even loftier ideas by Juan Carlos Pinedo-Rivera, thinks he has a fool proof plan for the house while Richie, portrayed with sympathetic and quiet introspection by Crishian Mancinas Garcia, is not so sure. With Felix Ramos as business minded agent Hector’s added pressure, determined Pinedo-Rivera and Garcia deliver meaty performances as they cut each other to the quick, a consequence of fighting for the upper hand at any cost. The fights are genuine, tense, and so universally familiar that it is easy to relate to their situation in all of its complications.

Cristhian Mancinas Garcia as Richie in 619 Hendricks Photo credit to Teatro Chelsea

Directed by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1. This bilingual production is 100 minutes with one 10 minute intermission. Click here for more information and for tickets.

REVIEW: Michael John Ciszewski’s ‘The Sun is Sleeping’ dwells in dreamlike introspection in 2020

Posted on December 26, 2020 by The Sleepless Critic

To some, the sun is an adversary. To fast-living insomniac Simon, portrayed by Michael John Ciszewski, the sun is sleeping just when he is waking up. Michael John Ciszewski’s second solo project, The Sun is Sleeping, is a personal, contemplative piece though Simon wants to be anything but contemplative. He’d rather escape than be alone in his thoughts and his isolation, always looking for a quick fix as he dreams, loves, and parties big.

Having seen Ciszewski in other projects such as Lyric Stage Company of Boston’s The Little Foxes and his latest Hub Theatre Company of Boston’s virtual Much Ado about Nothing, Ciszewski has a strength for portraying intense, multi-faceted characters and Simon is no exception. Steeped in city views, sunsets, and the crack of dawn, The Sun is Sleeping is a beautifully shot, relatable journey during these difficult times.

Michael John Ciszewski in ‘The Sun is Sleeping’ Photo credit to Michael John Ciszewski

Click here for more information and how to watch The Sun is Sleeping, a one hour avant-garde film.

The Sun is Sleeping is part confessional, part introspection, and part escape, featuring a myriad of mixed emotions as Simon and other characters face a pandemic. As Simon fantasies about an eternally happy existence and doubt seeps in, the audience is privy to each character’s meandering perspectives in their sheer yearning to bond with other people in any way they can.

Stephen Maier as Troubadour Photo credit to Michael John Ciszewski

For the actors themselves facing an arts ‘intermission’ of this magnitude, it’s the thrill of the audience, lack of that type of expression, and entire way of life turned upside down that contributes to their unsettling uncertainty. Pier Lamia Porter as Sam and Rachel Belleman as Caroline unite in a wistful zoom call that could speak to anyone right now. It’s the longing and joy of being together. Some of the show has a sense of humor, but much more of it is reflection showing we all have too much time on our hands and yet the sun still shines.