live music

REVIEW:  Exploring the world of the sick, American Repertory Theater’s intense ‘Night Side Songs’ not just a lullaby

Posted on by The Sleepless Critic

It’s a shock that will take you out of your world.

Then reality sets in.

With stirring direction by Taibi Magar and musically directed by Alex Bechtel, American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8.  Communal, meaningful and creative, this interactive theater in the round experience runs approximately one hour and 40 minutes with no intermission.  It contains strong language and adult themes.  Click here for more information and for tickets.

It explores the news everyone dreads.  Finding out you are sick. 

Witnessing its 41st performance, this intimate cast depicts a number of characters in different scenarios while occasionally engaging the audience in a casual atmosphere.  It time jumps from the 12th century to the present day while addressing the calendar date the performance takes place and is dedicated to the sick, healthcare workers and caregivers by blending themes about relationships, sickness, mortality, and grief through acting, song and sing-along utilizing improvisation along the way. 

Robi Hager in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs immerses itself into uncomfortable and harrowing territory with patches of hope and beauty that will either be fascinating and draw you in and never let go or hope it’s all over soon.  It may not be for everyone, especially if you are squeamish about certain aspects of illness but have no choice but to get through it.  Much like being sick can be.

Mary Testa in A.R.T.’s world-premiere production of Night Side Songs. Produced in Credit: Nile Scott Studios

This warm and dedicated group showcases a number of scenarios, but the main storyline centers around Yasmine who discovers she has cancer at 41 years old in Worcester, Massachusetts.  Brooke Ishibashi delivers a raw and heartrending performance as Yasmine who must navigate her life in an entirely different way in an attempt to get well while facing obstacles in her path.  Mary Testa offers wit and self deprecating humor as Yasmine’s well meaning but overbearing and anxious mother Desiree who assures Yasmine that they come from a family of miracles.  Isibashi shares some endearing moments with Jonathan Raviv as warm and nurturing Frank.

Brooke Ishibashi and Jonathan Raviv embrace in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Each performer delivers affecting and inviting vocals and their solo performances are the most memorable.  The onstage musicians also interact with the performers and audience and the songs by The Lazours are an eclectic variety ranging from catchy to cathartic to ballads.  Some of the highlights in the therapeutic sing-along include Let’s Go Walking, Into the Sky and the poignant Will You Let me Know.

Jordan Dobson in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs approaches this handful of tales with dark humor, absurdity, science and realism peppered with relatable scenarios.  It can be uneven in tone at times.  How can anyone not relate to overwhelming and unexpected medical bills and drug side effects, but a song showcasing how people inaccurately make assumptions how someone gets sick in The Reason comes off more condescending than sincere and funny.  Illness is filled with fear and uncertainly.  People just don’t know what to say.

Jonathan Raviv in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Part unconventional love story and part tragedy, Night Side Songs expresses appreciation for the little things in life and relies more on camaraderie and community than faith and optimism while traveling to some grim places. It is informative offering coping methods with the unexpected and it is important to have a show like this to bring support and solidarity in times like these, but however I was moved, I was still left uncomfortable.

American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8.  Click here for more information and for tickets.

REVIEW:  Company’s One’s ‘Hoops’ take on greater meaning

Posted on by The Sleepless Critic

Not to be mistaken for basketball, Hoops are jewelry individuals wear as a fashion piece, display cultural or ancestral significance or to make a statement as Bronx-born Puerto Rican Jennifer Lopez once fiercely remarked during a comedy sketch on The Tonight Show, ‘Don’t make me take off my Hoops!’  It served as a warning to host Jimmy Fallon that Lopez was not to be messed with.

Hoops can add subtle and delicate elegance or stand out as its own remarkable, not-to-be-missed fashion statement.  I love my own hoops.  Whether formal or casual, they go with everything and fit in for every occasion.  Produced in all patterns, colors, and sizes, Hoops are unmistakable and certainly have a way of expressing themselves.

So it is no secret that this topic is right up my alley.

L to R Tiffany Santiago, Kaili Y. Turner, and Karimah Williams in Hoops Photo by Ken Yotsukura Photography

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA.  This semi-interactive production is free with pay-what-you-want options, contains some adult language and is a dense 90 minutes with no intermission.  Click here for more information and for tickets.

Brandie Blaze in Hoops Photo by KenYotsukura

Lively and pulsing rhythms greet the audience as multi-talented DJ Brandie Blaze spins tunes by local Boston artists as the production begins.  This is not the kind of show where one watches and remains silent.  The audience is encouraged to get up and dance, clap and show their enthusiasm as Blaze introduces this fervent cast who uniquely take the stage in their own style.

Part dance party, part testimonial and reflections, and part history lesson with a mix of comedic scenarios, the cast of Hoops share personal experiences, coming of age stories, and dig in deep into the idea that a piece of jewelry can make such an impact. Whether it is to feel closer to their family through an heirloom or to build confidence for an intimidating event, each individual has an original reflection on how their hoops made a difference in their lives.  Sometimes the production gives hoops a bit too much credit, but it is effective serving as a reminder that they had the courage and power to get through these challenges within themselves.

L to R Albamarina Nahar and Tiffany Santiago in Hoops Photo by Ken Yotsukura Photography

The cheerful, hoop-inspired set design by Payton Tavares with Grace Kroeger has a bit of a ‘90s feel featuring bursts of neon green, pink, yellow and blue with dripping paint decorated on blocks.  The DJ Booth is stylish and cozy featuring embellished shelves, vinyl, and flowers lining the walls.  Each character decked out in their own signature pair of hoops, Erica Schoenberg’s colorful, urban and summer-inspired costumes makes each individual stand out as they portray various roles.

Elijah Brown in Hoops Photo by Ken Yotsukura-Photography

In large and sparkling hoops, affable Brandie Blaze hypes up the audience by singing and rapping to Blaze’s original music.  Sharp and upbeat choreography by Jenny Oliver keeps the show exciting as  Elijah Brown, Albamarina Nahar, Tiffany Santiago, Kaili Y. Turner, Karimah Williams and Beyoncé Martinez not only break out into dance, but collaborate well together onstage sharing a spectrum of stories and anecdotes about sharing hoops, breaking hoops, status, generational wealth and their own individual journeys.

L to R Brandie Blaze Kaili Y. Turner Tiffany Santiago Karimah Williams and Albamarina Nahar in Hoops Photo by Ken Yotsukura Photography

Funny, upbeat, and poignant, Hoops is a meaty exploration about feeling good about oneself while taking on the weight of the world with flourish.

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA.  This semi-interactive production is free with pay-what-you-want options and is a dense 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Striking a delicate balance of comedy and spectacular feats, family-friendly ‘Cirque du Soleil: OVO’ celebrates brilliance in the smallest of creatures

Posted on by The Sleepless Critic

It’s always a wonderful sign when I spend more time in awe than writing things down and wow, does the time fly in a delicate balance of comedy and amazing feats.

Having only ever seen Cirque Du Soleil online or on television, it was a special treat to travel to the Agganis Arena in Boston, Massachusetts to witness the fascinating and unconventional stars of Cirque du Soleil’s latest production…insects.

Beautifully written, directed, and choreographed by Deborah Colker, Cirque de Soleil:  OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4  and then to the SNHU Arena in Manchester, New Hampshire from August 8 through 11.  This family-friendly, semi-interactive production is approximately two hours including a 20 minute intermission.  Click here to go Behind the Scenes with the Sleepless Critic and here for more information and for tickets.

Flexible Dragonfly Photo credit Vlad Lorenzo

In a world likened to the Brazilian rainforest, an “OVO” which is Portuguese for ‘egg’, is carried to an insect colony by a Blue Fly called The Foreigner.  Master Flipo, a jeweled beetle and master of this colony along with the community, are immediately curious about this incredible egg.  Featuring performers mimicking exotic creatures including a ladybug, red spider, laced fly, crickets and many others that roam, leap, bend, contort, bounce, climb, flip and hunt this fascinating and multi-colored lit OVO, Cirque du Soleil: OVO is part sweet love story and part athletic spectacle with a good dose of absorbing comedy that is sure to enchant the whole family.

The Crickets Photo credit Vlad Lorenzo and courtesy of Cirque du Soleil OVO

What keeps Cirque du Soleil both amusing and enthralling throughout the production is it never lingers on the comedy or the choreography.  It keeps the bright and lively pace moving while always featuring something new to explore.  As a big fan of gymnastics, it’s easy to see its influence on this production.  The meticulous manner in which these wild creatures move with Liz Vandal’s innovative costumes lend to the flexibility and sprightly nature of each individual and most notably in the crickets.  Each controlled movement is bold and expressive as the soft sparkling glow of fireflies light up the stage while demonstrating astonishing aerial feats.  Vibrant, colorful, and camouflaged insects fiercely scale lighting designer Éric Champoux’s projected and realistic surfaces above and below sea level.  Tropical flowers grow and bloom onstage as part of Gringo Cardia’s vivacious set and a flourishing backdrop feature rain-soaked leaves in fine detail as a royal red queen directs her minions and a psychedelic Creatura slinks rampantly.

The Foreigner and Master Flipo Photo credit to Vlad Lorenzo and courtesy of Cirque du Soleil OVO

Warm yet strict Master Flipo shares some amusing encounters with the anxious and spiky Foreigner and the charming lady bug as they express themselves much like insects do.  Keeping the jokes clownish and mostly kid friendly, the trio chirps, squirms, croons and shouts in their own language while miming their engaging intentions. 

The Foreigner and The Ladybug Photo credit Vlad Lorenzo courtesy of Cirque Du Soleil

Sound designer Jonathan Deans and composer and music director Berna Ceppas navigate the on and offstage live orchestration that varies from soothing to edgy to ambient to electrifying.  A playful onstage violinist, a drummer in a green mask, the haunting and soul-stirring harmonies of the red queen, an edgy and suspenseful guitar-tinged score as well as the immersive nights sounds of unique environments all bring this immense ecosystem to life in spectacular ways.

Fireflies Photo credit Vlad Lorenzo courtesy of Cirque du Soleil OVO

The laced fly spins like an ornament with the extension at the top of her head.  The ballerina-like movements are graceful and delicate as it floats through the air and spins like a top.  However, the red spider with a pink Mohawk crawls and glides urgently to edgy and captivating rhythms. 

Cirque de Soleil:  OVO revamped their show since taking a break during the pandemic with new acts and new music.  What has not changed is the remarkable spirit of this wild ecosystem that learns to thrive in the brilliance in each other’s differences which all starts with an egg.

The cast of ‘Cirque Du Soleil OVO
Photo credit Max Bocanegra and courtesy of Cirque du Soleil OVO

Beautifully written, directed, and choreographed by Deborah Colker, Cirque de Soleil:  OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4  and then to the SNHU Arena in Manchester, New Hampshire from August 8 through 11.  This family-friendly, semi-interactive production is approximately two hours including a 20 minute intermission.  Click here to go Behind the Scenes with the Sleepless Critic and here for more information and for tickets.

REVIEW:  Ben Makinen offers a fresh take on Jazz history and more in new documentary ‘Echoes of Tradition’

Posted on by The Sleepless Critic

Mary Lou Williams, featured in the National Women’s History Museum in Virginia, mentored jazz greats such as ‘Dizzy’ Gillespie and Charlie Parker.  The latter two names may have become legendary, yet the former name is not quite as familiar.  However, the significant impact she had on Jazz should have put her on equal footing.  Among many other topics, Ben Makinen’s Echoes of Tradition offers an explanation.

Since Jazz’s roots are about breaking the rules, Ben Makinen’s latest documentary breaks tradition by highlighting exceptional and groundbreaking musicians while calling for change.

Written, directed, and produced with remarkable reflection by Ben Makinen, Echoes of Tradition is a comprehensive and absorbing jazz documentary that runs just under an hour.  Click here for more information.

In Who Killed Jazz, featured at the New York City Indie Film Festival in 2022, Makinen explored the evolution of live music and the impact of today’s surging technology, the expansion of creativity and simultaneously the lack of original ideas, the use of sampled music and jazz’s vast array of music influences.  Echoes of Tradition looks back at jazz’s history and fascinating roots while also highlighting some notable talents such as Dean of Jazz Arts at the Manhattan School of Music and Canadian trumpeter Ingrid Jenson, Berklee College of Music’s Brass Department Chair and Trumpeter Tanya Darby, Indian DJ Harleen “Leen Tree” Singh, and Native American trumpeter Delbert Anderson who share their outlooks on Jazz’s lack of inclusiveness as well as their love for the genre.  Both documentaries place an emphasis on music as a universal language, a source of camaraderie, and one of the most powerful forms of therapy and healing.  Losing sight of music’s inherent unifying power could make for a bleak future.

Echoes of Tradition is an enlightening and optimistic film which brings thought provoking insight to a number of prevalent topics.  Filmed all over the world with multilayered cinematography and a blend of modern and vintage flair of city landscapes as well as historical portraits and photos, Echoes of Tradition offers wonderful behind the scenes footage, insight from distinctive jazz musicians, some memorable jam sessions and much more.  Among some of the notable performances include Delbert Anderson’s Heart Passage, a gorgeous acapella rendition of an Indian hymn sung by Harleen ‘Leen Tree’ Singh, and Julia Keefe’s lively rendition of You’d Be So Nice to Come To.

Written, directed, and produced with remarkable reflection by Ben Makinen, Echoes of Tradition is a comprehensive and absorbing jazz documentary that runs just under an hour.  Click here for more information.

Ingrid Jansen and Julia Keefe are among the many musicians taking the stage at the Mary Lou Williams Jazz Festival live and in person on May 10 and 11 at the Kennedy Center in New York City. Click here for more information and tickets.

REVIEW:  A toast to Patti Lupone’s fabulous ‘A Life in Notes’ presented by Celebrity Series of Boston

Posted on by The Sleepless Critic

To say it was an honor to witness Patti Lupone’s brilliance onstage is an understatement.  Having won three Tony Awards and two Grammy Awards, this Julliard-trained American Theater Hall of Famer from Long Island has proven time and again she is a master of her craft and it is easy to see why through her personal musical memoir A Life in Notes.

Conceived and warmly directed by Scott Wittman with inspiring music direction by Joseph Thalken, Celebrity Series of Boston presented Patti Lupone:  A Life in Notes live and in person at Symphony Hall in Boston, Massachusetts for one night only on April 2.  The show was 2 hours including one intermission and is touring around the country.  Click here for more information and here for what is up next during Celebrity Series of Boston’s exciting season.

Patti Lupone and Brad Phillips Photo credit Robert Torres/Celebrity Series of Boston

Accompanied by pianist Joseph Thalken and Brad Phillips on strings, Patti Lupone made an endearing emotional entrance having been greeted by a roaring standing ovation from the audience.  Donning a glimmering flirty black suit and sparkling earrings before later stepping into a shimmering showstopper with flowing cape, Lupone launched into a heartfelt and stirring rendition of Leon Russell’s A Song for You.  The opening number was just the first of several touching moments during this production.

Part autobiography and part love letter to her fans, A Life in Notes is a beautiful tapestry of music which includes American Standards and Broadway that have made an indelible impact on this mezzo-soprano’s life and career so far.  Humble and gracious, Lupone is a sharp and avid storyteller sharing her personal experiences while reflecting on valuable life lessons.  She delivered each refreshing number with a mix of charisma, wit, style and creativity as the tale behind the song unfolds sharing her reflections on growing up on Long Island before establishing her decades -long career.  Bathed in luminous purple, orange and gold lights, Lupone took the stage in front of a baby grand piano topped with a large bouquet of elegant roses as Thalken and Phillips provided accompaniment and smooth harmony to Lupone’s exceptional vocals.

Patti Lupone and Joseph Thalken Photo credit Robert Torres/Celebrity Series of Boston

As a fan who hoped to hear Sondheim’s Ladies Who Lunch in which she offered with all the incomparable passion and attitude that this song suggests, her selections covered some of her most memorable numbers and a few unexpected gems.  Andrew Lloyd Webber and Tim Rice’s distinctive Don’t Cry for Me Argentina on strings sounded as epic as it did when she originated the role as Eva Peron in Evita.   Lupone cheekily shook to Bagdasarian and Saroyan’s upbeat Come On-A My House and boasted fiery vocals for Jules Stein and Stephen Sondheim’s commanding Some People.  Shelton’s yearning Lilac Wine and catchy Jameson and Feller’s Summertime, Summertime captured her experiences falling in love.

Patti Lupone Photo credit Robert Torres/Celebrity Series of Boston

Patti Lupone’s exciting life has had its tumultuous times living during the age of the Atomic Bomb and the turmoil of the 60s as well as building her success in New York City.  She took the time to movingly pay tribute to loved ones as well as those who have passed away.  Lupone’s pliable vocals and amazing range shine for Cole Porter’s Every time we Say Goodbye as well as for a darkly humorous, saucy and surprising rendition of Jerry Lieber and Mike Stoller’s Ready to Begin Again, which after hearing it for first time, has become of my favorite numbers.  All of Patti Lupone’s personal touches, reflections, and compelling music selections made for a wonderful evening worth celebrating.

Conceived and warmly directed by Scott Wittman with inspiring music direction by Joseph Thalken, Celebrity Series of Boston presented Patti Lupone:  A Life in Notes live and in person at Symphony Hall in Boston, Massachusetts for one night only on April 2.  The show was 2 hours including one intermission and is touring around the country.  Click here for more information and here for what is up next during Celebrity Series of Boston’s exciting season.

REVIEW:  ‘Driving in Circles’ a winding and resilient concert journey at Boston Playwrights’ Theatre

Posted on by The Sleepless Critic

Now here is something refreshingly different.

Directed with energizing flair by Sam Plattus, innovative sound design by Gage Baker and cleverly written and performed by Jay Eddy, Boston Playwrights’ Theatre presents Driving in Circles live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Saturday, April 6.  This new, deeply personal concert-style work is 100 minutes with no intermission.  Click here for more information and for tickets.

Jordan Palmer Zach Fontanez and Jay Eddy in Driving in Circles Photo credit to Scornavacca Photography

Infusing storytelling, relatable humor, and a fascinating blend of hard hitting and uplifting original music, Everett-born Jay Eddy as Jill/Bill is a witty individual who has faced a daunting set of physical and emotional challenges at a young age.  Eddy is raw, honest, funny, and self deprecating tackling trauma at its core as well as the aftershocks of these events demonstrated in a catchy opening number that explains how to survive an earthquake.  Eddy counts backwards in time at the prevalent ages in which Eddy endured these hardships.

Jay Eddy on guitar in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Scenic designer Danielle DelaFuente with set construction by Carly Stegall has fittingly set up a highway rest stop with a dart board, colorful vintage license plates and vinyl records.  A hanging pink bathrobe is just one of the significant Easter eggs shown on Eddy’s reflective journey.  Wearing red eye shadow and white boots, Jay Eddy, keyboardist Jordan Palmer, and guitarist Zach Fontanez sport similar blue uniforms by costume designer Eric Tran as they perform on a staged road while lighting designer Kevin Fulton sets an atmospheric vibe including twinkling lights and multicolored linear array lights that illumine each performer’s space.

Jay Eddy sharing a humorous weather report in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Driving in Circles is essentially an emotionally-charged concert road trip through a variety of beautiful and traumatic events that have shaped Eddy’s life.  It is powerful, sad, and disturbing at times, but is also hopeful, charming and lighthearted on this unpredictable road to healing.  This is not lighthearted fare and the material is a bit too serious to be considered standup, but Eddy’s enthusiasm and interactive style is relatable, warm, sincere, and funny.  Sharing home movies creatively projected by Maria Servellón, Eddy is not limited to the stage and engages the audience in a compelling manner that makes you feel a part of her journey brimming with detours, twists and turns on past road trips and misadventures that include destinations such as Seattle, Nashville, Vermont and Maine.  Driving in Circles contains plenty of local references and Eddy shares a compelling and relatable tale getting lost on the road in what should have been a simple trip to the dentist.

Jay Eddy in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Eddy’s original electronic music is performed on the spot as lead vocals in a three piece band.  Eddy is a master on the audio board expertly delivering vocals and sound effects while keyboardist Jordan Palmer and guitarist Zach Fontanez enhance this dynamic blend of lively songs.  Eddy is a powerful, edgy and expressive singer and it is amazing to listen to it navigated through the audio board, but Eddy’s bare vocals are also incredibly affective.  Shrill Woman, Time Traveler, Another Day, the soothing You’ll Feel Better with Fontanez delivering a notable guitar solo, uplifting The Dog Days of Summertime and hopeful The World is Ending Anyway are just a few highlights.

Jay Eddy in ‘Driving in Circles’ Photo Credit Scornavacca Photography

A perceptive work with plenty of heart, Driving in Circles is a powerful and original work about resilience and hope even through harrowing events.  Eddy demonstrates music’s healing power through art as well as the music that helped Eddy cope from artists such as Simon and Garfunkel and Tom Petty.   After all, Driving in Circles can still lead to beautiful destinations.

Jordan Palmer, Jay Eddy, and Zach Fontanez in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Directed with energizing flair by Sam Plattus, innovative sound design by Gage Baker and cleverly written and performed by Jay Eddy, Boston Playwrights’ Theatre presents Driving in Circles live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Saturday, April 6.  This new, deeply personal concert-style work is 100 minutes with no intermission.  Click here for more information and for tickets.

REVIEW: Fitz and the Tantrums groovily beat the heat and a storm at Indian Ranch

Posted on by The Sleepless Critic

No one can make people forget an unforgiving and sweltering heat quite like indie pop neo soul band Fitz and the Tantrums.  Though the day called for storms, nothing was going to stop their positive vibes until after these multi-platinum artists finished their set.  Their performance was politics-free, but no less personal and full of encouragement with a repertoire of groovy and upbeat sounds that make even those determined not to dance in this heat, bob and sway, get up and get down.

Fitz of Fitz and the Tantrums Photo credit Adam Klein

Fitz and the Tantrums appeared at Indian Ranch in Webster, MA on July 29 and it was one stop on a national tour that continues through October 1…so far.  Click here for more information on upcoming Indian Ranch performances and click here for more information on Fitz and the Tantrums latest national tour.

Indian Ranch is an outdoor concert venue and more which features a lakeside view and beach.  A portion of the seats do have a cover for rain and the shows are mostly rain or shine.   The VIP pre-concert experience that day started at 11:30 am and featured barbeque with a choice of hamburgers, hotdogs, or veggie burgers, baked beans, corn, salads, and an array of desserts.  Fitz and the Tantrums took the stage at 1:30pm for an almost 2 hour set including an encore.

Noelle from Fitz and the Tantrums Photo credit Adam Klein

Fitz and the Tantrums took the stage for a feel good set featuring an array of hit tunes and some songs off their new album, Let Yourself Free.   Despite the heat, the group remained dedicated to their unique and classy style in dark pants and converse sneakers as the band heated up with horn –infused rhythms and flashing, multi-colored lights.

Most of the songs were infectious, lighthearted, and boasted wild rhythms.  The enthusiastic band made the best of the heat as they encouraged the audience to dance and sing-along.  A few of the highlights included a tune that lead singer Michael Fitzgerald or ‘Fitz’ wrote for his wife, Silver Platter.  It’s a breezy, flirty and snappy single off their new album as he exclaimed, ‘Gimme-gimme that love-that love-that love.’  They also revved the audience up with the inspirational number, 123456 as the audience sang along, ‘Count it out! Shout it out!’

Noelle and Fitz from Fitz and the Tantrums Photo credit Adam Klein

Featuring an amazing saxophone solo by James King and Noelle Scaggs’s rhythmic tambourine, Fitz and the Tantrums grooved to Out of my League’s reverberating synth rhythms before delving into the knock down, get up workday struggle with Living for the Weekend.

Fitz and the Tantrums at Indian Ranch Photo credit Adam Klein

Fitz and the Tantrums kept the party going with their brief, but endlessly catchy title track, Let Yourself Free, the story of a dream with AHHHH! and didn’t leave out their biggest hits such as The Walker to the crowd’s delight.

Fitz and the Tantrums appeared at Indian Ranch in Webster, MA on July 29 and it was one stop on a national tour that continues through October 1…so far.  Click here for more information on upcoming Indian Ranch performances and click here for more information on Fitz and the Tantrums latest national tour.

REVIEW:   Company One’s ‘The Boy Who Kissed the Sky’ a heartfelt tale that rocks the cosmos

Posted on by The Sleepless Critic

Music lifts, transports, comforts, brings people together, and provides its own therapy to the happy and the hurt.  Though the Boy, depicted with earnest and imaginative optimism by Errol Service Jr., is not aware of it yet, a force much bigger than him is going to lead the way to his destiny. 

Errol Service Jr. in ‘The Boy Who Kissed the Sky’ Photo by Erin-Crowley

Directed inventively by Summer L Williams with funky musical direction by David Freeman Coleman, joyfully choreographed by Victoria Lynn Awkward and loosely based on legendary guitarist Jimi Hendrix’s life, Company One presents Idris Goodwin’s celestial and groovy The Boy Who Kissed the Sky live and in person at the Strand Theatre in Dorchester, Massachusetts and now streaming through Saturday, August 12.  This far out production is 70 minutes with no intermission and pay what you can tickets are available.  Part of what makes Company One’s The Boy Who Kissed the Sky special is its commitment to the community and social change by partnering with a number of community organizations including Project Bread, Zumix, and Boston Music Project through this production.  Click here for more information and tickets.

Adriana Alvarez, Errol Service Jr. and Martinez Napoleon in ‘The Boy Who Kissed the Sky’ Photo by Erin Crowley

In many ways, musician Jimi Hendrix was deemed ahead of his time.  Part biography, part musical and part fantastic trip through time, the cosmos, and through hardship, The Boy Who Kissed the Sky envisions possibly how Hendrix got there.  It is noteworthy that Service’s boy is never referred to as Hendrix and can be translated into any dreamer’s potential.

 This production boasts a wealth of various projections by Rasean Davonte Johnson including traffic and misty rain as well as kinetic water colored special effects and cosmic imagery.  Through all of the pizzazz and psychedelic special effects lies an inspirational tale built for any dreamer attempting to overcome challenging circumstances.  Set in Jimi Hendrix’s hometown of Seattle, Washington, It also delivers a strong message about the value of hard work, keeping an eye on the prize, and believing in one’s boundless potential.

The cast of ‘The Boy Who Kissed The Sky’ Photo by Erin Crowley

The Boy Who Kissed the Sky’s energetic cast is lead by Errol Service Jr. referred to only as The Boy.  Much of the cast plays more than one role.   Service’s Boy is amiable, sympathetic, imaginative and inquisitive as he waits for his mother, depicted warmly by Yasmeen Dunkin.  Cedric Lilly is enigmatic and forthright as the boy’s veteran father, Mel and Keira “Kee” Prusmack delivers a humorous yet kindhearted performance as Mrs. Newton, the boy’s nosy neighbor.

L-R Martinez Napoleon and Errol-Service Jr. in ‘The Boy Who Kissed the Sky’ Photo by Erin Crowley

However, grooving through time and space backed by some of Hendrix’s music history and influences is Martinez Napoleon who soars as J. Sonic.  With excellent vocals, mystical charisma, and an easy rapport with Service Jr, Napoleon sweeps through the production with a smooth yet caring demeanor as Martinez attempts to demonstrate that the boy, using a broom as a guitar, is more powerful than the boy ever thought possible.

The cast of ‘The Boy Who Kissed The Sky’ Photo by Erin Crowley

Backed by Eugene H Russell IV and Divinity Roxx’s uplifting rock n roll and blues-inspired score especially for numbers A Feeling Without A Name and Way Back,  The Boy Who Kissed the Sky is a musical celebration elevated by Jimi Hendrix’s iconic fashion sense and Danielle Dominique Sumi’s dramatic and galactic 60s-inspired costume design.  An epic and renowned onstage band trio jams high above the production’s stage alongside a gigantic moon and Wooden Kiwi Productions constructed the rock n roll set equipped with giant wooden amplifiers and stereo speakers under Danielle DeLaFuente’s scenic vision.

Idris Goodwin’s ‘The Boy Who Kissed the Sky’ is appropriate for all ages and a wonderful production to anyone could use a little inspiration.

Directed inventively by Summer L Williams with funky musical direction by David Freeman Coleman, joyfully choreographed by Victoria Lynn Awkward, and loosely based on legendary guitarist Jimi Hendrix’s life, Company One presents Idris Goodwin’s celestial and groovy The Boy Who Kissed the Sky live and in person at the Strand Theatre in Dorchester, Massachusetts and now streaming through Saturday, August 12.  This far out production is 70 minutes with no intermission and pay what you can tickets are available.  Click here for more information and tickets.

REVIEW: ‘Deadclass Ohio’ at New Ohio Theatre’s Ice Factory captures the past, loneliness, grief and disconnection with an unlikely witness

Posted on by The Sleepless Critic

Imagine seeing a relative’s picture for the first time.  Ever wonder what was happening when that moment was captured?   What is the significance behind it and what was going on through their mind?  Photos from the past bring up a great deal of curiosity and Deadclass Ohio imagines some of these possibilities as a woman attempts to pay tribute to long lost relatives who were Holocaust survivors in a Jewish cemetery.

Based on Tadeusz Kantor’s documentary Umarla Klaza and directed with experimental complexity by Mitchell Polonsky and Chloe Claudel, The Goat Exchange’s Deadclass Ohio offers various perspectives on a photo and situation with a mix of humor and poignancy as it tackles loneliness, grief, and disconnection while capturing a harrowing time in history.  It also explores the nature of the past.

Photo credit to Mitchell Polonsky

New Ohio Theatre’s ICE Factory continues streaming The Goat Exchange’s play Deadclass Ohio through August 12.  The production is approximately one hour.  Click here for more information and how to view this play. 

Paul Lazar Photo credit Hana Mendel
Chloe Claudel and Marcus Amaglo Photo credit Hana Mendel

A lone bench, an escalating pile of laundry, a dining room table, a scrambled TV set and a floral arrangement is the foundation of two unique and related scenes on a dark and minimal stage.  Two people enter a cemetery and commiserate about a photo of a woman’s grandmother as they contemplate what is behind the photograph and what happened when the photo was taken.  Featuring Paul Lazar, Marcus Amaglo, Chloe Claudel, and Juliana Sass with Jim Fletcher, Deadclass Ohio holds many revelations which should not be unveiled here except it invites a sense of déjà vu and reaching into history. 

Marcus Amaglo and Chloe Claudel Photo credit Hana Mendel
Paul-Lazar Photo credit Hana Mendel

Each skilled member of this intimate cast faces a challenging task of bringing emotional depth to each scene as well as presenting a new perspective to each scenario.  This is all while the plot progresses in unexpected ways.  Little nuances of each actor’s performance shift the perspective and the production becomes more personal while it simultaneously delves into the unusual.  Two memorable scenes metaphorically explore the nature of pigeons while the other echoes a haunting rendition of Too Young by Nat King Cole.

Photo credit to Mitchell Polonsky

Mitchell Polonsky’s vivid sound and media design and Abraham E.S. Rebello Trujillo’s quirky costume design lends to the production’s mysterious atmosphere.  Enhanced by a poignant violin score performed by Sasha Yakub, Deadclass Ohio contains some absurd and meaningful humor through some clever blocking, but it also keeps the viewer guessing at different points during the production.  The show does not always make its intentions clear, but it does deliver the stirring emotional weight of loneliness, loss, disconnection, and a longing to be understood which becomes more prevalent as the production continues.

   New Ohio Theatre’s ICE Factory continues streaming The Goat Exchange’s Deadclass Ohio through August 12.  The production is approximately one hour.  Click here for more information and how to view this play.   

REVIEW: Fueled by Go-Gos pop-punk nostalgia, The Umbrella Stage Company’s ‘Head Over Heels’ a frothy farce with a unique beat

Posted on by The Sleepless Critic

The expression, ‘Out with the old, in with the new’ takes on new meaning for Umbrella Stage Company’s dynamic musical, Head Over Heels, a gender-bending jukebox musical comedy which includes a case of mistaken identity that integrates the renaissance with contemporary themes and the 80s in Arcadia, a land that thrives on a beat.  If that seems like a lot, it’s because this ambitious show tackles a lot in its approximately 2-hour time frame. 

The cast of ‘Head over Heels’ Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

With resourceful direction by Brian Boruta, The Umbrella Stage Company presents Head Over Heels the Musical live and in person at the beautifully-renovated Umbrella Arts Center, 40 Stow Street in Concord, MA through Sunday, May 8.  This show may not be appropriate for young children.  Click here for more information at for tickets.

Who else to handle a beat but the Go-Gos!  Following a string of jukebox musicals such as Jersey Boys, Mamma Mia! (featuring music from Abba), Movin’ Out (featuring music from Billy Joel), Good Vibrations (featuring music from the Beach Boys), Moulin Rouge and Priscilla, Queen of the Desert (both which deliver covers of contemporary pop songs), 80s pop princesses the Go-Gos handle this production’s unique beat.  This lighthearted show highlights many of the Go-Gos snappy, feel-good numbers such as Vacation, Our Lips are Sealed, Head Over Heels, and We Got the Beat along with some lesser known tracks that don’t land as well.

Kai Clifton as Pythio and cast Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

Head Over Heels is lively and cheerful in presentation from overhead neon lights, versatile surrounding white columns, and a live band veiled behind translucent curtains onstage by set designer Janie Howland to bold and bright period costumes in pink, green, and yellow weaving 80s glam with a rock-n-roll edge by Brian Simon and Johnny Cagno to the rollicking, up-tempo choreography by Lara Finn Banister.

Temma Boudreau as Philoclea and John Breen as Musidorus Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

Based loosely on Sir Phillip Sidney’s The Arcadia, Head Over Heels is a farce that follows a few Arcadian love stories with one taking a cue from Shakespeare as love struck shepherd Musidorus, portrayed by John Breen, must disguise himself in order to gain approval to marry Princess Pilocleas, portrayed by Temma Beaudrea.  Beaudrea and Breen have a brimming, awkward, and excitable chemistry as they fight not only the royal rules, but the predictions from a mysterious oracle that ultimately sees the kingdom’s demise unless things change.  Meanwhile, Philocleas’s sister, Pamela, portrayed with humorous narcissism by Bri Ryder, is proclaimed fairest in the land, but a groom might not be what she has her sights on after all.

Damon Singletary as Basilius Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

Damon Singletary as King Basilius brings gravitas and humor to the king’s bombastic nature while Kate Pickett’s flirty and dry sarcasm makes Gynecia a scene stealer.  Robert Saoud as Dametas portrays the sympathetic and seemingly sole voice of reason.   While the majority of the characters are so fixated on what each of them wants, Dametas and Kai Clifton, a commanding presence as Pythio, may be the only ones capable of seeing the bigger picture.  Singletary and Saoud deliver some amusing scenes together as they share differing outlooks on this kingdom’s shaky ground. 

Katie Pickett with cast Photo courtesy of Gillian Mariner Gordon/Umbrella Arts

The humor ranges from irreverent to absurd to charming.  Head over Heels makes some deliberate and clever points in its storytelling, but can get more fixated on what each character stands for rather than giving the characters more depth.  However, If you enjoy a frivolous farce dipped in 80s nostalgia, this “trifle” as Sir Phillip Sidney has called his prose, this one may be for you.

The Umbrella Stage Company presents Head Over Heels the Musical live and in person at the beautifully-renovated Umbrella Arts Center, 40 Stow Street in Concord, MA through Sunday, May 8.  This show may not appropriate for young children.  Click here for more information at for tickets.