June | The Sleepless Critic

REVIEW: Stakes are high in Dan Hunter’s intense and enigmatic ‘Black Cat’

Posted on July 13 by The Sleepless Critic

A woman paralyzed by fear. What is haunting her?

Dan Hunter creates an intriguing mystery about family, memory, sickness, secrets and science within a trio of skilled neuroscientists in ‘Black Cat.’ It keeps you guessing who is telling the truth until the very end.

Directed insightfully by Steven Bogart and produced by Hathalee Higgs, Hunter Higgs LLC presented Dan Hunter’s mystery drama ‘Black Cat’ as an Incubator and Visiting production live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Sunday, June 28. The production ran approximately 90 minutes with no intermission. Click here for more information.

Boston University’s Boston Playwrights’ Theatre provided a perfect setting for this production which took place inside a university neuroscience laboratory in the near future of November 2026. Cristina Todesco’s detailed and commercial dual level set design featured realistic lab workspaces with a white board strewn with calculations, brimming file cabinets, a wooden staircase connecting each floor and an impressive kitchenette off the second floor. Zachary Connell’s mercurial and multipurpose lighting with Aubrey Dube’s screeching and foreboding piano-infused sound design augments the fluctuating intensity of each scene.

The set of Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Christopher James Webb as Dr. Gideon Wells states, “In science, you need vision, money and time.” When University research grants and funds for Parkinson’s disease are running out, time is of the essence to find a way to move forward, especially after Wells claims to have made a startling discovery. Black Cat featured a trio of skilled scientists seemingly striving for the well being of the lab and the university. Yet, other motivations soon come to light. As each character confronts one another, a number of pieces fall into place.

Liz Eng and Christopher James Webb in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Adrienne Krstansky delivers a layered performance as anxious and witty Dr. Clare Eccles who has just learned she has won the Hall of Fame for her research. She is the head of the department and yet has been guarded, moody and holes herself in her office. Krstansky has previously demonstrated her ample skills in a memorable performance of Gloucester Stage Company’s The Glass Menagerie and it is wonderful to see her again. Krstanky strikes a convincing poker face as she attempts to keeps her fears and escalating state at bay.

The cast of Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Christopher James Webb roars as complicated neuroscientist Dr. Gideon Wells. Webb steers this meaty character with finesse from avid listener to domineering, conceited, condescending and cagey. Both Wells and Eccles are wildly intelligent and share a long history. It is fascinating to see how they bicker, compete, reminisce and get under one another’s skin.

Christopher James Webb and Liz Eng in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Thickening the plot is Liz Eng as clever, determined and ambitious post doctoral neuroscientist Chai Lin Anderson caught in the middle of Wells and Eccles which forces her to make her own difficult choices. Anderson’s encounters with Wells and Eccles range from nurturing to threatening and Eng levelheadedly handles herself with diplomacy. She carefully and cleverly hedges her bets between Wells and Eccles while navigating her own enigmatic motivations behind the scenes.

Liz Eng and Adrianne Krstanky in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Boasting a mix of drama and dry humor, Black Cat deftly creates a number of suspicions and illusions as this trio in crisis endures the fears of what the future holds for them. Black Cat is also a snapshot into memory, the inaccessible causes of dementia and Parkinson’s disease which affect so many, and raises a number of questions in which some purposefully go unanswered. It is a production that will leave you still pondering these three compelling characters long after the show is over.

Directed insightfully by Steven Bogart and produced by Hathalee Higgs, Hunter Higgs LLC presented Dan Hunter’s mystery drama ‘Black Cat’ as part of the live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Sunday, June 28. Click here for more information.

REVIEW: A ferocious song of desire in American Repertory Theater’s musical, ‘Black Swan’

Posted on June 27 by The Sleepless Critic

“Attack it! Attack it!”

In Darren Aronofsky’s 2010 psychological thriller horror film Black Swan, Nina’s ballet instructor urges Nina to show him a side to her that she has never known. It’s the side that lets go.

American Repertory Theater’s musical Black Swan may be a bit different than the movie in some respects, but the message remains the same.

With Sonya Tayeh’s taut direction and dynamite choreography and Or Matias’s foreboding music direction, American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12. The action is not limited to the stage and this mature production within a production runs approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

Melanie Moore and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

The arts can be brutal, competitive and fickle. Especially with the art of ballet, it requires a unique kind of discipline, sacrifice and determination under the constant pressure of perfection.

Black Swan started out as a 2010 Academy award-winning psychological thriller horror film featuring a stellar cast that included Natalie Portman as Nina, Mila Kunis as Lily, Winona Ryder as Beth and the incomparable Barbara Hershey as Nina’s mother Barbara. It’s a mesmerizing yet unsettling film loaded with literal and figurative twists and turns through the eyes of sweet dancer Nina whose reality sporadically becomes skewed as the film progresses.

In the process of making the film, Natalie Portman and Mila Kunis endured rigorous training and followed a strict diet. Kunis had never danced in her life. Both trained for four months on an intense schedule seven days a week and five hours a day which also included Portman swimming a mile every day. Portman lost 20 pounds from her already tiny frame and Kunis tore a ligament, dislocated her shoulder and has visible scarring from training. Kunis also vowed she will never dance again and it was the hardest thing she had ever done.

Based on Jen Silverman‘s book of this musical, a story by Andres Heinz and the Academy Award-winning psychological thriller horror film, this world premiere musical boasts some lighter and more humorous moments while its intensity is laid out from the first scene featuring ambitious characters consistently competing with each other. They are driven by the arduous drive to survive, succeed, and gain power. It is no wonder that the lyrics and dialogue in this new musical are rife with powerfully visceral action words such as tear, scratch, scrape, twist, elongate, crack and attack as the dancers rehearse on a grueling three week deadline for a new production. It makes the audience feel this painstaking process.

Amber Iman and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

For those who have not seen the brilliant yet disquieting film, the film and musical are not a musical for the faint of heart. They explore the dark crevices of mental illness and obsession while emphasizing the struggle and ferocious determination it takes to become the best.

However, the Black Swan musical does not just speak to the art of ballet, but the savage journey one takes to become the best at their craft which often involves relentless focus, determination and sacrifice.

AMP featuring Marissa Todd’s vast and layered Scenography accompanied by Chris Fisher and Skylar Fox’s masterful illusion design exacts a ballet studio with moving Barres, a regal gala featuring a tremendous and glimmering chandelier, a wild psychedelic club scene with a dizzying disco ball, and a transformative and ominous forest. I was fascinated to see how various illusions from the film would translate into a stage production and the results are riveting combined with Lillis Meeh’s stunning blood imagery and Ida Saki’s powerful and athletic performance.

Isabella Byrd’s crackling and flashing lighting devastates and intrigues in this moody tale alongside Kai Harada’s haunting and foreboding fiddle laden rhythms. Shiona Turini’s colorful and dynamic wardrobe varies from silk and sequined gowns to creatively daring statement ensembles.

Melanie Moore in A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

In a pastel leotard, Melanie Moore climbs into the skin of anxious and gentle Nina, a New York City ballet dancer aspiring to become the company’s principal dancer. A perfectionist wrapped in a cluster of timid uncertainty, Nina is childlike, delicate, naïve, impressionable and sheltered under the guidance of her protective mother Barbara, in an increasingly searing performance by understudy Mehry Eslaminia (usually depicted by Kate Jennings Grant). Barbara is fixated on Nina becoming the star ballerina she was prevented from becoming and Nina longs to please her mother. Moore is excellent as Nina, a beautiful dancer and her sympathetic naiveté draws you into her world of uncertainty and longing.

When a bold new choreographer LeRoy, portrayed with easy charm, charisma and sharp comic timing by Amber Iman, arrives to stage a new version of Swan Lake, Nina thinks this might be her chance to shine. When Jada Simone Clark breezes in as mysterious and effervescent free spirit dancer Lily, she catches Nina and LeRoy’s attention. LeRoy is driven by something to prove and Iman and Thom Sesma as company director Jacques share a tense and interesting power dynamic underneath their lighter and more humorous moments.

Tory Trowbridge delivers a chilling performance as worn principal dancer on edge, Beth McIntyre. Consistently aware of her position, McIntyre is sympathetic in her desperation to hold onto her place in the company and her distressed exchanges with Moore will leave you on tenterhooks.

Ava Noble, Martell Ruffin, Adrian Lee, Anthony Santos, and Caleb Marshall lift
Melanie Moore in A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

While the film draws a clearer picture of Nina’s journey, Black Swan musical is intense, haunting, visceral and intriguing deciphering Nina’s precarious state of mind and how it is executed onstage. The conclusion remains stunning. I agree with the moderate differences in the musical than the film for the most part. However, much of the film hinges on the traditional ballet production than a modern new vision which seems like it doesn’t quite fit. In the film, Aronofsky takes the dark nature of this renowned classic and turns it on its ear while enhancing this dancer’s journey running intermittent parallels with Tchaikovsky’s Swan Lake. Aronofky also produces this musical so I am surprised by this change. Though this musical is no romance, it is no less a transformational piece rooted in the desire to become who you believe you are meant to become at whatever the cost.

American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12. Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company adds an illustrated personal touch to uplifting family musical classic ‘Annie’

Posted on June 17 by The Sleepless Critic

There’s nothing like the promise of tomorrow and no one delivers plunky optimism quite like Annie.

Even in the worst of circumstances, Annie can always find a silver lining which can be demonstrated in a moment when a homeless person complains of empty pockets to which Annie responds, ‘At least you got pockets.’

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks in 1933 Depression-era New York. It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope. As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Greater Boston Stage Company proves this steadfast musical favorite never goes out of style.

Livia Quist as Annie and Gideon as Sandy Photos by Nile Scott Studios.

Warmly directed by Tyler Rosati with Bethany Aiken’s uplifting musical direction and Ceit Zweil’s endearing chorography, Greater Boston Stage Company continues Annie: The Hit Broadway Musical live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts. This family-friendly musical classic runs two and a half hours including an intermission. Click here for more information and for tickets.

Part of what makes Annie such fun to produce is although the tale remains the same, there is always room to perform it a little differently each time. Having originally watched the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn as well as the late great Albert Finney, I’ve gone on to see Annie film and stage adaptations performed in a variety of ways featuring a small and large cast. Greater Boston Stage Company features a seemingly smaller cast but the sentiment remains the same and is no less effective.

Ainsley Moulton as Molly and Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Katy Monthei’s layered and folded set appears uniquely illustrated by children and opens like a book playfully illustrated with markers and crayons featuring homemade drawings, rainbows, sunshine and a drawn city skyline. However, the most striking are the orphans’ illustrations of their imagined families. The folded set is impressive as it turns to various scenes, but can occasionally create a tighter space for the characters.

The cast of Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Kelly Baker’s costumes run the gamut of 1930s vintage flair featuring a wide spectrum of patterns faithful to the era including pinstripes, plaids and paisley as well as elegant coat and tails, bowler hats, mother of pearl broaches, pinafore dresses, furs and silks.

Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Donning a soft curled redheaded bob, signature red sweater and weathered pinafore dress, Livia Quist portrays a little and mighty Annie with angelic features and big expressive eyes. Quist is one of two Annies that take the stage during this musical’s run. Quist is darling, emotive and has a talent for sadness behind a smile and vice versa. Endearing and sympathetic, she is unlike any other Annie I’ve ever seen. Her powerhouse vocals light up Maybe with delicate yet spunky Ainsley Moulton as Molly as well as the show’s signature song, Tomorrow. In long braids and an earnest smile, Moulton’s Molly is mischievous roaming about in the most unexpected of places and Brianna Brien is also impressive as tough talking bully Pepper who tests Annie several times during the musical.

De’Lon Grant as Oliver Warbucks Photos by Nile Scott Studios

Quist’s Annie shares endearing and lighthearted moments with De’Lon Grant as dapper and driven Oliver Warbucks and charming him into seeing a movie in New York City with her is a particular highlight. De’Lon boasts textured and soaring vocals as workaholic, urgent and tough-minded New York City billionaire tycoon Oliver Warbucks as he pays tribute to his beloved city with N.Y.C. before later performing a tender rendition of Something was Missing. Quist also shines with Michael Sáenz as a jovial FDR.

Ceit Zweil as Miss Hannigan in Little Girls in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

In a black haired bob and a whistle around her neck, Ceit Zweil depicts an exasperated and sassy Miss Hannigan and certainly makes the part her own. Dramatic, smarmy and dreaming of a better life, Zweil’s skilled depiction shows a woman who may have once been glamorous, but spends her days stunned, fed up and dreaming of a better life. Tough and street smart, Zweil is a stylish alto demonstrating a sharp vocal growl, belt and a way of turning a phrase. Zweil shows off her strident vocals for Little Girls as the orphans demonstrate their frequently amusing knack for pushing her buttons.

Tader Shipley as Grace and Ceit Zweil as Miss Hannigan in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Tader Shipley warmly depicts sophisticated and determined Grace Farrell, Oliver Warbucks’s levelheaded secretary. Shipley’s bright eyes enliven with admiration and reverence when speaking of De Leon’s Warbucks. Grace’s breezy yet professional demeanor fits in well with Warbuck’s no nonsense moxie. However, Shipley as Grace’s veiled exchanges and frequent battle of wills with Zweil’s Miss Hannigan are a riot.

Livia Quist and the Orphans in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

The orphans’ version of Fully Dressed and A New Deal for Christmas is sure to make you smile. From feigned footsteps to cowbell to kazoo, sound designer Adam Smith fascinatingly rewinds the clock depicting vintage radio programs and how radio created sound effects in the 30s. Christian David delivers lighthearted flair as jocular radio announcer Bert Healey and the gum chewing New Yorker Boylan Sisters were a treat.

Ceit Zweil as Miss Hannigan, Mark Linehan as Rooster and Kathy St. George as Lily St. Regis in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Polished in a pinstriped and purple paisley suit, Mark Linehan brings pizzazz and charisma as smooth talking Rooster, Miss Hannigan’s conman brother. With local favorite Kathy St. George as Lily St. Regis, they make an amusing, sleazy pair and with Zweil, a trio of conspiratorial adversaries with a rollicking version of Easy Street.

Livia Quist as Annie, De’Lon Grant as Oliver Warbucks and cast in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Wearing thick scarves, layers period hats and surrounded by newspaper headlines, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today. However, from select city shoppers to matching uniformed house staff to government officials, this enthusiastic cast enhances the joy in this classic tale and Giselle’s noticeably vibrant and knowing smile performing a variety of roles capturing this production’s uplifting spirit.

Raise your spirits with Greater Boston Stage Company Annie: The Hit Broadway Musical continuing live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information and tickets.

REVIEW: Comedic suspense and more drives Central Square Theater’s ‘The Mystery of Irma Vep: A Penny Dreadful’

Posted on June 15 by The Sleepless Critic

Mummies and vampires and werewolves – oh my!

However, as Paul Melendy as Nicodemus quips, “Don’t be skeered.”

Offering much more absurdity and laughter than horror or gore, The Mystery of Irma Vep leans on comedic suspense in 1930s Mandacrest Manor. Seeing a Penny Dreadful for the first time with some hesitancy, I’ll take it.

With striking direction and transformative set design by David R. Gammons, Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep: A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 21. This two hander adult production displays valuable captions, contains nudity, the action is not limited to the stage and runs two hours including one intermission. If you are unaware of what a Penny Dreadful means, see here. Click here for more information and for tickets.

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

Taking cues from classic gothic romantic literature, The Mystery of Irma Vep: A Penny Dreadful focuses on the highly anticipated appearance of Paul Melendy as new mistress of Mandacrest Manor Lady Enid Hilcrest, the new wife of Gabriel Graetz as widower and Egyptologist Lord Edgar Hillcrest. However, does Lord Edgar’s late wife, Irma Vep, still haunt these eerie halls?

A gleaming and almost sterile looking white foyer in Mandacrest Manor by David R. Gammons is much more than it seems illuminated by Jeff Adelburg’s flashing, tense and vivid lighting which take on a variety of crude shapes and sizes scattered around the room with a glowing fireplace. Composer Nate Tucker skillfully exacts a carefully executed sound design and special effects crucial in this twisted vintage gothic Victorian mystery. Costumer Seth Bodie creates eccentric, vintage, outrageous and vibrant ensembles varying from grand robes with gold trim to 30s three piece suits to revealing negligees.

Paul Melendy and Gabriel Graetz Photo credit to Maggie Hall Photography

In a production that can be less than subtle, striking the right tone is paramount and this duo certainly has a way with words and sharp comedic timing in every over the top scenario which includes stuffed animals, a picnic table cloth and a tree stump. Gabriel Graetz and Paul Melendy work remarkably well off each other in every incredulous expression, wild accent, or improvisational and self aware moment. They also take a lot of complicated cues from each other even during the production’s most awkward scenarios in this vintage melodrama while inviting the audience in on its campy humor and its occasionally moving moments.

Melendy steps into each melodramatic character distinctly, but boasting scratchy vocals, a meandering gate and a slovenly appearance, Melendy’s Nicodemus may be my favorite character and one that is not to be underestimated. The mysterious groundskeeper is protective and shrewd as he lurks about the manor. Melendy as naïve and vampy chorus girl Lady Enid Hilcrest is self conscious under the suspicion of Graetz as stern and traditional housekeeper Jane who also portrays Lord Edgar Hillcrest…and you get the idea. Depicting an actor reacting to portraying multiple characters is no easy feat, but both do so seamlessly. Special accolades to the costume and stage hands for those glorious lightning fast costume and prop changes!

Not a fan of the superfluous nudity even if it was for bizarre comedic purposes, but this production is funny and two great actors performing this campy gothic mystery made me laugh anyway.

Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep: A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 28. If you enjoy the soundtrack to this production, it is available on Spotify. Click here for more information and for tickets.

REVIEW: Boston Ballet’s ‘The Sleeping Beauty’ remains a regal and enchanting achievement

Posted on June 3 by The Sleepless Critic

When an invitation goes awry…

An unexpected hero, an insulted fairy, true love, and a terrible curse make up this enchanting and haunting fairy tale classic as Boston Ballet proudly presents The Sleeping Beauty. Unfolding with elegant and athletic choreography by Marius Pepita and Sir Frederick Ashton, The Sleeping Beauty has returned to Boston for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. This production runs two hours and forty-seven minutes with two intermissions. Click here for more information and for tickets.

Boston Ballet in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

A full house gathered inside the Citizens Opera House as Mischa Santora conducted Tchaikovsky’s famous and dramatic music score, transporting the enthusiastic crowd into a world of royalty, betrayal, innocence, a few familiar fairy tale faces, and a dose of magic. Disney’s popular animated adaptation possesses some similarities to this captivating tale, but Boston Ballet delivers more to the story. You may even find yourself humming along to the instrumental refrain of the iconic number, Once Upon a Dream.

At the center of The Sleeping Beauty is Ji Young Chae who is radiant as delightful and charming Princess Aurora. A triumph of delicate yet athletic grace, her poised and lithe body masters a few of ballet’s most difficult dance moves with impeccable balance including an array of arabesques that garnered particular applause. Seokjoo Kim, Francisco Schilereff, Tyson Ali Clark and Lawrence Rines Munro as prince suitors are enraptured by Chae’s playfulness, charisma, and charm. Chae as Aurora accepts their roses with a flourish.

Ji Young Chae in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Based on Russia’s Imperial Ballet’s 1890 production, The Sleeping Beauty remains a visual treat, boasting ornate costumes in a wide array of intricate patterns with picturesque and multi-dimensional set design by David Walker richly illuminated by Brandon Stirling Baker. From ornate, lush and colorful rural backdrops in gold, red, and green to the enchanting Renaissance era costumes, each scene is a wonder to behold. Wearing glimmering tiaras and dressed in sparkling pink, green, yellow, and blue, the gracious fairies made up of Lauren Herfindahl, Alexandria Heath, Kyra Muttilainen, Emily Aston, and Evelina Godunova floated, frolicked, and twirled, each displaying their own unique personalities. Muttilainen as the whimsical and tip toeing Woodland Glade Fairy and Godunova performing a joyful, skittering and humorous dance as energetic Golden Vine Fairy were particular highlights.

Chisako Oga in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

With a cruel and mocking laugh arriving in a dark, glimmering carriage was Haley Schwan as treacherous Carabosse. Accompanied by a group of monstrous henchmen performed by Ethan Collins, James Cunningham, Alexander Mockrish, and Clay Murray, Schwan displays vindictiveness as an insulted fairy in a mesmerizing array of sharp and rigid movements.

Chyrstyn Fentroy in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Tchaikovsky’s uplifting score hits a crescendo as Emma Topalova appears as the serene and captivating Lilac Fairy. In this adaptation, The Lilac Fairy acts as a guide, her warm presence, quick thinking and commanding courage setting her apart. Her charismatic and skillful performance was most evident among her lively lilac fairy attendants in a glorious display of fouettes, plies, and pirouettes. Topalova was also endearing in a compelling scene with Jeffrey Cirio as Prince Desire. Cirio has a regal and noble air, gallantly leaping with joy at Aurora’s image. Ji Young Chae as Aurora and Jeffrey Cirio as Prince Desire exhibit many tender and playful moments and perfectly complement each other in a fancifully-driven dance including extraordinary fish dives, swept up in love.

Ji Young Chae and Jeffrey Cirio in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

The Sleeping Beauty delivers many magnificent performances within this large cast taking on multiple roles. From a wild and thrilling duet from Layla Porter as Little Red Riding Hood and Lawrence Rines Munroe as the Wolf to humorous feline flirtation from Emily Aston as The White Cat and Spencer Wetherington as Puss ‘N Boots, many beloved fairy tale characters were presented in a joyous celebration.

Chisako Oga and Derek Dunn in Marius Petipa’s The Sleeping Beauty by Liza Voll, courtesy of Boston Ballet

With two intermissions, The Boston Ballet offers a photo friendly display located in the lower lobby. The Boston Ballet closes its season with The Sleeping Beauty for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Chilling and significant lessons in Arlekin Players’ historical drama, ‘Our Class’

Posted on June 24, 2025 by The Sleepless Critic

They were classmates with dreams beyond the classroom…and it all changed.

After a successful run in New York, Arlekin Players Theatre continued Tadeusz Slobodzianek’s historical drama, Our Class live and in person at Calderwood Pavilion in Boston, Massachusetts for a limited run through Sunday, June 22. Directly sharply by Igor Golyak and based around true events, this experimental and interactive work is approximately 2 hours and 45 minutes with one intermission and the action is not limited to the stage. While the production is not graphic and bloody, it depicts violence through a mix of narration and dramatization that is remains raw and heartbreaking. Click here for information.

Richard Topol and cast in ‘Our Class’ Photo by Olga Maturana

Spanning from 1926 to 2007, Our Class traces a tumultuous time in history as a group of Polish students, composed of five Jewish and five Catholic students, connect and grow up together through World War II and beyond. While some students end up together, others live to regret ever knowing each other. From the innocence and mischief of childhood including sing-along, playtime, and crushes to turmoil, prejudice and much worse, this group of students make discoveries about each other in collective joy as well as pain and torment in a raw, unflinching, and harrowing account which includes the horrific Jedwabne pogrom massacre in 1941.

Richard Topol and cast Photo by Irina Danilova

Presented in an experimental and documentary-style dramatization of historical events, Our Class delivers some beautiful moments through song, camaraderie and childlike wonder as well as how hate, fanaticism, hypocrisy and corruption set in and how those closest to you can turn on each other. Knowing it is true makes it all the more unsettling and difficult to watch as this account delivers a collection of significant lessons from an enormous and increasingly populated blackboard by chalk drawing designer Andreea Mincic and a steel ladder as part of Jan Pappelbaum’s innovative and unfolding scenic design.

Song of ‘Our Class’ Photo by Irina Dailova

The chalkboard serves multiple purposes as home video, illustration and various forms of cinematography by Projection and Video Designer Eric Dunlap and Igor Golyak who embellish the comic, tense, and heartrending portions of this production. The props and creations developed onstage by these characters veer from heartwarming to harrowing using balloons and various classroom objects to uniquely chronicle the events onstage.

From glaring brightness to starlight to lurking shadows, Jeff Adelberg’s evocative lighting varies from harsh to haunting and moody alongside Ben Williams’ striking sound design.

Kirill Rubtsov, Ryan Czerwonko, Jeremy Beazlie, Gigi Watson in ‘Our Class’ Photo by Pavel Antonov

Wearing numbered T-shirts for a classroom photo, this collaborative cast skillfully takes on dual roles and the same actors cleverly depict their characters growing up through improvisation and vocal dexterity as decades pass. In a particularly humorous ensemble moment which weaves in Or Schraiber’s dynamic choreography, the classmates contemplate whether or not to dance to a playful kazoo-infused medley. It is one of sparingly few pieces of lightheartedness amidst the turmoil.

Chulpan Khamatova Photo by Irina Danilova

It is difficult to single out standout performances when this production hinges so much on complex and seamless collaboration. However, it is amazing that Deb Martin as Zocha delivered a dedicated and stellar performance despite her recent real life injury improvising onstage using a wheelchair. Chulpan Khamatova as Rachelka and Kirill Rubtsov as Rysiek give multilayered performances while Richard Topol as charming and idealistic Abram, Zach Fike Hodges who is especially compelling in dual roles including Jakub, and Gigi Watson as Dora are all unforgettable.

Deborah Martin and Gigi Watson in ‘Our Class’ Photo by Olga Maturana

The production is lengthy and it feels like it at times, though that can also be expected covering over an 80 year time span. These creative and cautionary lessons are as poignant and significant as they are devastating as these characters face bullying, grief, death, impossible choices and shattered dreams in a world gone mad. It may be too chilling and tense for some, but powerful nonetheless.

Full cast of ‘Our Class’ Photo by Olga Maturana

Directly sharply by Igor Golyak and based around true events, Arlekin Players Theatre continued Tadeusz Slobodzianek’s historical drama Our Class live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, June 22. Click here for more information.

REVIEW: The title is everything and more! Catch American Repertory Theater’s ‘Two Strangers (Carry a Cake across New York)’

Posted on June 12, 2025 by The Sleepless Critic

Two people with seemingly nothing in common, one wedding cake, and several pieces of luggage lead to a string of possibilities in this delightful spin on a romantic comedy.

I will admit, I didn’t want it to end.

Imaginatively directed and choreographed by Tim Jackson, American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. This fabulous production runs two hours and 10 minutes including one intermission. Click here for more information and for tickets.

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hall

On December 2, two strangers meet at a New York City airport unaware that their futures are connected. That is until Sam Tutty as naïve and perpetually optimistic Brit Dougal discovers that Christiani Pitts as cynical New Yorker Robin is Dougal’s ride from the airport. How they become connected to an expensive wedding cake is where the plot thickens.

Scenic and costume designer Soutra Gilmour cleverly makes innovative use of a pile of strategically placed luggage on a conveyer belt which multitasks as a coffee shop, hotel room, a dance club packed with a string of shimmering disco balls, and several other surprises that will not be revealed here. The rotating conveyer belt is a brilliant addition to the production that translates into multiple uses in various settings. Along with Music Director Jeffrey Campos working in conjunction with Sound Designer Tony Gayle and Cody Spencer, lighting designer Jack Knowles brings it all to life with the playful, flourishing and multicolored neon brilliance of Times Square to each of the onstage band’s rhythmic beat. It is one of the most inventive sets I have seen in a long time.

Sam Tutty in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hal

Sam Tutty evokes an innate charisma as Dougal, a guileless and irresistible British charmer who is visiting New York City for a wedding. Tutty’s Dougal is a movie loving, excitable, sincere, rose colored glasses, speak out of turn and puppy dog kind of charming that if Dougal does not win the girl, he will surely win over the audience. Dougal is only in New York for 48 hours to see his absentee dad get married and it is back to England. With a characteristic vibrato, Tutty expresses Dougal’s dreamy excitement for adventure in a duet with Pitts in New York and hopeful optimism in a reflective rendition of Dad.

Christiani Pitts is also terrific as cynical New Yorker Robin who is holding back a secret. While Dougal seems to love life and charges at its possibilities with fun loving enthusiasm, Robin approaches life financially-hanging-on-by-a-thread hampered by a complicated family life struggling to make ends meet in more ways than one. Robin sees the world just as it is and is more concerned about surviving it than taking it all in as exemplified in Pitts’s solo rendition of What’ll it Be.

Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

What these two do have in common is they are lost and trying to find their place in the world and within their family. They also have a lot more to learn about each other than they realize as demonstrated in their contemplative duet Be Happy.

If you think you know how this romantic comedy musical will turn out, Two Strangers holds plenty of surprises up its sleeve and brings a refreshing new take to the romcom. Leaving behind any shallow or empty plotlines that some romantic comedies are culpable, Two Strangers deliver a self aware and satirical approach to these scenarios through dialogue and song. It is a wink to past romantic comedies while also veering into new territory offering authentically exhilarating and stirring moments.

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

Much of that is due to the crackling chemistry between Christiani Pitts and Sam Tutty who banter, tease, joke, disagree and reflect on the their individual lives and their views on the future. Their irresistible affinity towards each other is endlessly entertaining and creates beautiful harmony in several duets, but especially for their humorous (and a little naughty) duet, On the App.

Two Strangers (Carry a Cake across New York) boasts catchy and unique pop-infused melodies that these leads seem to master effortlessly with charm, style and finesse. Pitts lends fluttering vocals and a mix of anxiousness and rising hopefulness to the powerful ballad This Year. Pitts also masters the a cappella and vocal gymnastics of the hysterical and hilarious number, The Hangover alongside Tutty.

Amusing, original, feel good and inventive, make time to witness how this heartfelt story unfolds! Two Strangers (Carry a Cake across New York) stands as one of my favorite productions this year.

American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. Click here for more information and for tickets.

REVIEW: Wheelock Family Theatre’s ‘The Prom’ delivers humor and frivolity into an inspired true story

Posted on May 29, 2025 by The Sleepless Critic

This time I chose comfort over a frilly dress for this Prom.

Similar to Maureen Keiller’s diva-esque Dee Dee Allen, my prom style resembled Allen’s stylish jumpsuits. It is one of Zoë Sundra’s many festive, glittering and characteristic-defining costumes displayed in this production, especially highlighted by Janis Hudson as Angie in a sparkling and show shopping red dress. I felt like I fit right in.

Gary Thomas Ng*, Janis Hudson, Maureen Keiller*, Elias Robles, Davron S. Monroe* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

With lighthearted direction and occasionally sashaying choreography by Larry Sousa as well as upbeat Music Direction by Jordan Oczkowski, Wheelock Family Theatre at Boston University rolls out the red carpet for musical comedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8. Wheelock Family Theatre boasts open captions that come in handy during the performance which runs two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Since The Prom premiered on Broadway in 2018, it was adapted into a Netflix film that boasted an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry. It has been brought to the stage locally over the last few years. Inspired by a true story, anxious Emma, earnestly portrayed by Siri Manju, invites a date to the Prom with none other than Annie Parrinello as popular perfectionist Alyssa, the daughter of the head of the Parent Teacher Association. However, their high school will not allow them to attend the prom together. Once a group of egocentric Broadway celebrities get wind of this human interest story, they decide to make a difference in this small Indiana town.

Annie Parrinello & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana. It delivers humorous moments ranging from silly to satirical with a sincere and underlying message about helping others.

The Prom boasts strong vocals from an amiable cast and lauded local talent. Maureen Keiller brings ego and attitude as Dee Dee Allan, a self absorbed award-winning actress. Keiller’s powerful belt is on full display for It’s Not About Me and The Lady’s Improving. Along with soaring vocals by Davron S. Monroe as warm and charismatic actor Barry Glickman, Gary Thomas NG as no nonsense and frazzled PR rep Sheldon, Elias Robles as openhearted Trent, and Janis Hudson as inspirational Angie Dickinson, these seemingly shallow thespians share some comical moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lauren Velasco O’Donovan, Arabella Hardgrave & Ensemble in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

SeifAllah Salotto-Cristobal’s soft and cheerful multicolored lighting cleverly divides high school and theatrical scenes by illuminating vintage stage lights for celebrity numbers. James Rotondo’s rolling and colorful set design are mainly set inside James Madison High School halls using some projections to transform settings from a 711 store front to a hotel to an Applebee’s.

David Jiles Jr.* & Maureen Keiller* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone. It is positive throughout, even in the face of Emma’s most difficult challenges. Siri Manju’s chiming vocals in the forlorn and self effacing number Just Breathe is a compelling revelation as well Manju’s sweet rendition of Unruly Heart while Jennifer Bubriski’s tight lipped delivery proves fitting for tough and controlling antagonist Mrs. Greene. Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Janis Hudson & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom contains a wealth of welcome, inside Broadway references as well as symbolic choreography during the pivotal number, Tonight Belongs to You and It’s Time to Dance reflecting how the tide turns during the production. Janis Hudson shines during the Fosse-inspired Zazz, an uplifting rendition delivering sparkle and encouragement. Manju shares a touching rapport with both Hudson and Monroe, sure to make you smile.

As David Jiles Jr. as serious, compassionate and theatre loving Principal Hawkins reflects, “A distraction is momentary. An escape helps you heal.” The Prom tells a complex and message driven story while also providing a temporary glittering escape from the realities of life.

The full cast and crew of ‘The Prom’ Photo by Nile Scott Studios

Wheelock Family Theatre at Boston University rolls out the red carpet for musical dramedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8. Click here for more information and for tickets.

REVIEW: Teatro Chelsea’s ‘Fade’ a tense cautionary tale

Posted on July 10, 2024 by The Sleepless Critic

Tanya Saracho’s Fade proves the daily grind should always contain some chic choreography.

Accented by Desiree Salvo’s multicolored and club-inspired lighting and Armando Rivera’s intense and Latin-inspired upbeat rhythms, two people energetically tackle their workday. These eclectic and lively dance breaks provide a clever reprieve and gradually become more meaningful afterhours inside a television station where drama takes a front seat.

Directed thoughtfully by Armando Rivera with playful chorography designed by Movement Director Audrey Johnson, Teatro Chelsea presented Tanya Saracho’s Fade live and in person at Chelsea Theatre Works through Sunday, June 30. Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish have a bit of an advantage. This partially bilingual show was approximately 100 minutes with no intermission and contained explicit language. Click here for more information and for more on Teatro Chelsea’s upcoming performances.

Luz Lopez and Cristhian Mancinas-Garcia in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

The intimate manner in which the audience is situated offers a uniquely exclusive peek into Rivera’s detailed set design complete with commercial carpet, notes scribbled on a white board, a personalized bulletin board and functioning office equipment. Fade turns the tables a bit to focus on an individual who is not necessarily a likable figure. Mexican-born novelist Lucia (Lus-sea-a), portrayed with fiery anxiousness by Luz Lopez, is the new scriptwriter at a television station and is not quite sure where to begin. When Lucia meets quiet yet observant Mexican-American custodian Abel (A-bell) in an absorbing portrayal by Cristhian Mancinas-Garcia, she seemingly sees a like minded individual, but they soon realize that they are not exactly on a united front.

Lucia, feeling under qualified and insecure, is chatty, nosy, and opinionated as she rants about how unfair life has been for her living in California. She is anxious about success and blames everyone but her own abilities for the work she has done. To some points, she is justified working in a primarily white male environment. She jumps to conclusions, is a sneaky rule breaker and hotheaded while Abel is mysterious, reserved and reluctant to speak with her. However, their conversations progress from awkward to tense as focused, humble, and patient Abel cannot help but politely comply as Lucia uses guilt and pressure in order to have her way.

Lopez delivers a convincing and bold portrayal as Lucia who would be easy to sympathize with if she was more respectful of Abel’s wishes. Lopez’s Lucia is dramatic, persuasive, and a clear spark exists between her and Mancinas-Garcia as Abel. Mancinas-Garcia’s Abel is an immediately sympathetic character, forthright, and brutally honest which seems to be good for Lopez’s Lucia. However, delving into everything from family to politics and everything in between, things get complicated the more they learn about each other.

Cristhian Mancinas-Garcia and Luz Lopez in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

Luz Lopez and Armando Rivera make a visually compelling statement in Lucia’s clothing which reflects her gradual character transformation from low key basic attire to lavish and flattering accented with a patterned scarf while Mancinas –Garcia’s Abel’s uniform remains the same.

There lies a twist in this tale and it is startling even if it is one you might see coming. A tense workplace drama tempered by some comedic and upbeat flair, Fade tackles many topics including intuition, integrity and where you place your trust.

REVIEW: A stellar cast leads Central Square Theater and Front Porch Arts Collective’s extraordinary ‘next to normal’

Posted on June 25, 2024 by The Sleepless Critic

Diane’s world looks different and although it seems like an ordinary day, she is on the brink.

One would never know what Sherée Marcelle as Diane is going through at first glance. It seems a typical day in the lives of The Goodman family as they roam around the house, caught up in an average school morning. The mundane and stressful routines do not hint of what is in store for Diane during the bustling and humorous number, Just Another Day. However, this particular day will be different and it will affect everyone around her.

Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Astutely directed and symbolically choreographed by Pascale Florestal with excellent musical direction by Katie Bickford, Central Square Theater co-produced by Front Porch Arts Collective continues the Pulitzer Prize-winning and multiple Tony Award-winning rock musical, next to normal live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, June 30. This fascinating production contains adult themes and is approximately two hours and 20 minutes with one intermission. Click here for more information and for tickets.

Anthony Pires, Jr. Sherée Marcelle, and Diego Cintrón in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

With significant Easter eggs floating above Erik D. Diaz’s meaningful and multi-tiered set connected notably by a spiral staircase and a central door, most of the scenes take place inside the Goodman household with the exception of the living room that doubles as an office space. Mark Clark Wonson’s evocative lighting pulses and radiates on this production’s veering emotional journey and Kiara Escalera’s vibrant costumes often complement each other in stripes, patterns and shades between Anthony Pires Jr. as Dan and Marcelle and most notably in shades of blue later depicted between Cortlandt Barrett as Natalie and Dashawn McClinton as Henry.

Next to normal is a well paced and revealing musical journey about a troubled family who hides it well. It delves into dysfunction and disorders with a bittersweet and relatable gusto and Brian Yorkey’s thought provoking script with dynamic and captivating music by Tom Kitt work together to unravel the nature of Diane’s illness and how each character is affected in Diane’s struggle. I have seen quite a few great performances lately, but helmed by Sherée Marcelle as Diane, this is a powerhouse. Each one of the next to normal cast delivers compelling performances with the vocal chops to prove it while conscientiously revealing their unique way of managing the complexity of their lives.

Anthony Pires, Jr. and Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

With glassy eyed confusion and shaking fingers, Sherée Marcelle as Diane is overwhelmed by her life. Marcelle evokes the anxiousness, disillusionment, trauma, and the submersion Diane faces as bipolar and her yearning vocals unleash the suffering she endures living in her head searching for relief in I Miss the Mountains. Marcelle is amazing as Diane who feels trapped wherever she is. Numb or overdrive where reaching for normal never feels quite right.

The catchy and dark satirical parody, Who’s Crazy / My Psychopharmacologist and I paints and infuses humor into a reeling picture of her battle while also providing a peek into how this affects those around her like her concerned grounded husband portrayed charismatically and sympathetically by Pires Jr. as Dan whose patience is quickly unraveling in his search for answers. Ricardo “Ricky” Holguin in a dual role is hilarious as a deadpan doctor, wild, then later poignant full of compassion and concern.

Ricardo “Ricky” Holguin and Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Pires Jr. and Marcelle is an enthralling pair mastering complex and rhythmic harmonies as well as visceral emotions with zeal and intensity. In one of the production’s lighter moments and next to normal contains as much humor as it does drama, Pires Jr. nails the giddy and quick-paced number It’s Gonna Be Good in helpless wonder and perfect harmony with the rest of the cast.

Cortlandt Barrett and Dashawn McClinton in Central Square Theater and Front Porch Arts Collective’s production of ‘next to Normal’ Photo by Maggie Hall

Cortlandt Barrett’s impressive vocals expel a painful cadence as the struggling, often neglected and perfectionist daughter, Natalie. Barrett and Marcelle share their frames of mind in Wish I Were Here and with the cast in an absorbing Make Up Your Mind/Catch Me I’m Falling. Barrett also shares warm chemistry with Dashawn McClinton as persistent and earnest Henry who is instantly lovable in an intriguing rendition of Perfect for You. Diego Cintrón is lively and memorable, especially in an eerie rendition of There’s a World and with Marcelle and Barrett for a poignant and revealing rendition of Superboy and the Invisible Girl.

Sherée Marcelle and Cortlandt Barrett in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Next to Normal has a few bombshell revelations and the production not only paints an authentic and educational picture of mental illness, but love’s carefree but oftentimes arduous journey with humor, heart and hope. Mental illness makes it difficult to escape from inside one’s head so it shuts people out. As the daughter of a person with depression, it was eye-opening to see a reflection of these challenges within the family and to witness someone so well loved struggling for the strength to see beyond the pain and find the other side.

Anthony Pires, Jr. Sherée Marcelle Diego Cintrón in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Astutely directed and symbolically choreographed by Pascale Florestal with excellent musical direction by Katie Bickford, Central Square Theater co-produced by Front Porch Arts Collective continues the multiple Tony Award-winning rock musical, next to normal live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, June 30. This fascinating production contains adult themes and is approximately two hours and 20 minutes with one intermission. Click here for more information and for tickets.