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REVIEW:  Umbrella Stage Company unveils riveting musical, ‘The Color Purple’

Posted on by The Sleepless Critic

How does one find faith when everything falls apart?

Based on the Pulitzer Prize-winning novel by Alice Walker, The Color Purple is a powerful and thought provoking historical drama that examines life’s true meaning, redemption, transformation, and the search for faith and love when all seems lost.

With stirring direction by BW Gonzalez, Nathanael Wilkerson’s lively music direction, and instinctively choreographed by Najee A. Brown, Umbrella Stage Company continues the Tony award-winning musical, The Color Purple by Marsha Norman through Sunday, June 4 live and in person at the Umbrella Arts Center in Concord, MA.  The show has two acts with one intermission and contains some mature themes.  Some package shows also offer walking tours.  Click here for more information and tickets.

Shy’Kira Allen as Celie and cast Photo by Jim Sabitus

Umbrella Stage Company could not have chosen a better time to bring this particular musical to the stage this year.  The Color Purple celebrated the 40th anniversary of the acclaimed novel last year and the 1985 film directed by Steven Spielberg featured an all star cast including Whoopi Goldberg, Danny Glover and Oprah Winfrey.  It garnered several Oscar nominations including Best Picture. This December, a musical film adaptation of The Color Purple will premiere featuring a multitalented cast including Taraji P. Henson, Halle Bailey, Fantasia Barrino, and H.E.R.

Having never read the book or seen the film, The Color Purple was an eye opening experience.  It holds turmoil, peril, and cruelty, but it is also an extraordinary tale of miracles, transformation, humor, and unyielding hope exclaimed by a mesmerizing cast of powerful voices each with their own challenges to overcome.  Walker’s dynamic characters possess a wealth of depth and complexity that deliver some astonishing twists and turns.  The Color Purple features a powerful and Grammy award-winning score that infuses gospel, ragtime, jazz, and blues. The uplifting Our Prayer is gripping right from the start and the tapestry of moving numbers that follow makes the musical all the more enthralling.

‘Our Prayer’ from The Color Purple Photo by Jim Sabitus

SeifAllah Salotto-Crisobal’s impactful lighting design meticulously sets the tone in creative and multicolored pastels transforming Janie E. Howland’s modest wooden set equipped with whips and a silver barrel.  Covering a 40 year range, costume designer Danielle Dominigue Sumi navigates various eras with finesse including culturally appropriate attire from muted to kaleidoscopic colors.

Shy’Kira Allen as Celie and Kayla Leacock as Nettie Photo by Jim Sabitus

In 1909 rural Georgia, Celie at 14 is about to give birth.  She finds solace in her buoyant and discerning sister Nettie in a beautiful depiction by Kayla Leacock.  Their genuine camaraderie is sheer joy to witness as Celie navigates her own unmerited suffering.  Nettie is one of many spiritually strong and often challenged women surrounding inquisitive, naïve, obedient, and shy Celie depicted remarkably by Shy’kira Allen, that teach her about resilience and fortitude.  Kai Clifton is a powerful force as daring Sofia with a trailblazing attitude and demeanor rare of a woman in the early 1900’s as demonstrated in a sage and commanding rendition of Hell No!  Crystin Gilmore holds her own power as captivating and liberated performer Shug Avery who breezes into Georgia on a whim bringing excitement, scandal, and humor to the town as demonstrated in an alluring rendition of Push the Button.  However, Gilmore truly shines in quieter moments with her tender rendition of Too Beautiful for Words as well as the show’s heartfelt title track.

Crystin Gilmore as Shug Avery and cast Photo by Jim Sabitus

Shy’Kira Allen rises to the challenge as complicated Celie and though Allen has many memorable scenes with the cast, her most powerful scenes are the ones she must stand on her own such as in Lily of the Field, Dear God, and a brilliant rendition of I’m Here.  Brian Demar Jones is impressive and deceptively charismatic as short sighted and egocentric Mister while Jordan Aaron Hall is likable as compassionate yet impressionable Harpo.  Rural Georgia is an area not without its gossip and keeping the mood light in the midst of the show’s most difficult moments are the humorous and ever knowing Church Ladies, their clever vocal styling slick for Shug Avery Coming to Town and Uh Oh.

Kai Clifton as Sofia and cast Photo by Jim Sabitus

Umbrella Stage Company delivers Alice Walker’s message with such collective fervor, make time to witness this Color Purple. 

Umbrella Stage Company continues the Tony award-winning musical, The Color Purple though Sunday, June 4 live and in person at the Umbrella Arts Center in Concord, MA.  The show has two acts with one intermission and contains some mature themes.  Click here for more information and tickets.

REVIEW: Plenty of glitz, humor, and charm in SpeakEasy Stage’s ‘The Prom’

Posted on by The Sleepless Critic

It’s just so nice to be invited back to a Prom and not be the one in a frilly dress.

Though costume designer Miranda Kau Giurleo does bring all the glitz, glitter and glamour to this satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana.  SpeakEasy Stage Company’s The Prom delivers plenty of humor ranging from silly to parody to satirical not without its political ribbings with a sincere and underlying message about helping others.

Mary Callanan and Johnny Kuntz. Photo credit to Nile Scott Studios

Featuring stellar and intricate choreography by Taavon Gamble and lightheartedly directed by Paul Daigneault, SpeakEasy Stage Company continues musical comedy The Prom through June 10 live and in person at the Calderwood Pavilion in Boston Massachusetts.  The show is two hours and 25 minutes with one 15 minute intermission.  Click here for more information and tickets.

The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star shine including Meryl Streep as Dee Dee and James Corden as Barry.  Inspired by a true story, anxious Emma, depicted with self effacing and quiet optimism by Liesie Kelly, invites a date to the Prom with none other than Abriel Coleman as Alyssa, the daughter of the head of the Parent Teacher Association.  Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town.

Abriel Coleman (left) and Liesie Kelly. Photo credit to Nile Scott Studios

Lit with soft and cheerful pastels by Karen Perlow, The Prom features a flashy and dynamic set design including checkered red carpet doubling for any high school setting.  One of the stage highlights is a chameleon-like, glittering backdrop complete with shimmering disco ball and an onstage orchestra hidden behind a sports scoreboard.

From left: Lisa Yuen, Mary Callanan, Johnny Kuntz, and Jared Troilo. Photo credit to Nile Scott Studios

The Prom is helmed by a strong and exuberant cast with exceptional comedic timing.  Dynamite duo Barry Glickman and Dee Dee, portrayed with pizzazz by Johnny Kuntz and Mary Callanan, deliver lots of laughs as seemingly shallow thespians, but their real charm is exposed by the people they meet in this fish out of water production.  Their wild antics and Callanan’s fantastic belt are on spectacular display for fist pumping and humorous Changing Lives.  Adorned with glamorous red hair, Callanan shines in the commanding and infectious solo It’s Not About Me and has lively and fun loving chemistry with Anthony Pires Jr as compassionate and forthright Mr. Hawkins.  Pires Jr adds a shy charisma to the role and his scenes with Emma and Dee Dee are touching and memorable especially for the sweet solo, We Look to You.

From left: Amy Barker, Anthony Pires Jr., and Mary Callanan. Photo credit to Nile Scott Studios

Meagan Lewis-Michelson as no nonsense PR rep Sheldon Saperstein and inspirational Lisa Yuen as Angie Dickenson both have their great comedic moments, but Jared Troilo is a bit of a scene stealer hatching outrageous theatrical schemes to unique pronunciations as aspiring actor Trent Oliver.  Troilo’s character could have easily become obnoxious as the show progressed, but Troilo’s Trent remained endearing at every turn.  Though Troilo is wonderful in every number, perhaps the cheeky Love Thy Neighbor is the most noteworthy fueled by surprising musical accompaniment and gospel influences.

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.  Liesie Kelly’s lovely Just Breathe mixes dry wit with Kelly’s mellifluous vocals and smiling eyes.  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.

Tori Heinlein (center) and the company. Photo credit to Nile Scott Studios

Boasting amazing choreography that not only is reminiscent of popular musicals Footloose and Hairspray, but The Prom contains a wealth of welcome, inside Broadway references.  From a clapping and celebratory champagne dance to  the Fosse-inspired choreography of Zazz to the intricate chorography of  It’s Time to Dance, Gamble with Paul S. Katz’s music direction creates a complex yet sparkling escape to fun and frivolity if only temporarily from the realities of life.   

SpeakEasy Stage Company continues musical comedy The Prom through June 10 live and in person at the Calderwood Pavilion in Boston Massachusetts.  Click here for more information and tickets.

REVIEW: Searching for answers in The Huntington’s ‘Joy and Pandemic’

Posted on by The Sleepless Critic

Medicine and faith and faith versus fear as a pandemic is looming. 

These powerful topics should all be more than vaguely familiar in this day and age.  However, the most recent pandemic is not when Taylor Mac’s Joy and Pandemic takes place though from its urgent dialogue, it all seems like yesterday.

Directed meditatively by Loretta Greco, The Huntington presents the World Premiere of Taylor Mac’s Joy and Pandemic live and in person as well at Calderwood Pavilion in Boston, Massachusetts through Sunday, May 21.  It is also available digitally through June 4.  The show is two hours with one 15 minute intermission.  Click here for more information and for tickets.

Stacy Fischer, Breezy Leigh, and Ryan Winkles of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.

Joy and Pandemic delves into a number of topics and it is not surprising that this production is running through and beyond Mother’s Day.  It has an increasing intensity around the pandemic of 1918 in Philadelphia, but it also focuses on the shaping and influence mothers have on their daughters.  What about doubt?  What if a mother casts a shadow over what is right and wrong?

Though the show can meander and its formal dialogue is a bit muddled at times, Joy and Pandemic presents some important viewpoints that tip the scales on what is important in times of crisis.  It is not preachy and delves into extreme behavior of those who make decisions strictly based on faith who might benefit from a bit more common sense. 

Joy and Pandemic is about a passionate, independent and hardworking Christian Science mother and artist named Joy, her new husband Bradford and her excitable, impressionable and eccentric daughter Pilly.  They are running a fine arts school for children and plan to have an open house on the same day the town is holding a parade, even through whispers of the Spanish flu to the dismay of Joy’s mother in law Rosemary. 

Arnulfo Maldonado’s transformative, layered, and eye opening scenic design is strewn with paintbrushes, framed art work, shelves full of assorted pottery and art books as crown molding and retro wallpaper adorn the walls and brass, vintage chandeliers hang overhead.  Just as impressive is the astounding sound effects and presentation of the parade with booms and pops by Fan Zhang and lighting by Jen Schriver.   Zhang also effectively rewinds the clock with American Standards by Nat King Cole, Ella Fitzgerald, and Frank Sinatra.

Stacy Fischer and Ryan Winkles of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.

Even while exploring themes like faith, illness, medicine, life, and death, the cast manages to bring some occasional and much needed relatable humor to the production.  Marceline Hugot brings gravitas and hardnosed practicality as Joy’s mother in law Rosemary and Ryan Winkles is formidable as Joy’s mysterious husband Bradford.  Due to a portion of the show’s clever casting, it is best not to say more except that Stacy Fischer, Ella Dershowitz, and Breezy Leigh fit smoothly into their perspective roles.  Joy and Pandemic is not so much about joy itself though it does touch upon it outside its moments of intensity, poignancy, and insightful dialogue.  Somewhere along the way lies hope. 

Stacy Fischer and Breezy Leigh of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.

The Huntington presents the World Premiere of Taylor Mac’s Joy and Pandemic live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, May 21 and will continue streaming through June 4. Click here for more information and for tickets.

REVIEW:  Fresh Ink Theatre’s searing and contemplative ‘John Deserves to Die’

Posted on by The Sleepless Critic

Be meek and seek perfection.  Approval is what makes dreams come true.

In an intimate space inside the Boston Center for the Arts unfurl two simmering and intertwining tales.  One dives deep into the lives of a group of college students under the tutelage of their tenured and egotistical theatre professor.  The other is the centerpiece for Mamet’s play, Oleanna.  This play within a play focuses on power, rivalry, perspective, image, and how manipulation comes in many forms.  Who is the culprit and how innocent is a victim?  Yet, it is also about something more.

Fresh Ink Theatre presents ‘John Deserves to Die’ Photo credit to Paul Fox

Directed cleverly by Regine Vital, Fresh Ink Theatre Company presents Rachel Greene’s contemplative dramedy John Deserves to Die live and in person at Black Box Boston Center for the Arts in Boston, Massachusetts through May 13.  The show is two hours and 20 min including one intermission and has some mature themes. Click here for more information and for tickets.

John Deserves to Die is not a murder mystery, but it does have its share of venom.  Gripping from the start, the show is a searing, darkly humorous, and multilayer production delivered with haunting and progressive conviction.  It does not just grab attention as the cast occasionally breaks the fourth wall, but it is a careful and thorough analysis of how lines can blur between right and wrong.

Devon Whitney as Laura Vogel, Ethan Williams as Steven Sanders and Alex Jacobs as Professor Daniel Holmes in Fresh Ink Theatre’s ‘John Deserves to Die’ Photo credit to Paul Fox

James Cannon’s charged sound design showcases a selection of tunes that imply or speak directly to the show’s narrative, but none fit quite as brilliantly as Britney Spears’s remixed and eerily stirring Toxic.  Two multifunctional bookshelves of carefully selected works filling each side of the stage are just part of Victoria Rojo’s integral stage design and props by Victoria Hermann.  Kat Lawrence’s colorful and distinct apparel thoughtfully tap into each individual’s character while Isaak Olson’s cryptic lighting lends to the show’s heated moments.  

Tiffany Santiago as Andy Stark, Cara Clough as Jen Barnett, and Lorraine Victoria Kanyike in Fresh Ink Theatre’s ‘John Deserves to Die’ Photo credit to Paul Fox

This engaging production boasts a powerful cast in which each character plays a pivotal role in the big picture.  Cara Clough depicts self doubting yet determined Jen Barnett who longs for stardom through her theatre professor Daniel Holmes, depicted by Alex Jacobs.  Jacobs is impressive as enigmatic Professor Holmes with easy charm, quick wit, and a deliberate way with words that make his portrayal suave and astute, while always teetering on something amiss. Clough is riveting and understated as Jen especially in her quieter moments while Ethan Williams as Steven Sanders delivers memorable and darkly humorous moments from his skewed perspective. Lorraine Victoria Kanyike as Leah, Devon Whitney as Laura, Tiffany Santiago as Andy, and Cara Clough as Jen are collectively compelling which carries through this cleverly staged production. Approval is not always what it cracks up to be, but to these four individuals, it seemingly means everything.

Fresh Ink Theatre presents Rachel Greene’s contemplative dramedy John Deserves to Die live and in person at Boston Center for the Arts in Boston, Massachusetts through May 13.  The show has two select pay what you want and buy one, get one free productions. Click here for more information and for tickets.

REVIEW:  Apollinaire Theatre Company’s ‘Dance Nation’ starts funny, then at times loses its footing

Posted on by The Sleepless Critic

Dance can be a cutthroat sport.  This is especially true for a group of prepubescent, adolescent, and rambunctious preteens in a dance competition who are told the results will change their lives.

However, the twist here is these teens are not actually portrayed by age appropriate preteens, but by a wide age range.  Therein lays comedy and the rub for the rest of this story.

Audrey Johnson as Amina, Schanaya Barrows as Ashlee, Katie Pickett as Zuzu (additional image below) Photos: Danielle Fauteux Jacques

Fervently directed by Danielle Fauteux Jacques with lively choreography by Audrey Johnson,  Apollinaire Theatre Company presents Clare Barron’s Dance Nation live and in person at Apollinaire Theatre Company in Chelsea, Massachusetts through May 14.  Dance Nation has mature themes.  The show is 100 minutes with no intermission.  Click here for more information and for tickets.

A lot is at stake at Liverpool Dance Works in Liverpool, Ohio.  From dance moms to competing with a best friend, Dance Nation delves into the pressure of perfection and the discoveries of coming of age including and certainly not limited to the magic of black coffee.  It starts out with some amusing moments and it excels in depicting some of the angst, uncertainty, heartache and anguish associated with growing up.  It personifies the travesties in a young girl’s life, her changing body, the all or nothing attitude in just about everything, and the sensitivity of a young heart.  Everything is a victory or an absolute disaster.

Schanaya Barrows as Ashlee (front), Alison Butts as Sofia, Paola Ferrer as Vanessa, Erik P. Kraft as Luke Photo by Danielle Fauteux Jacques

Joseph Lark-Riley boasts a heart thumping, catchy and memorable sound design.  Elizabeth Rocha’s dynamic costumes range from delicate tutus to casual wear and Nathan Lee and Jennea Pillay’s realistic scenic design create an everyday teen dance studio complete with hanging coats, multilevel compartments for shoes and dance bags as well as metal trophies displayed like a pillar of excellence for every student to strive for. 

Dance Nation is highlighted with some fascinating performances.  Katie Pickett delicately portrays self conscious and sensitive Zuzu with a tangible anxiousness and discomfort in her own skin.  Dev Luthra portrays occasionally testy, sketchy, manipulative and yet inspiring Dance Teacher Pat.  Luthra’s rapport with the students is complicated, especially with Audrey Johnson’s complex and conflicted perfectionist Amina.  Paola Ferrer impressively juggles not only depicting a dancer, but the supportive, not quite in touch, and competitive dance mom whose child should always be the star.   Imagination sweetly runs wild with Ann Carpenter as Maeve while Schanaya Barrows savagely depicts a mix of ego, vanity and complicated uncertainty as Ashlee.

Audrey Johnson as Amina, Schanaya Barrows as Ashlee, Katie Pickett as Zuzu (additional image below) Photos: Danielle Fauteux Jacques

Then somehow, it starts to lose its way.  Dance Nation was funny until it becomes what some might call “fierce.”   Teens do speak like little adults which is part of the humor of the show, but they are not adults and the show contains some unnecessarily dark and absurd scenarios that become more frequent as the show progresses.  It can be anguish and cringe worthy to be a preteen, but some avenues in which this show takes do not resemble the average teen and it becomes too farfetched and graphic.  Perhaps the crazy scenarios are to show the kids building their wild natures and confidence, but there are several other ways to depict that without the shock value that does not lend to the progression of the story. 

With that being said, Claire Barron’s Dance Nation has its share of powerful and sound moments that resonate on a child’s tumultuous journey into adulthood with humor, sweetness, and poignancy…but beware the cringe.

Apollinaire Theatre Company presents Clare Barron’s Dance Nation live and in person at Apollinaire Theatre Company in Chelsea, Massachusetts through May 14.  Dance Nation has mature themes.  Click here for more information and for tickets.

REVIEW:  Rejoice in Lyric Stage Company’s ‘Sister Act’

Posted on by The Sleepless Critic

Let the choirs sing!  This Sister Act is one heavenly show stopper.

A lot of films have been cut, shaped and squeezed into the genre of musical, but Sister Act, based on the hit 1992 comedy film starring Whoopi Goldberg, has always been a natural fit.  Featuring a variety of songs re-imagined by a group of amateur nuns, Sister Act is a thriller, musical, and comedy rolled up into one exciting and uproarious package.  

Directed warmly by Leigh Barrett and judiciously choreographed by Dan Sullivan, Lyric Stage Company presents Sister Act live and in person at Lyric Stage Company in Boston, Massachusetts through May 14.  This show is two and a half hours with one 15 minute intermission.  Click here for more information and for tickets.

The Cast of ‘Sister Act’ Photo by Mark S. Howard

What makes Sister Act an ideal fit for a musical is not only does the musical deliver all the hijinks, danger, and the inherent message of the film, but it also expands on its characters through some welcome additional songs.  The music, by Alan Menken, is well suited with the terrain of this already entertaining tale and numbers like It’s Good to Be a Nun, Lady in the Long Black Dress, and I Could Be that Guy particularly enhance the hilarity of each of its extraordinary characters.  The original film inspired Sister Act 2:  Back in the Habit before becoming a musical and there is even talk of a possible Sister Act 3 coming soon to Disney Plus.

Set in 1978 Philadelphia, Deloris Van Cartier, a sparkling depiction by Yewande Odetoyinbo, thinks it is only a matter of time until she is a star.  However, after she witnesses a murder, the police decide the convent is the only place she will be safe.  With blunt and practical Mother Superior at the helm, Deloris has a long road ahead of her.

Cast of Sister Act Photo by Mark S. Howard

Sister Act does a wonderful job rewinding the clock to that era with choreographer Dan Sullivan and Music Director David F. Coleman’s seamless infusion of classic 60s and 70s inspired dance moves to funky, smooth, and uplifting rhythms.   Sparkling body suits, tiger prints, velvet pants, and knee high purple boots are just some of the era trends captured by Kelly Baker.  Jenna McFarland Lord creatively handled Sister Act’s somewhat tricky staging making the most of the space with a versatile two floor set including glimmering disco ball and stained glass columns, though at times the blocking seemed a bit tight. 

This dynamite cast matches and even excels over the original cast.  It is difficult not to compare if one has seen the original film, but not only does Yewande Odetoyimbo’s bright smile resemble Goldberg’s, but the fun-loving and vibrant Fabulous Baby, Raise Your Voice, and Take Me to Heaven depict Deloris’s surefire attitude and superior vocals in this fish out of water story.  The stunning surprise and angst Deloris endures over the course of the musical is a highlight of the show as Cheryl McMahon as Mother Superior looks on.

Cheryl McMahon and Yewande Odetoyinbo in ‘Sister Act.’ Photo by Mark S. Howard

Stepping into actress Maggie Smith’s role as Mother Superior is Cheryl McMahon.  Smith portrayed Mrs. McGonagall in the Harry Potter film series which is one character among many of her stern and practical roles.  Filling Smith’s shoes is no small feat, but McMahon’s comic wit has been proven in various past roles such as in Admissions, Miss Holmes Returns, Steel Magnolias and Grease, and is fabulous herself as wise and unyielding Mother Superior.

McMahon’s Here Within These Walls is a solemn call for tradition, discipline and sensibility which proves Mother Superior will not be easily swayed, but her stellar comic timing is best in I Haven’t Got a Prayer.  Her dour expressions to Yewande’s carefree and aberrant nature are some of the show’s funniest moments.

Kathy St. George and the cast of ‘Sister Act’ Photo by Mark S. Howard

Led by Joelle Lurie as impressive Sister Mary Patrick who oozes the excitement of gleeful Kathy Najimy, the nuns showcase their immediate solidarity and camaraderie with the welcome and borderline sarcastic (even for nuns) It’s Good to Be a Nun.  It’s a hilarious number that brings to light the dynamic and spirited group including Kathy St. George as scene stealing and sarcastic Sister Mary Lazarus and Kira Troilo as young and introverted Sister Mary Robert.  Troilo particularly shines in the soaring and reflective number, The Life I Never Led.  The group’s collective and sweet chemistry is the heart of the show and they bring it in spades.

Kara Troilo and Carolyn Saxon, Amie Lytle, Kathy St. George, Yewande Odetoyinbo, Beth Gotha, Meghan Rose, Kara Chu Nelson, and Joelle Lurie Photo by Mark S. Howard

 Davron S. Monroe is amazing as Eddie, delivering a suave, charming and incredible rendition including a mix of 70s inspired choreography and a few surprises for I Could Be That Guy. 

Meghan Rose, Carolyn Saxon, Davron S. Monroe and Todd Yard. Photo by Mark S. Howard

Balancing both solemnity and heartwarming charm is Todd Yard as Monsignor O’Hara.  He and the nuns let loose for Sunday Morning Fever.  Yard has handled some serious roles in the past, and it is great to see his wonderful talents as a heartwarming figure.

Beth Gotha, Kathy St. George, Amie Lytle, Meghan Rose, Todd Yard, Kara Chu Nelson, Yewande Odetoyinbo, Carolyn Saxon, Kira Troilo, Joelle Lurie, and Cheryl McMahon Photo by Mark S. Howard

Damon Singletary slays as commanding and menacing Curtis as he stealthily moves across the stage.  With wild hair and mischievous smirk, Jackson Jirard has proven his charm and sleek dance moves in shows like Aint Misbehavin is also a bit of a scene stealer as TJ among the bumbling mobsters which include Cristhian Mancinas-Garcia as Pablo and James Turner as Joey.  Mancinas-Garcia, Turner, and Jirard show off their spot on comic timing, game, and vocals for Lady in the Long Black Dress with each member having their chance in the spotlight.    

Cristhian Mancinas-Garcia,Jackson Jirard, Damon Singletary, and James Turner Photo by Mark S. Howard

Lyric Stage Company presents Sister Act live and in person at Lyric Stage Company in Boston, Massachusetts through May 14.  Click here for more information and for tickets.

REVIEW: Celebrity Series of Boston brought vintage effervescence to Boston with renowned touring group Paul Taylor Dance Company

Posted on by The Sleepless Critic

Forget those troubles and get happy with the lively, comedic, and exciting Paul Taylor Dance Company.

Infusing classical, big band, and swing with a modern twist, The Paul Taylor Dance Company zealously delivered comedy, athleticism, romance, drama as well as some reflective moments wrapped in vibrant costumes by Marc Eric and Santo Loquasto with Donald Martiny’s exuberant set design.

Celebrity Series of Boston presented renowned national touring group, Paul Taylor Dance Company for a limited engagement from April 14-16 live and in person at the Boch Center Shubert Theatre.  The show was two hours including two intermissions.  Click here to see where Paul Taylor Dance Company will perform next and here for a look into Celebrity Series of Boston’s upcoming events.

Somewhere in the Middle by Amy Hall Garner Madelyn Ho w L-R Devon Louis Lee Duveneck Austin Kelly John Harnage Photo by Ron Thiele

Bright colors gleam over a black landscape as Count Basie’s booming, horn-infused rhythms measure carefree spins and leaps in Somewhere in the Middle.  Effervescent and gleeful in bursting lime, coral, teal, and mustard by Mark Eric, Madelyn Ho, Lee Duveneck, Devon Lewis, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, and Austin Kelly delivered childlike wonder and an uplifting glow tumbling in somersaults and breezy lifts to heart thumping rhythms by Sarah Vaughan, Count Basie, Duke Ellington, and Bill Evans.  This joyful, upbeat spectacle, with captivating choreography by Amy Hall Garner, was only outdone by the subtle and spontaneous moments prevalent throughout the production.  A cheerful shout, an impulsive wave, a kiss on the cheek, a snap of the fingers, or a swift tap on the shoulder brought unique distinction to the performances, making it all the more thrilling.

Brandenburgs Full Cast photo by Ron Thiele

Brandenburgs, featuring music by Bach and his Brandenberg concertos, is an athletic, sophisticated, and romantic foray into classical ballet.  Featuring piano and fiddle-laden rhythms, dancers John Harnage, Eran Bugge, Madelyn Ho, Lee Duveneck, Alex Clayton, Devon Louis, Maria Ambrose, Shawn Lesniak, and Jake Vincent strut and promenade across the floor in regal stances which are at times, untamed, open, but always seamless by Paul Taylor.  Devon Lewis and Maria Ambrose deliver a romantic and moving Pas de deux which is the first of two reflective pieces within this production. 

Somewhere in the Middle by Amy Hall Garner Maria Ambrose Devon Louis Photo by Ron Thiele

Brandenburgs is a vigorous, rich, and robust performance that continues this compelling celebration, the second in a three part production.   Adorned in gold trimmed and flowing garments in various shades of green, the group’s impressive linear and synchronized movements depict elegance and grace ending their dance as it began. 

Company B Full Cast photo by Ron Thiele

The Paul Taylor Company saved the best for last with Company B, a salute to the famous Andrew Sisters.  Featuring the full cast that includes Christina Lynch Markham, Madelyn Ho, Kristin Draucker, Lee Duveneck, Alex Clayton, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, Devon Louis, Jake Vincent, Jessica Ferretti, and Austin Kelly, the ten song tribute features enough liveliness and humor to lift anyone’s spirits.  Accessorized with flowers and simply dressed in flowing skirts and pants, white shirts, and accented red belts faithful to the late 30s and early 40s, Paul Taylor’s timely choreography infuses some popular dances of the era including the jitterbug, swing, the twist, and the polka in a mix of spontaneity, poignant reflections, and comic wit. 

One of the many highlights included a humorous spin to the Andrews’ upbeat and horn-infused rhythms of Oh Johnny, Oh Johnny Oh!  Featuring Lee Duveneck as a skipping Johnny in horned rimmed glasses and a gleeful smile, it is an unconventional, carefree and refreshing swing number about a guy who unwittingly attracts all the girls.  As the Andrew Sisters’ frank vocals state ‘You’re Not Handsome, it’s true’ the catchy song boasts more than its share of amusing, spontaneous, and sweet moments. 

Company B Lee Duveneck w cast Photo by Ron Thiele

Rum and Coca Cola features the art of the gaze as the tables are turned with Madelyn Ho under the captive eye of a spellbound group of men.  In a flowing, red trimmed skirt, Madelyn’s hip shaking, and high kicks as she flirtatious fans herself knock the boys off their feet.

Though the production is mostly spirited and joyous, Company B does make references to the poignancy of wartime with I Can Dream, Can I featuring Christina Lynch Markham’s beautiful solo dance recalling a faraway soldier.  The urgent Joseph! Joseph! depicts women, uncertain of the future, pleading to build a future with their boyfriends before they are shipped off to war.  Maria Ambrose and Devon Louis reunite for another duet for There will Never Be Another You, a bittersweet and symbolic number as memories of men pass by in haunting shadow by Jennifer Tipton. 

Paul Taylor Dance Company had a limited engagement in Boston, but they are still touring.  Click here to see where the Paul Taylor Dance Company will perform next and here for more of Celebrity Series of Boston’s dynamic, upcoming performances this season.

REVIEW:  Boston Lyric Opera unveils a spellbinding ‘Bluebeard’s Castle/Four Songs’

Posted on by The Sleepless Critic

As waves splash against the Flynn Cruiseport Boston, Boston Lyric Opera unleashed a chilling tale of seduction and secrets.

Ryan McKinny as Bluebeard in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Conducted masterfully by David Angus and craftily stage directed by Anne Bogart, Boston Lyric Opera unearthed Bartok’s Bluebeard’s Castle/Four Songs for a limited engagement live and in person from March 22-26 at Flynn Cruiseport in South Boston’s Seaport District.  The show was 90 minutes with no intermission and had some adult themes.  Click here for more information and for what is next for Boston Lyric Opera.

Aunt Lydia (Caroline Worra) leads the handmaids through their prayers in Boston Lyric Opera’s production of “The Handmaid’s Tale,” ran through May 12, 2019. BLO.org. Photo by Liza Voll/Boston Lyric Opera

Lauded Stage Director Anne Bogart was behind the innovative transformation of Margaret Atwood’s harrowing dystopian novel, The Handmaid’s Tale, into an opera and presented that vision in glorious triumph while the hailed author sat in attendance.  See more about that experience here.  Anne Bogart’s riveting vision of Bluebeard’s Castle/Four Songs is another brilliant and dark reckoning in which with each astounding discovery, the plot thickens.   

Naomi Louisa OConnell opens BLOs Bluebeards Castle Four Songs with an Alma Mahler song featuring pianist Yukiko Oba. PHOTO by Liza Voll.

Suspenseful, passionate, and deeply romantic, Bluebeard’s Castle/Four Songs heightens the emotional impact of the libretto with Alma Mahler’s multifarious Four Songs.  Conducted zealously by David Angus with pianist Yukiko Oba, Four Songs as a companion piece which amplifies the magnitude of what Judith is about to see.

A mysterious and passionate tale, the real seduction behind Bluebeard’s Castle is the symbolism that results as Judith, Bluebeard’s new wife, longs to let light in and see more of his ancient castle.  She desires to learn everything about Bluebeard, a man she has given everything up for including a fiancé.  However, Bluebeard would rather leave well enough alone and enjoy the love they have found.

Bass-baritone Ryan McKinny as Bluebeard and mezzo-soprano Naomi Louisa O’Connell’s otherworldly and ascending vocals bring vitality and urgency to each phrase and as a duet, their blended vocals are an ethereal experience.   O’Connell is stunning as willful and persistent Judith, her oceanic teal gown glimmering against her incandescent red hair as she proclaims her love and deepest wishes for Bluebeard and their future together.  Boasting a thick gray beard, McKinny’s stately, rugged and romantic Bluebeard is equally persistent at first.  It is fascinating to watch the duo in an impassioned verbal tug of war, their thrilling chemistry becoming more and more feverish with each request.  McKinny and O’Connell also have a believable playfulness that round out their relationship and temporarily ease that mounting tension.

Judith Naomi Louisa OConnell and Bluebeard Ryan McKinny celebrate the castle garden in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Trevor Bowen’s impeccable and deceptive costuming added an alluring mystique to the production with Bluebeard in velvety deep blue and purple lined with gold, Judith in aquatic teal and what seemed like dancers adorned in glittering and flowing, yet bridled garments which included Marissa Molinar, Aliza Franz, Olivia Moon, Sasha Peterson and Cassie Wang.  Victoria L. Awkward does a wonderful job in keeping these clandestine individuals within this changing landscape in a perfect blend of subtlety, vulnerability and strength while Judith and Bluebeard remain at center stage.

Judith Naomi Louisa-OConnell comes to terms with her potential fate in BLOs Bluebeards Castle Four Songs. PHOTO by Liza Voll

Bogart’s spectacular staging alongside set designer Sara Brown plays a pivotal role in Bluebeard’s dark secrets and it is done with elegance and ingenuity.  The vast and multi-layered kingdom is revealed in Bluebeard’s inky and lavish bedchambers in an inventive display of silk sheets as rippling rivers, a vast and boundless secret garden on a bed of roses, and mountains of peerless gold and jewels.  With Brian H. Scott’s artful lighting creating shadowy and ominous tones with startling streaks of red, Bluebeard’s Castle/Four Songs was a foreboding tale of love, power, desire and the sacrifices one is willing to make for the truth.

Conducted masterfully by David Angus and craftily stage directed by Anne Bogart, Boston Lyric Opera unearthed Bluebeard’s Castle/Four Songs for a limited engagement live and in person from March 22-26 at Flynn Cruiseport in Boston Harbor.  Click here for more information and for what is next for Boston Lyric Opera.

REVIEW:  Take a wondrous romp ‘Into the Woods’

Posted on by The Sleepless Critic

What lies beyond happily ever after?

From David Patrick Kelly’s initial rich and spirited vocals as Narrator uttering the classic line, ‘Once upon a Time’ from a treelike podium, it is easy to see that Into the Woods is no ordinary fairytale.  To Stephen Sondheim’s complex tapestry of famous storytelling numbers ranging from stirring ballads to catchy compositions, Into the Woods brings together some of literature’s most famous fairytale characters on a multi-arc journey through an enchanted wood.  It’s a place where fortune smiles, but like every fairy tale, the road winds with surprise twists, turns and resounding life lessons for adults and children alike.

INTO THE WOODS 12 : The Company of Into the Woods Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Directed shrewdly by Lear deBessonet, seamlessly choreographed by Lorin Latarro with meticulous music direction by John Bell, the Grammy and Tony award-winning musical Into the Woods continues direct from Broadway live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, April 2.  The musical is 2 hours and 45 minutes including one intermission.  Click here for more information and for tickets.

Into the Woods boasts some absorbing special effects and Tyler Micoleau’s affective and multicolored lighting enlivens David Rockwell’s moving and immersive set with includes an onstage orchestra and a monstrous full moon.

INTO THE WOODS 25 : David Patrick Kelly Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Storytelling has never sounded better with David Patrick Kelly at the helm.  Kelly brings gravitas and zealously delivers this humorous, adventurous, and poignant tale which includes a baker and his wife’s unfortunate encounter with a witch that drives them to embark on an unexpected journey.  Into the Woods was revived on Broadway last year and with that, the characters seem more boisterous, the jokes sleeker, and cast’s quick witted comic timing and bold and hilarious adlibbing enrich the characters and their plights while occasionally breaking the 4th wall. 

INTO THE WOODS 21 : (L to R) Jason Forbach and Gavin Creel Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

The chemistry between this savvy cast crackles and they master Sondheim’s technically challenging harmonies in several collaborative numbers including the musical’s title track.  Andrea Hood’s edgy, vibrant and lavish costumes are well suited for Nancy Opel as Cinderella’s stepmother and Ta’nika Gibson and Brooke Ishibashi as Cinderella’s fashion conscious stepsisters.  Opel’s sarcastic fervor and tight lipped Cheshire smile is reminiscent of Jennifer Saunders and the conceited trio relishes in their own villainy.  Gibson and Ishibashi is a pair of self-absorbed bookends who comically parade in their excessive glory, unaware of how foolish they seem.  Diane Phelan impressively depicts an exasperated and contemplative Cinderella, her soaring and angelic vocals shine for the deliberative, A Very Nice Prince and conspiratorially for On the Steps of the Palace. 

INTO THE WOODS 1 0 : (L to R) Gavin Creel and Katy Geraghty Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

The show’s edgy and coordinating costumes are also prevalent on a pair of egotistical and coiffed Prince Charmings in dazzling fuchsia by Jason Forbach and in brilliant yellow by Gavin Creel.  Every bit the scene stealing pair, the two prance and pose like rock stars, their comic timing on point for the backhanded and love struck, Agony.  Creel also utilizes some of that lively charm and Jim Carrey-esque energy with some menacing glee for Hello Little Girl with Katy Geraghty in a surly little scowl as blunt, daring, and voracious Red Riding Hood.  Geraghty’s strong willed Riding Hood is fierce and exhibits incredible dry wit throughout the production, but especially with Sebastian Archelus as the proud and humble Baker and Stephanie J. Block as the conflicted Baker’s Wife in a bit of physical humor involving a loaf of bread.  Archelus and Block are married in real life which only enhances their playful and affectionate duet, It takes Two.  Block emotive eyes and desperate demeanor draws sympathy toward her plight, even in her occasionally warped reasoning for Maybe There’s Magic.

INTO THE WOODS 1: (L to R) Aymee Garcia, Cole Thompson, and Kennedy Kanagawa Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Cole Thompson is wonderful as idealistic and naïve Jack in an amazing rendition of Giants in the Sky and has some sweet and humorous scenes with Aymee Garcia as Jack’s protective and practical mother as well as Kennedy Kanagawa, who is one of a few lively personalities depicted splendidly through puppetry.

Montego Glover glides along the stage maliciously as The Witch, but maybe unlike one found in any other fairytale.  Glover depicts this harsh and complex practicality with vigor, finesse, and perhaps as a wearied storyteller all her own.  The Witch’s multi-faceted demeanor stuns in a harrowing rendition of Stay with Me and in a riveting The Last Midnight.

INTO THE WOODS 7 : Montego Glover Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Into the Woods made its musical debut in 1987 and there is a reason it still thrives over 35 years later.  It still has that timeless wonder, humor and charm, but more importantly, it metaphorically encapsulates realistic complexities of life in a fairytale that reaches happily ever after…and beyond. 

The Grammy and Tony award-winning musical Into the Woods continues direct from Broadway live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, April 2.  Click here for more information and for tickets.

REVIEW:  SpeakEasy Stage Company offers a shrewd and exceptional ‘Fairview’

Posted on by The Sleepless Critic

Mama is about to have a birthday bash no one will soon forget.

Prepared by Yewande Odetoyinbo as Beverly and Dominic Carter as Dayton who delivered playful and endearing chemistry previously seen in Lyric Stage Company’s production The Light, SpeakEasy Stage Company’s brilliant production of Fairview is an impactful and evolving show that has so much to say, but yet so little should be said before witnessing it.  Its humor ranges from conventional to absurd to acerbic and should be watched, understood, and thought over.

Yewande Odetoyinbo and Dom Carter. Nile Scott Studios

SpeakEasy Stage Company presents Jackie Sibblies Drury’s Pulitzer prize-winning Fairview live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, March 11.  Powerfully directed by Pascale Florestal, Fairview boasts an excellent and dynamic cast.  Fairview runs one hour and 45 minutes with no intermission and contains adult themes.  Click here for more information and tickets.

Lyndsay Allyn Cox, Yewande Odetoyinbo, and Victoria Omoregie. Nile Scott Studios

Amid an Obama family portrait on the left and a Langston Hughes poem on the right with upscale furniture and a dangling crystal chandelier overhead by Erik D Diaz, the production opens to an inviting and seemingly affluent household as Beverly, attempting to quell her nerves, begins to dance while peeling a carrot for Mama’s birthday dinner.  Soon joined by Dayton, Lyndsay Allyn Cox as Beverly’s sister Jasmine and Victoria Omoregie as Beverly and Dayton’s daughter Keisha, Fairview reveals a dysfunctional family gearing up for a big night for Mama.  Beverly’s only wish is for everything to be perfect.

Fairview addresses the nature of observing and perspective in a unique, palpable and unpredictable manner and it is quite a wild ride to its astonishing conclusion, so be still and observe.  This may be unlike anything witnessed before onstage and most assuredly worth the journey.

SpeakEasy Stage Company presents Jackie Sibblies Drury’s Pulitzer prize-winning Fairview live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, March 11.  Fairview runs one hour and 45 minutes with no intermission and has adult themes.  Click here for more information and tickets.