The expression, ‘Out with the old, in with the new’ takes on new meaning for Umbrella Stage Company’s dynamic musical, Head Over Heels, a gender-bending jukebox musical comedy which includes a case of mistaken identity that integrates the renaissance with contemporary themes and the 80s in Arcadia, a land that thrives on a beat. If that seems like a lot, it’s because this ambitious show tackles a lot in its approximately 2-hour time frame.
The cast of ‘Head over Heels’ Photo courtesy of Gillian Mariner Gordon/Umbrella Arts
With resourceful direction by Brian Boruta, The Umbrella Stage Company presents Head Over Heels the Musical live and in person at the beautifully-renovated Umbrella Arts Center, 40 Stow Street in Concord, MA through Sunday, May 8. This show may not be appropriate for young children. Click here for more information at for tickets.
Who else to handle a beat but the Go-Gos! Following a string of jukebox musicals such as Jersey Boys, Mamma Mia! (featuring music from Abba), Movin’ Out (featuring music from Billy Joel), Good Vibrations (featuring music from the Beach Boys), Moulin Rouge and Priscilla, Queen of the Desert(both which deliver covers of contemporary pop songs), 80s pop princesses the Go-Gos handle this production’s unique beat. This lighthearted show highlights many of the Go-Gos snappy, feel-good numbers such as Vacation, Our Lips are Sealed, Head Over Heels, and We Got the Beat along with some lesser known tracks that don’t land as well.
Kai Clifton as Pythio and cast Photo courtesy of Gillian Mariner Gordon/Umbrella Arts
Head Over Heels is lively and cheerful in presentation from overhead neon lights, versatile surrounding white columns, and a live band veiled behind translucent curtains onstage by set designer Janie Howland to bold and bright period costumes in pink, green, and yellow weaving 80s glam with a rock-n-roll edge by Brian Simon and Johnny Cagno to the rollicking, up-tempo choreography by Lara Finn Banister.
Temma Boudreau as Philoclea and John Breen as Musidorus Photo courtesy of Gillian Mariner Gordon/Umbrella Arts
Based loosely on Sir Phillip Sidney’sThe Arcadia, Head Over Heels is a farce that follows a few Arcadian love stories with one taking a cue from Shakespeare as love struck shepherd Musidorus, portrayed by John Breen, must disguise himself in order to gain approval to marry Princess Pilocleas, portrayed by Temma Beaudrea. Beaudrea and Breen have a brimming, awkward, and excitable chemistry as they fight not only the royal rules, but the predictions from a mysterious oracle that ultimately sees the kingdom’s demise unless things change. Meanwhile, Philocleas’s sister, Pamela, portrayed with humorous narcissism by Bri Ryder, is proclaimed fairest in the land, but a groom might not be what she has her sights on after all.
Damon Singletary as Basilius Photo courtesy of Gillian Mariner Gordon/Umbrella Arts
Damon Singletary as King Basilius brings gravitas and humor to the king’s bombastic nature while Kate Pickett’s flirty and dry sarcasm makes Gynecia a scene stealer. Robert Saoud as Dametas portrays the sympathetic and seemingly sole voice of reason. While the majority of the characters are so fixated on what each of them wants, Dametas and Kai Clifton, a commanding presence as Pythio, may be the only ones capable of seeing the bigger picture. Singletary and Saoud deliver some amusing scenes together as they share differing outlooks on this kingdom’s shaky ground.
Katie Pickett with cast Photo courtesy of Gillian Mariner Gordon/Umbrella Arts
The humor ranges from irreverent to absurd to charming. Head over Heels makes some deliberate and clever points in its storytelling, but can get more fixated on what each character stands for rather than giving the characters more depth. However, If you enjoy a frivolous farce dipped in 80s nostalgia, this “trifle” as Sir Phillip Sidney has called his prose, this one may be for you.
The Umbrella Stage Company presents Head Over Heels the Musical live and in person at the beautifully-renovated Umbrella Arts Center, 40 Stow Street in Concord, MA through Sunday, May 8. This show may not appropriate for young children. Click here for more information at for tickets.
Sleepless Critic had a chance to interview Zoe Bradford about the Company Theatre’s upcoming projects, their vision for the future, and even walked away with some good advice. Click here for the full list the Company Theatre’s 2020 season.
Company Theatre co-founders Jordie Saucerman and Zoe Bradford, courtesy of Company Theatre
Sleepless Critic: Congratulations on Company Theatre’s recent 40th anniversary. So much has happened in the last few years from the upgraded, painted theatre with new seating to new, original productions. Please tell me more about that.
Zoe Bradford: Now that the theatre is beautiful, we’re envisioning the potential of our outdoor property. We’ve done a lot with Academy of the Company Theatre (A.C.T.) with an expanded outdoor stage and new pavilion. We have a growing summer program that has been at full capacity. Not only do we need more space and with everybody addicted to their screens, I believe in getting kids outside. We have a path to the pond front and we’ve held classes there for water coloring and creative writing.
A group of past A.C.T. students Photo courtesy of The Company Theatre
Freedom for creative expression has been the key for me, so I know it is the key for them. It’s why I desperately wanted my own theatre and thank God it happened. It’s not stimulating to work in the confines of another person’s building or organization. That’s one of the draws here.
SC: You once said you chose popular shows that sell, but in the last few years, The Company Theatre has been delving into uncharted waters a bit with musicals such as Carrie the Musical,Lizzie Borden, and American Idiot.
ZB: It’s financially difficult to do that, but we are trying to give the young people what they want. Lizzie Borden went well because people love local history and some said they have been to her house. It’s a gruesome tale, but it was also a nice psychological thriller.
We changed how we choose our shows a little, but we still have to please our general audience and offer something for the family, something mature, and our team knows their demographic well and what will be successful.
I’m passionate about big musicals and there’s nothing like the thrill of a live orchestra. People in the professional theatre world, mentors, and colleagues say they will put eight pieces in here and do a lot of synthetic and prerecord. You can make a lot of money that way, but we can’t do that. Michael Joseph said that is standard while he was here and we’ve maintained it.
SC: What shows do you still dream of doing?
ZB: I’d love to do Wicked, The Hunchback of Notre Dame, and I’m also waiting to do Mamma Mia!We’ll get to it. It’s all about rights and I’m sure there are new shows coming out that I’d love to get my hands on.
As a non-profit, whatever comes in has to support what we are doing and help us be self-sustaining. Grants, gifts, and tax deductible donations are the key. We have better opportunities for community support such as new packages for corporate sponsorship due to having higher end computer capabilities, a better website, and a ticketing service that allows people who wish to support us to advertise.
SC: What has been your most challenging musical?
ZB:The Wizard of Oz because the movie is a masterpiece and any derivation from the film would be a disappointment for those who truly love it. People would fight me on that, but if you take on The Wiz, you can do what you want because no one has a preset notion of it.
Company Theatre’s ‘The Wiz’ auditions will be held on January 22. Photo courtesy of the Company Theatre
SC:The Wiz is also part of Company Theatre’s 2020 season. What advice would you give someone taking on a business in theatre or similar?
ZB: It’s highly competitive. Know your vision, don’t give up, and try to think of something that someone else hasn’t already thought of. Be fresh and original when you can and make sure people know of your existence without being obnoxious about it. We still struggle with it. Some people say they didn’t know a theatre is here.
SC: What do you envision for the Company Theatre’s future?
ZB: We have to keep growing and we set up the Legacy Fund. Our money rolls in and out with the tide as any non-profit would, but we’re actively fundraising to ensure another 40 years and beyond.
For over ten years, I’ve wanted to design a new logo. I remember sitting at a little drafting table back in the 70s and hand drew it when we didn’t have any money or resources.
With art being cut in classrooms and attending theatre in Boston can be so expensive, we’re looking to keep this going so it’s accessible for everyone and expand. I can see us taking on more property and A.C.T. quadrupling over the next ten years. We’re not a community theatre anymore, but a year round professional and we’ll evolve again. We provide many jobs for people, but the other part of my vision is to create more jobs for artisans in the area. The more people that are working and inspiring people, the better.
Photo courtesy of the Company Theatre
The Company Theatre kicks off their 2020 season with A.C.T’s The Who’s Tommy from January 17 through January 26. Click here for tickets and here for more on Company Theatre’s 2020 season. You can also get tickets by calling the box office at 781-871-2787. Located at 30 Accord Park Drive in Norwell, Massachusetts, click here for how to support the Company Theatre and be sure to follow them on Facebook, Twitter, and Instagram.
For Performing Arts news, interviews, reviews, and much more in Boston and beyond, follow us on Facebook @sleeplesscritic and subscribe.
Underneath a tent on a bright summer day, Company Theatre’s co-founder Zoe Bradford, enthusiastic and smiling, has a lot to celebrate. The award-winning Company Theatre is as busy as ever as they prepare to open their 40th season with beloved musical, Ragtime July 27. Click here for more information and tickets.
Zoe reflects on how Company Theatre has evolved over the years and her extraordinary vision for the future which goes well beyond their 2.3 acres in Norwell, Massachusetts.
A.C.T. Summer Workshop, 2014 Photo courtesy of The Company Theatre
A glimpse at the Academy of the Company Theatre Photo courtesy of Jeanne Denizard
Company Theatre co-founders Jordie Saucerman and Zoe Bradford, courtesy of Company Theatre
Sleepless Critic: Congratulations on Company Theatre’s 40th anniversary. Even in the last five years, so much has happened from the upgraded, painted theatre with new seating to new, original productions. Please tell me more about that.
Zoe Bradford: Now that the theatre is beautiful, we’re envisioning the potential of our outdoor property. We’ve done a lot with Academy of the Company Theatre (A.C.T.) having an expanded outdoor stage and new pavilion. Our growing summer program is currently at capacity with 200 kids. Not only do we need more space and with everybody addicted to their screens, I believe in getting kids outside. We now have a path to the pond front and we’re holding classes there for water coloring and creative writing.
Freedom for creative expression has been the key for me, so I know it is the key for them. It’s why I desperately wanted my own theatre and thank God it happened. It’s not stimulating to work in the confines of another person’s building or organization. That’s one of the draws here.
The 2012 ‘Paragon Park’ cast, photo courtesy of Company Theatre
SC: The original musical Paragon Park took place in 2012. Are there any original shows you are working on?
ZB:Michael Hammond and I loved working on Paragon Park together and we want to do another one. We’re bookending our 40th anniversary with the start of Ragtime and ending summer to summer with a revival of Paragon Park in 2019 as opposed to the season running January to December.
Paragon Park will be the pinnacle of our 40th celebration with a wonderful night of dinner and dancing at Nantasket Beach Resort in Hull. Preceding that will be a VIP cocktail reception where guests can go on the Carousel and ride the ponies if they wish. Then we’ll trolley to the hotel for celebration and fundraising.
TV personality Scott Wahle with ‘Paragon Park’ cast The Company Theatre’s will reprise its original production of Paragon Park the Musical, which premiered in 2012, image by Zoe Bradford
We’ll also have an outdoor VIP cocktail reception before opening Ragtime and featuring the Model T Ford, which is integral to Ragtime’s story. It looks like the real thing, built exactly to scale. Bob Grazioso, who has since retired from technical director but is still active at Company Theatre, built the Model T Ford when we did the show in 2003. The Ford Motor Company wanted to buy it from us, but we kept it because we wanted to do the show again.
Todd McNeel Jr. of Boston as Booker T. Washington in ‘Ragtime’ Photo courtesy of Zoe Bradford
SC: When you revive a show like Ragtime, what kind of changes do you make?
ZB: Life happens. My thinking has evolved from 2003 to 2018 just from life experience and I have approached Ragtime differently than I did then. We have three actors reprising their roles and 40 cast members who all feel it is a different experience than last time.
We did Ragtime in 2003 because there are strong, underlying themes of racism in the early 1900s and our attitude was thank God this is all behind us. Now this show has never been needed more. Shockingly, things have gone backwards and we have to speak out. Being a huge sympathizer of Black Lives Matter and having a black adopted daughter puts a lot of things into perspective.
Back then, immigration was sort of in the forefront of the news, but not like it is today. The show is about immigrants, which is about America and coming to America.
My passion lies in great storytelling. Ragtime is a prevalent, uplifting show with three beautiful, intertwining stories involving a Jewish immigrant and his daughter, a New Rochelle family, and jazz musician Colehouse Walker Jr. who buys the Model T. It’s a moving, relatable show about family, choosing family, and acceptance. It also has a brilliant score and we have a fifteen piece live orchestra. In my long theatre career, Ragtime is one of my top three shows. People will leave feeling good.
(L to R) Finn Clougherty, Jillian Griffin, Cristian Sack, Hannah Dwyer as Little Girl, Michael Hammond as Tateh, Barbara Baumgarten, Brenna Kenney, Melissa Carubia as Emma Goldman (on soapbox), Hilary Goodnow Photo courtesy of Zoe Bradford
SC: Period pieces can be difficult from costuming to the fine details and Ragtime must be a monster to put together.
ZB: It’s challenging, but we have our costumer Bree Plummer. We would love to have her as a resident, but she is also a teacher so we get her when we can. I work with a great team of designers including Ryan Barrow and James Valentin to make the most beautiful show possible. We love period pieces because we can make it interesting.
I’m trying to let others set design because people have to carry the legacy on just in case. I probably won’t ever retire, but will let people take over certain aspects. As I let some things go, I plan to write more.
(L to R) Hannah Dwyer of Scituate as Little Girl with Michael Hammond of Holbrook as her father Tateh Photo courtesy of Zoe Bradford
SC:Spring Awakening also took place in the last five years, another daring show.
ZB: I didn’t cut it, though it was handled carefully. Though it happened in a different era, the themes are also relevant today and people need things they can relate to. I also love a good score. Steve Bass came on in 2016 and we’ve made him our resident Music Director and may keep him on indefinitely. He’s a young, brilliant pianist and has his PhD from the Conservatory.
Company Theatre’s 2014 musical, ‘Spring Awakening’ Photo courtesy of The Company Theatre
SC: You once said you chose popular shows that sell, but in the last few years, The Company Theatre has been delving into unchartered waters a bit. Last year was haunted with Carrie the Musical and Lizzie Borden.
ZB: It’s financially difficult to do that, but we are trying to give the young people what they want. Lizzie Borden went well because people love local history and some said they have been to her house. A gruesome tale, but it was also a nice psychological thriller.
We changed a little how we choose our shows, but we still have to please our general audience and offer something for the family, something mature, and our team knows their demographic well and what will be successful.
I’m passionate about big musicals and there’s nothing like the thrill of a live orchestra. People in the professional theatre world, mentors, and colleagues say they will put eight pieces in here and do a lot of synthetic and prerecord. You can make a lot of money that way, but we can’t do that. Michael Joseph said that is standard while he was here and we’ve maintained it.
SC: What shows do you still dream of doing?
ZB: I’d love to do Wicked, The Hunchback of Notre Dame, and I’m also waiting to do Mamma Mia!We’ll get to it. It’s all about rights and I’m sure there are new shows coming out that I’d love to get my hands on.
As a non-profit, whatever comes in has to support what we are doing and help us be self-sustaining. Grants, gifts, and tax deductible donations are the key. We have better opportunities for community support such as new packages for corporate sponsorship due to having higher end computer capabilities, a better website, and a brand new ticketing service that allows people who wish to support us to advertise.
SC: What has been your most challenging musical?
ZB:The Wizard of Oz because the movie is a masterpiece and any derivation from the film would be a disappointment for those who truly love it. People would fight me on that, but if you take on The Wiz, you can do what you want because no one has a preset notion of it. The Wiz was recently in Boston and the star of Ragtime portrayed the Wizard.
SC: What advice would you give someone taking on a business in theatre or similar?
ZB: It’s highly competitive. Know your vision, don’t give up, and try to think of something that someone else hasn’t already thought of. Be fresh and original when you can and make sure people know of your existence without being obnoxious about it. We still struggle with it. Some people say they didn’t know a theatre is here.
Company Theatre’s logo, a design Zoe Bradford hand drew 40 years ago
SC: What do you envision for the Company Theatre’s future?
ZB: We have to keep growing and in our 40th year, we are finally setting up the Legacy Fund. Our money rolls in and out with the tide as any non-profit would, but we’re actively fundraising to ensure another 40 years and beyond.
For the last ten years, I’ve wanted to design a new logo. I remember sitting at a little drafting table back in the 70s and hand drew it when we didn’t have any money or resources.
With art being cut in classrooms and attending theatre in Boston can be so expensive, we’re looking to keep this going so it’s accessible for everyone and expand. I can see us taking on more property and A.C.T. quadrupling over the next ten years. We’re not a community theatre anymore, but a year round professional and we’ll evolve again. We provide many jobs for people, but the other part of my vision is to create more jobs for artisans in the area. The more people that are working and inspiring people, the better.
Click here for tickets or call the box office at 781-871-2787. Located at 30 Accord Park Drive in Norwell, Massachusetts, click here on how to support the Company Theatre and be sure to follow them on Facebook, Twitter, and Instagram.
For Performing Arts news, interviews, reviews, and much more in Boston and beyond, follow us on Facebook @sleeplesscritic and subscribe.
Sometimes the most tremendous talent is located right in the backyard. Responsible for a wealth of critically-acclaimed and celebrated music scores over a career that spans six decades and beyond, Boston Pops Laureate conductor John Williams has been nominated for 50 Academy Awards, winning five. Legendary film scores for Star Wars, Indiana Jones, Harry Potter, Jaws as well as the Olympic Fanfare and theme and NBC Sunday Night Football are just a glimpse of the spectacular works by the incomparable John Williams.
In honor of John’s 85th birthday and his incredible accomplishments over the years, The Boston Pops dedicate their season to Celebrating John Williams from Wednesday, May 10 through Saturday, June 17 at Boston Symphony Hall. The season will kick off with multi-talented actress and singer Queen Latifah from Wednesday, May 10 to Thursday, May 11 and finishing off with the 25th anniversary of Gospel Night on Saturday, June 17.
Queen Latifah opens the Boston Pops season Photo courtesy of Boston Pops
The Boston Pops also offers a pre-season concert series hosted by Indiana Jones star, Karen Allen and the live recording of Boston Pops CD release on Friday, April 7. Click here for Boston Pops tickets and here for more information on upcoming BSO concerts.
The Boston Pops presents the always phenomenal and wildly-popular Gospel Night once again led by Charles Floyd and the return of Film Night with John Williams. Click here for a full list of performances.
Leslie Odom, Jr from Hamilton will perform with the Boston Pops Photo courtesy of the Boston Pops
Click here for tickets, call SymphonyCharge at 1-888-266-1200, or visit the Symphony Hall box office during business hours at 301 Massachusetts Ave in Boston, Massachusetts. Follow The Boston Pops on Facebook and Twitter for updates.
Rolling in the New Year with a comedy behind the birth of the first musical, Lexus Broadway in Boston blends beloved, Tony award-winning classics and enthralling, contemporary musicals full of mystery and magic. Lexus Broadway in Boston offers a sensational, dynamic combination of shows kicking off with a humorous look at the birth of the musical with Something Rotten to the stage adaptation of J.M. Barrie’s birth of Peter Pan with Finding Neverland. All productions are held at the Boston Opera House, 539 Washington Street in Boston, Massachusetts. Click here for a closer look at upcoming shows, tickets, and how to become a season subscriber. Like Broadway in Boston on Facebook for updates.
Alternating from the 90s to the 1590s, the musical comedy, Something Rotten, delves into the height of Shakespeare’s time as two brothers discover the key to success may be a musical. Songs include Welcome to the Renaissance, Hard to Be the Bard, and It’s Eggs. Something Rotten will take place from Monday, January 16 through Sunday, January 29.
Touring cast of musical comedy, ‘Something Rotten’
Set in tumultuous pre-World War II Germany and with classic numbers such as Maybe This Time and Willkommen, enter the Kit Kat Club for the classic musical, Cabaret. Full of raucous songs and outrageous choreography, The Roundabout Theatre Company presents this musical classic to celebrate their 50th anniversary from Tuesday, January 31 through Sunday, February 12. Cabaret contains mature content.
The cast of Roundabout Theatre Company’s national tour of ‘Cabaret’
A murder-mystery set around a brilliant fifteen year-old boy, The Curious Incident of the Dog in the Night-Time is a Tony award-winning play based on Mark Haddon’s bestselling novel of the same name. The Curious Incident of the Dog in the Night-Time takes place from Tuesday, March 7 through Sunday, March 19. This show contains adult language and themes.
Adam Langdon as Christopher Boone & the cast of the touring production of ‘The Curious Incident of the Dog in the Night-Time’
Tony award-winner of 2015’s ‘Best Revival of the Musical,’ revisit Rodgers and Hammerstein’s sweeping, romantic musical classic, The King and I. This captivating musical explores the extraordinary relationship between the King of Siam and a British schoolteacher featuring the classic numbers, Hello Young Lovers, I Have Dreamed, and Shall We Dance. See The King and I on Tuesday, April 11 through Sunday, April 23.
Jose Llana as The King of Siam & Laura Michelle Kelly as Anna Leonowens in ‘The King and I’ tour.
This summer, embark on a magical journey into Peter Pan author, J.M. Barrie’s imagination with Finding Neverland. Set in London, struggling playwright J.M. Barrie is looking for inspiration for a big hit when he meets a family so rich in creativity and make-believe, it may change his entire life. Full of visually-stunning effects and touching drama, FindingNeverland arrives on Tuesday, August 8 and continues through Sunday, August 20.
The cast of ‘Finding Neverland’ tour
Broadway in Boston also proudly presents season options Wicked, The Illusionists, and the farewell tour of Mamma Mia. Click here for tickets to Lexus Broadway in Boston’s new season.
