island | The Sleepless Critic

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: Reagle Music Theatre of Greater Boston looks at love and sacrifice in a breezy ‘South Pacific’

Posted on June 22, 2024 by The Sleepless Critic

Long ago and far away on the islands of the South Pacific, the turbulence of World War II leaves the South Pacific in peril. The challenges that face this particular group of people may be the only thing that turns the tide.

Directed and choreographed by Rachel Bertone and adapted from James A. Michener’s Pulitzer prize-winning novel, Tales of the South Pacific, Reagle Music Theatre of Greater Boston kicked off its 55^th season with Rodgers and Hammerstein’s Golden Age musical classic, South Pacific live and in person at the Robinson Theatre in Waltham, Massachusetts through Sunday, June 23. This family-friendly production is approximately two hours and 30 min with a 15 minute intermission. Click here for more information and for tickets.

Penelope Rhoads and Lola Rhoads in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Rodgers and Hammerstein’s South Pacific focuses on love, sacrifice, and survival during a turning point in World War II, but also features many lighthearted and humorous moments under Rachel Bertone’s direction and mix of delicate and energetic choreography from the endearing Dites-Moi featuring graceful Penelope Rhoads as Nguana and Lola Rhoads as Jerome to the high-spirited There is Nothing Like a Dame to the carefree comedy of Honey Bun featuring charismatic, wisecracking but well-meaning Luther depicted impressively by Brendan McGrady with a smirk and thick New York accent. With strong and engaging vocals navigated by Music Director David Coleman, South Pacific boasts a long list of Rodgers and Hammerstein’s revered American Standard classic tunes.

Janie E. Howland’s breezy, tropical, and wicker-infused set includes painted tropical flowers, towering palm trees, and signs of significant locations as well as a surprising special effect with a helicopter. Blended with Frank Meissner Jr’s radiant lighting, South Pacific illuminates compelling landscapes from dawn to daybreak as well as a gleaming aqua coastline. Emerald City Theatrical’s terrifically retro costumes range from vintage cheerfully colored casual wear to authentic looking uniforms.

Jennifer Ellis and Christopher Chew in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Jennifer Ellis blends effervescence and effortless charm as Nellie Forbush, a GI nurse from Arkansas who quickly falls for Christopher Chew as Emile de Becque, an older, worldly and mysterious Frenchman who resides on an island plantation. Both are incredibly curious about the other and consider each other way out of their league. Chew and Ellis share romantic tension-fueled chemistry, making it sweet to witness their awkward conversions. There is warmth between these two and Chew’s marvelous vocals deliver a beautiful rendition of Some Enchanted Evening after Ellis shares her lighthearted nature in an enchanting rendition of Cockeyed Optimist.

Emile and Nellie seem to have a mature love that is often tested as the production progresses. This show is less about love triangles, but more about love at first sight and the challenges that each one of them face as war hangs in the balance.

Lisa Yuen in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Another captivating yet fiery presence is Lisa Yuen as determined, practical and shrewd businesswoman Bloody Mary. Yuen’s candid, direct and persistent demeanor as a Tonkinese woman attempting to find success is excellent, especially as she outsmarts some GIs she encounters for a deal. She has a wonderful rapport and chumminess with the GIs, especially during the number Bloody Mary through Bertone’s lively choreography. Yuen shares a funny first encounter with Blake DuBois as cool, collected and enigmatic Lieutenant Joseph Cable who delivers a memorable rendition of Younger than Springtime. Yuen’s Bloody Mary just might be the most earnest and levelheaded individual in the production, her haunting vocals on full display in Bali Ha’i and heartfelt alongside Calico Valasco as Liat in Happy Talk.

Lisa Yuen and Calico Valasco in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Some aspects of South Pacific still seem dated and a little cloying and with much respect to Rodgers and Hammerstein, South Pacific is not as emotionally charged as their other works and often found myself questioning the motivation of some of these characters. For example, Ellis as Nellie seems impulsive and indecisive just as quickly as she seems so certain. Perhaps it was just a different time. Otherwise, Reagle Music Theatre of Greater Boston’s South Pacific is a memorable, family-friendly day at the theatre with a strong and timeless inherent message.

Jennifer Ellis as Nellie and the cast of Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

REVIEW: Merrimack Repertory Theatre’s quintessentially local ‘A Woman of the World’ fascinating and full of surprises

Posted on May 23, 2021 by The Sleepless Critic

Scandalous secrets unfold and things are not what they seem in Merrimack Repertory Theatre’s (MRT) quintessentially local and fascinating production of A Woman of the World by Rebecca Gilman streaming on demand through Sunday, May 30. Partnering with the Emily Dickinson Museum and directed cleverly by Courtney Sale, this one-woman show led by Massachusetts native Denise Cormier lights up the stage with natural charisma as enigmatic lecturer and historical figure Mabel Loomis Todd. She claims to bring insight into the real life of the late, renowned poet Emily Dickinson, but what she unveils is so much more.

It was wonderful to see another production from MRT filmed onstage. A Woman of the World also offers plenty of local references such as Harvard, MIT, the New England Conservatory, Boston, Amherst and the surrounding areas. The show contains some hinted adult themes. Click here for more information and for tickets.

Denise Cormier in MRT’s ‘A Woman of the World.’ Photo: Kathy Wittman/Merrimack Repertory Theatre

Scenic designer Bill Clarke and Original Music/Sound Designer David Remedios seamlessly combine the inviting comforts of home with the sights and sounds of a serene Maine setting. However, don’t let the serenity of this island home fool you. Mabel gears up for a quiet storm as the sound of the wind and crickets fill the air.

From welcoming to haunting, Carolina Ortiz Herrera’s soft, dynamic lighting not only transforms each mood in an instant, but does more so with Cormier. At first Denise Cormier as Mabel seems a lively, well-to-do speaker with well coiffed blond hair, but as the show progresses, the subtle lighting reveal tinges of gray.

Though it is a one-woman show, other “cast members” such as Mabel’s daughter Millicent is addressed offstage. Delivering a multi-layered performance, Mabel’s charm to win over her audience first comes off as egotistical, but gradually becomes earnestness and she soon seems like an old friend. Nothing short of a captivating showman, a warm and inviting presence, but the guarded moments intertwined in her storytelling is the stuff that keeps you hooked and her drifting reflections are when the show truly hits its stride. Having had a stroke, Mabel is also somewhat an unreliable narrator in more ways than one.

The show tackles relatable issues on feminism and Cormier as Mabel may make you root for her one moment and against her the next. However, she’s a survivor and an enigma ahead of her time.

Merrimack Repertory Theatre’s production of A Woman of the World by Rebecca Gilman is streaming on demand through Sunday, May 30. Following the production is a short interview between director Courtney Sale and Denise Cormier on the inspiration behind the show. Click here for more information, tickets, and for more about the Merrimack’s Repertory Theatre’s season.

REVIEW: Theatre KAPOW shows they have perfect timing with Peter Josephson’s ‘A Tempest Prayer’

Posted on November 29, 2020 by The Sleepless Critic

It is no surprise that Theatre KAPOW added Peter Josephson’s A Tempest Prayer, based on Shakespeare’s The Tempest, to their 13^th season entitled, ‘We Can Get through This.’ Having lived through the Great Plague of London, Shakespeare was sadly familiar with the anguish of isolation and solemnity that encapsulates a person during a pandemic and the closing of theatres. It is a perfect choice for this indelible year.

Peter Josephson’s A Tempest Prayer, a solo retelling of William Shakespere’s The Tempest also starring Peter Josephson, was live streamed at various times from Theatre KAPOW’s studio in Manchester, NH from November 13 through November 15. Click here for more information on season 13 and how to support them on Giving Tuesday on December 1.

Theatre KAPOW company member and award-winning actor Peter Josephson takes on quite a lot capturing the essence of a Shakespearean classic while displaying a full range of emotions not only as Prospero, but as other mystical figures. It is a harrowing journey within a man’s psyche stranded with his daughter on a mystical Mediterranean island imprisoned by his thoughts. He knows there is a way to escape, but must come to terms with himself in order to find freedom. If the show’s surroundings and lead actor’s struggles do not seem a bit familiar in this odd year of 2020, maybe you’re adjusting better than you might expect.

Peter Josephson in ‘A Tempest Prayer’ Photo courtesy of Matthew Lomanno Photography/Theatre Kapow

Though A Tempest Prayer is a solo retelling, Josephson portrays other mystical characters on the island in innovative ways while simultaneously making him look that much more unhinged. He uses marionettes for the illusion of interaction and Prospero’s daughter Miranda looks lifelike in a moving CGI portrait. Multiple camera angles, the dark and ominous island setting, and stirring sound effects by Matt Cahoon, Tavya Young, and Jake Hodgins all contribute to Peter’s captivating torment.

Josephson gives a fierce and gripping performance as Prospero expressing his inner turmoil as he struggles to forgive, the weight of his ills threatening to drive him mad unless he can let go. He’s menacing, fearful, shrewd, and human. It is easy to witness this turmoil and have empathy while he is wracked by loneliness and confinement. He paces and ponders the insignificance of life as he attempts to propel himself into a brave new world and appreciate what he does have.

Perhaps you are your own worst enemy. Perhaps more than anyone surrounding you, the unbearable truth is that the biggest struggles are the ones you endure within yourself. Letting go is the key to making things better if only it were that easy.

Sleepless Critic had the honor of interviewing Peter Josephson on a past production he performed with Theatre KAPOW. Click here for the interview.

Theatre KAPOW’s 13^th season is underway. Click here for more information about Theatre KAPOW, their mission, and how you can support them on Giving Tuesday on December 1.

REVIEW: Lyric Stage brings beauty and powerful perspective to Sondheim’s ‘Pacific Overtures’

Posted on June 2, 2019 by The Sleepless Critic

Surrounded by wild pink cherry blossoms, Lyric Stage reveals a telling story with Stephen Sondheim’s stirring musical Pacific Overtures, a historical production set in 1853 when a mysterious ship drops anchor on Japan’s remote and tranquil island. Told entirely from Japan’s perspective, it’s an important tale about conflict, betrayal, and the price of progress.

Skillfully directed by Spiro Veloudos, musically-directed by Jonathan Goldberg, and choreographed by Micheline Wu, Lyric Stage presents Stephen Sondheim’s Pacific Overtures through June 16 at 140 Clarendon Street in Boston, Massachusetts. Click here for more information and tickets.

Lyric Stage Pacific Overtures Please Hello

Jeff Song and The cast of Pacific Overtures. Photo by Mark S. Howard.

The Lyric Stage has a knack for surprises. They take on a variety of shows throughout the season, from contemporary to original productions to traditional musicals, but one thing they all have in common is it is hard to imagine how the show will play out onstage. Though rarely performed, Sondheim’s Pacific Overtures is an unpredictable, multi-layered musical that delivers an unforgettable message about power and prosperity.

Between scenic designer Janie E Howland’s hand painted set, the sloping wild pink cherry blossoms, Gail Astrid Buckley’s rich and historically-accurate costumes, and Karen Perlow’s clever light design, Lyric Stage brings to life Japan’s beautiful and increasingly tumultuous landscape. This show does an excellent job at depicting a sympathetic, humorous, and at times, haunting look of how Japan saw the outside world.

Micheline Wu performs a fan Dance Photo by Mark S. Howard

Kai Chao in Pacific Overtures. Photo by Mark S. Howard.

Choreographer Micheline Wu’s reflects Japan’s distinct culture in sharp choreography, integrating samurai tradition while carefully letting a bit of westernization seep in. Kai Chao as relentless Commodore Perry struts into a patriotic, humorous, and cunning Lion Dance while Wu herself, who also depicts Tamate and other roles, captures Tamate’s raw vulnerability in a fan dance during the reflective number, There is No Other Way.

The cast of Lyric Stage’s ‘Pacific Overtures’ Photo by Mark S. Howard

Enthusiastically recited by Lisa Yuen, who was last seen on the Lyric Stage as the mesmerizing Spider Woman in Puig’s Kiss of the Spider Woman, Yuen delicately balances the tale she tells with a mix of humor and urgency, occasionally stepping into the story itself. That could be an awkward transition, but it’s one that Yuen takes on with ease.

Carl Hsu portrays Kayama, a quietly conflicted fisherman thrust into the spotlight to solve a seemingly impossible issue. Hsu’s wistful, soaring vocals reflect his alienation as western culture attempts to take hold in Bowler Hat. Inquisitive and awestruck, he struggles to adjust to Japan’s seeming future.

Lyric Stage Pacific Overtures Carl Hsu and Sam Hamashima

Carl Hsu as Kayama and Sam Hamashima as Manjiro in ‘Pacific Overtures’ Photo by Mark S. Howard

Sam Hamashima portrays Massachusetts fisherman prisoner Manjiro, a man with mysterious intentions. Hamasima and Hsu show low key camaraderie as they improvise together during the number Poems. Gary Thomas Ng takes on several roles, but proves to be at his funniest as the Grandmother in the lighthearted number, Welcome to Kanagawa.

Lyric Stage Pacific Overtures Welcome to Kanagawa

Alexander Holden, Gary Thomas Ng, Karina Wen, and Kai Chao in Pacific Overtures. Photo by Mark S. Howard.

Change can be painful. From a remote, peaceful, self-sufficient island to an economic powerhouse to the home of the 2020 Olympics, Japan has worn many faces and overcame many obstacles. Pacific Overtures depicts the raw emotion and a sympathetic perspective on what that might have felt like along the way.

Lyric Stage continues Stephen Sondheim’s moving musical, Pacific Overtures through Sunday, June 16 at 140 Clarendon Street in Boston, Massachusetts. Click here for tickets and more information. Subscriptions and dinner packages are also available. Follow The Lyric Stage on Twitter and Facebook for their upcoming productions and more.