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

Posted on February 28, 2025 by The Sleepless Critic

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

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

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

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

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

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

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

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

What if escape is your last hope?

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

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

At some point, something has to give.

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

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

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

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

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

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

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

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

Posted on November 30, 2024 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

Posted on September 15, 2024 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 45^th 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: Greater Boston Stage Company turns on the charm for ‘Guys and Dolls’

Posted on June 27, 2024 by The Sleepless Critic

What a Guy wouldn’t do for some doll.

A sky high bet, a saintly woman, and a group of gamblers are all on the line in a musical comedy custom made in New York City. Guys and Dolls is lighthearted and bustling with some of the most popular songs of Musical’s Golden Age such as Luck Be a Lady, Fugue for Tinhorns, I’ve Never Been in Love Before, Sit Down You’re Rockin’ the Boat and its beloved title track.

Directed and choreographed by Ceit Zweil, Greater Boston Stage Company continues Frank Loesser’s musical comedy classic Guys and Dolls live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through June 30. This slick production is approximately two hours and 30 minutes with one 15 minute intermission. Click here for more information and for tickets.

Arthur Gomez, Mark Linehan, Stephen Markarian and Greater Boston Stage Company ‘Guys and Dolls’ cast Photo by Gillian Gordon

Set on Broadway between Times Square and Columbus Circle, Greater Boston Stage Company reveals a little cozy but snazzy set by John Savage including vintage 1950s illustrated signs lit by marquis lights and an illuminated moving cityscape back drop. With lively music direction and conducted by Dan Rodriguez, this glitzy version of Guys and Dolls has a bit of a concert vibe with the orchestra performing center stage amidst all the action.

Arthur Gomez and Sara Coombs in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

The show is as zippy as these fast talking gamblers ready for the next crap game. In stylish hat and a pinstriped suit, Arthur Gomez as lovable but scheming Nathan Detroit is always cooking up a plan and usually one step ahead, but now he is short on money to hold his next floating crap game. Enter Jared Troilo as smooth talking and high stakes gambler Sky Masterson and suddenly, Nathan has a new and seeming surefire plan to win big and finally marry his long suffering girlfriend, Miss Adelaide. However, Sky discovers he is in for much more than he ever bargained for.

Jared Troilo and Sarah Coombs in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Guys and Dolls is a classic for a reason. Not only did the 50s film adaptation star Marlon Brando and Frank Sinatra, but it’s an upbeat musical full of charm about love, the Big City vibe, taking risks and saving souls not necessarily in that order. The characters are all likable in spite of their shady ways because most of them can humorously talk their way out of just about anything.

Stephen Markarian and Mark Linehan in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

In glasses and a bowler hat, Stephen Markarian captures the cheery and good natured charm of Nicely-Nicely Johnson from the slick and catchy harmonies in Fugue for Tinhorns with Mark Linehan as Benny and Christian David as Rusty Charlie. Their goofy chemistry and antics set the stage well along with the title track and bookended by Stephen Markarian’s exuberant and exciting classic number Sit down You’re Rocking the Boat which is not to be missed.

Allison Russell, Kaedon Gray and the cast of Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Sara Coombs as Miss Adalaide could easily have entered over the top caricature territory, but Coombs sticks with dramatic yet a bit more realistic subtlety for Adelaide’s Lament. Hailing from Rhode Island, Miss Adelaide is not to be underestimated and knows exactly what she wants playing a long game of her own as Nathan’s girlfriend. She shares some endearing chemistry albeit with some understandable bickering with Nathan as they perform a quick paced and intense rendition of Sue Me. Alongside Hot Box dancers Hannah Shihdanian, Allison Russell and Abigail Martin, Coombs delivers some flirtatious and humorous scenarios decked out in Dierdre Gerrard’s timely, sparkling and playful costumes kicking off with a country coy Bushel and a Peck. Russell and Shihdanian both perform triple roles with Russell notably as the infamous big time, tough talking gambler Big Jule.

Sara Coombs, Abigail Martin, Allison Russell, and Hannah Shihdanian in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

In a blue pinstripe suit and gleaming white shoes, Troilo depicts Sky Masterson with smooth talking swagger and shares some great scenes with Lisa Kate Joyce’s straight-arrowed and head of the Save-a-Soul Mission band, Sarah Brown. Joyce’s angelic and silvery soprano vocals nail the delightful If I were a Bell and I’ve Never Been in Love Before alongside Troilo in a lovely duet. Joyce also has a brief but memorable scene with Chip Phillips as lovable Arvide for the tenderhearted number, More I Cannot Wish You.

Lisa Kate Joyce and Chip Phillips in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Jared Troilo shines in My Time of Day, but nothing beats Troilo’s determined earnestness teetering toward desperation with the rest of the cast for Luck Be a Lady embellished by Ceit Zweil’s tight choreography and Corey Whittemore’s vivid and flashy lighting which just about brings down the house.

Jared Troilo and the cast of Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Photo by Gillian Gordon

REVIEW: Sullivan Rep’s ‘A Little Night Music’ soars

Posted on June 18, 2024 by The Sleepless Critic

Love is in the air among the rich and glamorous…elusive and oftentimes fleeting.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8. This production was not for children and ran approximately two hours with an intermission. Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions.

The cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Having never seen A Little Night Music before, it was with great anticipation to witness another classic Sondheim production. A Little Night Music was first staged on Broadway in 1973 and was revived on Broadway in 2009 starring Angela Lansbury as Madame and Catherine Zeta-Jones in her Tony award-winning performance as Desiree. Send in the Clowns is one of my favorite Broadway songs and it was exciting to finally see it performed in the context in which Sondheim intended.

Veronica Anastasio Wiseman and Libby Sweder in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Set in 1900s Sweden, Sondheim’s A Little Night Music has bit of a soap opera vibe focusing on the jaded love lives and lifestyles of the upper class emphasized in the number, The Glamourous Life which is sung by some questionably moral aristocratic characters who lead anything but a mundane daily routine and where absolutely nothing is out of reach. In a black dress and burgundy sash, accomplished matriarch Madame, cleverly and amusingly portrayed by Veronica Anastasio Wiseman, decides to advise her granddaughter, an adorably precocious Libby Sweder, in the ways of the world. Surrounded by several love triangles, Sweder soon learns that the world is far more complicated, especially among the privileged.

The Newton Town Hall, though the acoustics had a bit of an echo that muffled some lyrics, was an ideal setting for this sophisticated production with its sterling piano, marble floors, a candelabra and the full orchestra refreshingly set above the stage and cleverly utilized in a brief play-within-a-play scene. An opulent table setting and a countryside picnic arranged by cast members are part of Rick Grenier’s ornate properties design. DW emphasized this regal atmosphere with upscale Edwardian attire featuring lace, stately coat tails, and long silk gloves embellished by ritzy and sparkling jewelry and adornments.

A Little Night Music’s refined cast have a sense they are a cut above the rest and prove it mastering complex harmonies, powerful vocals and droll comic timing. Led by Veronica Anastasio Wiseman as Armfeldt matriarch Madame, Wiseman huffs and admonishes with the best of them musing about today’s Liasons with rapier wit, ‘Where is the style? Where is skill? Where is forethought? Where is the discretion of the heart?’ knowing full well she leads this glamorous life for good reason. Wiseman and Sweder share an intimate and knowing camaraderie and it is fascinating to see how Sweder responds to her surroundings.

With a shriek and bubbly childishness, Rebekah Rae Robles impressively embodies lively and youthful teenager Anne who happens to be married to much older, wealthy and experienced attorney Fredrik, enigmatically depicted by Brian Higgins. It is not immediately evident Fredrik’s motives for marrying her and it is strangely comical to see them together in her innocence. Fredrik’s eyes shine fondly with former love, Desiree for a reflective rendition of You Must Meet My Wife.

Andrea Giangreco, Rebekah Rae Robles and the cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

In glasses and a sweater vest, Jacob Thomas Less depicts smart, ambitious and neurotic Henrik, son of Fredrik. Awkward and sweet, Less meaningfully conveys Henrik’s sincere and frustrating invisibility in this world of excess and longs to be understood demonstrated in an earnest rendition of Later, part of a vocal trio for Now/Later/Soon.

Jacob Thomas Less in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Andrea Giangreco is a standout as Charlotte with wonderful dark humor and enchanting vocals as Anthony Rinaldi as Carl-Magnus’s long suffering and conflicted wife. Everyday a Little Death with Rebekah Rae Robles as Anne is a solemn and tender duet and Giangreco’s witty and sympathetic portrayal and solid vocals makes it easy to root for her. Giangreco shares some very funny moments with scene stealing Rinaldi as plotting and conceited military dragoon Carl-Magnus as he storms and struts around the stage with an entitled air and an over the top sneer emphasized in a soaring rendition of In Praise of Women.

Anthony Rinaldi in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As a big fan of Into the Woods, there is a gleam of similarity to where Sondheim might have been inspired for his later works in A Little Night Music. For example, the contemplative duet It would have been Wonderful featuring Brian Higgins as Fredrik and Anthony Rinaldi as Carl-Magnus share lighthearted and humorous reflections similar in comic tone to the Into the Woods’s duet in Agony featuring two rivals that may share more in common than they think. Higgins and Rinaldi’s absurd reasoning keeps their ridiculous rivalry interesting.

Nora Sullivan in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Nora Sullivan masters the quick paced vocals prevalent in Sondheim’s works in a commanding rendition of The Miller’s Son as flirtatious and spontaneous Petra who savors each passing day. In tight red curls, Carly Evans portrays renowned actress Desiree who falls for an old love which quickly becomes much more complicated than she ever anticipated.

Carly Evans and Brian Higgins in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As for Send in the Clowns, Evans as Desiree delivers a moving rendition that is winsome and rueful, reminding me why I love that song in the first place.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8. This production was approximately two hours with an intermission. Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions.

REVIEW: Arlekin Players Theatre’s ‘The Dybbuk: Between two worlds’ a haunting and mesmerizing theatrical experience

Posted on June 13, 2024 by The Sleepless Critic

Someone is laughing.

Its cadence echoes into a peerless and infectious glee that troubled Khonen, depicted by Andrey Berkovskiy, finds irresistible. It does not take long to see that Khonen will go to the ends of the earth and beyond seeking that voice chiming in its ethereal splendor.

Unique, haunting, funny, charming, spiritual, and exceptionally creative, The Dybbuk: Between two worlds is a mesmerizing must-see theatrical experience.

Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova

I never use the term ‘must see’ lightly, but it nonetheless fits this particular production in all of its unexpected and immersive twists and turns set exclusively inside a Jewish synagogue. Brimming with unconventional creativity and cultural tradition, The Dybbuk is a spectacular journey and a dark tale steeped in meticulously timed and atmospheric special effects as it unveils a thrilling and enchanting piece of ancient Jewish folklore.

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two Worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, June 30. This semi-interactive theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.

The Set of ‘The Dybbuk’ in Vilna Shul .Photo by Irina Danilova

The Dybbuk: Between two worlds tackles love, marriage, life, death, grief and the in between as well as the significance of a synagogue that still stands after all the turmoil it has endured. As the play observes describing a synagogue, ‘The walls are damp with tears.’ A synagogue can be the center of sorrow or great joy, but above all, a sanctuary of hope when all seems lost.

Andrey Burkovskiy. and Yana Gladkikh Photo by Irina Danilova

What makes this production so exciting, beautiful and so downright impressive is this complex and powerful tale is wrapped in a riveting experience. The Dybbuk is a grand and exhilarating journey, but it also depicts sweet moments of simplicity from Andrey Berkovskiy as Khonen and Yana Gladkikh as Leah with finesse. Both characters shine in their perspective roles but Berkovskiy’s wondrous curiosity, playfulness, mischievousness, passion and anguish boast a spellbinding charisma. While his good intentions radiate in the smallest of gestures, Berkovskiy’s wide eyed wonder of this world and his boldness are often at odds as he agonizes over his fate. Gladkikh as Leah demonstrates a beautiful vulnerability and conflict in her delicate and porcelain like features infused with a soothing and melodious voice that she also uses to sing. Gladkikh’s Leah is delightful, innocent, romantic, and naïve sharing with Berkovskiy a captivating, giddy, and endearing playfulness in a situation that is eternally complicated.

Leah flies to Khonen. Photo by Irina Danilova

This enthusiastic cast blends intensity and humor and although this is an ancient tale, Golyak strings together elements of the traditional and the contemporary. Wearing a string of pearls and a black dress, Deb Martin portrays Leah’s grandmother with a rigid frame yet bold and heightened awareness. Shrewd and protective with a dry sense of humor, Martin as Frade is not to be underestimated.

Deb Martin as Frade. Photo by Irina Danilova

The Dybbuk’s immersive and unpredictable setting is fueled by ingenious creativity in Jeff Adelberg’s luminous lighting design seamlessly paired with Fedor Zhuravlev’s robust sound that animates this dark, mystical and ancient world filled with rustic crystal chandeliers and scaffolding that sit beneath a vast skylight by scenic designer Igor Golyak with Sasha Kuznetsova. The Dybbuk’s emotive light and sound deliver an ominous quality, humor, and awe-inspiring surprise nothing less than magical. The transformation of a simple piece of plastic is just a sample of the inventive flair that helps to piece together this often poetic tale.

Andrey Burkovskiy calling to Leah. Photo by Irina Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, June 30. This semi-interactive theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Chuang Stage’s visionary ‘Nüwa in Fairyland’ explores the nature of love and belonging

Posted on May 30, 2024 by The Sleepless Critic

Words matter. Formalities matter. Commitments matter.

Wise words firmly stated by Jen Alison Lewis as Maryanne in Brandon Zang’s Nüwa in Fairyland, an insightful coming of age tale that crosses imagination with a number of interweaving elements in order to bring consolation and understanding in the face of change.

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage continues Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for the Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1. This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission. Pay-as-you-are tickets are available. Click here for more information and for tickets.

Jen Alison Lewis and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Nüwa in Fairyland is primarily centered on the relationship between good natured, competitive, and playful Benji depicted by Trevyn Wong in an impressive and charismatic performance and Jen Alison Lewis as Maryanne, Benji’s protective and steadfast adopted mother. Benji is starting to question his heritage beyond what he knows of his adopted life in America after seeing a documentary on China and Maryanne immediately feels anxious and uneasy. Meanwhile, Bowen Huang movingly depicts a mystical creature frantically searching for a missing child. There may be a connection here, but Nüwa in Fairyland explores a broader vision and branches out into fascinating territory and parallels that interweave imagination, reality and a certain Shakespearean play in order to cope with what is next.

Matt Goldstein, Trevyn Yong, and Jen Alison Lewis in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Navigating its various settings with precision while making the most of its theatrical space, Qingan Zhang’s ethereal and floral scenic design is highlighted by splendid translucent imagery and a sense of immersion due to Anna Drummond’s soothing and atmospheric sound design and Ashley Yung’s ambient lighting. From feathers to crowns to capes to embroidered armor, Sandra Zhihan Jia’s costumes blend the fanciful with the contemporary while infusing a traditional Shakespearean influence.

Jen Alison Lewis and Matt Goldstein in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

This capable cast has very good camaraderie and comedic timing as they find nuances not necessarily in the script which enhance certain sweet moments within the production. A gleeful glance, an awkward gesture, and a delayed pause help to strengthen the bond within this small cast. Henry Dolgoff as chatty and anxious Damian share several of these moments infatuated with Wong in an array of awkward and mixed signals. Matt Goldstein as stern yet supportive Mr. Bailey and Lewis as Maryanne both share some soulful moments with Wong as Benji struggles with where he belongs.

Trevyn Wong and Henry Dolgoff in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

However, Bowen Huang shines as stunning Nüwa in an intense, sage and sympathetic performance. Spoken in both Chinese and English, Huang is expressive, passionate, brave, and empowered with a wonderful charisma and zealousness convincingly drawing others to her plight in an unfamiliar place. The cast collectively explores the bonds of love in a thought provoking and multi-layered journey while both Huang and Lewis uniquely and beautifully discover the unforeseen and unyielding expectations of motherhood.

Bowen Huang and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage presents Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1. This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission. Pay-as-you-are tickets are available. Click here for more information and for tickets.

REVIEW: Make time for The Huntington’s unique ‘Stand Up if You’re Here Tonight’

Posted on February 28, 2024 by The Sleepless Critic

In some ways, Stand Up if You’re Here Tonight seems to be about nothing and everything all at once.

With a magnificent and probably one of the most gracious introductions to a production, Stand Up if You’re Here Tonight delves into the art of theatre, the luxury of Netflix, love, loss, loneliness, comfort, and all the idiosyncrasies of life that may or may not drive a person crazy. Part standup, part existential crisis, and part play-within-a-play, this original comical theatrical experience is hosted by a man who has had just about enough.

Jim Ortlieb of The Huntington’s production of John Kolvenbach’s Stand Up If You’re Here Tonight, directed by John Kolvenbach; photo Nile Hawver. Running January 20 – March 23, 2024 at the Maso Studio, Huntington Theatre. Boston, MA 02115.

Written and directed shrewdly by John Kolvenbach, The Huntington presents Stand Up if You’re Here Tonight live and in person at the intimate and immersive Maso Studio at the Huntington Theatre in Boston, Massachusetts through Saturday, March 23. The production is general admission and runs 60 minutes with no intermission with a special happening at the end of the performance. Do not miss a moment of this show because it is worth it. Click here for more information and for tickets.

Introduced by breezy 60s lounge music and surrounded by various vintage furnishings including lit chandeliers, doorways off their hinges, a ladder, a metal bird cage, and what starts out as a wooden lectern by Kristine Holmes and Sam Galvao, Stand Up if You’re Here Tonight is unveiled with frenetic urgency and earnestness expertly navigated by host Jim Ortlieb.

In a gray suit making a casual entrance, Jim Ortlieb guides the surrounding audience into a performance so engaging and interactive that this critic barely has time to take notes which was a joy. Lighting designers M Berry and Makenna Harnden’s rhythmic and atmospheric lighting acted as its own character perfectly timed with the quick pace and tricky transitions that lead to the most unexpected places.

All of this production’s surprises will not be revealed here. With a welcoming grin and a dose of self awareness, Ortlieb delves into some of his own vivid memories, imagination, and experiences with relatable and sometimes dark humor, but what is most important is that audience is here, present, and in the present. Laugh and be moved. That is what really matters.

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

Posted on February 4, 2024 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.

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^th. 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.

REVIEWS: Harbor Stage Company’s striking ‘Northside Hollow’ and Liv at Sea Productions presents absorbing ‘Liv at Sea’

Posted on January 28, 2024 by The Sleepless Critic

The thrill of feeling engulfed in a theatrical experience is just what Harbor Stage Company delivered when disaster struck as part of their tense drama Northside Hollow in an already intimate setting. Harbor Stage Company’s Northside Hollow brought fascinating and immersive storytelling to the stage with authenticity and occasional humor.

Grippingly directed and written by Jonathan Fielding and Brenda Withers, Harbor Stage Company presented Northside Hollow from Tuesday, January 11 through Saturday, January 20 live and in person at Boston Center of the Arts (BCA) Plaza Black Box Theatre in Boston, Massachusetts. The production was 1 hour 20 minutes with no intermission and had some mature language. Click here for more information and Liv at Sea Productions with Harbor Stage Company presents Liv at Sea currently running through Sunday, January 28.

Industrial lights and mysterious headlamps play a crucial role in the production’s immersive authenticity as well as the feeling of sheer engulfment in a catastrophic event. Strewn metal, wooden pieces and tight passages create a realistic pit and an arduous challenge to overcome.

The chilling tension took hold minutes into the production and the audience becomes a part in Gene’s mutual distress. Injured Gene portrayed with frank cynicism, humorous likability, and a wonderful drawl by Robert Kropf, is a miner in peril. He is trapped in a collapse and is too injured to climb out alone. Volunteer EMT Marshall, depicted with insightful practicality by Alex Pollock, arrives to rescue him, but can they escape and how did this collapse happen in the first place?

Northside Hollow L to R Robert Kropf and Alex Pollack Photo credit to Edward Boches

The twists and odd turns are quite compelling and though the show is mildly predictable, the execution is extraordinary. With grime caked on his face, Kropf captures Gene’s stubbornness, worn demeanor, sardonic humor, and sheer exhaustion as he helplessly asks for the impossible – a burger. Gene shares fascinating camaraderie with spiritually centered, focused and sensible Pollack as Marshall. Brimming with emotion and perspective, both actors deliver powerful performances as they contemplate faith, relationships, mortality, music, morality, and life’s intricacies while merging their skills in an attempt to conquer the loneliness and fear of this moment.

Harbor Stage Company presented Northside Hollow from Thursday, January 11 through Saturday, January 20 live and in person at Boston Center for the Arts (BCA) Plaza Black Box Theatre in Boston, Massachusetts. The production was 1 hour 20 minutes with no intermission. Click here for more information and Liv at Sea Productions with Harbor Stage Company presents Liv at Sea is running through Sunday, January 28.

REVIEW: Liv at Sea Productions presents absorbing ‘Liv at Sea’

It is the kind of silence that could only mean that something has changed.

Two people in metaphorically two different places in their relationship stand in a stark and bare room. One is at the precipice while the other is helpless witnessing it. Both are in agony and one is longing for water.

Paige O’Connor and Nick Wilson in ‘Liv at Sea’ Photo credit to Edward Boches

Affectively written and directed by Robert Kropf, Liv at Sea continues live and in person at Boston Center for the Arts (BCA) Plaza Black Box Theatre in Boston, Massachusetts through Sunday, January 28. The production has some mature language, runs 90 minutes with no intermission, and contains a brief strobe light sequence. Click here for more information and for tickets.

With bare feet on sand colored carpet, introspective indie music weaves cleverly in and out of this production by sound designer Joe Kenehan as Liv hesitates to share her true feelings. With cheerful lighting in unexpected places by John Malinowski, the unembellished staging features an at first blank canvas that comes to life mixing cinematography by Adam Foster and art to illustrate metropolitan and creation while the symbolic black and white costumes add a single splash of color for renewal.

Paige O’Connor as Liv in ‘Liv at Sea’ Photo credit Edward Boches

The audience is arranged in the center while the action is refreshingly not limited to this stage. A dramatic tale told out of sequence and largely unconventional which includes the quirky, romantic, artistic, and brooding dreamer Liv, depicted with nonconformist charm by Paige O’Connor. While O’Connor’s long gazes and deep and contemplative silences can weigh down a room, anxiety-laden and chatty Nick, portrayed by Nick Wilson, bends over backwards to lighten it with humor. Many of their exchanges are strained and tense and yet both characters are distinctive and likable. Wilson is particularly funny as he delves into an uninvited guessing game with Liv. In charming glasses and a beard, Wilson is sympathetic and earnest as he struggles to understand his restless and distant live-in girlfriend.

‘Liv at Sea’ Photo credit to Edward Boches

A mysterious stranger, depicted by Jack Aschenbach, appears to provide a complicated bright spot in this production. Serious, romantic and perceptive, Ashenbach unleashes a new side in O’Connor’s Liv that comes with risk in what the future holds.

Liv at Sea is an absorbing journey that explores the nature of relationships at its root and bloom as well as its endings, beginnings, and the restless uncertainty in-between with hope and ruefulness.