Lyric Stage | The Sleepless Critic

REVIEW: Thoughts set adrift and a lady waiting in Lyric Stage’s humorous and ruminating new musical, ‘Penelope’

Posted on February 18 by The Sleepless Critic

So many questions lie in an uncertain future.

Waiting can make you antsy, edgy, and frustrated while fluctuating between hope, anticipation and dread. No one knows waiting quite like Penelope from Homer’s epic work, The Odyssey. From a Cliffside island abode, Penelope waits for years for her husband to come home after the Trojan War with no idea of what’s ahead. However, boasting an eclectic mix of catchy, playful, melancholy and soothing songs, thoughts travel even when the body does not and a lot can happen even while the world is still.

Directed with introspection by Courtney O’Connor with eclectic music direction by Dan Rodriguez, Lyric Stage presents Alex Bechtel’s new musical, Penelope live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, March 1. This stirring and semi-interactive one woman cabaret style production contains adult language and runs 80 minutes with no intermission. Click here for more information and for tickets.

Aimee Doherty in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Homer’s The Odyssey is considered one of the most influential and most read mythological works of all time and has been getting particular attention lately. American Repertory Theater debuted Kate Hamill’s The Odyssey last year and this summer, Matt Damon leads an all star cast in Christopher Nolan’s new adaptation of The Odyssey. The Odyssey explores several significant themes including war, temptation, survival, and redemption, but it is not necessary to refresh yourself on Homer’s work to appreciate this musical. Its focus is less on the plot and its exclusive focus is on Penelope’s perspective, Odysseus’s clever, steadfast, and powerful wife who holds onto hope for Odysseus’s return while touching upon a few themes from Homer’s classic work. Penelope also explores the relatable nature of waiting and looking for answers while facing an unknown future.

Ethan Wood, Dan Rodriguez, Aimee Doherty, Kett Lee in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Illuminated in warm pastels and elegant and detailed oceanic ripples by Karen Perlow, Janie E. Howland’s wooden, wicker and stone set has certainly created a beautiful and inviting sanctuary for Aimee Doherty as Penelope in her Ithaca Cliffside abode in vibrant teal adornments. Mikayla Reid’s breezy costumes further captures the musical’s carefree Grecian façade with the onstage orchestra adorned all in white and Doherty stands out in a flowing burgundy jumpsuit. The manner in which the intimate orchestra take the stage accompanied by Alex Berg’s soothing and sweeping sound design provides comfort and solace and Doherty’s occasional interactions with them feel more like a collaboration than exclusively a one woman musical.

Aimee Doherty, Ethan Wood, Dan Rodriguez in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

However, Penelope’s heavy heart has much to consider in deep reflection in her soaring vocals as she waits for her husband’s homecoming. This musical takes its time, but in a gradual unfolding without dragging. Every moment builds with care. Doherty’s Penelope is clever, frank, graceful, charming and is all too aware of her place in the world in the Bronze Age, even with the show’s contemporary flair. She remarkably evokes her thoughts and a myriad of complex emotions while quietly inviting you on this journey. Doherty’s tense stillness, quiet anticipation, vulnerability and stark loneliness are palpable as her eyes flicker and in a jolting movement, her feelings may sweep over you as well.

Marissa Licata, Aimee Doherty, Dan Rodriguez, Ethan Wood in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

As much as the musical is about the anguish of waiting and suffering as depicted in the frustrating Prayer and poignant number Lose My Mind, Penelope also provides its share of raw and humorous moments in both dialogue and song as demonstrated in the cheeky Drunk Iliad. Funny, soothing, and earnest, Penelope unveils the wonder of the ordinary even if the waiting is the hardest part.

REVIEW: Lyric Stage’s understated ‘Our Town’ makes the everyday extraordinary

Posted on October 15 by The Sleepless Critic

The one constant is change.

Though in a sleepy town like Grover’s Corners, change may not be frequent, but with time, it is inevitable.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s 1938 Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. This classic three-act production is not limited to the stage and runs two hours and ten minutes including an intermission. Click here for more information and for tickets.

Thomika Marie Bridwell* and Amanda Collins* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Our Town is one of the great American masterpieces of our time and holds a special place in my heart. Its subtle yet gripping messages about the circle of life universally resonate and can speak to any generation. I’ve seen Our Town several times before, and yet, every production is its own fresh and unique experience.

An astute play, I believe your perception of Our Town changes as you grow and change. Watching it as a teenager in a school play hits differently than seeing it as an adult and will transform again watching it as an elder. In its simplicity, it carefully unveils life’s profound and fleeting journey while staying relevant for each generation.

Scenic designer Shelley Barish and costumer Rachel Padula-Shufelt embrace its timeless quality by creating a modest yet classic tone in each element of the production. An impressive multipurpose wooden circular structure is the symbolic centerpiece of Grover’s Corners as Deb Sullivan’s rich and stirring lighting comes to life during affective and pivotal moments, especially in a vibrant purple moonlit sky bathed in puffy clouds. Instead of using early 19^th century period costumes, Rachel Padula-Shufelt shrewdly showcases classic Americana attire which includes suspenders, button down shirts, cardigans, stately three piece suits, understated dresses, and baseball and newsboy caps.

WIll McGarrahan* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Using very few physical props, much of the production is traditionally imagined through Will McGarrahan‘s skilled and interactive narration as Stage Manager. His engaging, mirthful and intimate delivery acts as part educator, omniscient narrator, occasional sage commentator, and at times, stepping into the action.

Kathy St. George* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

As much as the show may focus on the residents of Grover’s Corners, New Hampshire, they are second fiddle to the town itself and its unfolding features. Within the town’s examination and analysis starting in 1901, something lies deeper within its quiet beauty and unlocked doors. It also contains a wealth of local references that is not too far from its Boston staging.

Darren Paul, Thomika Marie Bridwell,* Jacob Thomas Less, Kathy St. George,* Amanda Collins,* Jessie Garlick and John Kuntz* in Lyric Stage’s Our Town Photo by Nile Hawver

Whether it’s Josephine Moshiri Elwood as forthright and wondrous Emily or Thomika Marie Bridwell as fanciful Mrs. Gibb, delightful Kathy St. George as inquisitive and precocious Rebecca or Amanda Collins as staunch traditionalist Mrs. Webb or John Kuntz as frank and disheartened Simon Stimson, this wonderful and well cast company authentically explore the small joys, hardships and realities of life with humor, humility and grace. Elwood as Emily and Dan Garcia as George Gibbs particularly share a sweet sincerity and idealistic charm as they discuss their bright futures.

Dan Garcia and Josephine Moshiri Elwood* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Some productions don’t need all the bells and whistles in order to be genuine and Our Town fits the bill through its strong sense of community. In this age where life is becoming more and more digitized, this small town unpacks life’s perplex meaning through connection in an impactful production season by season.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. Click here for more information and for tickets.

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

Posted on June 17, 2025 by The Sleepless Critic

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

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

Aimee Doherty* (Photo by Mark S. Howard)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Lyric Stage Company delves into musical genius Rachmaninoff’s chaotic mind in mesmerizing ‘Preludes’

Posted on January 19, 2023 by The Sleepless Critic

Ever wondered if legendary musicians would still be who they are if they lacked any vices or instabilities? Would they still achieve that same level of success or become even greater?

Some of the most extraordinary musicians also endured turmoil in their lives whether through external circumstances or within the depths of their very being. Most come to the general consensus that the artist simply wouldn’t have that level of genius without everything that came with it. For Russian composer, pianist, and conductor Sergei Rachmanioff, he endured quite a battle on his journey to greatness and his music continues to live on.

Dan Prior and Aimee Doherty in ‘Preludes’ Photo by Mark S. Howard

Directed profoundly by Courtney O’Connor, Lyric Stage Company presents Dan Malloy’s musical Preludes through Sunday, February 5 live and in person at Lyric Stage Company in Boston, Massachusetts. The production is approximately 2 hours with a 15 min intermission. Click here for more information and tickets.

Preludes references Rachmaninoff’s classic works, but the word itself describes what happens before an important event. It delves head first into Rachmanioff’s massive struggle to create which included fear of failure, Marfan syndrome, and mental instabilities that led to his historical writer’s block. Dan Rodriguez’s music direction combined with Andrew Dunkan Will’s complicated, vivid, and occasionally manic sound design illustrates the turmoil and genius of a musician on the brink of something bigger, but struggling to pull through.

Preludes boasts a fascinating cast including Will McGarrahan taking on multiple roles during the production. Wringing his hands, frustrated, and utterly exhausted, Dan Prior embodies frazzled and despondent ‘Rach,’ his world seized by hesitation and regret delivered cleverly in the opening number Your Day. Rachmaninoff battled life through music, but both can become blaringly stringent. Battling all these limiting factors, Rach freezes. Music Director Dan Rodriguez performs double duty depicting the mood setting musical side of pianist Rachmanioff with earnestness and peaks of humor and charm. Keyboardists Bethany Aiken and Mindy Cimini enhance this complex score that keeps up with the chaos of Rach’s mind and the reality surrounding it.

Prior’s subtle yet searing performance delves into a defeated man reaching for a lifeline through therapist Dahl, depicted skillfully by Aimee Doherty with a contemporary vibe in a Pink Floyd T-shirt, black glasses and edgy depth. Doherty’s inquisitive and unorthodox methods may be the calm in the storm. Kayla Shimizu is relatable as steadfast, optimistic, and maybe in over her head Natalya. Shimizu brings a smooth and natural ease to the number Vocalize as well as a powerful and painfully honest rendition of Natalya as she struggles in her limited understanding of Rach’s condition. Shimizu and Prior bring compelling chemistry and connection in their moving rendition of Not Alone.

Dan Prior, Aimee Doherty, Dan Rodriguez and Anthony Pires Jr in ‘Preludes’ Photo by Mark S. Howard

Enhanced by Karen Perlow’s mind bending lighting, Preludes is at times trippy and often teetering between daydream and reality. Highlighted by amazing and intricate choreography, Anthony Pires Jr as Chaliapin slides into an entrancing and catchy Loop with finesse and charisma while blending elegant vocals between jarring beats. It is a standout number that may ruminate long after the show is over. Taking on multiple roles and delivering inspiring and thought provoking pearls of wisdom is Will McGarrahan who portrays a number of dynamic historical figures. McGarrahan’s commanding voice, distinct characterizations, and dark comedic timing make him a treat to watch each time he appears onstage.

Kayla Shimizu, Anthony Pires Jr, Dan Prior, Will McGarrahan, and Dan Rodriguez in ‘Preludes’ Photo by Mark S. Howard

Scenic Designer Shelley Barish’s insightful circular staging moves fluidly with the performers with a piano set perfectly at center stage accented by lilacs, ordered blocks of vibrant colors, and an ever changing, mood-induced colored backdrop. The scalloped trim and soft lighting from various hung fixtures add an eclectic elegance as does the eye popping vintage couch and ottoman.

In some ways, Rachmaninoff’s struggles also made him distinctive. He had Marfan Syndrome which is a genetic disorder that affects the connective tissue of the body and organs. It is a very difficult way of life, but also gave him unusually long fingers. Much of his work is difficult to play because he could reach the piano keys more easily than the average person. This weakness was also a strength and part of what made him seem destined for greatness.

Lyric Stage Company presents Dan Malloy’s musical Preludes through Sunday, February 5 live and in person at Lyric Stage Company in Boston, Massachusetts. The production is approximately 2 hours with a 15 min intermission. Click here for more information and tickets.

REVIEW: Lyric Stage brings beauty and powerful perspective to Sondheim’s ‘Pacific Overtures’

Posted on June 2, 2019 by The Sleepless Critic

Surrounded by wild pink cherry blossoms, Lyric Stage reveals a telling story with Stephen Sondheim’s stirring musical Pacific Overtures, a historical production set in 1853 when a mysterious ship drops anchor on Japan’s remote and tranquil island. Told entirely from Japan’s perspective, it’s an important tale about conflict, betrayal, and the price of progress.

Skillfully directed by Spiro Veloudos, musically-directed by Jonathan Goldberg, and choreographed by Micheline Wu, Lyric Stage presents Stephen Sondheim’s Pacific Overtures through June 16 at 140 Clarendon Street in Boston, Massachusetts. Click here for more information and tickets.

Lyric Stage Pacific Overtures Please Hello

Jeff Song and The cast of Pacific Overtures. Photo by Mark S. Howard.

The Lyric Stage has a knack for surprises. They take on a variety of shows throughout the season, from contemporary to original productions to traditional musicals, but one thing they all have in common is it is hard to imagine how the show will play out onstage. Though rarely performed, Sondheim’s Pacific Overtures is an unpredictable, multi-layered musical that delivers an unforgettable message about power and prosperity.

Between scenic designer Janie E Howland’s hand painted set, the sloping wild pink cherry blossoms, Gail Astrid Buckley’s rich and historically-accurate costumes, and Karen Perlow’s clever light design, Lyric Stage brings to life Japan’s beautiful and increasingly tumultuous landscape. This show does an excellent job at depicting a sympathetic, humorous, and at times, haunting look of how Japan saw the outside world.

Micheline Wu performs a fan Dance Photo by Mark S. Howard

Kai Chao in Pacific Overtures. Photo by Mark S. Howard.

Choreographer Micheline Wu’s reflects Japan’s distinct culture in sharp choreography, integrating samurai tradition while carefully letting a bit of westernization seep in. Kai Chao as relentless Commodore Perry struts into a patriotic, humorous, and cunning Lion Dance while Wu herself, who also depicts Tamate and other roles, captures Tamate’s raw vulnerability in a fan dance during the reflective number, There is No Other Way.

The cast of Lyric Stage’s ‘Pacific Overtures’ Photo by Mark S. Howard

Enthusiastically recited by Lisa Yuen, who was last seen on the Lyric Stage as the mesmerizing Spider Woman in Puig’s Kiss of the Spider Woman, Yuen delicately balances the tale she tells with a mix of humor and urgency, occasionally stepping into the story itself. That could be an awkward transition, but it’s one that Yuen takes on with ease.

Carl Hsu portrays Kayama, a quietly conflicted fisherman thrust into the spotlight to solve a seemingly impossible issue. Hsu’s wistful, soaring vocals reflect his alienation as western culture attempts to take hold in Bowler Hat. Inquisitive and awestruck, he struggles to adjust to Japan’s seeming future.

Lyric Stage Pacific Overtures Carl Hsu and Sam Hamashima

Carl Hsu as Kayama and Sam Hamashima as Manjiro in ‘Pacific Overtures’ Photo by Mark S. Howard

Sam Hamashima portrays Massachusetts fisherman prisoner Manjiro, a man with mysterious intentions. Hamasima and Hsu show low key camaraderie as they improvise together during the number Poems. Gary Thomas Ng takes on several roles, but proves to be at his funniest as the Grandmother in the lighthearted number, Welcome to Kanagawa.

Lyric Stage Pacific Overtures Welcome to Kanagawa

Alexander Holden, Gary Thomas Ng, Karina Wen, and Kai Chao in Pacific Overtures. Photo by Mark S. Howard.

Change can be painful. From a remote, peaceful, self-sufficient island to an economic powerhouse to the home of the 2020 Olympics, Japan has worn many faces and overcame many obstacles. Pacific Overtures depicts the raw emotion and a sympathetic perspective on what that might have felt like along the way.

Lyric Stage continues Stephen Sondheim’s moving musical, Pacific Overtures through Sunday, June 16 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.

REVIEW: Lively and insightful, Lyric Stage Company’s award-winning play, ‘The Wolves’ howls

Posted on February 1, 2019 by The Sleepless Critic

Woven into the lush, green indoor turf is a unique narrative with the clever earmarks of adolescence in Sara DeLappe’s Pulitzer Prize-winning play finalist, The Wolves. Framed as a soccer match, this unconventional ensemble drama kicks off like a rocket, luring the audience into the tumultuous chattering of a competitive, all-girls soccer team who are about to learn a few valuable lessons about life and themselves in and out of the game.

Directed by A. Nora Long, Lyric Stage Company’s The Wolves continues through Sunday, February 3 at 140 Clarendon Street in Boston. The show is 90 minutes with no intermission and contains some mature themes. Click here for more information and tickets.

Photo courtesy of The Lyric Stage Company of Boston

Taking place entirely in an indoor soccer arena, Shelley Barish and Elizabeth Cahill’s exciting setting fits into the team’s boundless energy. Sports fans take note: Trained by soccer consultant Olivia Levine, The Wolves are the real deal, showing off authentic as well as physically complex moves throughout the performance.

What makes this show particularly interesting is the remarkable way the story is told. With a 90 minute running time matching the length of an average soccer match, a horn blaring not only kicks off the latest match within the performance, but sometimes humorously ties in to interrupt a heated conversation. As the audience as spectators peek into this team’s lives, the progressive nature in which they learn discipline, tolerance, and how to listen to each other is subtle, yet one of the most powerful parts of this compelling narrative.

Cast consists of Lydia Barnett-Mulligan, Sarah Elizabeth Bedard, Simone Black, Olivia Z. Cote, Chelsea Evered, Grace Experience, Julia Lennon, Valerie Terranova, and Jurielle Whitney Photo courtesy of Lyric Stage Company

These teammates have a natural and at times, rumbling chemistry in their uninhibited conversations. Whether they are delving into gossip around school, technology, getting their driver’s permits or scandalized by their maturing bodies, their viewpoints stay consistent with their level of maturity (right down to the abuse of the word, “like”) which can sometimes be insightful and other times, hilarious.

Though each cast member exhibits their own distinct personality in their matching uniforms, Valerie Terranova, who is making her debut on the Lyric Stage with this show, is a particular highlight as serious, optimistic player #25. The wise, unassuming way she leads the team shows that while the other girls may only see what is right in front of them, #25 sees where the game might take them, united, one victory at a time.

Laura Latreille (Soccer Mom) and cast Photo courtesy of Lyric Stage Company

Simone Black as #00 Photo courtesy of Lyric Stage Company of Boston

The Wolves may even serve as a nostalgic trip down memory lane, when you were a teenager and everything was the best thing in the world or the worst, the raging excitement of life. It may even leave you scratching your head, trying to recall if being a teenager girl was really like this. The undeniable answer, for the most part, was yes.

The Lyric Stage Company continues Sara DeLappe’s The Wolves through Sunday, February 3 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.

Review: Packed with inspiring music, Lyric Stage Company and Front Porch Arts Collective’s ‘Breath and Imagination’ soars

Posted on December 14, 2018 by The Sleepless Critic

It often takes a village to become great. In Daniel Beaty’s Breath and Imagination: The Story of Roland Hayes, lyric tenor and composer Roland Hayes embarks on a tremendous journey from a shy, sulky church boy to the trials and sacrifices that were made in order for him to become an established singer. He was often plagued by insecurity and faced backlash in many forms, but the heart of this piece lies in the ones who believed in him even when he wasn’t sure how to proceed, ultimately proving, as the production proclaims, “pain and promise make you great.”

Co-produced by Front Porch Arts Collective, directed by Maurice Emmanuel Parent, and musically directed by Asher Denburg, Lyric Stage Company proudly presents this interactive, uplifting musical helmed by a stellar cast, Daniel Beaty’s Breath and Imagination: The Story of Roland Hayes continuing through Sunday, December 23 at 140 Clarendon Street in Boston, Massachusetts. This is a 90-minute musical with no intermission. Click here for more information and for tickets.

Front Porch and Lyric Stage Breath and Imagination Asher Denburg and Davron S. Monroe

Music Director Asher Denburg and Davron S. Monroe Photo courtesy of Lyric Stage Company of Boston

Packed with impressive performances, Breath and Imagination is an important musical, especially fitting for Boston since Roland Hayes is the first soloist of color to perform at Symphony Hall. Accompanied by a grand piano sitting in front of an illuminated, sliding paneled backdrop, this interactive, concert musical draws the audience into the performance with its small and mighty cast.

If I thought Davron S. Monroe was terrific in Lyric Stage’s Kiss of the Spider Woman or on the Company Theatre stage in the powerful musical, Ragtime, nothing could quite prepare me for the magnificent performance he delivers as lyric tenor and composer Roland Hayes. Not only does Monroe beautifully depict Roland Hayes’s journey as he matures from a humble childhood in a wool cap to adulthood in bow tie and tails, he also shows Hayes’s progressive vocal maturity, his powerhouse vocals rising to new, complicated heights as he masters everything from spiritual hymns to internationally-renowned classical works.

Guiding him on this audacious journey is his no nonsense, strict, and faith-filled mother, Angel Mo’, portrayed by Yewande Odetoyinbo in a captivating performance that makes it easy to see where Roland Hayes gets his inspired vocal chops. Odetoyinbo as Angel Mo’ is fierce yet humble, a quick witted woman in a shawl who shows Hayes what is truly important in life and song. She reflects the pain of her past and the weight of the immense obstacles in front of her, but consistently holds her own with faith and love.

Front Porch and Lyric Stage Breath and Imagination - Davron S Monroe, Yewande Odetoyinbo and Nile Scott Hawver

Davron S. Monroe as Roland Hayes, Yewande Odetoyinbo as Angel Mo.’ and Nile Scott Hawver Photo courtesy of Lyric Stage Company of Boston

Odetoyinbo and Monroe teamed up earlier this year in Lyric Stage’s spring musical, The Wiz and their sweet chemistry make it no surprise they are collaborating again. Much of this musical tackles the highs and lows of their relationship as he makes his way into the world.

Rounding out this stellar cast is Doug Gerber as Mr. Calhoun and Nile Scott Hawver, who portrays multiple roles seamlessly from a preacher to a teacher, his enthusiasm makes way for some exciting, touching, and humorous moments.

Front Porch and Lyric Stage Breath and Imagination - Asher Denburg, Doug Gerber, Nile Scott Hawver, Davron S. Monroe and Yewande Odetoyinbo

Asher Denburg, Doug Gerber, Nile Scott Hawver, Davron S. Monroe and Yewande Odetoyinbo Photo courtesy of Lyric Stage Company of Boston

Enjoy the Lyric Stage Company and The Front Porch Arts Collective’s compelling musical, Breath and Imagination: The Story of Roland Hayes at 140 Clarendon Street in Boston, Massachusetts through Sunday, December 23. Click here for more information and tickets. Follow The Lyric Stage on Twitter and Facebook for their upcoming productions and more.

REVIEW: Lyric Stage’s ‘Kiss of the Spider Woman’ spins a fascinating web

Posted on September 13, 2018 by The Sleepless Critic

The Lyric Stage’s powerful musical, Kiss of the Spider Woman, with music by John Kander and lyrics by Fred Ebb, proves escape can take many forms. Much like Kander and Ebb’s previous works such as Chicago and Cabaret, Kiss of the Spider Woman delves into equal parts fantasy through lavish dance numbers and brutal reality as two very different men are cellmates in a Latin American prison. Directed and choreographed skillfully by Rachel Bertone, Kiss of the Spider Woman is not just a gripping tale about surviving under profoundly dark circumstances, but an emotional journey, keeping the audience guessing to each character’s complex motives.

Eddy Cavazos and Luis Negron as Warden Photo courtesy of the Lyric Stage

The prisoners Photo courtesy of the Lyric Stage

Lisa Yuen as Aurora/Spider Woman Photo courtesy of the Lyric Stage

Kander and Ebb’s Kiss of the Spider Woman continues at the Lyric Stage in Boston, Massachusetts through Sunday, October 7. Click here for tickets and more information.

What makes this show particularly fascinating is Bertone’s talent for depicting mounting tension, evident between each character who all share some sort of connection. Lisa Yuen embodies the Spider Woman/Aurora with dark humor and beguiling charm, a presence who sees and knows all as she proclaims, I Do Miracles. Her haunting vocals are a magnetic presence as she slinks onstage. Her dazzling, alluring costumes vary from a shimmering, translucent gown to a bright, multi-colored Bird of Paradise.

Lyric Stage - Cuadros, Yuen, Cavazos, Gamble, Baldassaro

L to R: Arthur Cuadros as Gabriel, Lisa Yuen as Aurora, Eddy Cavazos as Molina, Taavon Gamble as Valentin, and Bernie Baldassaro as a prisoner Photo courtesy of Lyric Stage

Portraying the two cellmates are Eddy Cavazos as imaginative, openly gay window dresser Molina and Taavon Gamble as gruff revolutionary Valentin. Dressed in a bright scarf and silk robe, Molina is often sinking into his own vivid imagination recalling his favorite film star, Aurora (Lisa Yuen). Cavazos portrays Molina as exceedingly optimistic, vain, and wildly dramatic. However, with an occasional far off glance or a brief, mournful smile, Cavazos also reveals Molina’s palpable loneliness, wearing his heart on his sleeve. He and Johanna Carlisle-Zepeda as Molina’s cherished mother share sweet moments, especially during the number, Dear One and You Can Never Shame Me.

Lyric Stage - Cavazos, Carlisle-Zepeda, Zofia, Gamble

L to R Eddy Cavazos as Molina, Johanna Carlisle-Zepeda as Molina’s Mother, Katrina Zofia as Marta, and Taavon Gamble as Valentin Photo courtesy of the Lyric Stage

Taavon Gamble is also impressive as proud, indignant revolutionary Valentin, a man of few words. His stirring number, The Day After That, offers immense insight into Valentin’s visceral strength. Cavazos and Gamble’s scenes together are riveting, both delivering shrewd and gritty performances.

Lyric Stage - Gamble, Cavazos with prisoners

Taavon Gamble as Valentin (center), Eddy Cavazos as Molina and prisoners

Musically directed by Dan Rodriguez featuring songs ranging from haunting to catchy, Kander and Ebb’s Kiss of the Spider Woman continues at the Lyric Stage, 140 Clarendon Street in Boston, Massachusetts through Sunday, October 7. 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.