lyric stage company | The Sleepless Critic

REVIEW: Fame, rebellion and something to prove in Lyric Stage’s cleverly titled ‘Angry, Raucous and Shamelessly Gorgeous’

Posted on 4 Days Ago by The Sleepless Critic

Not even a raging thunderstorm can dampen the spirits of these strong and determined women.

Powerfully directed by Jacqui Parker, the stage is the thing as Lyric Stage continues Pearl Cleage’s Angry, Raucous and Shamelessly Gorgeous live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, April 12. This lively production contains adult language, is not limited to the stage, lives up to every aspect of its great title, and runs 100 minutes with no intermission. Click here for more information and for tickets.

Patrice Jean-Baptiste in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

A bejeweled and beaded chandelier hangs aloft bursts of bold colors weaved into portions of Janie E. Howland’s posh hotel room setting complete with a bar, upscale furniture, a vividly displayed portrait and functional glass doors. Highlights in Rachel Padula-Shufelt’s statement costumes include attractive silks and suits which combining vibrant and neutral colors.

Whether threatening or emphasizing a statement, Aubrey Dube’s intense sound design features fierce and rumbling thunder alongside Karen Perlow’s affecting lighting possesses a mind of its own in the driving rain. This group of women is expressive, bold and striking which is just a portion of what gives these women their shameless beauty. They step up and show up, determined to make their stifled voices be heard in their own way.

“Who said anything about real life? This is theatre.”

Inés de la Cruz and Patrice Jean-Baptiste in Lyric Stage’s ‘Angry Raucous and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

This grandiose statement is declared by Patrice Jean-Baptiste as outspoken yet refined Anna Campbell, a currently out of work actress making her triumphant return to the United States for an outdoor Atlanta theatre festival to honor her and reenact her defining act, the Naked Wilson, an ode to renowned playwright August Wilson’s plays. However, this driving rain and Deannah “Dripp” Blemur as business minded producer Kate Hughes have other plans.

Deannah “Dripp” Blemur in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

Patrice Jean Baptiste sweeps into and out of room with finesse as determined Anna who delights in her theatre work, has grown used to the finer things, and commands a room. Inés de la Cruz patiently portrays humble, serene and level headed Betty Samson who strives to make Anna happy. A true and eternally loyal partner, Betty is strong enough to support Anna, especially when it is for Anna’s own good.

Yasmeen Duncan in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

Yasmeen Duncan shines as bold, impulsive and street smart Pete Watson who has a certain “it” factor, even if she doesn’t quite know how to articulate it. Pete is daring, excitable and full of ideas, but seems to lack the sophisticated edge that Jean-Baptiste’s Anna has cultivated through her years in the theatre. Young, determined, and impulsive, Yasmeen’s Pete hasn’t learned yet that in this business, it is important to learn quickly and that there is always something to prove, especially in an act of rebellion.

Patrice Jean-Baptiste and Yasmeen Duncan in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

What I particularly enjoyed about the show is the manner in which Cleage’s script ties together August Wilson’s iconic female characters with this fascinating foursome. The entire cast share dynamic chemistry that is fiery, amusing and entertaining.

Angry, Raucous and Shamelessly Gorgeous references nudity, but it is really about expression and what truly makes you resilient and golden under all the glitz. It boasts a wealth of welcome theatre references about process and the nature of being a part of the theatre world. It also delivers many humorous moments while discussing fame, mortality, misogyny, youth, and the power of being wildly underestimated.

Inés de la Cruz in Lyric Stage’s ‘Angry, Raucous, and Shamelessly Gorgeous’ Photo credit Nile Hawver/Nile Scott Studio

Lyric Stage continues Pearl Cleage’s Angry, Raucous and Shamelessly Gorgeous live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, April 12. Click here for more information and for tickets.

REVIEW: Finding your voice in Lyric Stage Boston’s stirring ‘Crumbs from the Table of Joy’

Posted on January 25, 2025 by The Sleepless Critic

Looking back on life can bring joy, discovery, sorrow and wisdom in unexpected ways.

Cleverly directed by Tasia A. Jones, Lyric Stage Boston continues Lynn Nottage’s family drama Crumbs from the Table of Joy live and in person at Lyric Stage Boston through Sunday, February 2. This partially coming of age production not limited to the stage runs two hours and 20 minutes including an intermission. Click here for more information and tickets.

Dominic Carter,* Madison Margaret Clark, and Catia* (Photo by Mark S. Howard)

Crumbs from the Table of Joy boasts a fascinating cast as each character’s motivation unravels over time and explores some hot button issues prevalent yesterday and today. Madison Margaret Clark as impressionable and determined Ernestine recalls a pivotal time in her life close to graduating high school in the 1950s having moved from the South to Brooklyn with Dominic Carter as her strict, born again and traditional recently widowed father Godfrey and her candid sister Ermina, portrayed with sharp comic wit by Catia. Clark’s engaging delivery is an endearing mix of fondness and reflection recalling life’s little joys such as sharing cookies and precious family moments within the thin walls of a small apartment. As an aspiring actor, Ernestine fantasizes about how cinema solves everything and those scenes stand out as some of the brightest parts of the production.

Catia* and Madison Margaret Clark (Photo by Mark S. Howard)

Cristina Todesco’s translucent and versatile, dual level scenic design framed by a gold embroidered vintage stage and ornate industrial lights transforms into various dim spaces including a living room with dated and crochet adorned tattered furniture. Eduardo Ramirez’s animated lighting design combined with Aubrey Dube’s rich sound deliver carefully timed flickers of joy to instantly transport characters right within the narration from an apartment to a movie theatre to a train station in an array of flickering of lights and distinctive sound effects. Mikayla Reid’s retro costuming ranges from sophisticated in statement ensembles and pin striped suits to handmade floral dresses and patent leather shoes.

Catia,* Thomika Marie Bridwell,* and Madison Margaret Clark (Photo by Mark S. Howard)

Glamorous and smartly dressed, Thomika Marie Bridwell’s dazzling entrance as feisty, forward, flirtatious and daring Aunt Lilly creates an immediate spark in the production with a combination of spice and outspokenness in direct contrast to Dominic Carter’s conservative and stoic Godfrey. Godfrey is so reserved that at one point, Ernestine explains that her father says only white people can laugh on a Sunday. Hanging onto Father Divine’s every word with intensity yet quiet zeal, Dominic Carter delivers a solid performance as Godfrey who claims they came to Brooklyn because of Father Divine’s Peace Mission until something unexpected happens. Bridwell’s Lilly immediately alters the atmosphere with an unexplainable tension and it stands to show whether or not it is for the better. However, there is far more to this tale than meets the eye.

Thomika Marie Bridwell,* Dominic Carter,* and Margaret Madison Clark (Photo by Mark S. Howard)

Bridwell’s excellent performance lies in Lilly’s bold nature and expertly building tension in Lilly’s unorthodox manner of living. Her mix of persuasive charm, laugh out loud comic timing and resolve brings to light this complex character in all of her hidden vulnerability sharing memorable scenes with the cast including Catia as Ermina and Madison Margaret Clark as Ernestine looking on with a mix of shock and admiration for their Aunt while certainly making an indelible impression. Bridgette Hayes is also impressive as mysterious Gerte who suddenly plays a significant role that will not be revealed here.

Madison Margaret Clark, Catia,* Brigette Hayes,* and Dominic Carter* (Photo by Mark S. Howard)

A family drama that delivers some surprising twists and turns, Crumbs from the Table of Joy is a stirring production that shows real life lessons can come from the most unexpected places.

Lynn Nottage’s family drama Crumbs from the Table of Joy continues live and in person at Lyric Stage Boston through Sunday, February 2. This partially coming of age production not limited to the stage runs two hours and 20 minutes including an intermission. Click here for more information and tickets.

REVIEW: Live and love Lyric Stage’s sparkling ‘The Drowsy Chaperone’

Posted on May 7, 2024 by The Sleepless Critic

Imagine a world where nothing is taken too seriously. For a hilarious and somewhat melancholy Paul Melendy as Man in Chair, The Drowsy Chaperone is a frothy, charming, and joyous piece of escapism from the reality outside his cozy apartment.

Masterfully directed and choreographed by Larry Sousa with lively musical direction by Matthew Stern, celebrate Lyric Stage Company’s 50^th season with Golden Age musical satire The Drowsy Chaperone live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, May 12. This partially interactive production is approximately one hour and 45 minutes with no intermission. Click here for more information and for tickets.

Joy Clark, Paul Melendy and Maureen Keiller Photo by Mark S. Howard

Having seen this gem of a musical done before at other venues, it was with great anticipation to witness this jubilant musical performed by another stellar cast. An average gloomy apartment is much more than it seems as a delightful Paul Melendy’s Man in Chair, tea in hand, decides to share his 1928 record, The Drowsy Chaperone, with the audience. As soon as the needle hits the vinyl, life is transformed.

Joy Clark and the cast of the Lyric Stage’s ‘The Drowsy Chaperone’ Photo by Mark S. Howard

From shimmering canary yellow feathered ensembles to timely velvet dresses and fishnets, furs, show stopping silver uniforms, colorful flapper flair, silks, polka dots, pinstripe suits and tails as well as nostalgic 20s hairstyles, costume designer Seth Bodie perfectly captures the vintage style and heightened glamour of the roaring 20s and Musical’s Golden Age. Cameron McEachern beautifully rewinds the clock with classic posters on brick walls, an enchanted old fashioned refrigerator and a stage on a stage likened to a vintage Cathedral radio illuminated by John Malinowski’s vibrant marquee lighting.

Mark Linehan and Jared Troilo Photos by Mark S. Howard

In a mismatched cardigan, button down shirt, maroon pants and mischievous mustache, the real magic behind The Drowsy Chaperone is in the introverted Man in Chair himself. Melendy is an enthusiastic jumble of observational quips, improvisation, Broadway wisdom, and impressive comedic chops while also infusing the past with wonderful contemporary nuances and truisms about life. Watching Melendy’s relatable, animated expressions and natural delivery absorbed in living vicariously is just engaging enough to not scene steal from the other marvelous characters onstage. However, it is such great fun watching Melendy observe and sometimes say what everyone else is thinking in this somewhat play-within-a play.

Jared Troilo and the cast of Lyric Stage’s ‘The Drowsy Chaperone’ Photo by Mark. S. Howard

Mistaken identity, a prohibition wedding, a self assured Aviatrix, and lots of champagne is just the tip of the iceberg as an assortment of wonderful characters join together for the 1928 wedding of Joy Clark as determined showgirl Janet and her love struck fiancé, Robert Martin portrayed by Jared Troilo. Clark shines in a glorious and flirtatious rendition of Show Off delivering snappy comedic timing and exuberant chorography as cameras flash. Though Clark’s Janet claims to be fiercely independent, she and Troilo make a cute pair with perfectly timed chemistry in the quirky number Accident Waiting to Happen. Troilo and Mark Linehan as best man George deliver an exceptional tap routine for the catchy number Cold Feet. Troilo’s physical comedy is terrific especially at a moment when he is quite literally knuckling across the stage for a laugh.

Todd Yard and Carolyn Saxon in Lyric Stage’s ‘The Drowsy Chaperone’ Photo by Mark S. Howard

In purple furs and a dramatic delivery reminiscent of a cross between Jennifer Saunders and Lucille Ball, Maureen Keiller kills it as The Drowsy Chaperone. Keiller’s dry humored style of nonchalance and extravagant spectacle is a fabulous combination as she delivers a show stopping rendition of As We Stumble Along and later sharing a wild encounter with Cristhian Mancinas-Garcia as self obsessed Latino Aldolfo who is sporting a striped suit and gleaming rings.

Kristian Espiritu. Damon Singletary and the cast of Lyric Stage’s ‘The Drowsy Chaperone Photo by Mark S. Howard

In a sharp pinstripe suit, Damon Singletary, recently seen as a pivotal gangster in Lyric Stage’s Sister Act, means business in his portrayal of calculating Feldzieg while Ilyse Robbins and Kathy St. George provide lots of laughs portraying a dynamic and tough talking pastry chef duo with an amusing affinity to puns. Robbins and St. George lead a rousing rendition of Toledo Surprise in a grand dance number fueled by some of the most popular dances of the era.

Yasmeen Duncan and the cast of Lyric Stage’s ‘The Drowsy Chaperone’ Photo by Mark S. Howard

What this all comes down to is raise a glass and enjoy the endlessly charming The Drowsy Chaperone! The Man in Chair will surely make room for you.

Masterfully directed and choreographed by Larry Sousa with lively musical direction by Matthew Stern, celebrate Lyric Stage Company’s 50^th season with Golden Age musical satire The Drowsy Chaperone live and in person at Lyric Stage Company in Boston Massachusetts through Sunday, May 12. This partially interactive production is approximately one hour and 45 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Heartache and longing compel Lyric Stage Company’s Irish drama, ‘Thirst’

Posted on March 16, 2024 by The Sleepless Critic

The calming bird calls and chiming crickets in perfect rhythm with the ocean waves combined with the whimsical with a hint of melancholy music score by David Remedios is a clever façade for what exists inside Tyrone’s American oceanside summer cottage. So much of this production is about what each person is hiding inside as miserly owner Mr. Tyrone insists on keeping the lights off.

Under Courtney O’Connor’s delicate direction and just in time for St. Patrick’s Day, Lyric Stage Company continues its 50^th anniversary season with Ronán Noone Irish drama Thirst live and in person at Lyric Stage in Boston, Massachusetts through Sunday, March 17. The show is two hours and 15 minutes including an intermission. Click here for more information and for tickets.

Michael Kaye and Aimee Doherty in ‘Thirst’ Photo by Mark S Howard

Set in 1912 within scenic designer Janie E Howland’s impressively functioning kitchen equipped with running water and a piping hot wood stove and heavy hanging black wrought iron pans as active as this trio of lonely and willful characters, Thirst delves into longing, heartache, and the inner turmoil that can very well define us all if we let it.

Michael Kaye Kate Fitzgerald and Aimee Doherty in ‘Thirst’ Photo by Mark S. Howard

Thirst focuses on two Irish immigrant servants and a widowed chauffeur employed by the Tyrone family who are restless about their future and longing for a better life seemingly just beyond their reach. Part unconventional love story, Thirst explores life’s challenges and the unique tie that binds this trio of characters to gradually understand each other.

Though it has a bit of a slow start, witnessing the unfolding of these multilayered characters helmed by Kate Fitzgerald who exuberantly embodies feisty, daydreaming, uproarious, and romantic Titanic survivor Cathleen, becomes an absorbing exploration for this trio to break free of their limitations and embrace happiness.

Kate Fitzgerald and Aimee Doherty in ‘Thirst’ Photo by Mark S. Howard

With a thick brogue under dialect coach Rebecca Gibel, Fitzgerald’s excitability and wondrous daydreams blended with her maturity and frankness well beyond her age is a stark contrast to Aimee Doherty as Cathleen’s disillusioned, secretive and practical Aunt Bridget. Doherty and Fitzgerald’s sweet and spicy rapport is as comical as it is bittersweet and their tendency to take things too far makes for some enthralling moments. It is particularly fascinating to watch a wonderful actress like Aimee Doherty’s depiction of tone deaf Bridget when renowned singer Doherty is anything but. Doherty has a particular flair during the production’s more lighthearted moments. Michael Kaye is increasingly endearing as poetic and protective Jack heightened in a moving monologue about life’s complications toward the end of the play. All of these characters have suffered grief and loss and it is touching to watch them argue, protect and encourage each other as they learn to understand each other’s innate struggles through humor and heartache.

Aimee Doherty in ‘Thirst’ Photo by Mark S Howard

Under Courtney O’Connor’s delicate direction and just in time for St. Patrick’s Day, Lyric Stage Company continues its 50^th anniversary season with Ronán Noone Irish drama Thirst live and in person at Lyric Stage in Boston, Massachusetts through Sunday, March 17. The show is two hours and fifteen minutes including an intermission. Click here for more information and for tickets.

REVIEW: Lyric Stage Company’s unleashes a powerful ‘Trouble in Mind’

Posted on February 3, 2024 by The Sleepless Critic

Wiletta has always longed to be a famous actress, but at what cost?

With shrewd direction by Dawn M. Simmons, Lyric Stage Company presents Trouble in Mind by Alice Childress, part of Lyric Stage Company’s 50th season, live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, February 4. The show is 2 hours and 20 minutes including one intermission and the action is not limited to the stage. Click here for more information and for tickets.

The Cast of Trouble in Mind Photo by Nile Hawver

Sound designer Aubrey Dube’s jazz-inspired soundtrack rewinds the clock to the late 50’s. Connected by a spiral staircase, Shelley Barish’s vintage two floor set features elegant and colorful mid century-inspired furniture pieces, gold and burgundy trim, and scattered hanging crystal chandeliers and yet is also true to any backstage theatre rehearsal setting, including a realistic red glowing exit sign hanging over a backstage door, dressing rooms, and a gleaming ghost light.

Some of Rachel Padula-Shufelt’s vintage costumes include a mix of muted and bold colors as well as lively patterns that not only reflect each character’s distinct personalities, but the action in the scene. One scene has McConnia Chesser as Millie Davis and Patrice Jean-Baptiste as Wiletta presented in rich colors to stand out while Allison Beauregard as Judy Sears is adorned in smart suits in softer pastel patterns.

What is particularly fascinating about Trouble in Mind is Alice Childress’s meaty and layered script. It is an intriguing production that tackles racism, truth, censorship, stereotypes and much more taking place in New York City in 1957. A play within a play, this engaging and multifaceted cast rehearses backstage for a divisive production called Chaos in Belleville as the underlying tension of this seemingly happy theatre group builds. When things start to get real, that is where the real story unfolds.

MaConnia Chesser, Patrice Jean-Baptiste, and James Turner. Photo by Nile Hawver

The cast has sharp dramatic and comedic skills to navigate the often swiftly changing tone of this production and delves into the nature of Broadway theatre. At the center of this tale is seasoned actress Wiletta, depicted with a mix of cheerfulness and hearty determination by Patrice Jean-Baptiste. Wiletta eagerly shares her ambitions privately, but hesitates to pursue her loftier dreams in the interest of remaining a working Black actress. Jean-Baptiste shares a warm rapport with Robert Walsh as supportive Irishman Henry who works for the production. Their nurturing understanding of one another is a particular highlight. Jean-Baptiste also confides in young actor John Nevins, portrayed by Kadahj Bennett, who also longs to succeed in show business.

James Turner, Davron S. Monroe, Patrice Jean-Baptiste, and Allison Beauregard. Photo by Nile Hawver

Allison Beauregard portrays naïve ingénue Judy Sears with an array of nervous chatter behind a pretty face. She longs to say and do the right things, but at times, Judy cannot seem to get out of her own way. Beauregard does an impressive job depicting this enigmatic character’s nuances as each situation changes.

Barlow Adamson as firm and condescending director Al Manners is not unlike other complex characters that Adamson has aptly captured. Manners feels over worked and underappreciated which fuels some of his impatience, belittling nature and frankness. Adamson navigates the shifting atmosphere of each rehearsal and has a powerful effect on each of the cast members. From Bill Mootos as self conscious Bill O’Wray to MaConnia Chesser as wealthy, humorous and seemingly confident Millie, Adamson more often than not, stirs the pot.

Cautious, wise, and experienced Sheldon, depicted by Davron S. Monroe, at first seems an understated character, but Monroe later makes a sudden and indelible impression in one of the most memorable and stirring scenes in the production.

Trouble in Mind was created in 1955 and yet much of the themes are alarmingly relevant today. Some of Trouble in Mind can be unsettling with veiled barbs, underlying tension, disdain, slights, and grim humor behind a smile, but the authentic reactions and self awareness are riveting to witness. At one point, Manners states, ‘What is Truth? Truth is simply whatever you can bring yourself to believe, that is all.’ Some familiar food for thought.

REVIEW: Life is full of surprises in Lyric Stage’s unconventionally ‘Rooted’

Posted on June 15, 2023 by The Sleepless Critic

Plant a tree and save the planet. Be a ‘smartie plants’ and explore the ‘wood wide web.’

That is a few of the many mottos and a bit of humor uttered by Emery, a disabled recluse spending life in a tree house in the small town of Millersville, Pennsylvania. Emery talks to plants more than people with the exception of her sister and caretaker Hazel as well as her cousin who she depends on for everything. Longing for companionship she is comfortable with, Emery decides to post about her plants on YouTube. What could go wrong?

L to R Lisa Tucker as Emery and Karen MacDonald as Hazel Photo by Ken Yotsukura Photography

Directed conscientiously by Courtney O’Connor, Lyric Stage Company presents Deborah Zoe Laufer’s dramedy Rooted continuing live and in person at Lyric Stage Company in Boston, Massachusetts through June 25. The show is 100 minutes without one intermission. Click here for more information and tickets.

The stage unfolds with blooming splendor as a lively, bending tree hovers over the cast. Soothing and eclectic music by Dewey Dellay as well as streaming and transformative lighting by Karen Perlow provide a warm and peaceful vibe as Emery carefully handles the greenery surrounding her. Janie E. Howland’s meditative and functioning set at first sight provides an oasis from the real world.

Lisa Tucker as Emery Photo by Ken Yotsukura Photography

Rooted explores various topics such as the internet, climate change, healing, taking risks, and companionship with insightfulness and humor as Hazel and Emery manage one surprise after the next. The small cast is rooted in connection to one another. With sun hat and a mix of modest and eccentric attire by Chelsea Kerl, Lisa Tucker portrays plant loving and serious Emery with fragility and compassion while evoking determination and anxiety bubbling just under the surface as she faces decisions she has never encountered before in her sheltered existence. Karen MacDonald portrays Emery’s sister and lifetime caretaker Hazel, an adventurous spirit who longs to ‘spread her leaves’ beyond this small town. Dressed in a short diner uniform with white go-go boots, MacDonald lights up as chatty Hazel, exuding Hazel’s frank and responsible yet opportunistic spirit as Hazel struggles with day-to-day-life. With Emery as careful observer and Hazel’s big and cynical personality, Tucker and MacDonald are definitely yin and yang in this production, but manage at times to streamline their differences. Katherine Callaway as impressionable and naïve East Coopersville native Luanne brings a unique outlook and has an ultimately calming effect on the group.

L to R Katherine Callaway as Luanne Karen MacDonald as Hazel and Lisa Tucker as Emery Photo by Ken Yotsukura Photography

Finally, the plants themselves by Props Artisan Lauren Corcuera deliver subtle charm as these sentient beings gauge the frequently changing energy and emotion of the production’s increasingly complex environment.

Rooted challenges a few of life’s bigger questions and is ultimately one wild and engaging production about what can come from good intentions as three uniquely flawed individuals work together to maneuver hope and healing to the masses during life’s surprising turns.

Katherine Callaway as Luanne and Lisa Tucker as Emery Photo by Ken Yotsukura Photography

Lyric Stage Company presents Deborah Zoe Laufer’s dramedy Rooted continuing live and in person at Lyric Stage in Boston, Massachusetts through June 25. The show is 100 minutes without an intermission. Click here for more information and tickets.

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

Posted on April 26, 2023 by The Sleepless Critic

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

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

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

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

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

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

Cast of Sister Act Photo by Mark S. Howard

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Lyric Stage Company’s heartfelt and semi-interactive ‘Mr. Parent’ a life changing journey

Posted on January 25, 2022 by The Sleepless Critic

It is a production so engrossing that when it ends, you find yourself asking, “Then what happens?”

This is not to say that this insightful one man production, Mr. Parent is incomplete by any means, but the essence of this thought can be found in Maurice Emmanuel Parent‘s charismatic and absorbing storytelling. This autobiographical and semi-interactive recollection of a life-changing period in Parent’s compelling history features amusing and captivating characters that will keep you invested in his journey, eager to find out what is next.

Seamlessly directed by Megan Sandberg-Zakian, Lyric Stage Company continues the timely production Mr. Parent by Melinda Lopez through February 6 at Lyric Stage Company in Boston, Massachusetts. It will also be available for streaming from February 7 through February 20. This show runs 90 minutes with no intermission. Click here for more information and for tickets.

Maurice Emmanuel Parent Photo by Mark S Howard

Within a colorful and empty classroom by Cristina Todesco, the aptly-named Mr. Parent manages to cover a great deal in its limited time frame from the state education system to struggling families to struggling teachers to desegregation during a pivotal time in Mr. Parent’s life approached with the kind of heart and humor that comes from experience. Inspirational, educational, and complex, Mr. Parent also begs a significant question that many people face every day: How do I pursue my passion while still making a decent living?

Working in the arts, this quest is close to my heart. In order to do what one loves, one may have to supplement that journey with additional job or jobs to make it all work. It is a journey of sacrifice, more than likely a lack of sleep, and an overwhelming desire towards that dream goal, however means it may take to get there. For some, taking this avenue may create another dream realized.

Maurice Immanuel Parent as himself is a struggling actor hoping to find success, but quickly realizes that doing so requires supplemental income. He finds it in the form of teaching. Having seen him perform as Cardinal Richelieu in Greater Boston Stage Company and Front Porch Arts Collective’s The Three Musketeers, Parent has a wealth of talent. He is a charismatic presence onstage and it is easy to see the drive and heart he puts into his work. Here, Maurice Emmanuel Parent’s personal account reflects that talent in spades.

Maurice Emmanuel Parent Photo courtesy of Mark S Howard

It has as much heart as adventure from hyena auditions to a sneaky hoodie to recollections of shows he encourages his parents not to see, Parent recounts the unsettled and unpredictable life of teaching and acting which includes plenty of realizations along the way with bite, humor, and in times of distress, unmitigated honesty. For example, in two particularly moving moments, Mr. Parent describes in anguish what it is like to see his bright students from low income families struggle for their basic needs and enduring the scare of a lockdown. He navigates scenario after scenario invoking an intensity and desperation to succeed in a job that he hopes will meet his needs, but wondering if he may be in over his head. Seemingly sterling opportunities almost always have its challenges and Mr. Parent shows that we all have much to learn.

Lyric Stage Company continues Mr. Parent through February 6 live and in person at Lyric Stage Company in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Unpredictable, humorous, and insightful, Lyric Stage Company’s ‘The Roommate’ not your average odd couple

Posted on November 2, 2018 by The Sleepless Critic

Don’t underestimate Lyric Stage Company’s The Roommate as a frothy chick lit piece about middle aged women. The innocent splash of coffee on the promotional poster does not begin to describe this thrilling drama. With unexpected twists and two exceptional leads, Jen Silverman’s The Roommate is so much more than that. The Lyric Stage took the audience from an Argentinean prison in Kiss of the Spider Woman in September to the welcoming setting of a rural kitchen in Iowa for The Roommate, but both settings have their share of dark secrets. The Roommate features an odd coupling of one woman who is overwhelmed by life and the other who wants to change hers completely.

The Lyric Stage presents ‘The Roommate’ Photo courtesy of Lyric Stage Company

Directed by Spiro Veloudos and laden with funny, relatable moments, Jen Silverman’s The Roommate, a one act, 90 minute drama with no intermission, continues at 140 Clarendon Street in Boston, Massachusetts through November 18. Click here for more information and for tickets.

Surrounded by a little too cheerful, inviting Iowa kitchen decorated in mismatched floral décor and what looks like a working island stove, the setting, cleverly designed by Jenna McFarland Lord, could be an extension of Paula Plum as frenzied, relentlessly upbeat Sharon. Having never had a roommate before and in her mid 50s, it is easy to relate to her nervous twittering and chatter as she waits for her roommate to arrive.

The Roommate Adrianne Krystansky as Robyn as Paula Plum as Sharon at the table

Adrianne Krstansky as Robyn and Paula Plum as Sharon Photo courtesy of the Lyric Stage Company

Dressed in a floral blouse and apron, Sharon is the picture of country living, her hands always busy with an occasional nervous laugh masking melancholy and loneliness. Paula Plum steps seamlessly into the role of this complicated woman enhanced by her gasps, her excited utterances of glee, and her flicker of self awareness that brings Sharon to exuberant life.

When collected, quiet, and artistic Robyn arrives, Sharon considers how different their worlds are. The Roommate contains as many humorous moments as it does dark ones and a particularly amusing highlight surrounds the two women’s backgrounds. Sharon brows rise when Robyn describes her Bronx background while Robyn becomes startled over potential Iowa tornadoes while Sharon brushes them off. Their quirky, malleable chemistry has a life of its own and it evolves and transforms throughout the play.

The Roommate Paula Plum as Sharon and Adrianne Krystansky as Robyn smoking

Paula Plum as Sharon and Adrianne Krstansky as Robyn Photo courtesy of Lyric Stage Company

Dressed in dark colors and Doc Martins which match her black hair styled in a bob, Adrianne Krstansky portrays Robyn close to the chest, a mysterious, stealthy woman mature beyond her years where every personal detail is a painful revelation. Krstansky gives an understated performance which simmers as the play progresses. Each one of Krstansky and Plum’s conversations is a palpable tug of war, and one can’t help but hope that traditional, sheltered Sharon will somehow win. However guarded Sharon and Robyn are, both are longing to relate to one another and the end result reveals more about themselves than they could have possibly imagined.

The Roommate Paula Plum standing as Sharon and Adrianne Krystansky as Robyn

Paula Plum as Sharon and Adrianne Krstansky as Robyn Courtesy of the Lyric Stage Company

The Lyric Stage Company proudly presents The Roommate continuing through Sunday, November 18 at 140 Clarendon Street in Boston, Massachusetts. Click here for tickets and more information. Subscriptions and dinner packages are also available. Follow The Lyric Stage on Twitter and Facebook for their upcoming productions and more.