June | The Sleepless Critic

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

Posted on June 24 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 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 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.

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: Boston Pops capped of their Spring Pops season with a glorious celebration on Gospel Night’s 30th anniversary

Posted on June 20, 2024 by The Sleepless Critic

Celebrating 30 years, Boston Pops Gospel Night has stood the test of time as a glorious and revered annual tradition. Boasting an illuminated brass backdrop layered with firework shaped gold lighting as well as multi-colored imagery, Boston Symphony Hall welcomed a large crowd for this highly-anticipated, 30^th anniversary event for one night only on Saturday, June 8 live and in person in Boston, Massachusetts. Click here for more information and more on upcoming Boston Pops events including Boston Pops Fireworks Spectacular featuring The Mavericks, Kelli O’Hara, and much more.

Each year, Gospel Night features a special blend of acclaimed musical guests, a variety of beloved songs delivered by the Boston Pops Gospel Choir as well as an array of memorable performances.

Renowned Conductor Charles Floyd Photo by Mike Mejia

Warmly greeting the crowd and the orchestra was accomplished conductor, pianist, and composer Charles Floyd, who has been conducting Gospel Night for the past 28 years. Click here for a closer look at Charles Floyd and his career.

Distinguished looking in a white tuxedo with black pants and a bow tie, Charles Floyd gave an appreciative wave before opening this joyous concert with George W. Chadwick’s spirited Jubilee which boasts a rush of excitement and anticipation as well as a mix of beautiful yearning and striking rhythms. Duke Ellington’s Caravan was an incredibly robust and exhilarating experience delivering drum-infused, head bobbing rhythms featuring Edmar Colón, David Rosado, Jeriel Sanjurjo and Gabriel Santiago on percussion and featuring Balla Kouyaté with an incredible sound on Balafon.

Balla Kouyaté on Balafon Photo by Mike Mejia

Ten-time Grammy Award-winning a capella gospel group Take 6 highlighted the event as they returned to Gospel Night for an uplifting set of impressive performances. Made up of a half a dozen captivating members which includes Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, and Khristian Dentley in suits and tailored shirts, Take 6 took the audience on a wide and inspirational journey to provide encouragement and share their joy including the catchy harmonies in Feels Good, an upbeat, yet moving rendition of the Charlie Chaplin’s cover Smile, a fiddle-infused Lullaby and a nostalgic rendition of Ambrosia’s Biggest Part of Me. As cloud shaped lighting hovered above the orchestra, Take 6 also shared a divine rendition of David Bloom’s You deserve it steeped in echoing and acapella harmonies.

The return of A cappella gospel group ‘Take 6’ Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, and Khristian Dentley Photo by Mike Mejia

The second half of Gospel Night is a rousing celebration encouraging everyone to let loose and dance with the energizing Boston Pops Gospel Choir. In a beautiful black dress and pearls, Katani Sumner encouraged the crowd to get on their feet for Smith’s All Praise which was further emphasized by Ray Martin in an uplifting rendition of Hallelujah You’re Worthy. Ida Kamrara elevated the celebration with Lord You’re Great and Brittany Wells and Loraine Adeymi joined together for a horn infused, expressive and high-powered duet of Wonderful is Your Name/I’m So Thankful as the energy escalated onstage culminating in Zion Rejoice with Sherylynn Sealy.

However, after the encore is the after party.

Led with incredible enthusiasm and sharing a few dance steps, The Boston Pops Gospel Choir Artistic Director and Brother Dennis L. Slaughter gears up each year for a grand, spirit-fueled finale after the finale. It is a toe tapping after party that usually could go all night long, if only they could. Whether it is due to the current state of the world, remnants of pandemic numbers, people buried in discouragement or a combination of all three, the audience’s response was not as enthusiastic has it has been in past years. The finale usually has everyone on their feet and Gospel Night was not as full as it has been in past years.

The Boston Pops Gospel Choir Photo by Mike Mejia

Earlier on during their set, Take 6 delivered an earnest and eloquent message of persistence and resilience before launching into a smooth and touching rendition of Over the Hill is Home. It spoke volumes about overcoming the heartache of life’s challenges and having faith to pull ourselves over that hill to a day that ‘shines so bright.’ We can all use encouragement in these dark times and Gospel Night uniquely brings home that exuberant and electrifying resolve each and every year if we let it sink in.

REVIEW: Sullivan Rep’s ‘A Little Night Music’ soars

Posted on June 18, 2024 by The Sleepless Critic

Love is in the air among the rich and glamorous…elusive and oftentimes fleeting.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8. This production was not for children and ran approximately two hours with an intermission. Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions.

The cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Having never seen A Little Night Music before, it was with great anticipation to witness another classic Sondheim production. A Little Night Music was first staged on Broadway in 1973 and was revived on Broadway in 2009 starring Angela Lansbury as Madame and Catherine Zeta-Jones in her Tony award-winning performance as Desiree. Send in the Clowns is one of my favorite Broadway songs and it was exciting to finally see it performed in the context in which Sondheim intended.

Veronica Anastasio Wiseman and Libby Sweder in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Set in 1900s Sweden, Sondheim’s A Little Night Music has bit of a soap opera vibe focusing on the jaded love lives and lifestyles of the upper class emphasized in the number, The Glamourous Life which is sung by some questionably moral aristocratic characters who lead anything but a mundane daily routine and where absolutely nothing is out of reach. In a black dress and burgundy sash, accomplished matriarch Madame, cleverly and amusingly portrayed by Veronica Anastasio Wiseman, decides to advise her granddaughter, an adorably precocious Libby Sweder, in the ways of the world. Surrounded by several love triangles, Sweder soon learns that the world is far more complicated, especially among the privileged.

The Newton Town Hall, though the acoustics had a bit of an echo that muffled some lyrics, was an ideal setting for this sophisticated production with its sterling piano, marble floors, a candelabra and the full orchestra refreshingly set above the stage and cleverly utilized in a brief play-within-a-play scene. An opulent table setting and a countryside picnic arranged by cast members are part of Rick Grenier’s ornate properties design. DW emphasized this regal atmosphere with upscale Edwardian attire featuring lace, stately coat tails, and long silk gloves embellished by ritzy and sparkling jewelry and adornments.

A Little Night Music’s refined cast have a sense they are a cut above the rest and prove it mastering complex harmonies, powerful vocals and droll comic timing. Led by Veronica Anastasio Wiseman as Armfeldt matriarch Madame, Wiseman huffs and admonishes with the best of them musing about today’s Liasons with rapier wit, ‘Where is the style? Where is skill? Where is forethought? Where is the discretion of the heart?’ knowing full well she leads this glamorous life for good reason. Wiseman and Sweder share an intimate and knowing camaraderie and it is fascinating to see how Sweder responds to her surroundings.

With a shriek and bubbly childishness, Rebekah Rae Robles impressively embodies lively and youthful teenager Anne who happens to be married to much older, wealthy and experienced attorney Fredrik, enigmatically depicted by Brian Higgins. It is not immediately evident Fredrik’s motives for marrying her and it is strangely comical to see them together in her innocence. Fredrik’s eyes shine fondly with former love, Desiree for a reflective rendition of You Must Meet My Wife.

Andrea Giangreco, Rebekah Rae Robles and the cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

In glasses and a sweater vest, Jacob Thomas Less depicts smart, ambitious and neurotic Henrik, son of Fredrik. Awkward and sweet, Less meaningfully conveys Henrik’s sincere and frustrating invisibility in this world of excess and longs to be understood demonstrated in an earnest rendition of Later, part of a vocal trio for Now/Later/Soon.

Jacob Thomas Less in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Andrea Giangreco is a standout as Charlotte with wonderful dark humor and enchanting vocals as Anthony Rinaldi as Carl-Magnus’s long suffering and conflicted wife. Everyday a Little Death with Rebekah Rae Robles as Anne is a solemn and tender duet and Giangreco’s witty and sympathetic portrayal and solid vocals makes it easy to root for her. Giangreco shares some very funny moments with scene stealing Rinaldi as plotting and conceited military dragoon Carl-Magnus as he storms and struts around the stage with an entitled air and an over the top sneer emphasized in a soaring rendition of In Praise of Women.

Anthony Rinaldi in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As a big fan of Into the Woods, there is a gleam of similarity to where Sondheim might have been inspired for his later works in A Little Night Music. For example, the contemplative duet It would have been Wonderful featuring Brian Higgins as Fredrik and Anthony Rinaldi as Carl-Magnus share lighthearted and humorous reflections similar in comic tone to the Into the Woods’s duet in Agony featuring two rivals that may share more in common than they think. Higgins and Rinaldi’s absurd reasoning keeps their ridiculous rivalry interesting.

Nora Sullivan in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Nora Sullivan masters the quick paced vocals prevalent in Sondheim’s works in a commanding rendition of The Miller’s Son as flirtatious and spontaneous Petra who savors each passing day. In tight red curls, Carly Evans portrays renowned actress Desiree who falls for an old love which quickly becomes much more complicated than she ever anticipated.

Carly Evans and Brian Higgins in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As for Send in the Clowns, Evans as Desiree delivers a moving rendition that is winsome and rueful, reminding me why I love that song in the first place.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8. This production was approximately two hours with an intermission. Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions.

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

Posted on May 30, 2024 by The Sleepless Critic

Words matter. Formalities matter. Commitments matter.

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on June 23, 2023 by The Sleepless Critic

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

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

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

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

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

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

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

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

Ilya Volok as Patruschev Photos by Irina Danilova

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

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

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