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REVIEW: Behind the love of music in ‘Stereophonic’

Posted on April 28 by The Sleepless Critic

As it is with making anything significant, creating begs a steep price. No pain. No gain.

Inside this expansive 70s music recording studio, upcoming rock band Here takes a crash course in this hard earned lesson.

Sleekly directed by Daniel Aukin with Justin Craig’s intricate music direction and Will Butler’s dynamic original songs, David Adjmi’s Stereophonic took the stage live and in person for a limited run from Tuesday, March 10 through Sunday, March 15 at Emerson Colonial Theatre in Boston, Massachusetts and is currently on a national tour. The music-inspired production contains mature dialogue, performed in four acts and runs 3 hours and 10 minutes including an intermission. Click here for more information on their Boston run here for details on their national tour.

Jack Barrett as ‘Grover’ in the First National Tour of Stereophonic. Photo: Julieta Cervantes

Prior to attending Stereophonic, I was visiting Thinking Cup on Tremont Street in Boston and one of the employees happened to be streaming Fleetwood Mac’s acclaimed 1977 Rumours album. I asked about it and he revealed he was a big fan of their music and felt like playing it, not knowing that just across the street Stereophonic would be loosely paying tribute to not only Fleetwood Mac, but the many artists who indulged in the power and art of painstaking music creation during that era without an auto tune in sight.

It’s no secret that Fleetwood Mac has stood the test of time as one of the world’s greatest bands, but hearing Dreams in that popular café was the perfect opening act for this show.

However, you do not have to be Fleetwood Mac fan to enjoy this production. I was also a fan of Amazon’s Prime’s Daisy and the Six which is also loosely based on the story of Fleetwood Mac. Built for any music lover, Stereophonic concentrates much more on the tricky and collective process of creating an album and could represent the story of any band.

Company of STEREOPHONIC. Credit Julieta Cervantes.

Stereophonic follows rock band Here entirely from an elaborate recording studio in Sausalito, California from 1976 to 1977. David Zinn’s finely-tuned and functional glass-dual level recording studio set allows you to simultaneously see what is happening on both floors as plenty of drama takes place inside the recording booth as well as behind the scenes. Adjmi’s energetic dialogue kicks off the opening scene already in progress taking place the day after a big rehearsal night in overlapping and at times frenzied-under-high-pressure tones. With Jiyoun Chang’s urgent lighting measuring the progression of time, the audience is a fly on the wall and an omniscient presence privy to the secrets these musicians are keeping from one another as they contemplate their next song.

Having worked inside radio stations for many years, Zinn’s set resonated with me. The life of a radio talent and a musician share some similarities exemplified in a scene involving Jack Barrett as Grover and Steven Lee Johnson as Charlie who talk their way into a gig as a pair of rookie sound engineers. It’s all about the music and living that rock and roll dream.

Radio stations and studios can be open 24 hours a day and a musician or a radio personality can be working exhausting hours anywhere within that 24 hour period into the wee hours of the morning. With fluffy pillows and blankets, a radio station or a recording studio couch is not just convenient for studio visitors, but a place to crash if you are recording overnight.

(From L) Jack Barrett as ‘Grover’ and Steven Lee Johnson as ‘Charlie’ in the First National Tour of Stereophonic. Photo: Julieta Cervantes

Stereophonic hones in on the music process and what a meticulous undertaking it is, especially surrounded by musicians who can barely agree on what to do next, never mind tempo and rhythms. They riff, debate, share outlandish ideas, philosophize, joke and reflect like family at their best and at their worst.

The production features quite a bit of nostalgia through a wealth of 70s pop culture references, especially from Fleetwood Mac and other famous 70s rock bands such as The Eagles or the Doobie Brothers. Enver Chakartash’s colorful costumes speak to the hippie/disco era in bell bottoms, suspenders, and button down shirts as well as vividly patterned and flowing dresses.

Claire DeJean, Emilie Kouatchou, and Denver Milord in STEREOPHONIC. Credit Julieta Cervantes.

The cast exhibits strong vocals even as harmony and discord unleash onstage. From song snippets to a full song run through, you can’t help but long to hear more music and how the entire album turns out.

Swinging a tambourine, Claire Dejean brings to life naïve and insecure yet creatively gifted Diana who shares both harmony and discord with Denver MiLord as frustrated perfectionist Peter. They are a couple who perpetually challenge each other to a boiling point. Dejean’s Diana bonds with Emilie Kouatchou as best friend and band mate Holly who also has her own relationship troubles.

Claire DeJean and Denver Milord in STEREOPHONIC. Credit Julieta Cervantes.

Though the production would be just as impactful in a briefer timeframe, Stereophonic delivers a mix of somber, tense and humorous moments with Christopher Mowod standing out through a mix of humor and seriousness as unfiltered British musician Reg. Stephen Lee Johnson as Charlie and Jack Barrett as Grover share great chemistry and lend some lightheartedness to the show while Cornelius McMoyler brings an intensity to firm, level headed yet overwhelmed manager Simon. McMoyler’s Simon wise and stoic exchange with MiLord’s Peter is one of the show’s most intense highlights.

The First National Tour Cast of Stereophonic. Photo: Julieta Cervantes

Pursuing your passion often requires more than you bargained for and Stereophonic takes a deep dive into inevitable impact of long hours, partying, what smells like real smoking, and drug use. It also depicts the resourcefulness, perfectionism, and the drama behind the scenes as a band spends every hour together pouring their lives into creating what they hope is an album masterpiece while their personal lives hang in the balance.

Such is the art of rock and roll.

Stereophonic is currently on a national tour. Click here for further details and tickets.

REVIEW: ‘The Outsiders’ musical sure does shine

Posted on April 8 by The Sleepless Critic

Tulsa, Oklahoma is divided by the-haves and have-nots in 1967 and that divide is capable of causing a confrontation at the drop of a hat.

The drive-in and literature provide a means of escape for Pony Boy, a 14 year-old Greaser often surrounded by teenage gang violence. As young as he is, he may be the only one who is asking why.

The cast of ‘The Outsiders’ musical national tour Photo by Matthew Murphy of MurphyMade

Directed meaningfully by Dayna Taymor with Justin Levine’s powerful music direction and Rick and Jeff Kuperman’s slick and athletic choreography, Lexus Broadway in Boston continues the national tour of The Outsiders musical at Citizens Opera House through Sunday, April 12. This coming of age musical’s action is not limited to the stage and runs 2 hours and 30 minutes with one intermission. Click here for more information and for tickets and here for the next stop on The Outsiders Musical national tour.

The Outsiders was originally a 1967 novel by S.E. Hinton. The author oversaw every aspect of the popular 1983 Francis Ford Coppola film adaptation of the same name featuring what was then a promising group of actors that went on to make their own iconic mark in the world. The film became a popular cult classic with a dynamite cast starring Thomas C. Howell as Pony Boy, Patrick Swayze as Darrell, Ralph Macchio as Johnny, Matt Dillon as Dallas, Rob Lowe as Soda Pop, Emilio Estevez as Two-Bit, Leif Garrett as Bob and Diane Lane as Sherri “Cheri” Valance. It also first premiered as a stage play in 1990.

The Greasers Photo by Matthew Murphy of MurphyMade

From its building opening folk-rock number Tulsa ’67, The Outsiders musical hits the ground running and it is as thrilling as it is introspective. Nolan White is an immediately compelling narrator as poetic, sensitive, naïve and bookish Pony Boy. Pony Boy spends his days escaping the chaos and Tulsa’s gang violence through 60s film icons such as James Dean and Paul Newman, but it is only a matter of time before the violence around him catches up to him.

The national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of Matthew Murphy of MurphyMade

Smoke rises over Projection designer Hana S. Kim’s and Sceneographer Tatiana Kehvehgian’s weathered and strategically placed multi-level industrial set. Peppered with vintage props that effectively rewind the clock such as a teal antenna television, functional Cadillacs that growl to life and a vintage metal-framed wooden table, the surrounding set pieces are brilliantly navigated by the cast into alternating positions, especially grease, wooden planks and cinderblocks which take part in the Kupermans’ slick and athletic choreography. Grainy film montages creatively and impressively illustrate the stage in unexpected places combined with Brian MacDevitt’s lighting heightening the show’s innate intensity through windswept shadows, flashlights, headlights and a dazzling sunrise.

The Socs of the national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of MurphyMade

Outstanding harmonies within Great Expectations, I Could Talk to You All Night, Grease Got a Hold, Run Run Brother and Throwing in the Towel, and Stay Gold is just a few of the mellifluous numbers in this guitar-tinged folk and roots rock score. The Outsiders tackle privilege, bullying, gang and domestic violence, grief and loss. It also delves into brotherhood, family, friendship and more prevalently, yearning to be understood and the dream of a better life.

The captivating cast share natural camaraderie amongst the two gangs punctuated by the performances of Tyler Jordan Wesley as wildly unpredictable Dallas and Travis Roy Rogers as reliable Darrell. Wesley hits all the right notes with Little Brother while Darrell’s resentment, self righteousness, worries and distress are encapsulated in the numbers Runs in the Family and Soda’s Letter.

The national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of MurphyMade

Life can change on a dime and the mesmerizing manner in which they are presented are one of the greatest aspects of this amazing musical as well as how beautifully this musical brings out Hinson’s work about innocence and struggle in a remarkably new, unique and fitting manner.

This musical sure does shine.

Lexus Broadway in Boston continues the national tour of The Outsiders musical at Citizens Opera House in Boston, Massachusetts through Sunday, April 12. Click here for more information and for tickets and here for the next stop on The Outsiders Musical national tour.

REVIEW: Boston Ballet’s exhilarating ‘Winter Experience’ glows in anticipation

Posted on March 12 by The Sleepless Critic

Especially amid winter’s bitter isolation and bleakness, one cannot help but anticipate the crackle and rising glow of spring. Through these two bold works, Boston Ballet shows how to appreciate the wonder of winter and glow in spring’s glorious awakening.

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15. The production is one hour and 50 minutes with one intermission. Click here for more information and for tickets.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Ji Young Chae, Viktorina Kapitonova, Lia Cirio, Seo Hye Han, WanTing Zhao, Haley Schwan, Chisako Oga, Chyrstyn Mariah Fentroy

With a wealth of expectation and powerful expression, Boston Ballet’s wondrous Winter Experience features a visceral pair of complementary works infusing innovative ballet which envisions the intensity of the season as well as the increasing promise of spring in Jorma Elo’s bold classic Le Sacre Du Printemps (The Rite of Spring) and Crystal Pite’s contemporary favorite, The Seasons’ Canon.

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Boasting Jorma’s Elo’s sharp and versatile choreography, Le Sacre Du Printemps depicts rich beauty as dancers shift and sway to Stravinsky’s commanding score that ebbs and flows from tender to thunderous. With incredible choreography by Crystal Pite and exhilarating music by Max Richter, The Seasons’ Canon finale remains one of the most amazing pieces that I have ever witnessed from the Boston Ballet.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Stravinsky’s Le Sacre Du Printemps is a striking exploration of a ritual dance believed to usher in the spring season. Adorned in Charles Heightchew’s vibrant sequined burgundy costumes as a band of brimming color rises amid a black layered latticed backdrop, dancers slice the air, trot, tick and lunge in pas de deux and in groups delivering unruly yet synchronized grace in their athletic, sharp and intimate steps.

Stravinsky’s powerful drum and horn-infused rhythms ebb and flow from soft and mischievous to urgent and rebellious which reflect in the dancers as they intricately link and divide and in Brandon Stirling Baker’s symbolic and transformative lighting. Pairs form daring and unique patterns as well as mirror each other as Stravinsky’s wielding drive animates dancers from rigid and mechanical to surprising to occasionally humorous within its more spontaneous moments to haunting as the dance intensifies.

Under a gleaming, crackling and morphing gold light by Jay Gower Taylor and Tom Visser, the Boston Ballet unveils a vision like none other with The Seasons’ Canon. Crystal Pite’s intricate and meticulously detailed chorography to Max Richter’s version of Vivaldi’s mesmerizing The Four Seasons makes The Seasons’ Canon a superlative experience. An incredible vision in every sense of the word, The Seasons’ Canon is innovative and unique as dancers pulse, sway, and tumble with intricate fluidity and precision while methodically spilling onto the stage. Moving like one sinewy organism as if waking from hibernation and molding into magnificent shapes, the sheer exactitude and congruent nature of these movements cannot be overstated. An exciting, uplifting and commanding piece with bursts of energy as the landscape transforms into shades of silver, orange, and gold, is exquisite in every season. It is a haunting and brilliant performance sure to stay with you long after the piece has ended.

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Rosalie O’Connor and Brooke Trisolini
Dancers: Sangmin Lee, Chisako Oga, Ji Young Chae, Jeffrey Cirio, Daniel Rubin, Sage Humphries

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15. Click here for more information and for tickets.

REVIEW: Endearing yet complex, The Huntington’s ‘We Had a World’ an exceptional love letter to family

Posted on March 4 by The Sleepless Critic

Award-winning playwright Joshua Harmon brings insight into his multifaceted life with textured humor in We Had a World, Harmon’s deeply personal family memory play inspired by his grandmother.

Will Conard brings warmth and amiability to narrator Joshua Harmon who highlights his indelible bond with his grandmother Renee and the mark and influence she made on his life, even as he has only seen her through rose colored glasses.

Amy Resnick and Will Conard in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Soulfully directed by Keira Fromm, The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15. This wonderful semi-interactive production runs one hour and 40 with no intermission and contains some adult humor. Click here for more information and for tickets.

Will Conard in the Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Joshua Harmon is a brilliant playwright and is no stranger to depicting family dynamics as demonstrated in his fascinating and intricate French and Jewish multi-generational play, Prayer for the French Republic spanning from 1944 to 2016 recently presented at the Huntington in 2022. It’s a family portrait with depth and complication taking place over decades and though it differs in tone, We Had a World also depicts its own intimate family portrait.

A play within a play of sorts, We Had a World focuses on Conard as playwright Joshua Harmon growing up with Eva Kaminsky as his orderly and sensible mother Ellen and Amy Resnick as his adventurous grandmother Renee spanning from the 80s through today. It delves into family drama with wit and humor while exploring missteps, misunderstandings, trauma, abuse, and family secrets.

Will Conard and Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Courtney O’Neill’s stylish and detailed brick trimmed setting acts as several significant places in this family’s life including Renee’s elegant Upper East Side NYC apartment and a posh Parisian hotel room. Parisian love seats, warm lighting and upscale décor are just part of this inviting and multi functional backdrop.

Amy Resnick in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Tyler Micholeau’s meticulous lighting cleverly clicks and darts on each character as if under the limelight to share their unique perspectives. Each cast member is remarkable, but Amy Resnick is marvelous as Renee and a bit of a scene stealer. Regardless of the flaws she has within her family, you still can’t help but revel in her unfiltered personality. Bawdy, unapologetic, adventurous and a bit naughty, Resnick encapsulates Renee who can alleviate almost anything through her charismatic and unfiltered sense of humor. Conard’s agreeable, peacemaking and well meaning Joshua blends well with Renee’s laissez faire rapport which hones a rare curiosity for the world as they learn from one another. Resnick speaks to her grandson like an aspiring adult rather than a child which does not always sit well with Kaminsky’s Ellen. Kaminsky’s Ellen is practical, a tinge jealous and guarded while Renee seems carefree and wild. With stubbornness and lively personalities, Kaminsky and Resnick share a fascinating rapport and together make quite the impression even as they insist they are not alike.

Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

A familiar and believable tight knit family, they undermine and judge one another and are so close, they cannot help but challenge each other as they thrust one another under the microscope. At times casual and humorous and other times unflinching, We Had a World has its share of raw and bitter resentments and family squabbling which has the potential to cut to the quick, but never lets the production become too heavy and serious even during intense times.

The production’s witty dialogue boasts a natural flow and the distinctive way these characters confide in each other and the audience with humor, candidness and ruefulness at times within the same thought makes it one of the best shows I’ve seen this year. Humorous and poignant, it is a show you won’t soon forget.

The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15. Click here for more information and for tickets.

REVIEW: Searing and stunning, Central Square Theater’s ‘The Moderate’ makes a lasting impact

Posted on February 25 by The Sleepless Critic

To say it is riveting is an understatement.

The Moderate is sure to alter your perspective on the digital world as much as it impacts each member of this small and likable cast. Be sure to see The Moderate as much for its engulfing state of the art technology as for its stunning emotional core.

Innovatively designed and directed by Jared Mezzocchi, Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1. This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission. Click here for more information and for tickets.

Nael Nacer in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

The Moderate is not shared chronologically which helps to make this production a mesmerizing digital journey from its very first frame. Rewinding the clock to March 2020, a humble yet determined Frank Bonner, powerfully and evocatively portrayed by Nael Nacer, interviews for a job as an internet moderate while the world is in COVID isolation.

The Moderate packs a lot into its brief and swiftly moving timeframe. It delves into a wide spectrum of themes including loneliness, isolation, family strife, trauma, the gravity of internet addiction, abuse, the dark web, racism, social media, the raw and exhibitionist side of human nature and the lengths one would endure to provide for family.

Nael Nacer and Jules Talbot in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

We live in an encompassing digital world and it is not likely to change any time soon and this technology is depicted in brilliant and meticulous ways. The show is wisely served up with no intermission which elevates this production’s immersive and gripping style of storytelling. Captivatingly set up and directed, Christian Frederickson’s robust sound design, Mezzocchi’s Multimedia design, and Sibyl Wickersheimer’s distinctive set design invites the audience into not only into what Nael Nacer as Frank sees, but how each character is experiencing one another digitally and in real time. You are not just an observer, but experiencing each frame navigating right along with the cast between the digital world and reality.

Nael Nacer and Celeste Oliva in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

This amazing show boasts an impressive cast. Celeste Oliva is intense and relatable as Frank’s estranged and levelheaded wife, Edyth. Nacer and Oliva fall into difficult and various misunderstandings and both still manage to remain sympathetic under their strained circumstances. Nacer’s Frank is darkly humorous, naïve and charming in his frustrations over technology. Jules Talbot brings a mix of lighthearted and dark humor as Rayne, a young maverick union fellow moderate who offers Nacer’s Frank valuable insight into the digital world. Greg Maraio portrays Frank’s level headed manager Martin who is all too aware of the difficulty and dangers of their positions and the impact it is sure to have on their lives and Sean Wendelken makes a stunning impression as Gus.

Sean Wendelken in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

However amazing the show’s technology is delivered, what truly sets this show apart is its humanity. It does have genuine lighthearted and humorous moments while remaining unflinching of its emotional toll and remarkably and honestly lays bare the cast’s individual vulnerability and urge to make a difference. Through this shared experience, you may empathize with what they are going through as well and have a better understanding of our real and unpredictable digital landscape.

Jules Talbot and Nael Nacer in Central Square Theatre’s ‘The Moderate’ Photo by Nile Scott Studios

Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1. This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Ambition and belonging in Actors’ Shakespeare Project’s ‘Little Women’

Posted on February 24 by The Sleepless Critic

“We want so badly,” reflects Kaila Pelton-Flavin as Beth, “We don’t see what we have.”

From Jenna McFarland Lord’s dual level wooden set reminiscent of a doll house highlighted by a fireplace, family table and uniquely patterned rug, Beth’s realization rings true of the mercurial March family. With the exception of Kaila Pelton-Flavin as shy and fragile Beth and Sarah Newhouse as nurturing and practical Marmee, the March sisters share an exceptional amount of squabbling with little understanding of what is really important. Aislinn Brophy may be story telling Jo, but Pelton-Flavin’s Beth just may be the wisest of all.

Directed by Shana Gozanky, Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. This production runs 2 hours and twenty minutes including one intermission. Click here for more information and for tickets.

The cast of Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

This is not the first time Actors Shakespeare Project has re-imagined and restaged a literary classic as demonstrated in productions such as Kate Hamill’s refreshing take on Jane Austen’s Emma and Shakespeare’s vibrant Romeo and Juliet.

Louisa May Alcott’s Little Women has been restaged, restyled and recalibrated many times over the years for television, theatre and film. I’ve followed many adaptations of Little Women on both stage and screen most notably Greta Gerwig’s adaptation of Little Women which earned Academy Award-nominations for Saoirse Ronan as Jo and Florence Pugh as Amy. Gerwig’s adaptation jumps timelines and presents a real life meets literary work in a revolutionary way. It doesn’t feel like watching yet another Little Women. The iconic moments from the novel are still present, but delivered in a manner never presented before and approaching issues such as social status in a frank and more obvious way.

While Kate Hamill’s Little Women focuses on the March family, at its core is the sibling relationship between Jo and Beth which unfolds in a distinctive way as they interact together even before the production begins. Hamill’s version also has a lot to say and presents its content in a frank and more obvious manner while preserving its roots as a coming of age tale without sharing Alcott’s work in its entirety. This version is also shaped differently as these March girls march metaphorically and quite literally which says so much about how Hamill adapts these characters from Louisa May Alcott’s beloved book.

Aislinn Brophy, Kaila Pelton-Flavin, and Olivia Fenton in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Zoe Sundra’s audacious costuming includes handlebar mustaches, ties, suspenders, dapper long coats, and multi-patterned dresses with each costume designed to reflect the era and highlight each character’s distinct personalities. Brophy’s Jo wears several mismatched and layered ensembles that enhance her individuality and buck tradition while Chloe McFarlane as Amy’s long braids and traditional dress highlights Amy’s aspirations for refinement. Julian Crocamo’s energetic and defining piano-infused score varies mellifluously from playful to rushing to tender as the production unfolds.

Aislinn Brophy in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Most of the characters, especially the March girls, depict pronounced and less profound versions of themselves. The March sisters are iconic for their subtler qualities as much as for the traits that make them classic characters ahead of their time. Jo is inquisitive, confident and awkward with big ambitions and a temper alleviated by her sensitivity. However, Brophy’s Jo is outspoken, tempestuous and controlling fixated on a man’s world. Like the iconic character, this Jo also longs for the comfort of things to always remain the same. In long thick braids, Chloe McFarlane as haughty, clever and traditional Amy often locks horns with Jo’s unorthodox views. Olivia Fenton’s Megan is boy crazy, impressionable, goofy, and exceedingly optimistic providing awkward humor especially in scenes with Chris Stahl as Mr. Brooks who share a wildly giddy bordering on silly chemistry.

Aislinn Brophy and Sarah Newhouse in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Only calm, mature and consoling Beth quietly observes with sympathetic and sensible Marmee as Marmee quells and directs her daughters. Newhouse impressively depicts Aunt March in a dual role who is as uncomfortably outspoken as ever while Patrick Vincent Curren charismatically portrays stern and wealthy Mr. Laurence along with Amy Griffin and Chris Stahl who aptly portray multiple roles.

Aislinn Brophy and Jonah Barricklo in Actors Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

One of the best parts of this production are the fascinating interactions between Brophy’s Jo and Jonah Barricklo’s Laurie who share some wonderful camaraderie and an endearing rapport. Barricklo as Laurie is lonely, earnest, sensitive and sincere, feels out of place in the world and will do just about anything for Jo. They conspire and tease each other while emphasizing the unique commonalities in which they share their true selves and their unorthodox outlook of the world. Their unique recognition of each other and the manner in which they understand each other is rare, lovely and bittersweet.

Though I am not a fan of the way the March sisters are depicted, there are new elements of the show’s storytelling worth seeing, especially in the work of Newhouse’s Marmee and Pelton-Flavin’s Beth who consistently attempts to bring to light what is important in the midst of all of life’s distractions, noise and ambitions.

Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. Click here for more information and for tickets.

REVIEW: Love reigns supreme in The Huntington’s whimsical ‘The Triumph of Love’

Posted on April 3, 2025 by The Sleepless Critic

Witness impassioned lovers and the loved overwhelmed.

Directed shrewdly by Loretta Greco, this is the language of love in Pierre Carlet de Chamblain de Marivaux’s French romantic farce, The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This whimsical tale runs two hours and 15 minutes with one intermission and Joanna Strapp stepped in for Marianna Bassham as Léonide for this performance. This production is also available to stream. Click here for more information and for tickets.

The cast of The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

The Triumph of Love waxes poetic about love and then some in this elaborate love story that contains as many declarations of love as lighthearted comedy. Though The Triumph of Love was written in 1732, it contains insightful ideas, humor, and a classic storyline that connected with its era just as effectively as it does a contemporary audience in delightful ways.

If love is a battlefield, Alison Altman as confident, passionate, and outspoken Léonide is a commander. In a layered and juicy love story, Princess Léonide pursues naïve and sheltered Agis, portrayed nobly by Robert Kellogg, who is sequestered in Hermocrate’s country retreat. However, in order to get close enough to Agis, Altman and Avanthika Srinivansan as her humorous maid Corine must disguise themselves as men and execute a delicate, devious, absurd and yet brilliant scheme to win her true love by using all the wiles she knows how.

Left to right: Allison Altman, Rob B. Kellogg in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Junghyun Georgia Lee’s serene scenic design boasts a lovely garden landscape embellished with lemon trees, florals, vine covered walls, and a stone bench while Fan Zhang intertwines classical and contemporary French flair to Zhang’s original music and sound design. The painted skyline fades from turquoise to pastels to aquamarine through Christopher Akerlind’s romantic lighting expressing the progression of the day. Lee also demonstrates 18^th century French fashion beautifully in elegant silk gowns with petticoats, fingerless gloves, colorful cravats, refined vests and boots as well as finely detailed frock coats with gold embellishments and multicolor garments.

Left to right: Marianna Bassham, Allison Altman, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Led by Alison Altman as Princess Léonide whose complex character is somewhat of an antihero, The Triumph of Love champions a remarkable cast and Marivaux’s script offers each character an opportunity to shine during the production. Occasionally addressing the audience, Altman’s relentlessly determined Léonide has some earmarks of both hero and villain. She is conscious of her power to influence and manipulate while pulling the strings of each character for love’s sake. Resisting her charms is near impossible and Altman masters this multidimensional character with finesse though you may be occasionally torn about her decisions.

Left to right: Marianna Bassham, Nael Nacer in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Altman’s Léonide shares enchanting chemistry with nearly everyone, but her brief encounters with Kellogg as Agis are sweet and splendid. They are adorable together and it’s easy to root for this pair. The plot thickens pretty quickly and most of this lighthearted farce is not meant to be taken seriously.

Strapp as Léontine and Nael Nacer as Hermocrate portray virtuous and staunchly reasonable siblings who have shut out the world with their nephew Agis to pursue the intellectual life. The entire cast delivers sharp comic timing and while Vincent Randazzo as Harlequin get his share of laughs, Strapp and Nacer’s moments of exasperation, panic and self aware humor is first rate as exemplified in one instance where Nacer looks around and softly wonders, ‘Why am I standing here?’ With realizations so innocent and captivating, it won’t take you long to love them both.

Left to right: Patrick Kerr, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Statements such as ‘God forbid there should be love in that house’ and ‘Perhaps if I could be hilarious for awhile, I could amuse myself to death’ are just a couple of the hilarious quips uttered by Vincent Randazzo as Harlequin, Hermocrate’s valet. Rambunctious and mischievous, Randazzo’s frank delivery and gossipy nature are only outdone by his comical facial expressions. With Patrick Kerr as practical gardener and straight man Dimas, they make a wonderfully humorous duo.

Madcap and absorbing, bring love to the front lines with The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This production is also available to stream. Click here for more information and for tickets.

REVIEW: Boston Playwrights’ Theatre’s world premiere of Brandon Zang’s ‘Recursion of a Moth’ alongside world premiere of Isabelle Fereshteh Sanatdar Stevens’ ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’

Posted on April 1, 2025 by The Sleepless Critic

Boston Playwrights’ Theatre recently presented two world premiere productions for BPT’s Spring Rep Festival. Boasting some common themes, both are fitting companion pieces though one executes their ideas more fluidly than the other.

Both shows are rooted in preventing disaster and end the way they began with new meaning. While one travels through time while the other roams through a cosmic plane, both shows are motivated through grief, trauma, and discovery while featuring key twists on the journey. Both believe that changing their present circumstances will lead to better futures, but facing a world that cannot easily bend to their will.

Fear gives way to strength as one travels through space and the other among the stars.

Minou Pourshariati and Danny Bryck in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’s Recursion of a Moth alongside Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts. Both shows ran approximately 80 minutes with no intermission. Click here for more information and for BPT’s future events.

REVIEW: A sky full of stars, transformation and resilience fuel Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn

In a country entrenched in war, two children meet under a mystical fig tree. One loves to sleep and the other constantly stands watch. However, their purpose under this tree unveils in significant ways from what they share to what they face.

Directed by Nikta Sabouri, The Fig Tree, and the Phoenix, and the Desire to Be Reborn by Isabelle Sanatdar Stevens is a mythological tale about love, grief, courage in the face of danger, war, loss, and unbreakable bonds. Minou Pourshariati and Danny Bryck are cosmically and supernaturally connected and that connection is explored meaningfully as transformation takes place around them.

Taking place in August 1988 during the Iran-Iraq War, Danny Bryck as Javeed and Minou Pourshariati meet under a fig tree. Mandana loves to sleep because she can speak to her late brother in her dreams while Javeed is afraid to sleep because he needs to stand guard to keep his family safe. For these two children whose bravery is ingrained in fear, they seem to become old souls overnight.

Danny Bryck and Minou Pourshariati in ‘The Fig Tree The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Skillfully taking on dual roles, Pourshariati and Bryck are adorable as children and revel in their roles sharing each other’s fears, prayers, anger and sadness as they struggle for certainty and to understand what is happening around them. Irresistibly endearing building a unique bond and vowing to change the world they live in and beyond, inquisitive Mandana and virtuous Javeed instill playfulness, imagination, and joy into these complex performances enhanced by bright and affectionate choreography as they share their creativity, energy and boundless imagination amidst the turmoil. Sporadically mature in thought and innocent in their approach, they squeal, leap and bounce in a stirring bitter sweetness during a serene interlude in a land where things can change at any moment as light and darkness are in constant battle.

Danny Bryck and Minou Pourshariati in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Lighting designer Grant Powicki and scenic design Cleo Brooks work together as twinkling lights, sunshine and glowing lanterns highlight a beautiful tree and wooded residential landscape which is unfurled by a retractable spool. Shadows give way to surprises and bring to life their shared stories. Sound designer Arshan Gailus is behind the immersive cosmic and natural harmony of this world.

The production contains a wealth of symbolism enmeshed in stories, objects, conversation and more. Funny, touching, powerful, and poignant, The Fig Tree, and the Phoenix, and the Desire to Be Reborn is an affecting and thought provoking journey worth taking.

REVIEW: Brandon Zang’s The Recursion of a Moth races against time

This is no way to document time.

Directed thoughtfully by Katie Brook, Boston Playwrights’ Theatre presented Brandon Zang’s sci fi drama The Recursion of a Moth.

It is the 25^th century and a couple of time traveling bureaucrats and ex lovers are sent to document time and find a woman named Chrys for undisclosed reasons. However, what transpires becomes far and away from what their mission entails into a journey rife with complications.

Alexander Holden and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography

Lighting designer Grant Powicki enhances Cleo Brooks’s simple black and white scenic design that colorfully depicts various dimensions and planes throughout the production. Fold out compartments depict a living room and kitchen as cast members change the props between scenes. Aubrey Dube’s radiating and moth-inspired clicking divide each scene while subtle and sparkling special effects drive this quantum leaping story.

Alexander Holden depicts resourceful time traveling bureaucrat Icarus heading to the Denver airport, his mysterious motivations behind a trench coat and glasses. Jaime José Hernández portrays Mikey, a commitment phobic time bureaucrat dedicated to saving his family and completing their current mission. However, Icarus has gone rogue with his own agenda to his timeline for good.

Alexander Holden and Jenny S. Lee in ‘The Recursion of A Moth’ Photo by Scornavacca Photography

The Recursion of a Moth explores generational patterns, family, the nature of suffering, and takes some liberties with time travel that becomes a bit too outlandish to be believable even if it would make for a nice story. Holden’s Icarus is obstinate and will stop at nothing to bend time according to his will while Hernández’s reasonable and grounded Mikey cannot help but remind him of time’s known limitations and consequences. However, Icarus knows far more than he is letting on and longs to change time piece by piece for what may become a better future.

Alexander Holden, Jenny S. Lee and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography

Jenny S. Lee as Chrys, Alexander Holden and Jaime José Hernández all convincingly convey the production’s intensity at the mercy of time. The moth’s role and recursion theory in this story is particularly fascinating. Full of twists and quick turns which at times can be confusing, the show may have benefited by a longer runtime for further development of these characters and to give the revelations more breathing room. The storyline winds into a major plot twist that seems too absurd to be believable even if it makes for a nice story. Recursion of a Moth has its bright spots, but especially under Back to the Future’s Doc Brown’s standards, certain twists would lead to a paradox.

Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’s Recursion of a Moth alongside the world premiere of Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts. Click here for more information and for Boston Playwrights’ Theatre’s future events.

REVIEW: Life’s meaning through theatre in Harbor Stage Company’s witty ‘My Dinner with André’

Posted on March 25, 2025 by The Sleepless Critic

Dinner with a friend or a long lost and former long time mentor can have its moments.

However, when it’s co-written by multitalented comic, character, and voiceover actor Wallace Shawn and actor, director and playwright André Gregory, it becomes an intriguing venture into the power of theatre.

Harbor Stage Company presents an original adaptation of My Dinner with André live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, March 30. This production is 90 minutes with no intermission. Click here for more information and for tickets.

Jonathan Fielding and Robert Knopf in Harbor Stage Company’s ‘My Dinner with André ‘ Photo by Joe Kenehan

The “inconceivable” villain Vizzini in film classic The Princess Bride, the voice of Rex the dinosaur in the Toy Story series, and Young Sheldon’s eccentric physics mentor are just a few of Wallace Shawn’s most popular roles. Though My Dinner With André was created before these later successes, this critically acclaimed 1981 indie film starring Shawn and Gregory in the title roles gained its own cult following, especially among theatre lovers. Wallace’s voice and presence is always distinctive and the writing in this piece offers glimpses of that intellectual charm, wit and humor in little moments of life’s realizations and nuances. However, it should be noted that these two characters are not necessarily patterned after this co-writing duo, even if they are named after them.

Harbor Stage Company received special permission from Wallace Shawn and André Gregory to adapt this film to the stage for the first time in the United States and it translates beautifully. It transforms it into theatre within a theatre experience and this adaptation is so naturally done, that it is hard to imagine that Dinner with André was not originally a stage production.

Set in a stylish corner booth enhanced by John Malinowski’s soft and atmospheric lighting, Evan Farley elegantly creates an authentic upscale restaurant ambiance. Framed reflective mirrors above the colorful booth and fine details of the embossed crown molding complete this inviting set design as classical music including Satie’s Gymnopédie plays gently in the background.

Jonathan Fielding portrays anxious out of work actor Wallace who is dreading having dinner at a fancy French restaurant in New York City with Robert Knopf as André, mainly because Wallace is not sure what to expect. What transpires is a sophisticated three course meal that dives deep into life’s mysterious meaning, city life, the art of theatre, the artists’ past experiences, and philosophizes about what is truly important as the next adventurous course is served. Their exchanges on humans and robots seem timeless as if this production was written yesterday.

Robin Bloodworth, Jonathan Fielding and Robert Knopf in Harbor Stage Company’s ‘My Dinner with André ‘ Photo by Joe Kenehan

My Dinner with André makes thought provoking observations on theatre and how it applies to and reflects reality and the conversation often veers into an unexpected direction which could come off as awkward had not been for the skilled instincts of these two actors and their observance and self aware comic timing. Gregory tells outlandish stories about his life experiences and experiments and how it relates to theatre. Wallace seems a little more guarded and the bemused look on Fielding’s face as Andre’s stories get more bizarre perhaps reflects the audience’s amazement among those anticipating a twist.

While Fielding’s Wallace is frank and forthright with a casual charisma as he engages the audience, Knopf’s charisma lies in his intimate and confiding demeanor with Fielding and warm exchanges with Robin Bloodworth as the attentive waiter. André seems more of an adventurer in search for greater meaning while Wallace is contented in the little things. Knopf can certainly hold an audience in his deep and animated exchanges with Fielding and their good natured debating is always done with mutual respect.

Cut out all the noise and have dinner with André, especially if you love theatre. My Dinner with André blends insightful banter, witty dialogue and subtle humor into a memorable reunion among friends.

REVIEW: Featuring a stellar cast, a riveting and indelible ‘Parade’

Posted on March 18, 2025 by The Sleepless Critic

A blanket and balloon have never held greater meaning under Georgia’s magnolia trees and endless sunshine.

Taking place nearly 50 years after the Civil War in 1913, Max Chernin depicts Leo Frank, a quiet and disciplined Jewish Brooklynite who is working hard to build a life in Georgia with his Southern wife Lucille, portrayed by Talia Suskauer, when one harrowing night changes everything. Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime.

When truth is set aside, where is there to turn?

Winner of two 2023 Tony Awards for Best Revival of a Musical and Best Direction of a Musical by Michael Arden with evocative choreography by Lauren Yalango-Grant and Christopher Cree Grant, the national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23. Based on a true story, this riveting production runs 2 hours and 30 minutes including one intermission. Click here for more information and for tickets.

Max Chernin (center) and company in the National Tour of PARADE, photo by Joan Marcus

It is particularly significant that Parade is on tour in Boston due to Massachusetts’ foundational roots including its Cradle of Liberty nickname, but also timely because Parade’s Boston run occurs through Purim, a Jewish festival rooted in the Book of Esther celebrating a historic Jewish triumph over oppression.

This captivating musical is based on a gripping true story and evokes a wide range of emotions. Like a parade, it spectacularly unfolds with an opening drum roll of The Red Hills of Home boasting gorgeous harmonies, splendor and Michael Arden’s acclaimed and seamless direction as well as Dane Laffrey’s moving and sweeping scenic design.

Adorned in vivid bunting as lights descend from the ceiling, Dane Laffrey’s elaborate and rolling set transforms from a wide open field into a wooden courtroom blending Sven Ortel’s descriptive projection design of dramatic and documentary-style elements revealing historical photos of the real people, places and newspaper headlines as crucial dates trace the events of the story. Billowing clouds and colorful landscapes stand out vividly between the black and white footage. Susan Hilferty and Mark Koss impressively capture the essence of the era in pastels, frills, smocks, three piece suits, newsboy caps, parasols, and brimmed hats.

The National Touring Company of PARADE, photo by Joan Marcus

Having seen Jason Robert Brown’s The Last Five Years, Brown has a gift for articulating a vast range of complex emotions and glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and from rueful to optimistic. The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought provoking.

Max Chernin and company in the National Tour of PARADE, photo by Joan Marcus

Featuring a large and stellar cast of approximately 30 people with many of them portraying more than one role, I was blown away hearing the depth and resonance of this particular array of amazing and occasionally a cappella vocals under Charlie Alterman’s magnificent music direction. Chernin’s vocals have a unique beauty as he embodies Leo’s stark loneliness and deft humor in How Can I Call this Home. With gravitas and sincerity, Chernin is excellent as Leo as he shares his thoughts in melodious vocals and quiet candor especially during his remarkable ballad, It’s Hard to Speak my Heart. He has elevating chemistry with Talia Suskauer as spirited and resourceful Lucille and they create powerful harmony for the lively and optimistic duet It’s Not Over Yet and a stunning rendition of All the Wasted Time.

Talia Suskauer and Max Chernin in the National Tour of PARADE, photo by Joan Marcus

Jack Roden is mesmerizing as Frankie Epps, especially during a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmonies to foreboding of a boy maturing in an instant. Roden and Olivia Goosman as exuberant Mary Phagan share some endearing scenes for the catchy The Picture Show.

Olivia Goosman, Jack Roden and company in the National Tour of PARADE, photo by Joan Marcus

Griffin Binnicker shines as charismatic yet contentious Tom Watson as he leads the urgent Hammer of Justice and Michael Tacconi is notable as scandal thirsty reporter Brett Craig desperate to revive his career in the darkly playful hymnal Real Big News.

Parade’s layered and stirring choreography is demonstrated in the hypnotic turn and parallels of The Factory Girls to the mischievous spring of Pretty Music with impressive Chris Shyer as slick Governor Slaton jubilantly spinning ladies across the dance floor. Another highlight is the clanking rhythms and chilling choreography of Feel the Rain Fall with Ramone Nelson’s commanding vocals as mysterious Jim Conley and the telling and satirical number Where will you Stand when the Flood Comes.

Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE, photo by Joan Marcus

Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking. A haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of storytelling that is sure to stay with you long after the production is over.

Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus

The national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23. Click here for more information and for tickets.