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REVIEW: ‘Driving in Circles’ a winding and resilient concert journey at Boston Playwrights’ Theatre

Posted on 21 Days Ago by The Sleepless Critic

Now here is something refreshingly different.

Directed with energizing flair by Sam Plattus, innovative sound design by Gage Baker and cleverly written and performed by Jay Eddy, Boston Playwrights’ Theatre presents Driving in Circles live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Saturday, April 6. This new, deeply personal concert-style work is 100 minutes with no intermission. Click here for more information and for tickets.

Jordan Palmer Zach Fontanez and Jay Eddy in Driving in Circles Photo credit to Scornavacca Photography

Infusing storytelling, relatable humor, and a fascinating blend of hard hitting and uplifting original music, Everett-born Jay Eddy as Jill/Bill is a witty individual who has faced a daunting set of physical and emotional challenges at a young age. Eddy is raw, honest, funny, and self deprecating tackling trauma at its core as well as the aftershocks of these events demonstrated in a catchy opening number that explains how to survive an earthquake. Eddy counts backwards in time at the prevalent ages in which Eddy endured these hardships.

Jay Eddy on guitar in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Scenic designer Danielle DelaFuente with set construction by Carly Stegall has fittingly set up a highway rest stop with a dart board, colorful vintage license plates and vinyl records. A hanging pink bathrobe is just one of the significant Easter eggs shown on Eddy’s reflective journey. Wearing red eye shadow and white boots, Jay Eddy, keyboardist Jordan Palmer, and guitarist Zach Fontanez sport similar blue uniforms by costume designer Eric Tran as they perform on a staged road while lighting designer Kevin Fulton sets an atmospheric vibe including twinkling lights and multicolored linear array lights that illumine each performer’s space.

Jay Eddy sharing a humorous weather report in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Driving in Circles is essentially an emotionally-charged concert road trip through a variety of beautiful and traumatic events that have shaped Eddy’s life. It is powerful, sad, and disturbing at times, but is also hopeful, charming and lighthearted on this unpredictable road to healing. This is not lighthearted fare and the material is a bit too serious to be considered standup, but Eddy’s enthusiasm and interactive style is relatable, warm, sincere, and funny. Sharing home movies creatively projected by Maria Servellón, Eddy is not limited to the stage and engages the audience in a compelling manner that makes you feel a part of her journey brimming with detours, twists and turns on past road trips and misadventures that include destinations such as Seattle, Nashville, Vermont and Maine. Driving in Circles contains plenty of local references and Eddy shares a compelling and relatable tale getting lost on the road in what should have been a simple trip to the dentist.

Jay Eddy in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Eddy’s original electronic music is performed on the spot as lead vocals in a three piece band. Eddy is a master on the audio board expertly delivering vocals and sound effects while keyboardist Jordan Palmer and guitarist Zach Fontanez enhance this dynamic blend of lively songs. Eddy is a powerful, edgy and expressive singer and it is amazing to listen to it navigated through the audio board, but Eddy’s bare vocals are also incredibly affective. Shrill Woman, Time Traveler, Another Day, the soothing You’ll Feel Better with Fontanez delivering a notable guitar solo, uplifting The Dog Days of Summertime and hopeful The World is Ending Anyway are just a few highlights.

Jay Eddy in ‘Driving in Circles’ Photo Credit Scornavacca Photography

A perceptive work with plenty of heart, Driving in Circles is a powerful and original work about resilience and hope even through harrowing events. Eddy demonstrates music’s healing power through art as well as the music that helped Eddy cope from artists such as Simon and Garfunkel and Tom Petty. After all, Driving in Circles can still lead to beautiful destinations.

Jordan Palmer, Jay Eddy, and Zach Fontanez in ‘Driving in Circles’ Photo credit to Scornavacca Photography

REVIEW: In Company Theatre’s ‘Misery,’ fandom takes a dark turn

Posted on October 19 by The Sleepless Critic

Think of something so exciting and beloved to you that it may even teeter beyond reason.

To Annie Wilkes, a particular book series by Paul Sheldon is so real to her and brings immense joy to her lonely existence. That is until she encounters that author face to face.

Sharply directed by Michael Hammond on the eve of Stephen King’s 50^th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.

Company Theatre presents ‘Misery’ Carol Laing Stearns as Annie Wilkes and Joe Siriani as Paul Sheldon Photo by Zoe Bradford

Fear not.

Misery is written by Stephen King, but is much more of a psychological thriller than horror, with only a few squeamish exceptions.

King’s well known books such as The Shining, Carrie, Pet Cemetery, Salem’s Lot and It are tales that might conjure up a nightmare or two, but Misery rides much more on tension than gore. It also could stand as a personal account for King. Though the book takes place in snowy Colorado, director Michael Hammond wisely added a more personal touch by moving the production to fellow New England state Maine where several of King’s novels are set and where King himself resides. Oh, and Misery is also about an author and his number one fan.

Aside from being a horror mastermind, King is an intuitive observer of the dark recesses of the human condition which is one of the keys to his long term success. It is wonderfully evident in The Body (King’s novella that became the film, Stand by Me), The Shawshank Redemption, The Green Mile, and Hearts in Atlantis. Misery does not address supernatural or mythical monsters, but is a cautionary tale of obsession, loneliness, isolation and infamy while also delving into two characters tied together by literature deep in the woods of Silver Creek, Maine.

Company Theatre presents ‘Misery’ with Joe Siriani as Paul Sheldon Photo by Zoe Bradford

Misery is also popular as the acclaimed film that shot first time leading actress Kathy Bates to stardom and to her first Academy Award in 1990. Famous novelist Paul Sheldon, portrayed by James Caan, gets into a car crash in a snow storm. Former nurse Annie Wilkes, portrayed by Kathy Bates, rescues him and takes him to her remote cabin to recover. Buster, depicted by Richard Farnsworth, is investigating Paul Sheldon’s mysterious disappearance.

A trio of pivotal actors drives this intense and mysterious tale led by Carol Laing Stearns as Annie Wilkes. King drew inspiration from a real person for Wilkes and Stearns makes confiding, matronly, condescending and delusional Annie Wilkes her own, though Stearns’s drawl and some inflections resemble Bates’s depiction. Stearns delivers a chilling performance as she partakes in psychological gymnastics with Joe Siriani as famed author Paul Sheldon. The two have potent adversarial chemistry and though tough guy James Caan was known for his powerful and fierce acting roles, Joe Siriani depicts Paul Sheldon as a more sympathetic, self effacing, yet moody character. A particular highlight is Stearns and Siriani’s darkly humorous depiction of Sheldon’s agonizing writing process which surely drew on King’s own experiences and Stearns’s quick thinking in handling a technical issue. Peter S. Adams amplifies the production’s dire tension as suspicious, yet affable Buster who pops in from time to time.

The Company Theatre presents ‘Misery’ with Carol Laing Stearns as Annie WIlkes and John Stamos as Barkley

With weathered floral wallpaper, a large wooden cross, vintage candelabra, and dark floor paneling, set designer Ryan Barrow reflects Wilkes’s fondness for the past in a detailed, rustic, dilapidated and functional remote cabin with complete front porch surrounded by evergreen trees. Scattered about the cabin are Easter eggs from the book and film including a couple of pig statues in the dining room and bedroom. Dean Palmer Jr’s dynamic lighting demonstrates not only extreme weather conditions and the passage of time through a secluded window, but a creepy foreboding subtly lurking throughout the production. Sally Ashton Forrest’s darkly humorous sound design is peppered with vintage classic tunes that articulate each scene and along with Cathy Torrey’s regional costume design including plaids and boots and realistic makeup, these elements complete the stark isolation prevalent in the deep woods of Maine.

As a book lover, writer, and someone who has loved something that teeters beyond reason, Stephen King’s Misery is a suspenseful and dark tale of what happens when that love goes awry.

Sharply directed by Michael Hammond on the eve of Stephen King’s 50^th anniversary as an author, The Company Theatre presents Stephen King’s Misery by William Goldman live and in person at the Company Theatre in Norwell, Massachusetts through October 29. The show is not for children. Click here for more information and for tickets.

REVIEW: Merrimack Repertory Theatre’s quintessentially local ‘A Woman of the World’ fascinating and full of surprises

Posted on May 23, 2021 by The Sleepless Critic

Scandalous secrets unfold and things are not what they seem in Merrimack Repertory Theatre’s (MRT) quintessentially local and fascinating production of A Woman of the World by Rebecca Gilman streaming on demand through Sunday, May 30. Partnering with the Emily Dickinson Museum and directed cleverly by Courtney Sale, this one-woman show led by Massachusetts native Denise Cormier lights up the stage with natural charisma as enigmatic lecturer and historical figure Mabel Loomis Todd. She claims to bring insight into the real life of the late, renowned poet Emily Dickinson, but what she unveils is so much more.

It was wonderful to see another production from MRT filmed onstage. A Woman of the World also offers plenty of local references such as Harvard, MIT, the New England Conservatory, Boston, Amherst and the surrounding areas. The show contains some hinted adult themes. Click here for more information and for tickets.

Denise Cormier in MRT’s ‘A Woman of the World.’ Photo: Kathy Wittman/Merrimack Repertory Theatre

Scenic designer Bill Clarke and Original Music/Sound Designer David Remedios seamlessly combine the inviting comforts of home with the sights and sounds of a serene Maine setting. However, don’t let the serenity of this island home fool you. Mabel gears up for a quiet storm as the sound of the wind and crickets fill the air.

From welcoming to haunting, Carolina Ortiz Herrera’s soft, dynamic lighting not only transforms each mood in an instant, but does more so with Cormier. At first Denise Cormier as Mabel seems a lively, well-to-do speaker with well coiffed blond hair, but as the show progresses, the subtle lighting reveal tinges of gray.

Though it is a one-woman show, other “cast members” such as Mabel’s daughter Millicent is addressed offstage. Delivering a multi-layered performance, Mabel’s charm to win over her audience first comes off as egotistical, but gradually becomes earnestness and she soon seems like an old friend. Nothing short of a captivating showman, a warm and inviting presence, but the guarded moments intertwined in her storytelling is the stuff that keeps you hooked and her drifting reflections are when the show truly hits its stride. Having had a stroke, Mabel is also somewhat an unreliable narrator in more ways than one.

The show tackles relatable issues on feminism and Cormier as Mabel may make you root for her one moment and against her the next. However, she’s a survivor and an enigma ahead of her time.

Merrimack Repertory Theatre’s production of A Woman of the World by Rebecca Gilman is streaming on demand through Sunday, May 30. Following the production is a short interview between director Courtney Sale and Denise Cormier on the inspiration behind the show. Click here for more information, tickets, and for more about the Merrimack’s Repertory Theatre’s season.

Childsplay’s Artistic Director Bob Childs talks new album, ‘The Bloom of Youth’ and how one violin changed his life

Posted on November 19, 2018 by The Sleepless Critic

It all started with a fiddle. Childsplay’s Artistic Director Bob Childs didn’t realize over 40 years ago when he entered a shop in Maine to have his violin fixed, it would be the start of something that would change his entire life. Featuring a long list of award-winning musicians from across the country and beyond, internationally-touring Childsplay recently released their latest album The Bloom of Youth. Click here for more information and for tickets.

Artistic Director and violin maker Bob Childs talks about creating Childsplay’s unique sound, making 160 violins, their latest album, and the lasting friendships he has made through music. He has a shop in Cambridge, Massachusetts.

Sleepless Critic: What is it about the fiddle that appeal so much to you?

Bob Childs: I worked my way through college as a carpenter and my first job out of college was in Maine selling furniture. In 1976, I took my violin for repair to an old violin maker, Ivy Mann, because I thought about playing Irish fiddle music.

When he repaired my instrument, he asked me when I was coming back. I had no concept of what he was saying so I said I wasn’t sure. He pointed at this wood he put on his bench and said that he would love to teach me violin making because he was in his 70s and was ready to pass on information before he stopped working. I was 22 and I decided why not.

Training as a violin maker involved six years of apprenticeships and some journeymen work since it is a European instrument. I worked with two violin makers who were training in Germany and then ended my journeyman work in Philadelphia, Pennsylvania where I worked for a shop that mainly worked with the Philadelphia Orchestra.

SC: With the band and everything, Maine seems to be a center point in your life.

BC: Maine is an incredible place not just for the land’s beauty, but for the great music. I really cut my teeth on music and got to know a lot of the old musicians there. We always sell out the shows in Maine and the audiences are incredibly enthusiastic. Even though I am down in the Boston area, some family members still live there and I think at least three or four of the musicians also have Maine roots.

When I left Philadelphia, I came here in 1986 and the band has been together since 1988. When Childsplay first started playing together, a woman in Washington D.C. wanted me to play in a fiddle concert when I was working in a shop in Philadelphia. I said yes and she said that the name of the band is Childsplay because everyone in the band is going to be playing one of your instruments. We had an amazing time and it’s been over thirty years of playing music together.

SC: Childsplay also features many performers.

BC: Yes and I have made over 160 violins. Most of my instruments have gone to classical musicians and I’ve always built an instrument for somebody with them in mind. So, I’ve gotten to know so many incredible musicians and they are great friends.

Childsplay’s latest album Photo courtesy of Childsplay

SC: The Bloom of Youth is your latest album and features some beautiful music. Big acts like U2 and Bruce Springsteen have snuck right through to perform there. One of your DVD sets features a live performance at the Somerville Theatre.

BC: Yes, the first DVD set was filmed at the Somerville Theatre in the late ‘90s. The second one was made at the Zeiterion Theatre in New Bedford, Massachusetts in 2013. That film in particular had great success and was picked up by NPR, PBS, and has been shown on pretty much every station in the country.

I think if people attend a Childsplay concert, they really get into the spirit! The musicianship is unsurpassed featuring All-Ireland Fleadh champions, two national Scottish fiddle champions, and Boston Symphony players, but the best part is the band’s energy. You can feel it live, on the DVDs, and Bloom of Youth because it is dynamite.

SC: I understand your latest album, The Bloom of Youth is also your final album.

BC: It’s our seventh album and our last album because after next year, we are going to stop touring as a band for a number of reasons. One is because tour costs are incredibly high. There’s 21 musicians, five on the production team plus all the other expenses. Next year will probably be our last year of touring and I hope people will come out and honor the incredible musicians that have been part of the band and the music we have created together.

SC: I’ve listened to the album and I really like the joyous rhythms of Buddy Strathspey and Noodle Vendor’s plucking rhythm.

BC: Shannon Heaton, an amazing composer and flute player who we get to perform with, put together The Noodle Vendor. She lived in Thailand for awhile and the music she created was a unique cross between Irish and Thai music. Hanneke Cassell put together Buddy Strathspey. We both play two other tunes together on the album. When you hear Childsplay, you hear interesting rhythmic elements and these great harmony layers create a unique sound.

SC: What is the inspiration behind this new material and what do you think sets this album apart from previous albums?

BC: We share the stage and the CD with Karan Casey, the most amazing singer from Ireland. When we first started making our CDs and playing music, we didn’t have a vocalist with the band and it became clear to me when someone made the comment, ‘Out of all the instruments, the violin is the one that sounds most like the human voice.’ I realized that we should add vocals.

In Bloom of Youth, Karan came over from Ireland and she’s touring with us. We cover some of her songs, what she’s written, and others that she’s brought to the band. All the arrangements were done by Childsplay members Hanneke Cassel, Keith Murphy, and Bonnie Bewick so we had a lot of fun in making this last album.

SC: One of the tracks with Karan’s vocals, Where are You Tonight I Wonder is lovely. It’s like a little lost love song.

BC: Andy Stewart from Silly Wizard wrote it in Scotland shortly before he passed away. It’s a beautiful song and Karan’s voice is absolutely stunning. The song is meant for a lost lover and her singing in the band really conveys that blue feeling you get when a relationship ends.

Award-winning Mastering Engineer Bob Ludwig has mastered so many great albums such as U2 and Springsteen. He mastered our album as well and he played Karan’s voice right in the center of the sound. It is absolutely magical to hear that and understand how he really had the ear to make that happen.

We also offer free fiddle lessons. Different members of the band give fiddle lessons and people can go to the website and download them. We’ve had a half million people do that over the years.

SC: You guarantee we’ll be experts at it in the end.

BC: I’ll do my best to help you.

SC: The band has evolved so much over the years. How do you feel about how the band has come along?

BC: It’s an inter-generational band with the youngest member 17 and the oldest person in their 70s. More than that, there is a maturity that comes from years of playing together. The band members have been together over 20 years and there is a sound that emerges over time. I started making violins in ‘83 and I first started in ‘76. Not until ‘83 did the violins start sounding like how I made them. It takes several years of playing together to develop an ear for each other and a real sense of creating our sound and that has happened. I’m so proud of the band! It’s remarkable to be onstage and see the audience receiving and reacting to the music.

SC: What do you hope people will take away from your music or when they attend a live show?

BC: The one thing I hope to convey to people through our music that it’s possible to create things yourself. As Karan Casey wrote in her liner notes, ‘Childsplay is an exercise in democracy. There’s no one leader in the band and everyone takes turns leading and it’s a real creative process.’

I’m hoping when people are moved by our music and its creativity, they’ll be inspired to make their own music or do something creative to add to the world. The world is in very difficult times right now and I’d rather have a legacy making beautiful things and connecting people.

Click here to learn more about Childsplay, their tour schedule and how to get The Bloom of Youth which is also available on ITunes and CDBaby. Follow Childsplay on Facebook or all their latest updates.