love story

REVIEW: Boston Lyric Opera celebrated Morris Robinson and a revered love story with Verdi and Ghislanzoni’s stunning ‘Aida’

Posted on by The Sleepless Critic

For one night only, a revered love story caught between impossible choices took shape set in a war-torn country.

With over 200 artists involved including the Back Bay Chorale as well as Boston Lyric Opera Orchestra and Chorus, Boston Lyric Opera (BLO) presented Verdi and Ghislanzoni’s stunning Italian opera, Aida for one gala benefit performance during Veteran’s Day weekend on Sunday, November 10 at 3PM at the Emerson Colonial Theatre in Boston, Massachusetts.  All funds raised benefited Boston Lyric Opera’s education, youth and community programs.  Part of BLO’s You’ll Never Walk Alone themed season, this epic production ran 2 hours and 50 minutes including one 20-minute intermission.  Click here for more information.

David Angus conducts the BLO Orchestra and BLO Chorus (Brett Hodgdon, Chorus Director) including members of Back Bay Chorale) Photo by Nile Scott Studios

Prior to the start of the production, the Boston Lyric Opera celebrated a milestone for renowned bass-baritone opera singer Morris Robinson.  Twenty-five years ago to the day on November 10, 1999, Robinson debuted onstage in the role of the King for Boston Lyric Opera’s Aida.  Not only was he named the 2024 Artistic Honoree, but Mayor Wu named November 10th Morris Robinson Day.  The honor was presented to him by his mentor Sharon Daniels.  Once a Boston University college football player, a clearly moved Robinson delivered an inspiring and relatable speech about career pivoting and the stellar chance he received from Boston Lyric Opera.

Morris Robinson as Ramfis in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

Robinson’s charismatic presence as well as his rich, deep and commanding vocals as Ramfis in the following production depicts why Morris has had a lasting presence with Boston Lyric Opera.

Having never seen Aida performed as an opera but twice before as the Elton John and Tim Rice’s musical, it was amazing to see Verdi’s version which is the foundation in which this story was told. With the Boston Lyric Opera orchestra center stage and the chorus situated behind them, Aida was treated as a gala event enlivened by Aja M. Jackson’s atmospheric lighting in pinks, reds, blues, and gold backdrop weaving in images and symbols from the Egyptian Book of the Dead.  Jackson’s lighting had an encompassing effect creating a semi-panoramic view of images of multicolored Egyptian animals moving along the back of the theatre.

BLO Music Director David Angus leads the BLO Orchestra in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

With trumpet accompaniment from the balconies, BLO conductor David Angus with Annie Rabbat, Brett Hodgdon, and Back Bay Chorale Music Director Stephen Spinelli navigates this complex orchestration of music to enrich this bold and compelling love story. Even with a brief pause during the production, Boston Lyric Opera handled the situation efficiently.

A fictional tale surrounding historical events, Aida explores a number of conflicted characters deliberating on love and loyalty during the Egyptian and Ethiopian war.  Tenor Diego Torre delivers an impassioned performance as Radamès, an Egyptian commander in love with soprano Michelle Johnson as Ethiopian slave Aida while Aida’s father Amonasro, portrayed by baritone Brian Major, is a war prisoner.   Mezzo-soprano Alice Chung delivers a multifaceted performance as resourceful Egyptian princess Amneris who wonders what it will take to win the love of Radamès .

Diego Torre as Radamès in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

Adorned in gala attire rather than costumes, the cast’s powerhouse vocals exude despair, passion and desperation into characters facing impossible choices.  Decked out in coat and tails, Torres evokes sympathy through his torment and soaring vocals as commander Radamès torn between his love for Aida and loyalty to his people.  In a distinctive multicolored gown, Michelle Johnson illustrates the gravity of Aida’s rage, passion and despair over her decisions, torn between her secret love for Radamès and her own people.  Johnson as Aida is bold, charming, and audacious while always carrying a heavy heart.

Michelle Johnson (l.) as Aida and Alice Chung as Amneris in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

However, Alice Chung as shrewd and privileged Amneris has plans of her own and strategizes how to get what she wants.  With dynamic range in a jeweled accented gown, Chung brings her own psychological warfare in a stunning duet with Johnson.  Their intense and melodic vocals deliver gravitas in a suspenseful stand off as romantic rivals.  Chung is confident and manipulative catching Aida at her most vulnerable, but also brings sympathy to her character in the looming fear of losing what she holds most dear. 

(L.-r.) Stefan Egerstrom (King of Egypt), Brian Major (Amonasro) and Morris Robinson (Ramfis) in Boston Lyric Opera’s AID

Johnson’s Aida also shares a powerful scene with Major as Amonasro.  Major is eloquent and stealthily convincing in a pivotal scene in which Aida is faced with the consequences of her decisions.  This weighty exchange is filled with raw emotion and distress as she is backed into a corner.

The riveting harmonies, the fervent declarations, and the deeply romantic lyrical context of this production demonstrate why Boston Lyric Opera has returned to this memorable show over the years since first performing Aida at the Hatch Shell in 1981.  Its rich exploration of passion, torment, war, and loss always has something new to say in a classic tale where love transcends everything.

Cast members and BLO Chorus (with members of Back Bay Chorale) in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios

Boston Lyric Opera (BLO) presented Verdi and Ghislanzoni’s stunning Italian opera, Aida for one gala benefit performance during Veteran’s Day weekend on Sunday, November 10 at 3PM at the Emerson Colonial Theatre in Boston, Massachusetts.  All funds raised benefited Boston Lyric Opera’s education, youth and community programs.  Click here for more information.

REVIEW:  American Repertory Theater brings new dimensions to Shakespeare’s ‘Romeo and Juliet’

Posted on by The Sleepless Critic

Nowhere else but Fair Verona is love and hate so swift and immediate than in Shakespeare’s Romeo and Juliet.

American Repertory Theater reveals love, rage, loyalty, and passion in an ominous production that integrates a number of Shakespeare’s signature elements.  Director Diane Paulus remarkably illustrates ‘what could have been’ in a haunting sequence of the best laid plans and Emilia Suárez as Juliet is not only beautiful, naïve and headstrong, but depicted in a heightened and more thought provoking manner while adding new dimensions to this classic star crossed love story. 

Directed meaningfully by Diane Paulus and captivating choreography by Sidi Larbi Cherkaoui with raw and memorable fight choreography by Thomas Schall, American Repertory Theater kicks off its 45th season with Shakespeare’s Romeo and Juliet continuing live and in person at the Loeb Drama Center in Cambridge, Massachusetts through October 6.  The production is two hours and 45 minutes including one intermission.  Click here for more information and for tickets.

Shakespeare’s Romeo and Juliet delves into the war between feuding families the Montagues and Capulets.  However, when Rudy Pankow as Romeo Montague sets his eyes on Emilia Suárez as Juliet Capulet, their worlds are forever changed.

Emilia Suárez (Juliet) and Rudy Pankow (Romeo) in A.R.T.’s Romeo and Juliet. Photo by Nile Scott Studios and Maggie Hall

The war between the Capulet and the Montague families take center stage from the production’s first scene and the hate proves as instantaneous as Romeo and Juliet falling in love at first sight – unreasonable, unbridled, and unyielding. Tensions rise and escalate quickly as both clans face off over a gesture on the street.   Amy Rubin’s grand wooden and transformative set pieces which includes a tower that billows smoke, reflects the weighty love and rage contained in these characters who occasionally labor to shift these symbolic set pieces during the production.

Jen Schriever’s dynamic lighting fuels a beautifully contemporary Capulet masquerade with luminous orbs, hazy spotlights and special effects alongside Daniel Lundberg’s mix of foreboding, ethereal and pulsing sound design, but truly shines later in a harrowing display of chilling shadows. 

Rudy Pankow (Romeo) and Terrence Mann (Friar Laurence) in A.R.T.’s Romeo and Juliet. Photo by Nile Scott Studios and Maggie Hall

Romeo and Juliet features a strong and compelling cast highlighted by Terrence Mann as herbalist Friar Laurence.  In tattoos and pulled back hair, Terrence Mann boasts a meaty and enhanced role including part narrator and providing some musical accompaniment on a ukulele.  With sharp dramatic and comic timing, Mann as Friar is stoic, sensible and is humorous in his understandable exasperation and weariness reflecting some the audience’s thoughts as he aspires to advise impulsive Romeo and Juliet.

Emilia Suárez as young and love struck Juliet is riveting from her first meeting with passionate and insistent Romeo and later as she agonizes over the excruciating decisions in front of her, almost losing herself in what feels like an Ophelia-like moment during a scene with Sharon Catherine Brown as Juliet’s compassionate and supportive Nurse.  It is chilling, brilliant and adds another dimension to this complex character.    

Sharon Catherine Brown (Nurse) and Emilia Suárez (Juliet) in A.R.T.’s Romeo and Juliet Photo by Nile Scott Studios and Maggie Hall

Emilio Sosa’s detailed costume design varies from fishnets, ripped jeans and leather to stately and glittering formalwear.  Brown has an enviable wardrobe in floral multicolor dresses and jackets right down to her fabulous boots.  With a glowing smile, Brown shares a protective and sweet rapport with Juliet and while the Nurse is sometimes depicted with a more maternal instinct than Juliet’s mother, it is not necessarily the case here.  Glamorous Nicole Villamil as Lady Capulet may be preoccupied by social matters at times and aware of her limited power as a wife, but has a heartfelt affection for Juliet and wants what is best for her.  Mann and Brown also share a memorably amusing scene together, demonstrating they may be the only rational characters in this tale. 

Terence Archie is dignified and confident as Lord Capulet, even during a moment where he knocks on a wooden set piece.  Archie’s clever turn of Shakespeare’s lines feel contemporary and relatable as Juliet’s father especially in a powerful scene with Juliet later in the production. 

Clay Singer (Mercutio), Rudy Pankow (Romeo), and Brandon Dial (Benvolio) in A.R.T.’s Romeo and Juliet. Photo by Nile Scott Studios and Maggie Hall

From a Hawaiian shirt and sneakers to a multicolored cardigan, Clay Singer’s Mercutio is a teasing, raunchy and saucy presence and may keep you guessing whether Singer is flirting or fighting with the other characters.  Singer plays the darker undertones and unpredictability of this pivotal character with playful yet protective gallantry and shares some mischievous antics with Brandon Dial as warm hearted and earnest Benvolio.  In a black fishnet shirt and leather, Alex Ross as tumultuous Tybalt is a disquieting and menacing force onstage escalating in a gripping scene with Singer, Pankow, and Dial.

Though the production is a bit lengthy, American Repertory Theater delivers an enhanced tale that adds new dimensions to these classic characters which culminate in a unique and insightful epilogue demonstrating that hope rises even in the bleakest of times.   

Rudy Pankow (Romeo) and Emilia Suárez (Juliet) in A.R.T.’s Romeo and Juliet. Photo by Nile Scott Studios and Maggie Hall

American Repertory Theater presents Shakespeare’s Romeo and Juliet live and in person at the Loeb Drama Center in Cambridge, Massachusetts through October 6.  The production is two hours and 45 minutes including one intermission.  Click here for more information and for tickets.

REVIEW:  Love takes a spectacular turn in Reagle Music Theatre of Greater Boston’s picturesque ‘An American in Paris’

Posted on by The Sleepless Critic

Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo.  An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.

With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

Adam Hochberg (Jared Troilo) and Lise (Samantha Barnes) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo Credit Robert Pascucci

By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world.  Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.

A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance.  In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable.  Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm.  It’s simple and yet absolutely extraordinary.

Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance.  Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background.  Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals.  From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.    

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron.  However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill.  Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.

Pictured Lise Dassin (Samantha Barnes) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother.  They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck.  Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.

Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives.  It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me. 

Pictured l to r Milo Davenport (Rebekah Rae Robles) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Credit Robert Pascucci

With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance.  Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up.  It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad.  Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.

Pictured_ l to r- Jerry Mulligan (Jack Mullen), Adam Hochberg (Jared Troilo), and Henri Baurel (Christopher Lewis) in Reagle Music Theatre ‘An American in Paris’ Photo credit Robert Pascucci

Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight!  Get swept up in this beautiful musical as soon as you can.

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

REVIEW:  Actors’ Shakespeare Project lights up an inspired ‘Romeo and Juliet’

Posted on by The Sleepless Critic

Rage, passion, betrayal, desperation and what might have been.  Such is the language of Actors’ Shakespeare Project’s faithful yet contemporary take on Shakespeare’s classic Romeo and Juliet and it is all the better for it.

With visionary direction by Marianna Bassham, Actors’ Shakespeare Project is concluding its current season with Romeo and Juliet live and in person through Sunday, June 2 at the Calderwood Pavilion in Boston, Massachusetts.  This lively production runs 2 hours and 20 minutes including a 15 minute intermission.  Click here for more information and for tickets.

Evan Taylor as Romeo and Chloe McFarlane as Juliet in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Courtesy of Maggie Hall Photography

Set in Verona, scenic designer Saskia Martinez’s eye-popping set layered in textured bursting fuchsia with Deb Sullivan’s vibrant and symbolic lighting and a suspenseful, foreboding and electronic-infused score create a unique and edgy vibe as the beige hooded Capulets and black hooded Montagues roam the stage.  Heart shaped sunglasses, sneakers, and combat boots are just a few of the highlights of Lisa Coleman’s modern costume design.   

Nothing less is appropriate for this expressive and engaging cast that is more than well versed in the material.  Having seen Shakespeare done in various capacities, this particular cast brings an elevated meaning to Shakespeare’s work and one does not have to be a Shakespeare fan or know Shakespeare to comprehend this production’s brilliant interpretation.  This show reveals no weapons and it is certainly not necessary for the clarity presented onstage.  The well paced production depicts the playful camaraderie within the Montague clan as well as the turmoil, tension, and sheer rage between houses led by Capulet leader Sandra Seone-Seri as threatening and tempestuous Tybalt.

Christopher V. Edwards and Esme Allen in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Photo by Maggie Hall Photography

This is also no contemporary reboot of this classic production though a self glow ring light is humorously used by Esme Allen who portrays Juliet’s delightfully materialistic cool mom Lady Capulet.  Christopher V. Edwards delivers a commanding performance as Juliet’s father Lord Capulet especially in a pivotal scene later in the production.  In black nail polish, Michael Broadhurst as Mercutio is a life of the party wild card.  Broadhurst is teasing and playful with dark undertones as Romeo’s best friend and shares some mischievous antics with Nicolas Zuluaga as handsome and earnest Benvolio.

Michael Broadhurst, Evan Taylor, and Nicolas Zuluaga in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Photo by Maggie Hall Photography

Jesse Hinson performs double duty as the Apothecary seamlessly while delivering an epic and foreboding sound design in real time onstage using a sound board and a lone reverberating electric guitar. 

However, what this production does best at is love in every form including naïve, unscathed, willful, endless and true love delivered by Chloe McFarlane as Juliet and Evan Taylor as Romeo. 

Partially narrated by Jules Talbot who takes on a number or roles during the production, Shakespeare’s Romeo and Juliet focuses on two clans at war between the Capulets and the Montagues.  When Evan Taylor as Romeo Montague sets his eyes on Chloe McFarlane as Juliet Capulet, it is love at first sight.  Then things get complicated.

Fernando Barbosa and Chloe McFarlane in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Photo by Maggie Hall Photography

The electricity between McFarlane and Taylor only intensifies as the production progresses.  Passionate Romeo and virtuous Juliet not only share some tender love scenes, but genuine humor in their mutual admiration.  Paula Plum delivers a wondrous and compassionate performance as Nurse who shares such a lovely rapport with McFarlane as Juliet.  Plum’s Nurse is protective and more maternal than Juliet’s own mother and it is moving to witness her unwavering belief that Romeo and Julie’s love goes far beyond names.  It is a belief that could prevent a lot of suffering onstage and off.

Chloe McFarlane and Paula Plum in Actors’ Shakespeare Project’s ‘Romeo and Juliet’ Photo by Maggie Hall Photography

Parting is such sweet sorrow so see Actors’ Shakespeare Project’s Romeo and Juliet live and in person through Sunday, June 2 at the Calderwood Pavilion in Boston, Massachusetts.  This compelling production runs 2 hours and 15 minutes including a 20 minute intermission.  Click here for more information and for tickets.

REVIEW: ‘Hadestown’ a soulful and eternally hopeful journey

Posted on by The Sleepless Critic

In Hadestown, there is nothing quite like a song.

Though I’m not normally a fan of mythology, Hadestown has a universal appeal as a soulful journey through faith and love with idealistic expectations and earnestness of what could be.  A dream awakened of a love not tethered to a world of capitalism and poverty.   Pure and untarnished was Orpheus and Eurydice.

Will Mann, Amaya Braganza, J. Antonio Rodriguez and Company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Directed intuitively by Rachel Chavkin with pulsing and dynamic choreography by David Neumann and stirring music, lyrics and book by Anaïs Mitchell, Tony award-winning Hadestown continues at the Boch Center Wang Theatre in Boston, Massachusetts live and in person through Sunday, April 28.  The production is two hours and 30 minutes including one intermission.  Click here for more information and tickets and here for its next stop on its national tour.

Will Mann and company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Set in a New Orleans-style depression era with a steam punk vibe and fueled by Bradley King’s brilliant lighting, Hadestown explores a mystical world of gods, men, and the social divide of the haves and have nots.  This world is dark in more ways than one, but King’s amazing lighting dances like the characters onstage through spotlights to glowing lanterns to strobe lights to illuminating headlights – fierce, occasionally harsh, luminous and lively.   Accented with a wrought iron balcony, etchings and green walls, scenic designer Rachel Hauck infuses classic New Orleans finesse with hidden tunnels and functioning railroad whistle.  A sparkling black umbrella is just a hint of the unique, Victorian, steam punk-inspired costumes by Michael Krass steeped in mostly black and white that emphasize vibrant bursts of color featuring pinstripes, metal, and leather.

J. Antonio Rodriguez and company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

With a haunting horn and fiddle-infused soundtrack that blends folk, blues, and New Orleans-style jazz delivered by an intimate onstage band, Hadestown boasts a plethora of edgy, powerful and distinctive vocals unique to each character.  Chant and Way Down Hadestown are especially catchy and inventive tracks in a unique collection of pops, clicks, and layered harmonies. 

Will Mann in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Narrator, advisor, and consoler Will Mann affably portrays Hermes with self aware warmth and an interactive hint of wistfulness skillfully drawing the audience into this multilayered tale.  With soaring vocals and an exuberant yet tough exterior, Amaya Braganza glows as wanderer Eurydice.  Sporting blue hair, ripped stockings, and black boots, Braganza as Eurydice is vibrant and helplessly taken by naïve, romantic, humble, and spontaneous musician Orpheus, depicted with endearing charm by J. Antonio Rodriguez.  Together they perform a soothing and vulnerable rendition All I’ve Ever Known.  High tenor Rodriguez has an angelic falsetto hitting notes that seem otherworldly for Doubt Comes In. 

J. Antonio Rodriguez and Amaya Braganza in ‘Hadestown’ North American Tour 2023. Photo by T Charles Erickson

With a rock star swagger and strut, Matthew Patrick Quinn breaths into Hades a rich and authoritative baritone and scene stealing wit behind thin dark shades.  He wields the atmosphere driven by coal, capitalism, and soulless innovation especially prevalent in Quinn’s rendition of Why We Build a Wall.  With electric blue eye shadow and a lustrous lime dress with florals, Lana Gordon is striking as Persephone with fervent vocals to match.  Gordon performs a memorable duet with Quinn for How Long and navigates Our Lady of the Underground with a remarkable belt. 

Lana Gordon and company in ‘Hadestown’ North American Tour 2023. Photo by T Charles Erickson

Marla Louissaint, Lizzie Markson, Hannah Schreer depict three mesmerizing and elusive Fates.  They personify the conscience, the doubt, the fear, and the creeping proclamation of humanity’s shortcomings in a trio of chiming harmony.  Burning into the psyche, their ascending vocal prowess is emphasized in an impressive and partially acapella rendition of Nothing Changes, soaring When the Chips are Down and in their role in Hadestown’s signature number Wait for Me.

J. Antonio Rodriguez, Marla Louissaint, Lizzie Markson and Hannah Schreer in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Hadestown reflects the shortcomings of being human while the pettiness of the gods weighs in the balance of everyone’s fates culminating into a gripping finale.  Eternally hopeful, Hadestown is a profound journey definitely worth the trip.

Directed intuitively by Rachel Chavkin with pulsing and dynamic choreography by David Neumann and stirring music, lyrics and book by Anaïs Mitchell, Tony award-winning Hadestown continues at the Boch Center Wang Theatre in Boston, Massachusetts live and in person through Sunday, April 28.  The production is two hours and 30 minutes including one intermission.  Click here for more information and tickets and here for its next stop on its national tour.

REVIEW: Lexus Broadway in Boston presents sizzling and spectacular ‘Moulin Rouge the Musical’

Posted on by The Sleepless Critic

Moulin Rouge is sizzling, romantic and grand scale entertainment perfect just before Valentine’s Day.

Boasting Derek McLane’s lavish and sophisticated heart-shaped sets fueled by Justin Townsend’s vivid lighting so vibrant that could be its own character and Catherine Zuber’s edgy, timely and shimmering costumes, Moulin Rouge the Musical is a glorious spectacle right from the start blending its unique delivery of a multi-generational jukebox musical soundtrack as well as lively and athletic choreography that makes an immediate impact.

The cast of the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

 Nothing less could be expected from director Baz Luhrmann, who is not only behind the 1997 frenetic film of the same name in which the musical is based on starring Nicole Kidman and Ewan McGregor, but has a creative hand in the musical’s signature style.  Filled with popular songs of its time, Moulin Rouge has always been a lavish and wild celebration of desire, the rigid social class divide and first love, but somehow Moulin Rouge the Musical harnesses these rich themes on a considerably larger scale and it is nothing short of a feast for the eyes.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4.  The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children.  Click here for more information and for tickets. Click here for Moulin Rouge’s national tour schedule.

Not only does Moulin Rouge The Musical contain a wide range of sharp and slinky choreography by Sonya Tayah, but features distinct characters with powerful vocals that make lasting impressions. Robert Petkoff brings enthusiasm, poetic and flamboyant charisma to Moulin Rouge’s nightclub master of ceremonies Harold Zidler starting with an incredible first appearance in Welcome to the Moulin Rouge further embellished by a fierce foursome who sang Christina Aguilera, Pink, Lil Kim, and Mya’s Lady Marmalade first made famous combined with an even catchier and colorful Can Can Can.

Adéa Michelle-Sessoms and Jennifer Wolfe in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Sarah Bowden as Nini is a sensational dancer and alongside Danny Burgos as Santiago sure know how to turn up the heat.  Burgos and Bowden make a sultry and flirtatious pair especially in the catchy and cathartic Backstage Romance with the cast featuring music from Lady Gaga, Britney Spears, and the Eurthymics.

Gabe MartInez as Santiago and Libby-Lloyd as Nini in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

In a top hat and thick mustache, Andrew Brewer is cunning as distinguished and wealthy businessman The Duke of Monroth.  He seems good to be true and has an agenda all his own.  Nick Rashad Borroughs as Toulouse-Lautrec performs a wonderful and moving rendition of Nature Boy and shares warm and humorous camaraderie with Christian Douglas as Christian and Danny Burgos as they advise Christian about life at the Moulin Rouge.

David Harris as The Duke of Monroth in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Christian Douglas is captivating as naïve, charming, and idealistic Christian.  Christian is a promising American artist and songwriter longing for his big break.  At the Moulin Rouge in Paris, he sets eyes on Moulin Rouge’s confident, complex, and ambitious main attraction Satine, portrayed splendidly by Gabrielle McClinton.  McClinton, decked out in a black and diamond ensemble, proves herself a versatile showstopper in The Sparkling Diamond singing snippets from Beyonce, Madonna, Marilyn Monroe and Rihanna with over the top dramatic flair, sensuality, and commanding vocals.  Douglas and McClinton bring gorgeous harmony together for Elephant Love Medley featuring Come What May and Silly Love Songs.  Christian also performs a haunting and fiery rendition of El Tango de Roxanne.

Courtney Reed as Satine in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Moulin Rouge the Musical offers many exciting surprises that will not all be revealed here.  The swift and complex orchestration by Music Director Andrew Graham and sound designer Peter Hylenski uniquely integrates a selection of hit songs with unpredictable humor and drama.  It is a fast paced firecracker of a love story that is as edgy as it is moving.  Don’t miss the chance to see Moulin Rouge The Musical.

The cast of the North-American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4th.  The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children.  Click here for more information and for tickets. Click here for Moulin Rouge the Musical’s national tour schedule.

REVIEW:  Vocals soar as Academy of the Company Theatre presents Andrew Lloyd Webber’s ‘Phantom of the Opera’

Posted on by The Sleepless Critic

It may seem like a small detail, but The Phantom of the Opera’s iconic chandelier plays a pivotal role in Andrew Lloyd Webber’s The Phantom of the Opera.  It opens the show in its sheer majesty and the Phantom is actually found hiding in the glittering and monstrous powerhouse of a special effect at one point during the Broadway production.  In fact, it is what fascinates the audience at the beginning of the musical in glorious rhythm with the thunderous and foreboding sound of a pipe organ blaring in the distance and what later crashes to makes the cast run in terror.

Directed insightfully by Sally Ashton Forrest with powerful music directed by Melissa Carubia, Academy of the Company Theatre’s Phantom of the Opera gets so many things right from Vickie Gerard-Culligan’s ornate costumes, the pitch perfect casting, its sinister lighting by Dean Palmer Jr., and its smaller scale replications of Phantom’s famous sets by Ryan Barrow, but the production’s chandelier may not quite meet some lofty expectations.

Academy of the Company Theatre (A.C.T.) presents Andrew Lloyd Webber’s The Phantom of the Opera live and in person at The Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts through February 19.  The musical is sold out.  Click here for more information on the Company Theatre and its upcoming events.

Alexa Cohen as Madame Giry (right) with cast in ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Set in the 1700’s, Andrew Lloyd Webber’s Phantom of the Opera focuses on a mysterious presence that haunts the famous Palais Garnier Opera House in Paris, France.  New opera house co-owners Ben Cavallo-Smith as Monsieur Richard Firmin and Weston Hammond as Monsieur Giles Andre make a distinguished and at times humorous pair in vintage suits with tails as they start to realize things are not what they seem.

‘Masquerade’ ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Phantom of the Opera boasts some enduring yet challenging music numbers and the cast may feature students up to 18 years of age, but their vocals are well beyond their years.  Jillian Pongonis as Christine and Catrina Riker as Carlotta hit some extraordinary notes for being so young and it was a joy to hear Riker’s Think of Me and Prima Donna as she prances around the stage in signature diva fashion, bold and comical as she shouts her demands.  Carlotta’s sophisticated gowns become more extravagant as the musical progresses and the cast hits its outrageous stylish stride for Masquerade.  Salvator Guillermo Garcia, whose past performances with ACT include Jean Val Jean in Les Miserables, has a supporting and memorable role as Ubaldo Piangi.  Garcia not only does a wonderful job vocally in Hannibal and Notes with the cast, but his occasional tenuous smirks and smiles enhance the musical’s humorous moments.  

Gilbert Dabady as The Phantom and Jillian Pongonis as Christine Daae Photo courtesy of Zoe Bradford/Company Theatre

Pongonis may be slight in stature, but her powerful vocals exceed her years as does Gilbert Dabady as The Phantom.  Dabady and Pongonis’s duet of The Point of No Return may seem a bit mature for their ages, but Angel of Music and  Music of the Night are beautifully performed and Pongonis’s stirring rendition of Wishing You Were Somehow Here Again is a must see.  Dabady is mysterious and threatening as the Phantom, his deep and resounding vocals all the more menacing offstage. Dabady and Pongonis are a complex and charismatic pair while Charlie Flaherty is well suited for the daring and charming Raoul.  Amid a pale blue rooftop, Christine and Raoul perform a sweet rendition of All I Ask of You. 

Charlie Flaherty as Raoul and Jillian Pongonis as Christine Daae in ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Clever blocking and reigned in sets aptly accommodate the Company Theatre stage. Tints of haunting purple, vintage marble columns, nostalgic lighting, eerie skulls, an angelic stone statue, onstage gold lined opera box seats, a brass organ, monkey music box, and a candelabra lit lair on a misty lake help recreate iconic scenes and special effects that bring this somewhat opera within an opera to life.  As a big Phantom of the Opera fan, Academy of the Company Theatre’s Phantom of the Opera captures this moving and mystical musical best known for Andrew Lloyd Webber’s classic soundtrack and makes the magic of the longest running show on Broadway last a little longer in Norwell. 

Academy of the Company Theatre (A.C.T) presents Andrew Lloyd Webber’s The Phantom of the Opera live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts through February 19.  The musical is sold out.  Click here for more information on the Company Theatre and its upcoming events.

REVIEW:  Fueled by sardonic wit and intense humor, The Huntington’s ‘The Art of Burning’ crackles

Posted on by The Sleepless Critic

Cutting sarcasm, sardonic wit, and a feigned smile does little to contain Patricia’s smoldering rage lurking just beneath the surface. No question Patricia has every reason to harbor resentment considering what she is going through affects her entire family. As a painter, it is important for Patricia to express her mounting feelings through art, but what if the pain is so deep that not even a canvas can exorcise that anger?

Directed methodically by Melia Bensussan, The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. The show is 85 minutes with no intermission, contains adult themes, and is not appropriate for children. Click here for more information and tickets.

Adrianne Krstansky, Michael Kaye, and Rob Barkhordar in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning takes an unconventional look at love and all of its side steps, misunderstandings, and complications. It also delves into betrayal, divorce, survival, and all of the lingering emotions simmering just below the surface. With dark humor that can be disquieting at times, The Art of Burning explores the complexity of human relations including a few of its vast repercussions.

Rom Barkhordar and Vivia Font in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Jane Shaw’s haunting score and Aja M. Jackson’s vivid lighting enriches scenic designer Luciana Stecconi’s paradoxical, gleaming, and seemingly modest scenery set against a striking and evocative frame. Jackson’s lighting is crucial for each inventive scene change while the foreboding score keeps the tension rising throughout the production. Kara Harmon’s bold costume design not only reflects each character’s distinct personality, but plays a pivotal role in the show’s mounting tension.

The Art of Burning is also fueled by a powerful cast highlighted by Adrianne Krstansky’s captivating portrayal of Patricia and Clio Contogenis, who makes an impactful impression as conflicted Beth. Krstansky achieves a delicate balance between a strong and sympathetic woman who, for the most part, is holding her own in spite of her circumstances when she is not taking takes things a bit too far. The complexity of that balance still makes her likable even at her lowest points. Patricia’s sardonic wit and realism is nearly bereft of any boundaries. She seems to have lost her inhibitions long ago somewhere in the turmoil of her discoveries.

Michael Kaye and Laura Latreille in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com


Contogenis weaves in some of Krstansky’s biting humor and pensiveness as Patricia’s daughter as she faces her own unique challenges along the way. These issues are handled delicately and with vulnerability. Rom Barkhordar portrays Jason, a character with some misplaced optimism and a certain lack of empathy and yet Barkhordar weaves in a subtle obliviousness that Jason can almost be forgiven for. He has some meaty scenes with Krstansky and Contogenis that would be concerning if they were not so humorous. Mark, portrayed by Michael Kaye, seems to depict the onlooker and voice of reason, but things are much more complicated than they appear. Some sobering aspects of Mark and Charlene’s marriage are incredibly relatable and humorous. Kaye and Laura Latreille as capricious Charlene have a fascinating dynamic onstage. Vivia Font takes a memorable turn as Katya as she wrestles with the weight of her decisions.

Snodgrass’s witty, poignant, and intermittently humorous dialogue makes a strong statement about the state of our contemporary world and exposes some hard realities. The truth is people are all a little lost but even at its bleakest times, love may still find a way through it all.

Clio Contogenis and Adrianne Krstansky in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. Click here for more information and tickets.

REVIEW:  Lyric Stage Company’s ‘The Last Five Years’ a shrewd and beguiling look at love

Posted on by The Sleepless Critic

Start from the beginning.  No, start from the end. 

Not certain which way is best to tell a love story, but Jason Robert Brown certainly makes a powerful argument by the innovative way this story is told as Lyric Stage Company ’s musical The Last Five Years continues through December 12 at the Lyric Stage Company, 140 Clarendon Street in Boston, Massachusetts.  The show is 90 minutes with no intermission.

Directed intuitively by Leigh Barrett with eloquent musical direction by Dan Rodriguez, The Last Five Years describes an ardent romance between a promising writer and an up and coming actress.  It’s blissful love at first sight when suddenly, life goes into overdrive.

Jared Troilo as Jamie and Kira Troilo as Cathy Photo by Mark S Howard/Lyric Stage Company

Having seen the 2014 film adaptation of the same name starring Broadway dynamos Jeremy Jordan and Anna Kendrick, I had high hopes for this production and like Jamie Wellerstein and Cathy Hiatt, fell for both immediately.  The Last Five Years is a compelling, poignant and multi-dimensional journey of love’s elation, humor, compromise, and struggle as life veers into unexpected directions.  The Last Five Years doesn’t hold back in revealing the complex nature of this blossoming relationship, showing its vibrancy and its cracks in equal measure.  How do two people stay afloat when life is throwing so many things at them in completely different ways?

Led by Dan Rodriguez on piano, Gregory Holt on Bass, Emily Dahl-Irons on Violin, Tom Young on Guitar, and Kevin Crudder and Javier Caballero on Violoncellos Photo by Mark S Howard/Lyric Stage Company
The cast and crew of ‘The Last Five Years’ Photo by Mark S Howard/Lyric Stage Company

Intimately performed in theatre-in-the-round with a seamless six piece band, the beauty in Lyric Stage Company’s The Last Five Years is not only in its wonderful lead casting with married couple Jared Troilo as Jamie and Kira Troilo as Cathy, but in its unique depiction of time and place through a cosmic and multi-functional rotating stage and the engaging way it consistently involves the audience. 

Jamie and Cathy are earnest and likable and their faults are seen and met with sympathy, heartache, and a degree of discernment when they don’t perceive their own shortcomings.  It’s an intriguing and thought-provoking piece as it explores a kaleidoscope of emotions with intensity and realism and perhaps recognizing yourself in their shoes for a moment or two.

Jared Troilo as Jamie Photo by Mark S Howard/Lyric Stage Company
Jared Troilo as Jamie in The Schmuel Song Photo by Mark S Howard/Lyric Stage Company

Having witnessed amazing Jeremy Jordan as Jamie in the film adaptation, Jared had a lot to live up to, but he captures the essence of Jamie’s endless humor, charm, and determination while adding his own contagious enthusiasm and captivating vocals.  He is a gleeful and conspiring storyteller for The Schmuel Song and displays ego and earnest sincerity in If I Didn’t Believe in You.  Kira’s soaring vocals depict Cathy’s fragility, sheer determination, and playful optimism in I Can Do Better Than That.  Another highlight involves Kira reflecting on A Summer in Ohio, portraying Cathy’s dry sense of humor and insecurity.  However, she is the most enchanting in Goodbye until Tomorrow.   

Kira Troilo as Cathy Photo by Mark S Howard/Lyric Stage Company

Jenna McFarland-Lord’s enthralling set design and Karen Perlow’s mood-induced lighting reflects two sides of love through its multi-color backdrops such as violet, teal, and purple as well as floating gold rings that shine alone and in pairs.

Jason Robert Brown’s music ebbs and flows much like love from bright to poignant, confident to humbling, and from rueful to triumphant.  No matter how love changes, it is always a memorable journey.

Lyric Stage Company presents Jason Robert Brown’s musical The Last Five Years through December 12 at Lyric Stage Company in Boston, Massachusetts. Click here more information and tickets.

Boston Ballet presents the North American debut of emotionally-charged ‘Obsidian Tear’

Posted on by The Sleepless Critic

In a season filled with extraordinary contemporary and classic performances, the Boston Ballet continues its 2017-18 season with the debut of Obsidian Tear.  Choreographed by Wayne McGregor, The Boston Ballet takes on a gripping exploration of raw human emotion as Obsidian Tear makes its North American debut from Friday, November 3 through Sunday, November 12.  Co-produced with the Royal Ballet, full of athletic grace, and inspired by poetry by Esa Pekka Salonen, Obsidian Tear depicts the powerful impact emotion makes on society, in all of its extremes.  The second half of the show features the world premiere of Fifth Symphony of Jean Sibelius, choreographed by Jorma Elo.

RoyalBallet Artist CalvinRichardson_Wayne McGregor's Obsidian Tear

Royal Ballet Artist Calvin Richardson in Wayne McGregor’s Obsidian Tear; photo by Andrej Uspenski, courtesy The Royal Ballet

The Boston Ballet concludes 2017 with the triumphant return of Tchaikovsky’s beloved holiday classic, Mikko Nissinen’s The Nutcracker from Friday, November 24 through Sunday, December 31.  Starting in March 2018, The Boston Ballet mixes the classic with the contemporary with Parts in Suite, combining the imagination of esteemed choreographers William Forsythe, Justin Peck, and Jorma Elo from Friday, March 9 through Saturday, April 7, 2018.  Two crowd pleasing romantic classics take the stage with Romeo and Juliet from Thursday, March 15 through Sunday, April 8 and Sleeping Beauty from Friday, May 11 through Saturday, May 19.  Explore beauty and the pursuit of everlasting love with Classic Balanchine from Thursday, May 17 through Saturday, June 9 and La Sylphide from Thursday, May 24 through Sunday, June 10.

Royal Ballet Artist Calvin Richardson in Wayne McGregor’s Obsidian Tear; photo by Andrej Uspenski, courtesy The Royal Ballet
Royal Ballet Principal Dancer Edward Watson and Soloist Eric Underwood in Wayne McGregor’s Obsidian Tear; photo by Andrej Uspenski, courtesy The Royal Ballet
Royal Ballet Soloist Matthew Ball in Wayne McGregor’s Obsidian Tear; photo by Andrej Uspenski, courtesy The Royal Ballet

Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. All performances are held at the Boston Opera House, 539 Washington Street in Boston, Massachusetts. Subscriptions and group rates are also available. Follow the Boston Ballet on Facebook and Twitter.