love

REVIEW:  Sisterhood is the new black in Hub Theatre Company of Boston’s vivacious ‘Love, Loss, and What I Wore’

Posted on by The Sleepless Critic

Call this cast a girl squad and a sisterhood.

With potent direction by Paula Plum and based on the bestselling memoir by Ilene Beckerman, Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5.  This show is 90 minutes with no intermission and pay-what-you-can tickets are available.  It occasionally contains adult and unfiltered language.  Purchase a drink during this show and Club Café also offers a full menu.  Click here for more information and for tickets.

Lauren Elisa, June Kfoury, Barbara Douglass, Evelyn Holley, and Nettie Chickering in Hub Theatre’s ‘Love, Loss, and ‘What I Wore’ Photo credit to Tim Gurczak

The name Nora Ephron must ring a bell.  She was a famous award-winning rom-com journalist, writer, and filmmaker best known for 1983’s Silkwood, 1989’s When Harry Met Sally as well as 90s rom com classics Sleepless and Seattle and You’ve Got Mail before co-writing the screenplay for Julie and Julia in 2009.  Ephron’s signature style tackled the seriousness of life with a lighthearted demeanor and always found some relatable humor along the way.  With her sister Delia, Nora lends that empowering humor and charm to Love, Loss, and What I Wore.

June Kfoury, Evelyn Holley, Nettie Chickering, Lauren Elias, and Barbara Douglass in ‘Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

One of the greatest strengths of Love, Loss and What I Wore is the ensemble’s beautiful camaraderie.  Love Loss and What I Wore has a gift for eloquently associating fashion with life’s bittersweet challenges.  Portraying several ages while sharing that walk down memory lane is Nettie Chickering, Barbara Douglass, Lauren Elias, Evelyn Holley, and June Kfoury.  Dressed in chic black by Kat Lawrence, they allow their vibrant experiences to take center stage.  From fashion faux pas to that eternally favorite garment, five women lay bare their fondest memories and insecurities.  It is a love letter to growing up and growing older in all of its wonder and complications. 

Nettie Chickering in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

To an array of lighthearted club hits between scenes, this dynamic group share silly, sad, courageous and important stories with collaborative flair and wistfulness.  They dance, grieve, conspire, tease, support and relate to each other all while discussing everything from relationships to family to roommates to the trials and tribulations of being a woman in a fun loving and deeply personal manner.  A few lighter moments include witnessing Lauren Elias and her hilarious and empathetic comments about carrying a purse, Douglass’s wise and humorous motherly advice, and the sheer joy and supportive manner in which these women appreciate each other’s company.   However, what stirs the production the most is contained in this group’s most significant challenges.  The stories they share are raw, honest, at times rueful, and may seem familiar as well.

June Kfoury in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

With Talia Elise’s dazzling lighting powering a bright and cheerful set which includes glowing string lights, a luminous neon hanger, shimmering disco ball, multicolor boas, and an illustrated clothing rack by Justin Lahue and Maggie Shivers plus a wonderful dose of nostalgia, Love Loss and What I Wore is a captivating experience into life’s surprises and how to discover what is truly important.

Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5.  This show is 90 minutes with no intermission and pay-what-you-can tickets are available.  It occasionally contains adult and unfiltered language.  Click here for more information and for tickets.

REVIEW:  Actors’ Shakespeare Project and Theater Offensive stage bold classic ‘As You Like it’

Posted on by The Sleepless Critic

The name says so much.  Directed zealously by Harold Steward, Shakespeare’s As You like It is wide open to interpretation and Actors’ Shakespeare Project and the Theater Offensive take full advantage of Shakespeare’s broad title and sentiment with their production of As You Like It continuing live and in person at Tufts University’s Balch Arena Theatre in Medford, MA through June 25. The show has some mature themes. Click here for more information and tickets which includes pay what you can seats.

Mishka Yarovoy and Fady Demian in Actors’ Shakespeare Project’s As You Like It (2023). Photo by Nile Scott Studios.

As You Like It has a modern spirit in its colorful and unique two story setting by Ben Lieberson of pastel hued Arden complete with textured trees.  Greatly considered a musical comedy, Harold Steward navigates its contemporary sound design filled with club and classic love songs as well as rich harmony such as Blow, Blow, thou winter wind sung live in the forest.  Even love struck Mishka Yarovoy as Orlando hums a classic Annie Lennox tune and a shimmering chime can be heard between scenes.   Steward’s dynamic costumes have a certain edge and whimsy, but the play itself is traditional Shakespeare in its text and Balch’s beautiful and traditional Shakespeare staging in the round is framed in alternating neon pinks, greens and blues by Amanda E. Fallon.

Gabriel Graetz, Bobbie Steinbach, and Lindsay Eagle in Actors’ Shakespeare Project’s As You Like It (2023). Photo by Nile Scott Studios.

As the story goes, As You Like it focuses on family rivalry as well as forbidden love and the lengths in which one must go in the name of it.  As one who has depicted Shakespeare’s Henry V onstage, As You Like It features swapped gender roles popular in many of Shakespeare’s productions.  Bobbie Steinbach delivers a standout performance as Jaques who declares the classic monologue, ‘All the World’s A Stage’ with depth and contemplation as only a sage storyteller can.  Steinbach has charisma, stature and is a bit of a scene stealer expressing all of Jacques’ melancholy and musings.  Fady Demian in one of three roles is memorable as old shepherd Corin as he delivers some zingers petering around Arden.  Lindsay Eagle delights as the ruthless Charles and the infatuated Phoebe as Nathan Malin’ s poor shepherd Silvius, in hopeless love with Phoebe, gazes on.  Malin and Eagle have quite a few awkwardly amusing moments, but Malin’s sheer enthusiasm, goofy charm, and sharp comic timing bring lighthearted cheer to the production, breaking any tense moment.

Nathan Malin and Lindsay Eagle in Actors’ Shakespeare Project’s As You Like It (2023). Photo by Nile Scott Studios.

Mishka Yarovou portrays reserved, shy, and unassuming Orlando who falls for the absolutely glowing Rosalind, portrayed by Genevieve Simon.  Simon shares a playful and exuberant chemistry and equally charming is the camaraderie and love between Simon and Regine Vital as Rosalind’s witty and beautiful cousin Celia.  They are inseparable and Vitale shines as Celia who spends much of the production a spectator of love.  Vitale’s reactions throughout the show are relatable, humorous, and express much of what the audience is thinking.

Regine Vital and Genevieve Simon in Actors’ Shakespeare Project’s As You Like It (2023). Photo by Nile Scott Studios.

Love games, familial love, love notes, love in disguise, love triangles, love lessons, love schemes, fool’s love, silliness, unpredictable matches, ideas on wives versus maids, and many other amusing high jinx dwell in the Forest of Arden lit by a series of multicolored lamps.  Much of Shakespeare’s wisdom is entwined about love and life, but personal favorites include that love is to be made up of sighs and tears as well as all adoration, duty, and observance.  While Shakespeare explores idealistic and romantic love, it also examines the solid foundation of true love, one full of duty and grace which cannot easily be broken.

Genevieve Simon and Mishka Yarovoy in Actors’ Shakespeare Project’s As You Like It (2023). Photo by Nile Scott Studios.

Actors’ Shakespeare Project and the Theater Offensive take full advantage of Shakespeare’s broad title and sentiment with their production of As You Like It continuing live and in person at Tufts University’s Balch Arena Theatre in Medford, MA through June 25. The show has some mature themes. Click here for more information and tickets which includes pay what you can seats.

REVIEW:  Theater Uncorked’s ‘Sideman’ grapples with a dream

Posted on by The Sleepless Critic

Nothing comes between a man and his music, but maybe something should.

Directed with a stirring cadence by Russell R. Greene, Theater Uncorked presented Warren Leight’s Sideman for a limited engagement from May 3-7 live and in person at Boston Center for the Arts Plaza Theatre in Boston, Massachusetts.  The show was two hours with one 15 minute intermission and is not for children.  Click here for more information and what is next for Theater Uncorked.

Phil Thompson as Jonsey Leonard Chasse as Al and James Hunt as Ziggy Photo credit to Gary Ng

A ‘sideman’ in jazz terms refers to a member of a jazz or swing orchestra.  The term not only applies to Brad Michael Pickett as trumpet player Gene, but his loyal sidemen which include Leonard Chasse as Al, James Hunt as Ziggy, and an impressive Phil Thompson as troubled Jonesy.  Gene’s band mates demonstrate an easy rapport and an unshakable and stalwart camaraderie as they bond into the wee hours over music, love, and the unstable life of the musician.  Accompanied by Jennifer Shotkin in an invigorating performance as warm and wisecracking waitress Patsy, they seem far more like family to the dismay of the rest of Gene’s actual family.

Jennifer Shotkin as Patsy Photo credit to Gary Ng

From the viewpoint of Ben Gold as Gene’s son Clifford, Sideman is a unique memoir about Clifford’s dysfunctional family that matured him far too early.  It delves into the excitement, seeming glamour, and the alarming upheaval in the pursuit of music that can leave madness for many in its wake.

Sideman offers dark and humorous moments in a jazz style storyline that culminates in intensity as quickly as it mellows.  Delivered with dry wit, some notable deadpan expressions, and occasional despondence by Ben Gold, this ambitious show covers a lot of territory during an over 30 year timeline that rides the height of NYC jazz to its gradual decline.  Short sided and neglectful Gene is more impressed by an unemployment check than an actual job while Clifford’s fast talking, hotheaded, and unraveling mother Terry, a rich and scathing performance by Shana Dirik, would rather let her ambitions and heartaches override her responsibilities.  Brad Michael Pickett as Gene and Shana Dirik as Terry deliver some stunning scenes together that zip between star struck and fed up.   All Clifford wants is a sense of normalcy, but that might be a tall order.

Shana Dirik as Terry and Brad Michael Pickett as Gene Photo credit to Gary Ng

From a distinct black and white Marilyn Monroe poster, neon lights, wood paneled walls, afghan quilts, and authentic vintage furniture, Shana Dirik with lighting designer Erik Fox steeps the viewer into multiple eras with a wealth of retro charm.  Warren Leight’s script delves into the jazz era harkening to epic musical heights from Sinatra at the Copa to Neon Leon to Elvis’s performance on the Ed Sullivan Show driven by Tim Rose’s lively and reflective sound design.

Ben Gold as Clifford Shana Dirik as Terry and Brad Michael Pickett as Gene Photo credit to Gary Ng

Sideman is in many ways a toast to jazz, but is also about family.   To become great requires sacrifice and yet there is something amiss about this band’s journey.  Warren Leight’s characters accomplish a great feat in that most of his characters are still likable even through their selfish and undeniable blind ambition.  Sympathetic and compassionate, Gold’s Clifford is a character worth rooting for as he navigates through this musical journey full of wild predicaments.

Theater Uncorked presented Warren Leight’s Sideman for a limited engagement from May 3-7 live and in person at Boston Center for the Arts Plaza Theatre in Boston, Massachusetts.  Click here for more information and what is next for Theater Uncorked.

REVIEW: The Company Theatre is up to magic and mischief in family-friendly ‘Matilda the Musical’

Posted on by The Sleepless Critic

Not even a Willy Wonka candy coated confection could properly prepare one for what the Company Theatre has in store onstage.

With book by Dennis Kelly and music and lyrics by Tim Minchin, The Company Theatre’s Matilda the Musical is a holiday-themed whirlwind of caricatured adults and rage-filled adolescence while at its core, an inspiring story of an extraordinary girl in a peculiar and unique world that could only come from renowned storyteller Roald Dahl’s innovative imagination.  Add Lindsay Hoisington’s eye popping costumes that share their own story along with set designer Ryan Barrow’s striking, festive colors and Matilda the Musical made a refreshing debut from Company Theatre’s more traditional annual holiday fare.

Diana Lee as Lavender and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Inventively directed by Zoe Bradford with dynamic Music Direction by Melissa Carubia, The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18.  Click here for more information and for tickets.

With a string of renowned children’s books that includes classics such as James and the Giant Peach and Charlie and the Chocolate Factory, it is easy to see award-winning author Roald Dahl’s trademark characterizations, sardonic humor, and peculiarities within a morally driven subtext delivered in Dahl’s Matilda, a novel published almost 35 years ago.  Matilda went on to become a bonafide hit with children and adults and it was not long before a 1996 film adaptation arrived featuring Danny DeVito and his real life wife Rhea Perlman.  In 2012, Matilda became a Tony award-winning Broadway musical before Netflix recently premiered Matilda the Musical featuring Emma Thompson around Thanksgiving. Like most theatrical adaptations, nothing is quite like the experience of seeing it live.

Mischief during the holidays in Company Theatre’s ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Expectations were skewed immediately with the darkly comedic and infectious opening number, Miracle where cute, wild, and blatantly naughty children zip around a Christmas tree fueled by Brad Reinking’s athletic, energetic, and fist pumping choreography. Keep an eye out for some amazing feats by Ben Cavallo-Smith and others.

Ben Cavallo-Smith and cast in ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Imagination and mischief run wild in Roald Dahl’s tale of an extraordinary girl making her way through a peculiar world. Roald Dahl tugs at the heartstrings in this absorbing children’s tale, but not before displaying a wealth of less than savory characters making Matilda’s life arduous.  It is a darkly humorous tale guaranteed to delight children more than the grownups.

Annie Jones as Mrs. Phelps and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Clad in black and white, precious and precocious Matilda, portrayed with determination and quick wit by Reese Racicot, is one of the very few characters standing out in an ostentatious world where television is more important than cracking open a book. Racicot immediately charms from the spunky number, Naughty to mastering the heady lyrics in Quiet, punctuated by her light and airy vibrato. Racicot has a sweet rapport with Annie Jones as enthralled librarian Mrs. Phelps, who delights in Matilda’s significant and imaginative stories as well as Miss Honey, portrayed endearingly by Jennifer Beth Glick. With delicate and powerful vocals, Glick shines depicting Miss Honey’s quiet strength and good natured humbleness, especially for the tender and moving number, My House with Salvador Guillermo Garcia.

Brad Rafferty as Rudolpho, Emilee Dennis Leahy as Mrs. Wormwood and Jennifer Beth Glick as Miss Honey Photo credit to Zoe Bradford/Company Theatre

The adults are about as tempestuous and spoiled as their children.  Matilda’s scheming con artist father Mr. Wormwood, portrayed with a sneer and manipulative glee by Todd Yard is not to be outdone by his equally shortsighted, narcissistic, and ballroom dancing wife and Matilda’s resentful mother, Mrs. Wormwood, depicted by Emilee Dennis Leahy with the sort of flirtatious, chaotic humor reminiscent of Jennifer Coolidge. Accompanied by Brady Rafferty as egotistical Rudolpho, Leahy demonstrates limber dance moves and a wild cha cha in the shimmering and comically shallow number, Loud. Never have a pair claimed to know so much know so little. Oliver Dunn as Matilda’s conspiring brother Michael Wormwood seems to be following in their stealthy footsteps as Yard and Dunn open Act II with humorous improvisation and vaudeville inspired number All I Know.

Todd Yard as Mr. Wormwood and Oliver Dunn as Michael Wormwood Photo credit to Zoe Bradford/Company Theatre

Matilda the Musical is not without its dark moments and that is exemplified in Matilda’s iron fisted headmaster, Agatha Trunchbull. A fearful and miserably barreling adversary depicted enthusiastically by Christie Reading, Trunchbull is a force to be reckoned with, but against these lively students, anything is possible highlighted by the brilliant and ironic number, When I Grow Up.

Christie Reading as Miss Agatha Trunchbull, Jennifer Beth Glick, and the students Photo credit to Zoe Bradford/Company Theatre

The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18.  Click here for more information and for tickets.

REVIEW: ‘Dancing is an Old Friend,’ ‘Hilary,’ ‘Inventory,’ ‘Looking for Jack’ and ‘The Green Line’ explore isolation and more at the New York City Indie Film Festival

Posted on by The Sleepless Critic

What is it like to feel stuck due to circumstances beyond your control? 

Curated by Gerard van den Broek, each film in the Documentary 12 series including Dancing is an Old Friend, Hilary, Inventory, Looking for Jack, and The Green Line at the New York City Indie Film Festival through June 19 featured people who faced unforeseen obstacles in an attempt to find peace within. 

Whether facing trauma, isolation in a pandemic, family brokenness or being caught between one nation and another, these themes invite a feeling of powerlessness until hope is found.  This particular collection of documentaries delivered some surprising twists and turns in some profound situations in an attempt to discover where one belongs in the world.

The New York City Indie Film Festival featured a variety of films from shorts to narratives to documentaries curated with common themes.  Sleepless Critic had the opportunity to review screenings on music, small businesses, love and connection and much more.  Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010.  Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series.

Directed by Marta Renzi, Dancing is an Old Friend is written by and stars Leah Barsky and Jennifer Tortorello Walker.  It is a relatable account of an amateur ballroom dancer and professional ballet dancer brought together by dance who must find new ways to connect after the pandemic put the world in isolation.  They both struggle with this new way of life but are determined to forge ahead together.

During the pandemic, the arts were hit hard.  Many professional dancers had to find alternate ways to demonstrate their art and remain in top form until the time came for them to once again take the stage.  Dancing is an Old Friend explores the momentum of their daily lives during the pandemic and a chance to examine why they live their lives the way they do and where dance factors into it now and in the future.

‘Dancing is an Old Friend’ Photo credit to New York City Indie Film Festival

What made this film fascinating is not only the captivating athleticism and style of the dancers in action, but comparing each perspective on dance itself and how it demonstrates the bonds of this friendship.  This is not a tragic account of being lost during the pandemic, but an intimate and sincere documentary that explores the good and bad in equal measure and the hope that springs forth during this life altering period of time.

What may or may not have happened is a mystery in Hilary. 

Hilary Porter, through her own drawings, illustrates a repeated and menacing alien encounter that has left her haunted.  Hilary’s harrowing recollection unfolds through her graphic narration and unusual drawings as she shares that she was always thought she was different.  Director and producer Mariana Zarpellon offers some insight into who Hilary is and how she has been affected by these encounters and though I was initially intrigued by this film, I was left with more concern for Hilary’s well being than the rationality and content of Hilary’s recollections.

‘Hilary’ Photo credit to New York City Indie Film Festival

Resourcefulness is a defining quality in any artist and nothing less than resourcefulness and love defines the story of Inventory, a documentary directed and produced by Daniella Gitlin, the daughter of sculptor, Michael Gitlin.  The film is designed not only to share her father’s relatable journey as a struggling artist, but the unconventional manner in which Michael Gitlin’s legacy is being preserved.

Interwoven into the film are classic American standards such as Someone to Watch over Me, beloved songs from Gitlin’s heritage, and past family photos to create a vintage ambiance and to smoothly rewind the clock to a time before her father’s inventory had accumulated.  It is a unique and personal story about how love and family transcends obstacles even under unusual circumstances and how the film’s most extraordinary “inventory” is not just confined to Gitlin’s art.

‘Inventory’ Photo credit to the New York City Indie Film Festival

For anyone who is searching or has searched for a family member, the idea of finding them is met with a plethora of emotions.  Sara Zeppilli Freeman captures just that and more in her deeply personal documentary, Looking for Jack.  Part of Looking for Jack’s endearing strength is it is shot much like a home movie where it is easy to put oneself in Sara’s shoes.  As Sara talks to the camera with a jittery glow, her excitement is palpable at the promise that her life is about to change.

On this special day with Sara wearing a broad smile, one can picture themselves in Sara as she excitedly waits in anticipation and trepidation to meet her father for the first time in 21 years having traveled from Boston to Portugal.  No matter the outcome, that moment of time is a monumental experience to be treasured and hopefully not regretted.  The pinnacle of the film is that building tension as Sara waits, the camera panning carefully through Sara’s surroundings for that moment of relief.

‘Looking for Jack’ Photo credit to New York City Indie Film Festival

In a land fraught with uncertainty, Yehudit Kahana is no stranger to anxiety and strife for most of her life.  Co-written with Sharon Yaish, directed, and produced by Yehudit Kahana herself and set from the early 2000s to today, illuminating documentary The Green Line focuses on Yehudit’s coming of age as she resides in Elon Moreh, a land near the Green Line which borders the Palestine territories and Israel.  Since a life changing incident occurred resulting from an innocent child’s game, Yehudit has struggled with the threat of sudden violence, terrorist attacks, and chaos in a place where she doesn’t feel she entirely belongs. 

‘The Green Line’ Photo credit to New York City Indie Film Festival

The Green Line delivers a wealth of information on certain incidents in Israel, Palestine, and the Green Line which can be confusing at times, but what is clear was how Yehudit felt in circumstances beyond her control in a harsh and threatening land determined to break free.  The Green Line has some lighter and amusing moments with family that not only shed light on Yehudit’s understandably frustrating, strict, and expected traditional place as a female in the world and in the path of the Torah, but also explores how valuable the road less taken can be.

Dancing is an Old Friend, Hilary, Inventory, Looking for Jack and The Green Line were all part of Documentary 12 at the New York City Indie Film Festival which continued through June 19.  Click here for more information on this annual festival and its winners.

REVIEW: ‘Chabe,’ ‘Conversations with Female Clowns,’ ‘Dictionary’ and ‘Por Mi Hija’ explore various aspects of love and connection at The New York City Indie Film Festival

Posted on by The Sleepless Critic

The New York City Indie Film Festival concluded on June 19 after approximately a week of screenings at the Producers Club in New York City.  It featured a variety of films from shorts to narratives to documentaries curated with common themes.  At this festival, Sleepless Critic had the opportunity to see screenings on music, small businesses, love and connection, and much more which will be explored in future articles.  Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it first launched in 2010.  Click here for more information.

Photo credit to Jeanne Denizard

Curated by Lucie Guillemot, this narrative film collection explored different aspects of love and connection.  Directed by John Tsiavis, Chabe is a vivid short film about Isabel Gomez, a woman who assists in a cataracts surgery project for a Mexican indigenous tribe.  Rich in unique color and told through Isabel’s eyes, the film evokes Isabel’s sheer joy in helping others and the complex process of this tribe’s journey from dark to light.  Chabe made me long to see more on it all.

Isabel Gomez in ‘Chabe’ Photo credit to NYC Indie Film Festival

Directed insightfully by Clare Redden and Joseph Pulitzer, Conversations with Female Clowns is a surprising look at connection through laughter from a unique perspective.  Reflected through a group of female clowns, it explores not only the incentive for a woman to become a clown, but the societal and personal norms as a female that seem to relate all too well to this profession.  It sheds light on the idea of clowning from a new angle with an opportunity to see these female clowns in action.  From a hospital clown to a member of the Big Apple Circus, Conversations with Female Clowns is an eye opening and humbling experience about what it truly means to be funny.

Director and writer Clare Redden of ‘Conversations with Female Clowns’ Photo credit to NYC Indie Film Festival

Dictionary explores the ODU concept of the seven stages of love in vignettes.  A tribute to the Indian culture, Aishwarya Sonar has a great deal to convey in the screening’s brief time frame and writer, director, and producer Elena Viklova aptly evokes the fleeting and sacred power of love in each frame.  From the warm bloom of attraction to the stillness of grief, Sonar elevates each stage in dynamic subtleties.

‘Dictionary’ by Elena Viklova Photo credit to NYC Indie Film Festival

Por Mi Hija (For My Daughter) is an immersive Spanish language film that addresses familial love and the dream of what is thought to be a better life.  Written, directed, and produced by Fernando Rodriguez who dedicated this film to his wife and kids and based on two true stories, Por Mi Hija is a stirring account that examines what creates a fulfilling life in an unconventional way. 

Christopher Bustos as Leo and Daniela Vidaurre as Emma are young newlyweds living a happy life surrounded by family in Mexico when they receive life changing news that prompts Leo to seek success in California.  Bustos and Vidaurre depict a strong and relatable couple with endearing chemistry as they face moving and realistic trials and tribulations while Luciana Elisa Quiñonez shines as imaginative and sweet Luciana. 

Christopher Bustos, Daniela Viduarre, and Luciana Elisa Quinonez in ‘Por Mi Hija’ Photo credit to NYC Indie Film Festival

The real strength in this film lies in its unconventional timeline and how it manages expectations and reality.  The various parallel scenes between Leo and Emma including having a meal or riding in a car are gripping as it is weaved into the film’s progression and there is a dreamlike quality looking into the past as well as a hazy, ethereal ambiance of the future. This particular style enhances the film’s poignant message while achieving a balance between the lighthearted and tense moments.  It also embodies what the characters cannot quite see at the time until the film’s stunning revelation.

Chabe, Conversations with Female Clowns, Dictionary and Por Mi Hija were all part of Narrative 14 at the New York City Indie Film Festival which continued through June 19.  Click here for more information on this annual festival and its winners.

REVIEW: Tension mounts for an endearing couple in Lyric Stage’s meaningful production, ‘The Light’

Posted on by The Sleepless Critic

One night can change everything.

Genesis and Rashad think they know each other well.  This lovable couple jokes, knows each other’s likes, quirks, habits, and dreams, and yet in one night, they start to see each other in a new and unfamiliar way.

With multi-layer direction by Jacqui Parker, Lyric Stage Company presents Loy A. Webb’s The Light through June 26 at Lyric Stage Company live and in person in Boston, Massachusetts.  The show is 70 minutes long with no intermission and is Lyric Stage’s final show of the season.  This show contains mature topics.  Click here for more information and tickets.

Dominic Carter as Rashad and Yewande Odetoyinbo as Genesis in ‘The Light’ Photo by Mark S Howard

Surrounded by Baron E. Pugh’s inviting apartment setting which includes a purple couch, teal chairs, and colorful accents by Lauren Corcuera while sketches of Beyoncé, Maya Angelou, Michelle Obama and Ruth Bader Ginsberg hang overhead, Genesis and Rashad know this isn’t just any night.  It’s their anniversary.

Yewande Odetoyinbo as Genesis and Dominic Carter as Rashad in ‘The Light’ Photo by Mark S Howard

Elmer Martinez’s expressive lighting enhances the evocative nature of this production.  It is a meaningful show hinging on the strengths of its leads and Yewande Odetoyinbo as school principal Genesis and Dominic Carter as firefighter Rashad are more than up to the task.  While both characters are stubborn, Odetoyinbo’s grounded and witty nature as Genesis strikes an important balance with Carter’s optimistic and playful sense of humor as Rashad.  Carter is charismatically charming and leads in some of the production’s funniest moments while Odetoyinbo as Genesis is best as the tension builds.  It is a joy to watch as they zing each other, tease, dream about the future, debate, and share some of their most treasured memories together.  Their innate and compelling chemistry attract such a fondness for this couple that it is easy to get lost in what seems like their complete compatibility.

Dominic Carter as Rashad and Yewande Odetoyinbo as Genesis in ‘The Light’ Photo by Mark S Howard

However, realizations and revelations run deep on this special night. Webb’s clever script invites the audience into this couple’s intimate relationship in all its charms with some passing notes of underlying resentment while carefully laying its cards on the table and raising the stakes through every twist and turn.  Odetoyinbo and Carter are a true force as they approach the humor, tension and the difficult and serious topics with compassion. 

Yewande Odetoyinbo as Genesis and Dominic Carter as Rashad in ‘The Light’ Photo by Mark S Howard

The Light makes the most out of its 70 minute run time.  It has good pacing and escalates quickly, fueled by Odetoyinbo and Carter’s natural chemistry as the show veers toward its powerful conclusion.

Lyric Stage Company presents Loy A. Webb’s The Light through June 26 at Lyric Stage Company live and in person in Boston, Massachusetts.  The show is 70 minutes long with no intermission and is Lyric Stage’s final show of the season.  This show contains mature topics.  Click here for more information and tickets.

REVIEW: Singer-songwriters Natalie Price and Grace Pettis share resilience through struggle and the joy of performing live onstage again

Posted on by The Sleepless Critic

It is no surprise that guitar strumming singer-songwriters Natalie Price and Grace Pettis recently brought a mix of emotional weight to the Club Passim stage in Cambridge, MA.  Not only in the great joy of performing for an audience again, but the heartache, loss, and reflection in their music as a result of these past couple of complicated years.  However, within this sadness lies resilience for thriving again.  

Grace Pettis and Natalie Price Photo credit to Natalie Price

Singer-songwriter Natalie Price debuted at Club Passim and opened for returning Club Passim favorite Grace Pettis on Thursday, April 14 in person and on live stream for one night only.  Click here to see where Pettis will perform next and here for more on Price.  Click here for more on Club Passim, their educational programs, upcoming events, and how to support local music.

A smattering of spotlights lit the Club Passim stage as Dallas-born Natalie Price delivered a mix of reflective, sorrowful, and playful love songs during her brief opening set.   Price’s sound has a tinge of Natalie Imbruglia or Lisa Loeb as she shares her experiences.

These Days is a clever track about the memory of escaping an unhealthy relationship and if the timing of that relationship were any different, Price might not have escaped.  Price sings, ‘I’m so glad I wasn’t younger when we met’ and ‘The heaviness, strangled me/A songbird in a cage.’  Its seemingly lighthearted chords contrast a returning and complex memory that changes over time.

Another highlight was The Island, a song performed entirely with a music box-sounding Kalimba instrument.  It is a melodious track about the euphoria of new love while Done is another clever piece that delves into the erratic and frantic feelings of unsteady love.  Price ends the set with a catchy and cheerful tune about devotion.

Natalie Price’s music can be found on Band Camp or on her website.

Grace Pettis Photo credit to Nicola Gell

Before taking the stage alone, Grace Pettis joined Price for an unconventional and sweet lullaby Pettis wrote and performs for a Ukrainian child living with Pettis and her family in Ireland called Sleepy Lobster.  Pettis had a table set up that evening to support Ukraine.

Florida-born Grace Pettis delves into a collection of powerful, somber, and soulful tunes, a reflection of some of the complex, life-changing experiences Pettis endured over the last two years.  In a burgundy shirt and black pants, Pettis is an unassuming presence with a certain personable charm and expressed her gratefulness to be back at Club Passim sharing her music with a crowd again.

Her passionate and powerful vocals in Pick me Up and Never Get it Back from her new album, Working Woman from MPress Records, has universal appeal with the latter a bittersweet message on the importance of living in the present and the former finding the strength to keep going in spite of life’s hardships.   Though Pick me Up could simply be interpreted as a love song, it could also apply to a larger message about faith and finding loyal support through life.

Pettis mused in Rain’s lyrics, ‘I don’t know how to be happy’ when she recalled being tasked with writing a song about sunshine.  The somber track was inspired by November rain in Ireland.

So many of Grace’s work addresses strength through struggle.  Mean Something also from Working Woman has a soothing quality about finding hope while Birthright, which is a Nobody’s Girl song, reveals the struggles of living with the pain of the past.  Pettis is an apt songwriter reflecting on the end of a life-changing relationship. She sings, ‘Brace myself for unwanted advice…I’m the box forgotten in the attic.’

However, one of my favorite tracks is Corner, a complex love song about unconditional loyalty, the pain thick in Grace’s voice.  Though the show had its share of solemn musings, Pettis ends the set with Working Woman’s fiery and meaningful title track, her powerful belt demonstrating though hardship, Grace Pettis has thicker skin than that.

Click here for more information on Grace Pettis and where she is touring next.  Learn more about Natalie Price here and click here for more on Club Passim, their music classes, upcoming concerts, and how to support local music.

REVIEW:  ‘Aimee Victoria’ love beyond boundaries

Posted on by The Sleepless Critic

Since the pandemic started, loneliness has increased exponentially.  People have been scrambling to find a fulfilling form of communication since quarantine took effect in 2020 and any miscommunication or absence of a loved one quickly became fear and worry of their well being.  Even today, people are still struggling with how best to communicate and see each other in person without the fear of illness.  For Aimee and Victoria at the start of the pandemic, communication had to come more from the heart than from the head as they celebrate their anniversary apart.

Natasha Ofili as Aimee and Stephanie Noguras as Victoria Photo courtesy of Olivia Long/Aimee Victoria

Directed aptly by Chrystee Pharris and written by Hannah Harmison and Mikail Chowdhury, Aimee Victoria is a short film created entirely remotely during the pandemic in 2020.  The film is approximately 10 minutes long.  Click here for more information and how to view this film.

Aimee Victoria explores how Natasha Ofili as Aimee and Stephanie Nogueras as Victoria, a deaf couple, cope with being separated by the pandemic on their first anniversary.  As many have difficulty communicating their feelings under the best of circumstances, Aimee and Victoria tackle this obstacle in a sweet depiction of love beyond boundaries. 

Stephanie Nogueras as Victoria Photo courtesy of Olivia Long/Aimee Victoria

Through the film’s isolating setting and circumstances, Pharris navigates panic, depression, and struggle in these characters as they readjust to this new way of living.  For example, Aimee struggles just to get out of bed at a loss for what is next as so many have felt in the past couple of years.

Natasha Ofili as Aimee Photo courtesy of Olivia Long/Aimee Victoria

Aimee Victoria transcends not only the journey of these two people, but the significance of love beyond any obstacles and expressing to anyone, whether friend, family, or significant other, what is truly important.  Finding a way to carry that love with them no matter where they are.

Aimee Victoria is available now on streaming platforms and in theatres.  Click here for more information on how to view this short film.

REVIEW:  Boasting two stellar leads, Central’s Square’s ‘The Half Life of Marie Curie’ full of inspiration and crackling chemistry

Posted on by The Sleepless Critic

For revolutionary physicist and chemist Marie Curie, not everything can be solved through a calculation.

On the verge of her second Noble Prize for Chemistry, anxious and introspective Marie Curie finds herself embroiled in a scandal and at one of the lowest points of her life.  Quite literally bursting onto the scene is brilliant and charismatic electromechanical engineer and suffragette Hertha Ayrton ready to bring humor and optimism to what seems like a bleak situation.

Lee Mikeska Gardner as Marie Curie Debra Wise as Hertha Ayrton Photo courtesy of Nile Scott Studios

Brimming with crackling chemistry between Lee Mikeska Gardner as Marie Curie and Debra Wise as Herthe Ayrton, Central Square Theater opened their fall season with Lauren Gunderson’s The Half Life of Marie Curie continuing through December 12 at the Central Square Theater in Cambridge, Massachusetts.  The show is 85 minutes with no intermission.  Click here for more information and tickets.

The stage is deceptively serene for Lauren Gunderson’s The Half Life of Marie Curie. Lindsay Genevieve Fuori’s colorful, innovative, and functional scenic design comes to life as stirring sound effects and a mysterious and foreboding piano score by sound designer Elizabeth Cahill make an intriguing combination fused with Whitney Brady-Guzman’s dynamic and surreal lighting.

A production that picks up from the very start, these two driven pillars of science with contrasting personalities are a fascinating pair to watch and listen to their musings.  Gunderson’s sharp script strikes a delicate balance between intellectual prowess and absorbing dramedy.  They share their views on life, family, and work with wit, humor and candor, yet instinctually encourage each other forward with respect and admiration.  Both are widows and mothers who struggle with how women were perceived in the early 20th century, but their sheer determination and passion for science ultimately make an indelible mark on the world.

Lee Mikeska Gardner as Marie Curie and Debra Wise as Hertha Ayrton in 1910s swimwear Photo courtesy of Nile Scott Studios

Adorned in a lovely feathered black hat and flowing emerald green dress, Debra Wise brings gravitas, confidence, ego, and clever charm as Hertha Ayrton.  From the moment Ayrton bursts onto the stage with a confident cock of her head, gleam in her eye, and cheerful intonation, a lightheartedness sets in to her passionate and outspoken persona as opposed to Curie’s darker sensibilities.  Dressed demurely in a rich purple dress, Gardner skillfully embodies tense Curie in her careful and calculated movements.  You can practically see the wheels turning in Curie’s constantly analyzing mind and consider the lengths she would go for the sake of her work.

Lee Mikeska Gardner as Marie Curie Debra Wise as Hertha Ayrton Photo courtesy of Nile Scott Studios

Marie Curie and Hertha Ayron’s exchanges are no ordinary gabfests.  From sexual politics to love to family and everything in between, Wise and Gardner, as different in their approaches are and as opposite their personalities, they understand each other as equals, colleagues, and kindred spirits. Celebrating each other’s triumphs and supportive in hardship, theirs is a true testament to unyielding and enduring friendship and it stands at the center of this auspicious and biographical story.

Directed astutely by Bryn Boice, Central Square Theater presents Lauren Gunderson’s The Half Life of Marie Curie through December 12 at the Central Square Theater in Cambridge, Massachusetts.  The show is 85 minutes with no intermission.  Click here for more information and tickets.