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REVIEW: American Repertory Theater’s world premiere an imaginative and optimistic ‘Wonder the Musical’

Posted on January 20 by The Sleepless Critic

A violet pixelated galactic sky is marvelously portrayed from a spaceship bed and that is only the beginning.

Garrett McNally delivers a moving portrayal as inquisitive Auggie whose vibrant imagination spans the vast cosmos. Born with Treacher Collins Syndrome, Auggie’s world has always been limited to home schooling. However, when Auggie is about to attend fifth grade, Alison Luff as Auggie’s practical mother Isabel insists he attend public school. With guarded optimism, Auggie ventures apprehensively on this new journey.

Nathan Salstone, Garrett McNally, and members of the cast of Wonder.
Photo: Hawver and Hall

Insightfully directed by Taibi Magar with Katie Spelman’s enchanting choreography and Ryan Cantwell’s uplifting music direction, American Repertory Theater (A.R.T.) continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. This family-friendly and engaging production is approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

In 2012, R.J Palachio’s first novel Wonder became a New York Times best seller before it was adapted into a heartwarming 2017 film of the same name starring Julia Roberts, Owen Wilson and Jacob Tremblay. It seems only natural that this remarkable story has now been warmly transformed into a compelling musical.

Wonder Production Photo Nathan Salstone, Javier Muñoz, Alison Luff, Garrett McNally, and Kaylin Hedges in Wonder.
Photo: Hawver and Hall

Though Wonder is not based on a true story, Auggie’s story draws from real life experiences of individuals who struggle with this craniofacial condition. It tackles bullying, prejudice, empathy and kindness, but what sets this intriguing musical apart is how it delves into perspectives. Auggie may be the central figure in this musical, but a large part of the story focuses on each character’s perspective and the unexpected struggles of those who seem to have it better than Auggie at first glance. Learning to walk in another’s shoes has never been so important.

Set designer Matt Saunders with lighting designer Bradley King richly articulates this glowing musical’s significant themes symbolically through a multicolored and animated pixilated landscape rhythmically peppering a revolving stage. These pixels can enhance, enliven and moderate the musical’s weightier scenes, but particularly illuminating Auggie’s amazing cosmic universe. Imaginative backpacks, colorful streamers, expressive T-shirts and detailed, fanciful costumes are just a sample of Linda Cho’s exuberant costume design.

Wonder Production Photo Alison Luff and Garrett McNally in Wonder.
Photo: Hawver and Hall

Wonder boasts its share of feel good moments featuring a strong cast. The chiming pop-infused score with lyrics and music by A Great Big World with Cody Spencer’s robust sound design keeps the show hopeful and optimistic even in the face of its heavier and poignant moments. Alison Luff as Isabel, Javier Muñoz as Nate, Kaylin Hedges as Via and Garrett McNally share a natural tight-knit chemistry facing the world as Hedges as Via affectionately calls her family ‘our little galaxy.’ There is a quiet earnestness built into this family when they step aside for one another. Hedges brings an affinity to this complex role with quiet yearning as Via through soaring vocals who consistently puts Auggie first in her solo, Around the Sun. Luff and McNally share a stirring bond in a fiddle-laden and powerful rendition of You are Beautiful.

Led by Melvin Abston as energetic Mr. Tushman, Beecher Prep School teachers share an idyllic infectious glee, enthusiasm, and occasionally lovable awkwardness as they navigate the curriculum with verve and charm.

Wonder Production Photo
Garrett McNally and Donovan Louis Bazemore in Wonder.
Photo: Hawver and Hall

Skylar Matthews charismatically shines as excitable and precocious theatre student Charlotte, especially during her engaging solo, You Didn’t Hear it From Me as she waltzes across the stage. Donovan Louis Bazemore seamlessly navigates conflicted Jack who brings warmth and sincerity to the number, Shoes. Paravi shows off sharp comedic timing while lightening a heartfelt moment with Hedges.

Garrett McNally (Auggie) and the cast of A.R.T.’s world-premiere production of Wonder bow in front of the Opening Night audience.

Nathan Salstone is no ordinary Moon Boy. From the exciting 3-2-1 Blast Off and throughout the production, Salstone’s mellifluous vocals and reflective demeanor with Auggie brilliantly elevates each scene.

Wonder is an intuitive, imaginative and heartfelt creation that celebrates the value of loyalty and friendship while sharing significant life lessons prevalent for all ages. You may step away from Wonder the Musical seeing a brighter world too.

American Repertory Theater continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. Click here for more information and for tickets.

REVIEW: Glitzy ‘Pretty Woman the Musical’ is vivacious fun

Posted on February 29, 2024 by The Sleepless Critic

Based on the hit film adaptation starring breakout star Julia Roberts and then megastar Richard Gere, Pretty Woman put a fairy tale spin on a story about a clever prostitute who charms a rich guy. The film is produced by Disney no less and solidly directed by the late esteemed Garry Marshall. With natural elegance, pitch perfect comic timing, and tangible chemistry with Gere who she went on to star with in other film projects due to their thriving and bankable chemistry, Julia Roberts instantly became America’s Sweetheart at just 21 years old.

A lot of big box office movies adapt into musicals and Garry Marshall is behind Pretty Woman the Musical.

Directed with upbeat choreography by Jerry Mitchell, music by award-winning singer-songwriters Bryan Adams and Jim Vallance, and based on the book by Garry Marshall and J.F. Lawton, Pretty Woman the Musical continues live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 3. Click here for more information and for tickets.

Pretty Woman The Musical – Chase Wolfe and Ellie Baker credit Matthew Murphy for MurphyMade

Featuring Chase Wolfe as Edward and adorable Ellie Baker as Vivian creating their own winning chemistry, Pretty Woman the Musical is a feel good adaptation with some memorable musical numbers and includes the beloved and iconic moments that charged the 1990 romantic comedy classic.

Tall metallic palm trees with Hollywood store signs warmly lit by Kenneth Posner and Philip S. Rosenberg bring glitzy California to life by scenic designers David Rockwell and Christine Peters. The rolling set cleverly transforms from energetic city streets to picturesque elegance as silk drapes adorn a gold embroidered balcony with extravagant detailed furnishings including the film’s iconic black baby grand piano.

Pretty Woman The Musical – Bethany McDonald , Ellie Baker, and Taylor M. Sheppard credit Matthew Murphy for MurphyMade

From colorful street clothes to flowing runway fashion to majestic gowns that include Vivian’s iconic red dress, costume designer Gregg Barnes exacts the splashy nature and 80s vibe of this fantasy fairy tale. Commanded by Lauren Esser’s soaring vocals boasted by a powerful rock growl stepping in for Rae Davenport as Kit, fashion bursts onto the scene in the flashy number Rodeo Drive infused with a guitar-tinged rock n roll vibe oozing in the sophistication of many shoppers’ fondest dreams.

Pretty Woman The Musical – Adam Du Plessis credit Matthew Murphy for MurphyMade

One spectacular performer who does a lot of the heavy lifting is Adam Du Plessis as Happy Man. He not only delivers candid and fun-loving charisma to the neon glow of Hollywood Boulevard for What’s Your Dream, a catchy opening number with a tropic tinge, but watch for Du Plessis to pop up unexpectedly and delightedly in various sequences throughout the production boasting sharp comic wit and dynamic spontaneity. Whether in a colorful Hawaiian shirt under a flowing trench coat or dressed to the nines, Du Plessis has quite the range as Happy Man. He shares an endearing rapport with Connor Kabat depicting Giulio with scene stealing goofy sweetness reminiscent of night elevator operator Patrick Richwood from the film.

Ellie Baker has a lot to live up to and successfully makes the role her own through those signature red curls. Baker infuses a unique and goofier free spirit and effervescence to Vivian more playful than Roberts’s engaging portrayal. Julia Roberts had more of an established elegance in her role, even when she is trying to look tough. Baker has bubbly comic timing and a snigger as charming as her beautiful face. She performs a stirring rendition of This is My Life, created from one of Vivian’s monologues to Edward. She also delivers a heightened and powerful solo for I Can’t Go Back.

In a black suit, maroon tie, and a stubbly beard, Chase Wolfe portrays a more rugged, contemplative, and serious businessman in Edward apart from Richard Gere’s subtle charm. Wolfe offers a separate lightness to the role and shares playful chemistry with Baker particularly for You’re Beautiful. Edward’s character is developed further than in the film, especially during his insightful solo, Freedom which is a nice addition drawn from Edward’s monologue in the film to Vivian.

With thick pink eye shadow, studded black skirt and biker jacket, Lauren Esser’s distinct accent and tough facade as Kit uplifts Luckiest Girl in the World alongside Baker as Vivian and in the bright and catchy number, Never Give Up on a Dream. Kit’s spitfire persona and shoot-from-the hip attitude is a tougher version of Laura San Giocomo’s benchmark performance, but here Kit is a more established character and given a larger arc than in the film. She and Baker share a strong and protective bond evident from Kit’s first scene.

Pretty Woman The Musical – The Company of Pretty Woman The Musical credit Matthew Murphy for MurphyMade

Jason Alexander has said that his opportunity for George from Seinfeld came from Pretty Woman and it was a hard fought battle for him to play the role of Edward’s lawyer and friend, Phillip Stuckey. However, in this version, Mikey Marmann is more of what director Garry Marshall originally had in mind for Stuckey’s intimidating, slimy, and snarky persona and Ellie Barker as Vivian’s updated and more welcoming interactions with him are a little different this time around.

Whether it is Sara Wang’s astounding vocals or even the beautiful rendition of You and I which has an unmistakable Bryan Adams influence, Pretty Woman the Musical is an uplifting musical journey that will please fans of the film or anyone experiencing it for the first time.

Directed with upbeat choreography by Jerry Mitchell, music by award-winning singer-songwriters Bryan Adams and Jim Vallance, and based on the book by Garry Marshall and J.F. Lawton Pretty Woman the Musical continues live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 3. Click here for more information and for tickets.

REVIEW: Lexus Broadway in Boston’s glitzy ‘Pretty Woman the Musical’ fluffy but fun

Posted on January 28, 2022 by The Sleepless Critic

Sure, it’s escapism, but isn’t that what Pretty Woman is all about?

Based on the hit film adaptation starring breakout star Julia Roberts and then megastar Richard Gere, Pretty Woman put a fairy tale spin on a story about a clever prostitute who charms a rich guy. The film is produced by Disney no less and solidly directed by the esteemed Gar r y Marshall. With natural elegance, pitch perfect comic timing, and tangible chemistry with Gere who she went on to star with in other film projects due to their thriving and bankable chemistry, Julia Roberts instantly became America’s Sweetheart at just 21 years old.

Adam Pascal as Edward and Olivia Valli as Vivian Photo credit to Lexus Broadway in Boston

A lot of big box office movies become musicals, so Pretty Woman was inevitable.

Directed and choreographed by Jerry Mitchell with music by award-winning singer-songwriters Bryan Adams and Jim Vallance, Lexus Broadway in Boston’s Pretty Woman the Musical continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, January 30. Click here for more information and for tickets.

While the musical lacks Roberts and Gere’s tangible chemistry, Pretty Woman the Musical is still a fun adaptation with a few memorable musical numbers and includes the beloved and iconic moments that charged the 90s rom com classic. However, I do wish the show took its time a little more. The scenes and dialogue at times seem rushed, but with a show already two plus hours, that can be understandable. There is a great deal to cover from the music to the wealth of the film’s signature moments, but perhaps subtracting the more forgettable reprises might make up for the patches of rushed pacing.

Olivia Valli and Saleswomen on Rodeo Drive Photo credit to Lexus Broadway in Boston

From colorful street clothes to flowing, runway fashion to majestic gowns that include Vivian’s iconic red dress, costume designer Gregg Barnes exacts the splashy nature and 80s/90s vibe of this fantasy fairy tale. Fashion bursts onto the scene in the flashy number, Rodeo Drive oozing in the elegance of many shoppers’ fondest dreams and can’t help but notice Jessica Crouch as Kit’s amazing and glittery red and gold heels.

Kyle Taylor Parker as Happy Man Photo credit to Lexus Broadway in Boston

One performer who does more of the heavy lifting in this version is Kyle Taylor Parker as Happy Man. He not only carries his excellent and fun-loving charisma to the neon glow of Hollywood Boulevard for What’s Your Dream, a catchy opening number with a tropic tinge, but keep an eye out for Parker to pop up unexpectedly and delightedly in various sequences throughout the production boasting sharp comic wit and dynamic spontaneity.

Olivia Valli, the granddaughter of Frankie Valli, has a lot to live up to and does not do a Julia Roberts impression even through those signature red curls, but she makes the part her own as a goofier free spirit and an even faster-talking Vivian than in Roberts’s memorable performance. Julia Roberts had more of an established elegance in her role, even when she is trying to look tough. Valli has her own unique and bubbly comic timing. She performs a charming rendition of This is My Life, created from one of Vivian’s monologues to Edward. She also delivers a heightened and powerful solo for I Can’t Go Back.

An iconic Rodeo Drive moment in Pretty Woman Photo credit to Lexus Broadway in Boston

Adam Pascal as quiet, powerful, and observant Edward lacks Richard Gere’s subtle charm though he sounds a lot like Gere. His character is developed further than in the film, especially during his insightful solo, Freedom which is a nice addition drawn from Edward’s monologue in the film to Vivian.

Jessica Crouch’s vocal gymnastics with a rock edge as Kit uplifted Luckiest Girl in the World alongside Olivia Valli as Vivian and in the bright and catchy number, Never Give Up on a Dream. Kit’s spitfire persona and shoot-from-the hip attitude is a heightened version of Laura San Giocomo’s benchmark performance, but here Kit is a more established character and given a larger arc than in the film. She and Olivia Valli have a warm camaraderie evident from Kit’s first scene.

Jessica Crouch as Kit and Olivia Valli as Vivian Photo credit to Lexus Broadway in Boston

Jason Alexander has said that his opportunity for George from Seinfeld came from Pretty Woman and it was a hard fought battle for him to play the role of Edward’s lawyer and friend, Phillip Stuckey. However, in this version, Brent Thiessen filling for Matthew Stocke, is more of what director Garry Marshall originally had in mind for Stuckey’s intimidating, slimy, and snarky persona (imagine if Bradley Cooper took this role) and Olivia Valli as Vivian’s updated interactions with him are a little different this time around and more welcoming.

Amma Osei as Violetta and cast Photo credit to Lexus Broadway in Boston

Whether it’s the astounding vocals from Amma Osei as Violetta or the scene’s up close and personal delivery or even Pascal’s beautiful rendition of You and I, which has an unmistakable Bryan Adams influence, the iconic opera scene between Vivian and Edward stands out as is one of the best scenes in the musical.

Lexus Broadway in Boston’s Pretty Woman the Musical continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, January 30. Click here for more information and for tickets.

REVIEW: Warmth and humor reign in Company Theatre’s traditional ‘Steel Magnolias’

Posted on February 12, 2020 by The Sleepless Critic

One of my favorite lines from Robert Harling’s classic comedy drama, Steel Magnolias is stated by sarcastic and dour Ouiser, portrayed here by Ellen Peterson. “I do not see plays, because I can nap at home for free. And I don’t see movies ’cause they’re trash…and I don’t read books, ’cause if they’re any good, they’re gonna make ’em into a miniseries.”

This type of straight shooting and self deprecating humor is what has made Steel Magnolias thrive over the last 30 years. Steel Magnolias has been adapted so many ways from stage to screen, but what Ouiser leaves out is her unmitigated opinion about a partial true story.

Company Theatre continues with the comedy drama ‘Steel Magnolias’ through Sunday, February 16. Photo courtesy of Company Theatre

Robert Harling’s Steel Magnolias originated as a screen play in 1987 and is based off of real people Harling knew in Louisiana. In the popular 1989 film (which included a parade of famous actresses including Dolly Parton, Olympia Dukakis, Daryl Hannah, and Shirley MacLaine), M’Lynn was portrayed by Sally Field and Julia Roberts was Shelby. Harling based M’Lynn on his own mother and Shelby (whose real name was Susan) on his sister.

In that same vein, who better to direct Steel Magnolias than someone native to this popular play’s southern setting? Directed with local flair by Natchitoches native Johnny Nichols, Jr, The Company Theatre presents Steel Magnolias through Sunday, February 16 at the Company Theatre in Norwell, Massachusetts. Click here for more information and tickets.

Unlike the film, the play is set entirely in Truvy’s Beauty Spot in 1980’s Louisiana. This bittersweet tale follows a group of vastly different women who find strength in each other through hardships and triumphs with a great deal of understanding, humor, and hairspray.

Director Johnny Nichols, Jr not only adds local attributes unique to the show’s setting such as the voice of local DJ Rick Terrell, but the 80s come alive with music distinctive to the era and various references such as Princess Grace, Cher, and Elizabeth Arden. Costume designer Paula Ninestein and Wig Master Ryan Barrow emphasize the era with fringe and florals highlighting each woman’s distinct personality while Truvy’s is an expansive salon that includes a boom box and a wall to wall mix of pastel floral and lace on busy wallpaper and curtains. However, what was most refreshing about this era is to look back at a time before the internet where people shared time, recipes, and hair tips in person.

From L to R: Juliana Dennis as Clairee, Ellen Peterson as Ouiser, Karen Cavallo as M’Lynn, Stephanie Wells as Truvy, Hannah Cunniff as Annelle, and Abilgail Chase as Shelby (center) Photo courtesy of Company Theatre

Though other productions have put a daring spin on Steel Magnolias over the years, Company Theatre’s production is traditional, warm, and thrives on the growth between these primarily outspoken southern women. With her signature blond locks and a gift for gab and gossip, Stephanie Wells depicts fun loving salon owner, Truvy. As a big fan of the movie, it is hard to imagine this part for anyone other than Dolly Parton, but in a black fringe blouse and pumps, Wells puts her own spin on sweet, welcoming, and confident Truvy. Her scenes with Hannah Cunniff as mysterious and humble Annelle make for some quirky, heartwarming moments. Wearing an awkward smile, Cunniff portrays Annelle with quiet unpredictability.

Ellen Peterson’s sardonic and darkly amusing Ouiser delivers some of the most entertaining moments in the show. A bit softer than other productions but no less amusing, Peterson depicts Ouiser more dramatic than sour. Ouiser has a casual style, but costume designer Ninestein make an intriguing statement by having her also wear a distinctive string of pearls, showing Ouiser may not be quite who she seems. Her sarcastic facade rings true with the priceless line, “I’m not crazy. I’ve just been in a bad mood for forty years.”

Widow Clairee, portrayed with warmth and stylishness by Juliana Dennis, is a down to earth perfectionist with an interest in keeping up with the times while Ouiser couldn’t be bothered. With good intentions and a knowing smile, Clairee amuses herself by teasing Ouiser and their exchanges create their own spark.

However, the most compelling relationship exists between Karen Cavallo as M’Lynn and Abigail Chase as M’Lynn’s daughter Shelby. Though Sally Field depicted M’Lynn with a tough sadness, Cavallo’s M’Lynn exudes a sweet demeanor and quiet anxiousness. Cavallo is impressive navigating this complicated character. Chase as Shelby seems cast on the younger side, but exhibits growing maturity as the show progresses. It is easy to see why they are mother and daughter and not just by their remarkable resemblance. Cavallo is sensible while Shelby is impulsive and as with any mother-daughter relationship, one minute they exchange nagging barbs and the next, nurturing affection.

Company Theatre’s Beauty Spot photo booth in lobby Photo courtesy of Jeanne Denizard

Rewind the clock and take a trip south to Truvy’s for Company Theatre’s Steel Magnolias at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts through Sunday, February 16. Click here for more information and tickets, here for details on their upcoming “Galentine’s Day” and here for more on their 2020 season.

REVIEW: Hub Theatre Company of Boston’s ‘Steel Magnolias’ boasts humor, heartache, and hairspray

Posted on July 31, 2019 by The Sleepless Critic

A good story is usually rooted in truth.

Robert Harling’s ‘Steel Magnolias’ is partially based on a true story. Harling wrote the play, ‘Steel Magnolias’ in 1987 and based it off of real people he knew in Louisiana. In the popular 1989 film (which included a parade of famous actresses such as Dolly Parton, Olympia Dukakis, Daryl Hannah, and Shirley MacLaine), the part of M’Lynn was portrayed by Sally Field and Julia Roberts was Shelby. Harling based M’Lynn on his mother and Shelby (whose real name was Susan) on his sister.

Directed by Paula Plum, Hub Theatre Company of Boston celebrates the 30th anniversary of the 1989 film with comedy drama ‘Steel Magnolias’ continuing at Hub Theatre Company of Boston’s summer home, Club Cafe through Sunday, August 3. This show is on a pay-what-you-can basis. Click here for more information and tickets.

The Sleepless Critic also recently spoke to Hub Theatre of Boston Artistic Producing Director’s Lauren Elias about ‘Steel Magnolias,’ the future of Hub Theatre Company of Boston, and more. Click here for the podcast.

Set entirely in Truvy’s Beauty Shop in Chinquapin, Louisiana in 1985, this bittersweet tale follows a group of vastly different women who find strength in each other through hardships and triumphs with a great deal of understanding, humor, and hairspray. Though it has its share of serious themes, ‘Steel Magnolias’ offers more humor and relatable moments seeped in a wealth of 80s references that include mentions of Jane Fonda, and Elizabeth Arden.

Hub Theatre Company of Boston Steel Magnolias full cast 2

From L to R: Maureen Adduci as Ouiser, Liz Adams as M’Lynn, Oye Ehikhamhen as Shelby (center), Lauren Elias as Annelle, June Kfoury as Clairee, and Catherine Lee Christie as Truvy Photo courtesy of Hub Theatre Company of Boston

With bold costumes by Chelsea Kerl and Wig Master Caroline Clancy, the show impressively rewinds the clock into the 80s big hair era and memorable fashion sense while highlighting each woman’s distinct personality. It is also refreshing to look at back at life at a time before the internet where people shared time, recipes, and hair tips in person.

Directed impressively by Paula Plum, ‘Steel Magnolias’ also thrives through its smart casting and the developing chemistry and growth between these primarily outspoken southern women, keeping this popular show fresh. With a gift for gab and gossip, Catherine Lee Christie portrays Truvy Jones with charm and sass. As a big fan of the movie, it is hard to imagine this part for anyone other than Dolly Parton, but Christie, in an array of distinct, sparkling, and mismatched fashion, rises to the occasion. Her scenes with Lauren Elias as mysterious and humble Annelle make for some quirky, heartwarming moments.

Hub Theatre Company of Boston Steel Magnolias full cast

From L to Right: Maureen Aducci as Ouiser, Liz Adams as M’Lynn, Oye Ehikhamhen as Shelby (center), Lauren Elias as Annelle, June Kfoury as Clairee, and Catherine Lee Christie as Truvy Photo courtesy of Hub Theatre Company of Boston

Maureen Adduci’s sardonic, frank, and darkly amusing Ouiser delivers some of the most entertaining moments in the show. Adduci’s exhausted scowl alone in Truvy’s cheery beauty salon is enough to crack a smile. Her sarcastic facade rings true with the priceless line, “I don’t see plays because I can nap at home for free…and I don’t read books because if they are any good, they are going to make them into a miniseries.” June Kfoury as Clairee, a stylish and gossip-driven widow with good intentions and a knowing smile, amuses herself by teasing Ouiser and their exchanges create their own spark.

However, the most captivating relationship is the family dynamic between Liz Adams as M’Lynn and Oye Ehikhamhen as M’Lynn’s daughter Shelby. The push and pull between the two make it easy to see them as mother and daughter. As in any mother-daughter relationship, one minute they exchange nagging barbs and the next, nurturing affection.

Hub Theatre Company of Boston Steel Magnolias Liz Adams as MLynn and Oye Ehikhamhen

Liz Adams as M’Lynn and Oye Ehikhamhen as Shelby Photo courtesy of Hub Theatre Company of Boston

Liz Adams portrays M’Lynn with a quiet, palpable tightness and a bundle of suppressed feelings. It is easy to feel the weight of the world on her shoulders. This M’Lynn has a bit of a tougher edge and a dry sense of humor as she meticulously looks after everyone but herself. Though M’Lynn and Shelby are both dramatic and stubborn, Oye Ehikhamhen as Shelby is a ceaselessly optimistic force where happiness is a requirement, not an option. With a broad smile and easy chemistry with the entire cast, Oye as Shelby shines in a charismatic, compassionate performance.

Club Cafe’s stage is an air-conditioned, intimate space that includes tables set up for food and drinks. In honor of the production, Club Cafe offers themed specialty cocktails such as Truvy’s Twister, Blush and Bashful, Wack-A-Ouiser, and Chinquapin Parish Punch.

Directed by Paula Plum, rewind the clock and take a trip south to Truvy’s for Hub Theatre Company of Boston’s ‘Steel Magnolias’ at Club Café at 209 Columbus Ave through Saturday, August 3. This show is on a pay-what-you-can basis. Click here for more information about Hub Theatre and tickets. Hub Theatre Company of Boston is also taking donations of beauty products and toiletries at every performance to be donated to Rosie’s Place and other charities.

REVIEW: Hingham Civic Music Theatre’s ‘Sweet Charity’ has fun, laughs, and the right moves

Posted on May 2, 2019 by The Sleepless Critic

She’s just a girl in love with love. Swipe right for the Tony award-winning, romantic musical dramedy instilled with a dose of cynicism, Sweet Charity. Unforeseen high jinks and adventures find Charity as she makes her way through what can be a harsh reality. Before Julia Roberts stepped onto the L.A. streets in the popular film, Pretty Woman, Charity wondered Central Park. Both have a heart of gold.

With music by Cy Coleman, lyrics by Dorothy Fields, book by Neil Simon, and directed by Nathan Fogg, Hingham Civic Music Theatre (HCMT) continues Sweet Charity through Sunday, May 5 at the Sanborn Auditorium in Hingham, Massachusetts. This show is for mature audiences and not for young children. Click here for more information and tickets.

Emilee Leahy as Charity Photo courtesy of Hingham Civic Music Theatre

Sweet Charity is one of those rare opportunities to witness a collaboration featuring theatrical icons playwright Neil Simon and director and choreographer Bob Fosse. Oh yes, and Fosse’s then wife, muse, and dance dynamo Gwen Verdon starred in the musical’s stage debut in the 60s.

Bob Fosse and Gwen Verdon’s influence is still as lively as ever as FX continues Fosse/Verdon, a biographical miniseries starring Sam Rockwell as Bob Fosse and Michelle Williams as Gwen Verdon. Coincidentally, Fosse/Verdon also covers in part the making of Sweet Charity. Fosse Fever has certainly been evident on the South Shore of Massachusetts as two adaptations of Chicago recently took the stage in close succession.

Perhaps it’s the Neil Simon influence, but Sweet Charity seems to tread on the lighter side of Fosse’s popular works. It has its edgy moments and not for everyone, but Sweet Charity depends much more on humor than darkness. Though Pretty Woman might be a beloved, yet formulaic tale, Sweet Charity is less predictable and not a by-the-numbers romantic comedy. The costumes, by Kathryn Ridder and company, are fitted and flashy and the dialogue is snappy and at times, charming. At one point, Emilee Leahy as Charity sings, “You’re so strong, you have muscles you don’t need.”

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After portraying resourceful criminal Velma Kelly in Massasoit Theatre Company’s production of Chicago, Emilee Leahy delivers a breezier performance as coy yet sweet, aware and yet sometimes naïve, hopeful and pensive Charity Hope Valentine. Charity can be a poor judge of character, but Leahy’s Charity proves to be worth rooting for. She has a pliable vocal range and is certainly light on her feet as she slips into a spontaneous tap routine featuring the famous number, If They Could See Me Now, decked out with a signature Fosse top hat and cane.

Speaking of dance, Sweet Charity offers an array of Fosse-inspired dance sequences, tinged with retro flair. Choreographer Samantha-Brior Jones, Music Director Sandee Brayton, and Dance Captain Mary Donahue turn up the heat with sharp and distinctive choreography as the Fan-dango Ballroom dancers perform a fierce, steamy, and hip shaking Hey Big Spender. The sweeping, sophisticated, 60s-inspired Rich Man’s Frug featuring Pompeii Club dancers in all-black has a classic vibe to it while Rhythm of Life is an outrageous, seemingly spiritual journey.

Kristen Annese as Nickie and Pompeii Club dancers Photo courtesy of Hingham Civic Music Theatre

The characters that Charity encounter seem a bit melodramatic, showing it doesn’t take itself too seriously. With great New York accents, Kristen Annese as Nickie and Lindsay Warwick as Helene are a plucky, street smart comedy duo. Their rendition of Baby Dream Your Dream has a lot of reassuring sass and they share playful, if at times mildly-snarky camaraderie with Charity.

Leah Shiels as Ursula and Rob Buckel-Gillis as Vittorio make an exotic celebrity pair, decked out in shimmering attire. Buckel-Gillis delivers a beautiful rendition of Too Many Tomorrows. Tony Light is comical as Oscar, a panicked claustrophobic. Shirtless and in suspenders, Rylan Vachon delivers a wildly energetic, off-the-wall performance as zany preacher Daddy Brubeck. Mike Warner as Herman also delivers some laughs, but keep an eye on his T-shirts. Trust me.

Hingham Civic Music Theatre offers two remaining performances of Sweet Charity on Saturday, May 4 and a Sunday matinee on May 5 at the Sanborn Auditorium in Hingham Town Hall, 210 Central Street in Hingham, Massachusetts. Click here for more information and for tickets. Tickets are also available at the door. Be sure to follow Hingham Civic Music Theatre on Facebook and click here to learn how to support HCMT’s upcoming productions.