love | The Sleepless Critic

REVIEW: Vivo Performing Arts presents ‘What Makes it Great?’ with Rob Kapilow highlights the brilliance of Broadway’s Lerner and Loewe

Posted on January 25 by The Sleepless Critic

What elements contribute to a great song?

On a grand piano alongside a trio of talented singers at center stage, NPR’s popular composer, conductor, and master music analyst Rob Kapilow continues his 27^th year captivating audiences with his vast musical knowledge, sense of humor, and careful analysis of what makes the best songs tick. Every note, lyric, and rhythm is meticulously constructed to bring out the excitement and enrich the scope of the piece and Rob Kapilow shows you just how they do it. Though music styles and genres inevitably change, Rob Kapilow may make you see your favorite songs in a whole new light.

Rob Kapilow as Vivo Performing Arts presents ‘What Makes It Great’ Credit Robert Torres

Vivo Performing Arts, formally Celebrity Series of Boston, presented What Makes it Great? with Rob Kapilow live and in person at New England Conservatory’s Jordan Hall in Boston, Massachusetts for one night only Saturday, January 17 at 8PM. This semi-interactive performance ran 90 minutes and included a short question and answer session. Click here for more information on the performance and here for a closer look at Vivo Performing Arts’ upcoming events. Click here to learn about all of Rob Kapilow’s works including his next stop in his What Makes it Great series.

Whether you are music virtuosos or a casual music listener, Kapilow consistently offers something new that in some way will change the way you hear music for the better. Though often speaking to a large audience, Rob Kapilow is so personal, relaxed and friendly during his talks, it often feels like a one-on-one session on a baby grand piano. He is so popular with the Vivo Performing Arts crowd, he offers at least two appearances a season tackling everything from swing to dance to classical to Broadway music revealing each song’s inherent brilliance.

Rob Kapilow, Emily Albrink and Ben Jones in Vivo Performing Arts Presents ‘What Makes it Great’ Credit Robert Torres

Featuring a few of American lyricist and librettist Alan Jay Lerner and Austrian composer Frederick Loewe’s classic Broadway songs from Camelot, My Fair Lady and Brigadoon, Kapilow uses a mix of sophistication, humor and an easy to follow delivery to explore each song’s appeal and emotional undertones through its carefully selected musical notes.

Delving into the Golden Age of Broadway as well as Lerner and Loewe’s dynamic history, Kapilow chose a selection of lighthearted and dreamy songs as well as pivotal numbers from musicals that leads to a character’s imminent transformation. With humor and grace, Kapilow also reveals what each song might have sounded like without its individuality and as he peels back each layer, What Makes It Great? becomes an eye-opening experience.

Calling on a couple of Broadway love songs, Kapilow was accompanied by soprano Emily Albrink and stirring singer, actor, and musician Ben Jones. Jones and Albrink share gorgeous harmony and lighthearted chemistry for duets Brigadoon’s Almost Like Being in Love and playful Heather on the Hill.

Rob Kapilow, Ben Jones, and Emily Albrink as Vivo Performing Arts

Touching upon Rex Harrison’s complex casting in My Fair Lady, Kapilow ties in music and lyrics which waltz together teetering on so many emotions for I’ve Grown Accustomed to Her Face in which Jones articulates in an animated and humorous rendition.

Rob Kapilow, Emily Albrink and Hayden Lockhart as Vivio Performing Arts presents ‘What Makes it Great’ Credit Robert Torres

In an elegant flowing dress, Albrink brimmed with excitement evident is her full and rich vibrato as she delivered an exuberant rendition of My Fair Lady’s I Could Have Danced All Night. In a jacket, tie, and bathed in rose lighting, Jones croons, mastering the complex and emotional weight of Camelot’s stirring ballad If Ever I Should Leave You, before concluding with a bold finish.

Rob Kapilow, Emily Albrink, and Ben Jones as Vivo Performing Arts presents ‘What Makes it Great’ Credit Robert Torres

From classic songs and American Standards such as It’s Almost like Being in Love from Brigadoon to the high-spirited I Could Have Danced All Night from My Fair Lady to a humorous and not to be missed I Remember it Well from Gigi, Rob shows how compulsive American lyricist Lerner of the famed retail stores and poverty-raised and frugal Austrian composer Loewe poured themselves and their imaginations into their music to create some real Broadway magic.

Vivo Performing Arts, formally Celebrity Series of Boston, presented What Makes it Great? with Rob Kapilow live and in person at New England Conservatory’s Jordan Hall in Boston, Massachusetts for one night only Saturday, January 17 at 8PM. Click here for more information on the performance and here for a closer look at Vivo Performing Arts’ upcoming events. Click here to learn about all of Rob Kapilow’s works including his next stop in his What Makes it Great series.

REVIEW: Discovery enriches two short films: A frenetic ‘Subway Crush’ and sophisticated ‘Waltz for Three’

Posted on January 25 by The Sleepless Critic

A simple crush becomes something more.

In a matter of three minutes on a New York City subway, Subway Crush makes a statement about ideas of perception and interpretation that continually resonates in our digital culture. It is a slice of digital life that escalates quickly and stands as a peek into a bigger picture ominously, candidly, and realistically captured by more than one person behind a phone. What is the truth behind what you are seeing and explores one of many ways information can be dangerously misinterpreted.

Still from ‘Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi

Both written and directed by Oriana NG, Subway Crush and French short film Waltz for Three are two profoundly different films. Crush exhibits escalation while a subtle revelation emerges in Waltz for Three. Increasingly feverish and frenetic Crush is candidly captured as it makes a significant statement about our contemporary culture while Waltz for Three is timeless and sophisticated with a stirring emotional core. Yet both films are built in misunderstandings that long to be resolved.

With impactful direction and written by Oriana NG, Subway Crush and Waltz for Three continue to make the film festival circuit and were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.

A quiet encounter has a profound effect on two people.

Surrounded by distinctive finery in a gorgeous castle in France, Agnès feels isolated. Ophélie Lehmann portrays reserved, soft spoken and unassuming Agnès who is quite certain what she wants when she invites Mikaël Mittelstadt as handsome Jean home. However, it is not for the reasons one might expect.

In many ways, French short film Les Trois Valseurs (Waltz for Three) explores two worlds. This multilayered and unpredictable tale has a meaty emotional core for two likable people who have experienced a great deal in very different ways. The film takes its time, but does not drag as these two make discoveries about each other. The costuming and props, includes a distinguished victrola, an ethereal clock and a golden lighter, are delicate, detailed and gleaming and the way the two carry themselves evokes almost a dreamlike ambiance. With hair swept up and adorned in an elegant dress, stately and enigmatic Agnès is mature beyond her years while Mikaël Mittelstadt’s Jean is charming and uncertain with his whole life ahead of him. They share compelling chemistry and perceive each other in a new light as the film unfolds.

Not all the film’s questions are answered and in many ways, the answers aren’t necessary. The genuine moments that gently unfold are encapsulated in their gradual understanding of one another.

Mikaël Mittelstadt and
Ophélie Lehmann in ‘Waltz for Three’

Subway Crush and Waltz for Three were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.

REVIEW: Love is in the air with Lyric Stage’s immersive ‘Hello, Dolly!’

Posted on June 17 by The Sleepless Critic

It’s Dolly’s world and we just live in it.

Commanding the stage and the audience is pitch perfect Aimee Doherty as conspiring Dolly Levi who sings for her supper as a successful matchmaker. A shrewd businesswoman, Dolly sees what life can hold for everyone else in Yonkers and beyond, but her confidence wanes when it comes to a second chance at love.

Aimee Doherty* (Photo by Mark S. Howard)

With innovative direction by Maurice Emmanuel Parent, uplifting Music Direction by Dan Rodriguez and buoyant choreography by Ilyse Robbins, Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22. This immersive musical’s action is not limited to the stage and runs approximately two hours and 30 minutes with one intermission. Click here for more information and for tickets.

Having seen other versions of Hello, Dolly! before, I’ve always been impressed by the charm of fast talking and resourceful Dolly Levi. However, this particular production integrates modern and classic elements by having Dolly Levi not only at the cast’s service, but yours as well. Making a bustling entrance, Doherty passes out her business card to members of the audience and occasionally shouts out her services as the musical progresses and she always makes a sale.

Aimee Doherty* and Joshua Wolf Coleman* (Photo by Mark S. Howard)

It also infuses modern elements without losing the Golden Age atmosphere while satirically commenting on outdated ideas of a woman’s role in society. At one point, Joshua Wolf Coleman as Horace Vangergelder quotes one of his late wife’s expressions, ‘Marriage is a bribe to make a housekeeper think she is a householder.’ Hello, Dolly! delivers a bit of tongue in cheek humor through clever bits of improvisation from a contemporary perspective.

Stephen Caliskan, Aimee Doherty*, Sophie Shaw and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

Janie E. Howland cleverly makes the most of the space and the expansive nature of New York through multilevel staging, a worn sign of Yonkers on one side of the stage and Grand Central on the other punctuated by a sprawling map on New York on the ground. Images of the Statue of Liberty and the sparkling George Washington Bridge stands out in the distance while a glittering gold and black wrought iron staircase sits center stage adorned with Dolly’s signature white feather.

From tap to ballroom to a polka to lithe and athletic choreography, Robbins keeps this musical showcase lighthearted and lively especially demonstrated through a humorous Waiter’s Gallop, the patriotic Motherhood March, the elegance of Dancing, Put on Your Sunday Clothes and the its dazzling title track.

Aimee Doherty* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

With contagious steely eyed conviction and unrelenting confidence, Aimee Doherty shines as Dolly Levi who can hustle with the best of them. Her first velvet maroon and black gown, one of many stylish gowns of the Victorian era, shares some similarity to Mary Poppins, another dynamo problem solver who can make anything happen. Boasting an array of feathers, detailed parasols, lace, sequins, fans, boots, bustles and three piece suits, but costume designer’s Kelly Baker’s sharp and meticulously detailed floral hats are showstoppers.

Michael Jennings Mahoney*, Joshua Wolf Coleman*, and Max Connor (Photo by Mark S. Howard)

Doherty shares some amusing scenes with Joshua Wolf Coleman as gruff and old fashioned rich widower Horace Vandergelder who often do not see eye to eye as Dolly has been hired to find him a match. Coleman demonstrates old fashioned practicality through the upbeat It Takes a Woman. Meanwhile, Max Connor as Barnaby and Michael Jennings Mahoney as Cornelius work for Horace and make a naïve and humorous duo, longing for adventures of their own. Kristian Espiritu delivers a dreamy rendition of Ribbons down my Back and shares giddy chemistry with Mahoney as Cornelius. With flabbergasted facial expressions enough to make you laugh, Mark Linehan is a bit of a scene stealer as hilariously snooty frazzled head waiter Rudolph.

Jackson Jirard and Mark Linehan* (Photo by Mark S. Howard)

The show is also campy and the over the top excitement can be fun, but might not work for everyone. Hello, Dolly delivers a number of madcap high jinks, but also genuine heart in the cast’s earnest search for love. Featuring a few characters who are widowed, it is just as much about matchmaking as it about a second chance at love. Having not seen this musical for many years, this wistful aspect seems more prominent in all of its adventurous optimism. Doherty delivers a stirring rendition of Before the Parade Passes Me By with a building hopefulness and authenticity longing to truly embrace life again.

Kristian Espiritu,* Michael Jennings Mahoney* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

Lyric Stage’s Hello, Dolly may inspire you to forget your troubles for little while and immerse yourself in Dolly’s world. Mahoney as Cornelius at one point also delivers a tender rendition of It Only takes a Moment and wondrously proclaims, ‘Isn’t the world full of wonderful things?’ It just might help you notice them too.

Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22. Click here for more information and for tickets.

REVIEW: Featuring a solid cast, North Shore Music Theatre’s ‘Waitress’ freshly bakes humor and heart in and out of the kitchen

Posted on June 11 by The Sleepless Critic

North Shore Music Theatre’s heartwarming and meaningful musical Waitress shows life’s most important answers can be found in a pie.

Mixed with Kevin P. Hill’s innovative direction, Ashley Chasteen’s uplifting chorography, and Milton Granger’s mellifluous music direction, North Shore Music Theatre serves up musical dramedy Waitress live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 15. This immersive production runs 2 hours and 35 minutes with a 15 minute intermission and the action is not limited to the stage. Click here for more information and for tickets.

he cast of WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Since screenwriter Adrienne Shelly brought Waitress to the big screen in 2007 starring Keri Russell as Jenna, Waitress has enjoyed an enduring history. With book by Jessie Nelson, music and lyrics by Grammy award-winning and Tony award-nominated singer-songwriter Sara Bareilles, Waitress has since been adapted into a musical and debuted on Broadway in 2016 before going on a national tour and in 2023, hit theatres as a filmed stage musical starring Bareilles as Jenna.

Full of heart, Waitress strikes a delicate balance between the sweetness and sobering realism of life, delving into the lives of a group of colorful and comical individuals who dream of a better life. Baker and waitress Jenna, portrayed with humble and self deprecating charm by Christine Dwyer, expresses her moods and philosophies through the humorous titles she gives to Joe’s daily Diner Pie of the Day. When Jenna finds herself pregnant, she quickly realizes that it’s time for a change. Impressive songs range from catchy to reflective and numbers like Opening Up to the soft melodious whispers of What’s Inside are sure to stay with you long after the show is over.

Maggie Elizabeth May (Dawn) and the cast of WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

What makes North Shore Music Theatre unique is its theatre-in-the-round staging and director Kevin P. Hill makes the most of the aisles and multiple platforms to deliver an encompassing experience. The ensemble not only depicts diner customers, but often surrounds the stage lending musical accompiament and interacting with the action onstage. From a bright chrome neon sign, chalkboard easel listing pies, and linoleum flooring to worn recipes and a mouthwatering Diner menu, scenic and lighting designer Jack Mehler’s rising and sliding set pieces shift seamlessly to occasionally portray multiple scenes simultaneously from various locations around the theatre with the majority of Waitress set inside picturesque Joe’s Pie Diner. Glancing at the appetizing selections and hearing about Jenna’s incredibly creative and delectable pie ingredients made me long for lunch or dessert and inspiring me to bake my own pie.

Christine Dwyer (Jenna) and Brandon Kalm (Dr. Pomatter) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Christine Dwyer delivers an inspiring and relatable vulnerability as Jenna. Dwyer portrays Jenna’s complex web of emotions and generational trauma with a blend of dark humor and a note of optimism. Her voice is as rich as the pies she bakes and her intense rendition of She Used to Be Mine is one of the show’s greatest highlights. Her awkward exchanges, humorous misunderstandings, and beautiful harmony with handsome and geeky Brandon Kalm as Dr. Pomatter are prevalent in the playful It Only Takes a Taste which is one of three duets, flirtatious Bad Idea and a tender rendition of You Matter to Me.

Dressed in a plaid shirt, worn jeans, and work boots, Matt DeAngelis is a standout as gruff and manipulative Earl. With a guttural growl punctuating his rock n roll vocals for You will Still be Mine, DeAngelis seems to relish in the role through dark humor and creative in the character’s thoughtlessness.

Matt DeAngelis as Earl in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Brandi Chavonne Massey delivers a great deal of comic relief as outspoken and wise cracking waitress Becky, especially in Massey’s sharp exchanges with Arnold Harper II as Cal. Passionate, direct, and sympathetic, Massey shines in the soaring number, I Didn’t Plan It.

Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

In bright red glasses, Maggie Elizabeth May portrays waitress Dawn with her own magnetic and giddy comedic timing. Dreamy and shy, Dawn deems herself ‘a woman of many passions’ and is enchanting performing the yearning number, When He Sees Me as imaginary suitors line up to meet her. Alongside Courter Simons as scene stealing Ogie, they are a comedic force to be reckoned with. Dawn, Becky, and Jenny are a compelling trio making marvelous harmony together for A Soft Place to Land.

Maggie Elizabeth May (Dawn), Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Gleeful and goofy with a habit of over sharing, Courter Simmons is confident and awkwardly charming with a bungle of flawless, unsuppressed energy as Ogie, especially during the steadfast number, Never Getting Rid of Me.

Courter Simmons (Ogie) and Arnold Harper II (Cal) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

In a colorful suit and tie, Keith Lee Grant is curmudgeonly eloquent as difficult customer and diner owner, Joe. A complicated and perceptive storyteller, his conversations and rapport with Jenna are full of humor and openness, especially during a bright and spirited rendition of Take it from an Old Man. Speaking to the uplifting spirit of this engaging production, Joe proclaims, ‘Baking a pie is a magical experience.’

Christine Dwyer (Jenna) and Keith Lee Grant (Joe) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Life is a little sweeter with North Shore Music Theatre’s Waitress continuing live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 15. Click here for more information and for tickets.

REVIEW: Summer love is luminous in The Huntington’s ‘The Light in the Piazza’

Posted on June 3 by The Sleepless Critic

Summer in Italy brings certain charms, especially when it comes to love punctuated by a brilliant light.

Meaningfully directed by Loretta Greco paired with Daniel Pelzig’s joyous choreography, The Huntington continues heartwarming musical, The Light in the Piazza through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. This bilingual production in English and Italian runs two hours and 10 minutes including an intermission. Click here for more information and for tickets.

Based on Elizabeth Spencer’s 1960s novella of the same name, The Light the Piazza was quickly adapted into a sweeping romantic film in 1962 starring George Hamilton and Olivia de Havilland. The film offers further details into the plot and answers a few questions left by the musical, but the musical more than makes up for it through Adam Guettel’s riveting Tony award-winning Opera-inspired score and collection of English and Italian songs. The Light in the Piazza debuted on Broadway in 2005 and was the winner of two Tony Awards including Lead Actress in a Musical.

Sarah-Anne Martinez and Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Set in Florence, Italy in 1953, a mother and daughter embark on an extraordinary vacation through Florence when a surprising incident leads to an encounter with Joshua Grosso as awestruck Fabrizio. It is quite the meet cute surrounded by Andrew Boyce’s detailed gold and marble architecture and an amiable ensemble. Yuki Izumihara’s lifelike projections combine with Andrew Boyce’s captivating sliding set design to revel in this beautiful country’s works of art, iconic buildings, church settings and the Italian countryside. These surroundings are exquisite and yet not overdone as gold frames hang aloft elegant Italian furniture which includes an elaborate bookcase, swaying silk curtains, lacy tablecloths and a vintage rolling gold lap tray.

Much of the musical explores the idea of feeling understood through the heart rather than the head. Through anguish, joy, humor, protectiveness and passion, this talented cast display stirring and powerful vocals in a remarkable journey while intensely expressing what each of them hold in their hearts. It is also a musical that explores love of all kinds as faith is put to the test.

Sarah-Anne Martinez is instantly enchanting as exuberant Clara. Martinez wows with her gorgeous rendition of The Beauty Is and shares immediate and endearing chemistry with Grosso as Fabrizio. Grosso simply dazzles in his rendition of Il Mondo Era Vuoto. Martinez’s wide eyed sincerity and Grosso’s benevolent charm blend harmoniously for Say it Somehow, The Beauty Is reprise and Passeggiata, a playful duet between Grosso and Martinez practicing a beloved Italian tradition on a revolving stage.

Joshua Grosso and Sarah-Anne Martinez in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

The cast occasionally confides in the audience as Emily Skinner as Clara’s mother Margaret withholds a secret about Clara. Skinner evokes the weight of her tormented decisions through her emphatic hesitancy, protectiveness and gentle compassion. Clara shares a special bond with her mother, but also one that can be strained and conflicted.

Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

William Michaels as Signor Naccarelli and Rebecca Pitcher as Signora Naccarelli share great comic timing (at times sardonic) and are a complicated pair. Alexander Ross as Fabrizio’s charismatic brother Giuseppe brings lively humor to American Dancing and Rebekah Rae Robles is also impressive as mysterious Franca.

Greco’s immersive direction applies subtle and comical scenarios alongside the main plot to broaden this enchanting world such as kids playing together, doves flying overhead, a woman selling flowers or discussions among the clergy. The Light in the Piazza contains some twists and turns while maintaining its optimistic yet underlying seriousness.

The cast of The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Soaring vocals, a wonderful cast, a splendid Italian setting, and an affecting family tale combine for an incandescent event at the Huntington.

Witness a powerful tale of love, beauty, faith and much more with The Light in the Piazza continuing through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Love, the illusion and CAKE in Lyric Stage Company’s world premiere of ‘The Great Reveal’

Posted on April 23 by The Sleepless Critic

What is any party without cake?

However, at this gender reveal party in 2020, the cake is part of the problem and striving to make people happy only gets more complicated.

Paige Clark, Arthur Gomez, Antonia Turilli and Jupiter Lê in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

Directed thoughtfully by Bridget Kathleen O’Leary and Charlotte Snow, Lyric Stage Company continues the world premiere of The Great Reveal by David Valdes live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, April 27. If you agree that a party is not complete without cake, there are festive and delicious cake bites available at concessions. This dramedy is approximately 100 minutes with no intermission and the action is not limited to the stage. Click here for more information and for tickets.

Antonia Turilli and Jupiter Lê in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

A lit floral arch trellis stands out in Baron E Pugh’s festive scenic design which includes pink and blue streamers, shiny embellishments and gold décor that adorn Christopher and Lexi’s Massachusetts backyard deck. E. Rosser’s costumes are equally festive and cheerful in sparkling dresses, colorful jumpsuits, zip up Henley, tuxes and casual attire. Kai Bohlman’s at times ethereal and acoustic sound design lends to the production’s ambiance ranging from the beach to other special occasions.

It is stressful enough hosting a party, but having one during the height of the pandemic is a different story and Paige Clark as high strung and controlling Lexi is feeling it tenfold. Lexi is fixated about everything looking perfect, especially for social media. While Lexi is determined to craft the illusion, she loses sight of what is truly important. However, whatever frustration about illness, exposure, creating perfection online and who to let into their Covid bubble take a back seat to a greater reveal between these two couples.

Paige Clark and Arthur Gomez in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

While Lexi is a planner, her husband Chris seems to prefer to go with the flow. Arthur Gomez as laid back Christopher tries to be reassuring, but is also feeling the strain. Linus and Dosia are a trans couple and while Antonia Turilli as Linus’s composed girlfriend Dosia was invited to make the cake and is dreading this party, Jupiter Lê as workaholic Linus wants to make his sister Lexi happy, but also has his own reasons for attending.

The Great Reveal has more than a few silly moments which can be a relief from the production’s more serious content. Gomez has sharp comic timing and shares some amusing scenes with Antonia Turilli who deadpans impressively well. Clark and Lê share affection, but a stronger sibling rivalry as they struggle to understand each other. This foursome exhibits a strong rapport and a familial bond well before even becoming family, especially in their quieter moments together.

Arthur Gomez and Antonia Turilli in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

There are many reasons to not care for a gender reveal party and as a person without children, I am also not a particular fan of them. Gender reveals can be smug, over the top and may come with a lot of questions about what the future holds. The show is not without political tension yet focuses more on finding common ground and understanding in divided relationships. As Turilli’s Dosia often says as part of Dosia’s meditation mantra, ‘Love is a choice I make daily.’ I’m sure sometimes it is daily and other times with people we love, it is a minute to minute challenge.

Antonia Turilli and Paige Clark in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

Funny, insightful, and relatable, The Great Reveal explores these two couples and all they have been through as their bond is tested. Through squabbling, sibling rivalry, hurtfulness, pettiness and turmoil, it is important to remember what brought everyone together in the first place and what a meaningful future can hold. Loving the cake is a start.

Lyric Stage Company continues the world premiere of The Great Reveal by David Valdes live and in person at Lyric Stage Company through Sunday, April 27. This dramedy is approximately 100 minutes with no intermission and the action is not limited to the stage. Click here for more information and for tickets.

REVIEW: Love reigns supreme in The Huntington’s whimsical ‘The Triumph of Love’

Posted on April 3 by The Sleepless Critic

Witness impassioned lovers and the loved overwhelmed.

Directed shrewdly by Loretta Greco, this is the language of love in Pierre Carlet de Chamblain de Marivaux’s French romantic farce, The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This whimsical tale runs two hours and 15 minutes with one intermission and Joanna Strapp stepped in for Marianna Bassham as Léonide for this performance. This production is also available to stream. Click here for more information and for tickets.

The cast of The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

The Triumph of Love waxes poetic about love and then some in this elaborate love story that contains as many declarations of love as lighthearted comedy. Though The Triumph of Love was written in 1732, it contains insightful ideas, humor, and a classic storyline that connected with its era just as effectively as it does a contemporary audience in delightful ways.

If love is a battlefield, Alison Altman as confident, passionate, and outspoken Léonide is a commander. In a layered and juicy love story, Princess Léonide pursues naïve and sheltered Agis, portrayed nobly by Robert Kellogg, who is sequestered in Hermocrate’s country retreat. However, in order to get close enough to Agis, Altman and Avanthika Srinivansan as her humorous maid Corine must disguise themselves as men and execute a delicate, devious, absurd and yet brilliant scheme to win her true love by using all the wiles she knows how.

Left to right: Allison Altman, Rob B. Kellogg in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Junghyun Georgia Lee’s serene scenic design boasts a lovely garden landscape embellished with lemon trees, florals, vine covered walls, and a stone bench while Fan Zhang intertwines classical and contemporary French flair to Zhang’s original music and sound design. The painted skyline fades from turquoise to pastels to aquamarine through Christopher Akerlind’s romantic lighting expressing the progression of the day. Lee also demonstrates 18^th century French fashion beautifully in elegant silk gowns with petticoats, fingerless gloves, colorful cravats, refined vests and boots as well as finely detailed frock coats with gold embellishments and multicolor garments.

Left to right: Marianna Bassham, Allison Altman, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Led by Alison Altman as Princess Léonide whose complex character is somewhat of an antihero, The Triumph of Love champions a remarkable cast and Marivaux’s script offers each character an opportunity to shine during the production. Occasionally addressing the audience, Altman’s relentlessly determined Léonide has some earmarks of both hero and villain. She is conscious of her power to influence and manipulate while pulling the strings of each character for love’s sake. Resisting her charms is near impossible and Altman masters this multidimensional character with finesse though you may be occasionally torn about her decisions.

Left to right: Marianna Bassham, Nael Nacer in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Altman’s Léonide shares enchanting chemistry with nearly everyone, but her brief encounters with Kellogg as Agis are sweet and splendid. They are adorable together and it’s easy to root for this pair. The plot thickens pretty quickly and most of this lighthearted farce is not meant to be taken seriously.

Strapp as Léontine and Nael Nacer as Hermocrate portray virtuous and staunchly reasonable siblings who have shut out the world with their nephew Agis to pursue the intellectual life. The entire cast delivers sharp comic timing and while Vincent Randazzo as Harlequin get his share of laughs, Strapp and Nacer’s moments of exasperation, panic and self aware humor is first rate as exemplified in one instance where Nacer looks around and softly wonders, ‘Why am I standing here?’ With realizations so innocent and captivating, it won’t take you long to love them both.

Left to right: Patrick Kerr, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Statements such as ‘God forbid there should be love in that house’ and ‘Perhaps if I could be hilarious for awhile, I could amuse myself to death’ are just a couple of the hilarious quips uttered by Vincent Randazzo as Harlequin, Hermocrate’s valet. Rambunctious and mischievous, Randazzo’s frank delivery and gossipy nature are only outdone by his comical facial expressions. With Patrick Kerr as practical gardener and straight man Dimas, they make a wonderfully humorous duo.

Madcap and absorbing, bring love to the front lines with The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This production is also available to stream. Click here for more information and for tickets.

REVIEW: Boston Ballet’s ‘Swan Lake’ returns as magnificent as ever

Posted on March 5, 2025 by The Sleepless Critic

Swan Lake has stood the test of time for generations and it is no mystery why. Steeped in regal splendor, Swan Lake is a visually-stunning portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest. Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.

Viktorina Kapitonova and Lasha Khozashvili in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

With seamless music direction by Mischa Santora, Tchaikovsky’s magnificent score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet continues Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 16. This four-act performance is two hours and 35 minutes, including one 20 minute intermission. Tickets are going fast. Click here for more information and tickets.

Von Rothbart in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after noble Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake. Swan Queen Odette, portrayed with sorrowful fragility by Chyrstyn Fentoy, catches his eye and it is love at first sight. It soon becomes clear that the swans were once women cursed by cunning sorcerer Von Rothbart, depicted menacingly by Lasha Khozashvili. Khozashvili is mesmerizing as Rothbart as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.

Pas de Trois in The Castle Gardens in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Elaborate headpieces, rich furs, flowing and glittering pastel garments, parasols, colorful garlands, exquisitely feathered tutus, plumes and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight and an orange crescent moon by lighting designer Mark Stanley. Seághan McKay’s evocative and timely projection images embellish the show’s pivotal moments.

Swans rising in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Marked by intricate precision, Mikko Nissinen’s choreography is ballet at its finest. Kyra Muttilainen and Haley Schwan are visually-stunning rising gracefully out of the mist. A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe and identical strokes. The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist. It still stands as one of the beautiful displays of ballet I have ever seen.

Perfect precision in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

In the castle gardens, dancers whimsically gather together in a feast dance toasting with goblets and joyfully present the prince with rich garlands. My’Kal Stromile is a highlight as Seigfried’s Tutor, marking this joyous occasion with amicable exchanges with Prince Seigfried and amusing moments including stirring after falling asleep during the festivities. While the castle garden illustrates a rural, picturesque and almost dreamlike setting, an equally opulent crystal ballroom with vast ceilings lit in red later depict a livelier surroundings as trumpets sound and a grand and dynamic lineup of guests gather to charm the kingdom including princesses, Czardas, and Neapolitans.

Prince Seigfried and Odile in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Patrick Yocum shines as Prince Siegfried evoking loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance. Light and dark in Tchaikovsky’s Swan Lake is demonstrated brilliantly by Fentroy in a complex dual role. Fentroy glides and seems to float delicately across the stage as guarded Odette, her vigilant moments, statuesque beauty and downcast demeanor enrich her mysterious and chaste presence. Tingling violin resonates in Tchaikovsky’s emotive score as Fentroy and Yocum share a hesitant and sweet encounter. He tenderly lifts and embraces her at every turn. With sharp and bold movements, Fentroy also masters her dual role as mysterious and confident Odile, cleverly manipulating Odette’s movements with a soft smile. At one point, Yocum’s Prince Seigfried attempts to grasps her hand as he did with Odette, but Odile coyly pulls her hand away. Enthralled, Yocum takes her hand playfully and yet, almost possessively in an exhilarating dance.

Swan Lake remains a mesmerizing and beloved tale of tender grace and passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s 2010 Academy award-winning Black Swan. Mikko Nissinen’s Swan Lake is a dance celebration amid resplendent visuals and boasting a riveting classic tale for an epic and unforgettable experience.

Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 16. Tickets are going fast. Click here for more information and tickets.

REVIEW: From comedy to complication in Erin Moughon’s ‘Escape (The Pina Colada Song), Kevin Cheng’s ‘Dear Diary,’ Pascal Phoa’s ‘Last Train to Nevada’ and Kevin T. Durfee’s ‘Between the Wired Fence’ at NYC’s The Chain Theatre One Act Winter Festival

Posted on February 28, 2025 by The Sleepless Critic

From traumatic to comical to poignant, Program #9 explores a variety of struggles among two people from strangers to spouses including grief, circumstances or growing apart.

Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Erin Moughon’s Escape (The Pina Colada Song), Kevin Cheng’s Dear Diary and Pascal Phoa’s Last Train to Nevada are 15 minute One Act productions Kevin T. Durfee’s Between the Wired Fence runs 45 minutes. Click here for more information and for tickets.

Aren’t most breakups complicated? However, this particular one is on another level.

Claire Shiell and Matthew Menendez in Erin Moughon’s Escape (The Pina Colada Song) Photo courtesy of Chain Theatre

Candidly directed by Perryn Pomatto, Erin Moughon’s Escape (The Pina Colada Song) shares too small a snapshot into a relationship with quickly building tension as a woman breaks the news to her boyfriend that she wants to break up with him. What ensues is outside the expected as Claire Shiell and Matthew Menendez share some humorous moments unleashing frank relationship truths along the way building to a fascinating revelation. Escape leaves more questions that beg for a prequel or a sequel to this one act.

Elizabeth McBryde and Kevin Cheung in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin

With ruminating direction by Emily M. White, the cherry blossoms are in bloom as Elizabeth McBryde as reserved Josie settles on a Central Park bench to verbalize her thoughts in her daily journal entry in Kevin Cheng’s Dear Diary. However, her sensible thoughts are interrupted by an encounter with Kevin Cheng who is memorable as optimistic and cheerful Pablo practicing a speech. Dear Diary is poignant and funny with more to the story that Josie can reveal as disarming Pablo charms her into helping him out and they discover more about one another.

Elizabeth McBryde and Kevin Cheng in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin

What if escape is your last hope?

Pascal Phoa’s Last Train to Nevada focuses on a couple who are running out of options in 1942. Their only hope of being together requires a drastic change that is sure to change both their lives. With stirring direction by Yibin Wang, Pascal Phoa portrays an uncertain Freddy and Gwyneth Benitez-Graham as a despairing Ida from different countries in a dangerous and intolerant climate. Phoa and Graham bring complexity to their character’s motivations as time is running out and they are in urgent need of an answer.

Pascal Phoa and Gwyneth Benitez-Graham in Pascal Phoa’s ‘Last Train to Nevada’ Photo courtesy of Chain Theatre

At some point, something has to give.

Written and directed by Kevin T. Durfee, Between the Wired Fence reflects on timing and aspiration as a couple metaphorically stares at one another from two sides of a figurative fence.

Elisa Falanga and Shannon Adams-Gray in Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre

Shannon Adams-Gray offers a thought provoking performance as overwhelmed but successful financial adviser Sawyer who was once an aspiring actress. Daniel Bishop portrays Odie, Sawyer’s spontaneous and intuitive husband who tries to help her cope as he pursues a career in performance art. Bishop as Odie’s outlandish and over the top persona is a seeming contrast to Adams-Gray as Sawyer’s forced sensibilities, but there lies an underlying charm and clear bond in their brief stage time together.

Daniel Bishop Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre

When Elisa Falanga delivers a mysterious package, it springs forth an eye opening reckoning for Sawyer and a new understanding on how they can both move forward.

Between the Wired Fence offers humor and insight on both sides of the fence into life’s delicate timing while touching upon the anxieties and pressures of the world and what it means to succeed.

Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Click here for more information and for tickets.

REVIEW: Love and family drive a moving and powerful world premiere of ‘Did You Eat? (밥 먹었니?)’ presented by Chuang Stage and Seoulful Productions

Posted on November 30, 2024 by The Sleepless Critic

Family can be complicated. Some ancestors have passed away and maybe you would give anything to speak to or enjoy a meal with them one more time. Others you endure and it can be so emotionally draining, it is a battle to stay connected.

Featuring a special opening act concert performance by Sarah Shin on Wednesday, November 27 prior to Did You Eat? (밥 먹었니?), this particular evening presentation manages to explore both types of relationships.

Zoë Kim in Did You Eat? (밥 먹었니?) Photo by Maggie Hall Photography

Written and performed affectively by Zoë Kim and perceptively directed by Chris Yejin, Did You Eat? (밥 먹었니?) , a world premiere production from Chuang Stage and Seoulful Productions, is a moving autobiographical recollection on love and family continuing live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, November 30. This bilingual one woman performance is 75 minutes with no intermission. The paper program not only offers details on the show, but also features a wonderful and fitting cookbook section on Korean comfort food. Click here for more information and for tickets which are limited.

Candid and engaging, Did You Eat‘s featured a special opening act performance by Sarah Shin. With a peach electric guitar, she paid tribute to her late grandfather who led a big life with a big family. With yearning vocals, she longs for conversations with him about her craft knowing what she knows now. Though the song might have been explored an octave lower, it is a lovely and personal number that resonates with anyone who discovers they have common ground with those who have come before them.

With rich accompaniment by Alison Yueming Qu, Shin also performed a raw and humorous song about the aftermath of a breakup enhanced by Shin’s soaring and unique vocals.

Accented by ethereal and shrouded pastel colored drapes and a multicolored painted floor, Did You Eat evokes a guileless innocence and Aegyo in Szu-Feng Chen’s cheerful and lively set design and costuming featuring braids and sunflowers, a bloom which symbolizes resilience. Katie Kuan-Yu Chen’s lingering and at times dreamy sound design with Michi Zaya’s distinctive projections and Ari Kim’s dynamic lighting illustrates a wide range of emotions from hyper vigilance to love at first sight.

A mother (Umma) who was not ready to become a mother but wanted to please her family and a father (Appa) who wanted to please his family and prove his manhood by having a son. Diving into the dysfunction and expectations set by a Korean family, Did you Eat is a multifaceted journey performed and recounted by Korean-American Zoë Kim in a stirring one woman performance. Her use of the second person perspective is part of what makes Kim’s story engulfing for the audience as she navigates the struggle she endured growing up and the repercussions it had on her psyche and well being.

A winding journey that is at times funny, haunting, harrowing, relatable and always powerful, Kim transitions each feeling with skill, physical prowess, and a natural fluidity as each scene intensely alters in tone. An earnest piece steeped in emotion, the production is enhanced by Christopher Shin’s striking chorography that varies from subtle to sharp and abrupt movements to interpretive dance. Kim army crawls, slices the air, and slides across the floor and yet also emits joy through childlike movements and a beaming smile.

The term Did You Eat? (밥 먹었니?) is inherently a phrase used in love language and how actions speak louder than words and yet words are significant and binding. Kim also longs to please her family and within its raw honesty through resentment, isolation, shame, guilt and seemingly impossible circumstances, shares a beautiful life lesson about identity, trust, self love and what it takes to shine.

Written and performed affectively by Zoë Kim and perceptively directed by Chris Yejin, Did You Eat? (밥 먹었니?) , a world premiere production from Chuang Stage and Seoulful Productions, is a moving autobiographical recollection on love and family continuing live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, November 30. This bilingual one woman performance is 75 minutes with no intermission. Click here for more information and for tickets which are limited.