REVIEW:  Fueled by a mesmerizing soundtrack, witness The Huntington and SpeakEasy Stage Company’s quietly stirring ‘The Band’s Visit’

Imagine longing for a phone call from a loved one or the act of just mustering up enough courage to speak to a girl.  Imagine welcoming a group of strangers to your table and into your private home for the night because they are in need of a place to stay.  Think about that kind of selflessness and hospitality freely given without a second thought.  These seemingly small acts of kindness make a big impact in The Band’s Visit.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage Company presents The Band’s Visit by Itamar Moses through December 17.  The show is 90 minutes with no intermission.  Click here for more information and for tickets.

The Band’s Visit made its Broadway debut in 2017 with Tony Shaloub as Tewfiq and went on to win multiple Tony Awards.  Much of this acclaimed show hinges on its eclectic and spellbinding music soundtrack which ties the band and the locals together, particularly essential when they are feeling misunderstood.  This multi-talented onstage band certainly can jam especially for the numbers Soraya and Haj-Butras and receives some additional hidden accompaniment which is delightedly revealed in an unexpected way.

Cast of The Band’s Visit; Photo by T Charles Erickson

Set in 1996 in a small Israeli town located in the middle of the Negrev Desert where nothing unusual ever seems to happen, the townsfolk are dazzled by a traveling and stranded Egyptian band wearing distinguished, powder blue uniforms by Miranda Kau GiurleuThe Band’s Visit is an unconventional and unassuming musical that quietly and most assuredly will open hearts and minds to the little things in life that are sometimes overlooked.

The Band’s Visit unveils heartache and hope in such a remote land that the locals may sometimes feel forgotten.  Many aspects of Jimmy Stubbs and Wilson Chin’s nostalgic scenic design fondly rewinds the clock using iconic pieces of nostalgia while also evoking the isolated nature of the town which includes a towering lamp post, a phone booth richly and authentically detailed with fingerprints and grime on its plastic cover, and a deserted blue street with yellow stripes.  One of the most memorable scenes recreates a retro roller skating rink equipped with multicolored lights, disco ball and DJ. 

Jennifer Apple, Brian Thomas Abraham; Photo by T Charles Erickson

This production has many surprises and this intriguing cast is no exception.  Brian Thomas Abraham wonderfully portrays modest orchestra leader Tewfiq.  Abraham’s reserved Tewfiq expresses his art with charisma, but offstage, he is a man of few words.  Guarded and mysterious, Abraham shares fascinating chemistry with Jennifer Apple, a natural as feisty divorcee Dina especially for the beguiling numbers Omar Sharif and Something Different.  Stunning in a gorgeous red flowing burgundy frock, Apple captures Dina’s resilience and yearning for happiness beyond what this small town can offer but something is holding her back.  Apple’s bright smile and intense, determined nature is particularly notable in a scene stealing incident slicing watermelon in It is What it Is.

Marianna Bassham, Andrew Mayer, Robert Saoud, James Rana, Jared Troilo; Photo by T Charles Erickson

Mariana Bassham, who has a history of impactful roles including a starring role in SpeakEasy Stage’s People Places and Things from 2022, is impressive alongside Jared Troilo as Iris, Itzik’s long suffering and resentful wife.  Even in an uplifting scene involving household instruments, Bassham’s vacant expressions and fatigue is the picture of indifference and discontented heartache as she stares into the abyss of a life unfulfilled.  Troilo’s Itzik is warm and helplessly optimistic despite his family’s circumstances.  Troilo has a powerful voice which is understated for this particular performance for a quietly tender Itzik’s Lullaby

Noah Kieserman, Mac Ritchey, Jared Troilo; Photo by T Charles Erickson

The Band’s Visit also offers a mix of lighthearted comedic moments.   Jesse Garlick shines as awkward and bewildered Papi for the zany number Papi Hears the Ocean as Josephine Moshiri Elwood as self effacing Julia looks on.  Kareem Elsamadicy is much more than meets the eye as Haled for the smooth and lovely rendition of Haled’s Song about LoveEmily Qualmann as Anna and Fady Demian as Zelgar make an entertaining pair of partiers and Noah Kieserman delivers gorgeous vocals with the cast for the enthralling number, Answer Me.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage presents The Band’s Visit by Itamar Moses through December 17.  The show is 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Exiled Theatre’s disquieting and a bit fuzzy trilogy thriller ‘Hauntings I Have Lived Through’

Three lost women.  One embraces it, one denies it, and one leans into it.

In their first show since the pandemic, Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19.  Written and directed by James Wilkinson, the show was 80 minutes without an intermission.  Click here for more information on future performances.

From L to R: Laura Crook Waxdal, Morganna Becker, and Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wikinson

The set, which included a water pitcher and empty glass on a wooden desk sitting on top of a colorful Egyptian rug, is simply staged but each character handles the set differently.  The harp-laden, eerie music fits the ominous aura between scenes.

Hauntings I Have Lived Through may hint at a collection of ghost stories especially since it was delivered just after Halloween, but this is not entirely the case.  Three separate women recall enduring unique types of trauma.  However, coping with occasional moments of dark humor, their reactions are relatable even in the darkest of circumstances. 

In The Hanging Tree, an increasing anxious and somewhat disheveled woman approaches the desk.  She admits to coming off a tough breakup, though the breakup is mostly incidental to the show’s real story. The real story develops from an offhanded remark about a mysterious Sycamore tree in her woodsy backyard of a house she is becoming increasingly uncomfortable residing in.  With darting eyes, increasingly shaking hands, and a pale and stricken expression as she utters the anxiety laden yet humorous remark, ‘Pause for effect’ is effective as a rare light in Alex Alexander’s character’s bleak testimony before veering into an unpredictable direction.

Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

Morganna Becker’s character has been through a lot, but her frank, sarcastic and chatty tone hints of denial as she recalls a macabre event in the show’s second part, Nora (All Over).  This chapter is a bit muddled and at times difficult to follow, but there is no denying that this woman has also been through defining trauma.  As Becker recounts her story as if incidentally recalling the difficulties of a typically tough day, there is a fear behind her engaging, yet guarded demeanor.  This story is particularly graphic and gory while Becker takes it in as if she is a spectator in her own life.  Her subtle fear keeps her sympathetic as if she will at any minute grasp the gravity of what she has experienced.

Morganna Becker in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

The finale, The Dark Lady Gospels, delves into experienced trauma, but does not seem to belong with the other parts of the trilogy.  Laura Crook Waxdal delivers a strong performance as a twisted evangelist, but this compassionate woman does not practice what she preaches.  This part seems more parlor trick and diatribe than what could have been a meaty exploration into this complicated and abandoned woman’s character.  Perhaps her practices are a veiled attempt to cope with trauma, but even so, what she preaches seems beside the point and bereft of hope.  As a woman with a considerable amount to live for, it does not fit squarely into the show’s premise and gradually strays too far from its focus hinging more on fear than exploration.

Laura Crook Waxdal in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19.  Written and directed by James Wilkinson, the show was 80 minutes without an intermission.  Click here for more information on future performances.

REVIEW:  The Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3.  With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house.  Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton.  Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history.  Very likely taking place at the historic Old South Meeting House which is also celebrating its 300th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard. 

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis,  Phillis in Boston offers a unique and heartfelt perspective of this courageous woman.  In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries.  Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it.  Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae.  S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream.  Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley.  Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest.  With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3.  With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house.  Click here for more information and for tickets.

REVIEW: Boasting a superb and jovial cast, Boston Lyric Opera’s Boston-based ‘La Cenerentola (Cinderella)’ conjures practical magic

This Cinderella keeps it local and conjures a bit more practical magic.

Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola (Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12.  Click here for more information and for a closer look at Boston Lyric Opera’s new season.

Move over glass slipper and fairy godmother and hello fashionistas and Amazon drivers.  Cinderella is getting the city treatment with a few contemporary twists, but keeping its sparkling delivery and timeless moral message from a modern penthouse apartment overlooking the city of Boston.

ANGELINA (CECELIA HALL) MAKES HER ENTRANCE TO THE ROYAL BALL IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

The Emerson Cutler Majestic Theatre’s ornate theatrical setting is so fitting for Jenna McFarland Lord’s sophisticated and elaborate set design featuring two towering lit lamp posts.  From a pristine, lightly furnished penthouse apartment to a starlit, fantasy masquerade garden party embellished with vines chasing the walls, a wrought iron staircase, and twinkling lights, Lord builds up the fanciful spirit of this modern fairy tale.

La Cenerentola, spoken in Italian with English subtitles, is a spin of the traditional fairytale Cinderella and centers around an imaginative woman who lives with the Baron and his two daughters and must cater to their every whim.  When Don Ramiro shows up at the Baron’s doorstep, change just might be in the air.

DON MAGNIFICO, (BRANDON CEDEL, L.) IS THE WICKED STEPFATHER TO TISBE (ALEXIS PEART, C.) AND DANA LYNNE VARGA IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

However, some things haven’t changed in soprano Dana Lynne Varga as Clorinda and mezzo soprano Alexis Peart as Tisbe, Cinderella’s self-absorbed, scornful, and gold digging wicked stepsisters who can barely see beyond their mirrors (or in this case, their phones and selfie rings).  The duo possesses certain regality in their bookend statures, if it was not for their disdain for others.  Feathers, diamond encrusted bowties, crushed velvet, lace, and floral embroidery is just a portion of Trevor Bowen’s glittering, extravagant and fanciful costume design.  Cecelia Hall as Angelina seems to simply float in her idyllic emerald gown.  Don Magnifico, otherwise known as The Baron depicted with scene stealing glee by bass baritone Brandon Cedel, shares his daughters’ conceitedness decked out in rings, an earring, and carefully coiffed hair.  Cedel waltzes around the apartment in self congratulatory bliss unless something or someone ruffles his flawless feathers.  Though Cedel’s Baron does have a threatening side, Cedel spends much more time as a humorous ham as he flirts and shows off fun loving comic charm.

ANGELINA (CECELIA HALL) DREAMS OF A NEW LIFE FAR FROM WHERE SHE LIVES IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA) Photo by Nile Scott Studios

In suspenders and doo rag cap, mezzo soprano Cecelia Hall gracefully portrays modest, tactful, and compassionate Angelina with agile vocals, shining especially in the production’s quieter moments.  A sidelong glance, demure blush, and a barely concealed impish smile and gaiety escape her while she tends to her endless household duties, especially in the charismatic presence of tenor Levy Sekgapane as Don Ramiro.  Sekgapone’s dazzling vocals and captivating rapport with Hall make for some of the production’s most delightful moments and Ferretti’s libretto wisely delves further into Ramiro’s persona than other Cinderella productions. 

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Hall also shares a sweet camaraderie with bass baritone James Demler through a good deed as humble and quick witted Amazon driver and part narrator Alidoro.  Both Demler and Levi Hernandez as Dandini are immediately likable from the start.  Demler’s gravitas and commanding vocals deliver some wondrous surprises while baritone Hernandez’s soaring vocals as Dandini show they are much more than meet the eye.

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Gioanchino Rossini’s urgent rhythms, quick pacing, and playful, melodic dialogues enchant while the lightning speed of some of the libretto demonstrate the collective and extraordinary skill of this engaging cast.  With a few more refreshing twists and turns than in Cinderella’s traditional tale, Boston Lyric Opera’s La Cenerentola (Cinderella) embarks on a humorous and jovial journey while emphasizing the power of love and grace in all circumstances.

CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA

Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola (Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12.  Click here for more information and for a closer look at Boston Lyric Opera’s new season.

REVIEW:  Greater Boston Stage Company gets spooky with ‘We Had a Girl Before You’

Just in time for Halloween, Greater Boston Stage Company stages one creepy ghost story.

Taking a cue from the success of last year’s one man show, The Legend of Sleepy Hollow, Greater Boston Stage Company decided to draw from a few classic and haunting tales for this one woman show, We Had A Girl Before You.

Directed by Weylin Symes, Greater Boston Stage Company presents Trevor Schmidt’s We Had A Girl Before You live and in person at Greater Boston Stage Company in Stoneham, MA through Sunday, November 5.  It is 90 minutes with no intermission.  Click here for more information and for tickets.

Annie Barbour in Greater Boston Stage Company’s ‘We Had a Girl Before You’ Photo by Nile Scott Studios

Wearing spectacles and with hair pulled back in a tight bun is just one of Annie Barbour’s many personas as she depicts Edwina Trout, a lonely and inquisitive woman who embarks on an ardent journey to work as a lady’s companion.  Longing for love and a sense of belonging, she travels with hope on a dangerous journey to Wichham Manor.

Kathy Monthei’s gloomy and effective set boasts a distant and lit manor on a high hill, a large full moon, a wide staircase, a veiled and translucent black curtain, and bronze-like etchings on the walls with a built in crawl space.  The show relies a great deal on David Remidios’s moody sound design and spontaneous special effects for a few jump scares along the way.

Annie Barbour in Greater Boston Stage Company’s ‘We Had a Girl Before You’ Photo by Nile Scott Studios

Annie Barbour not only depicts Edwina Trout, but a number of unsavory characters on her journey such as a gruff and surly barmaid and an abusive and resentful teacher.  The physical prowess that Barbour carries is substantial, but she handles it while exacting accents, mannerism, and conversations varying from a dark scowl to a hypnotic stare.  Trout is far more complex of a part than it seems and Barbour handles these variations of temperament believably.  ‘We Had a Girl Before You’ is not as strong of a story as a classic tale of ‘The Legend of Sleepy Hollow,’ but it contains enough chilling content and wily twists  that make for an interesting day at the theatre. 

Annie Barbour in Greater Boston Stage Company’s ‘We Had a Girl Before You’ Photo by Nile Scott Studios

Greater Boston Stage Company presents Trevor Schmidt’s We Had A Girl Before You live and in person at Greater Boston Stage Company in Stoneham, MA through Sunday, November 5.  It is 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW: Imaginary Beasts conjures a boisterous ‘The Spider and the Fly’

With a collection of zany characters such as a Moth, a Praying Mantis, a Gossamer Fairy, Figment, a Land Octopus, and a sleepy constable named Bluebottle, it is clear that The Spider and the Fly has no shortage of zealous imagination.

With so many productions that rely on the zip and zing of digital effects, CGI, and AI, it is exhilarating to see director Matthew Woods solely rely on homespun creativity and audience interaction to bring to life a vivid and unpredictable gothic children’s tale.

Imaginary Beasts ‘The Spider and the Fly’ cast Photo by Matthew Woods

Directed artfully by Matthew Woods, Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 live and in person at Chelsea Theatre Works in Chelsea, Massachusetts.  The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up.  Click here for more information and for tickets that are quickly selling out.

Blending vintage with the contemporary, The Spider and the Fly is quite the inquisitive adventure with lots of high jinks, scheming, plotting, sleuthing, and memorable and poetic dialogue that delivers a meaningful message about inspiration, friendship, and doing what is right.  A panto is a form of wintertime family entertainment in the UK that weaves in puns, wordplay, jokes, and more.  The Spider and the Fly is somewhat a panto within a panto as the cast embarks on an ardent journey to inspire a writer inside the writer’s own head.

Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and the Fly’ Photo by Matthew Woods

Brooks Reeves relishes in the part of King Cumbercrown who will stop at nothing to stop the Panto from happening, even if it means corrupting everyone in his path.  Reeves is up to no good and his scheming and crafty behavior is such fun to watch as Reeves’s blue face scowls and sneers at the any sign of happiness and joy behind hypno spiral goggles.

The black and purple painted set design by Jason Taschereau has a vintage and mesmerizing quality while Cotton-Talbot-Minkin’s captivating and colorful costumes exude a gothic, fanciful and vintage edge with a dash of steam punk.  As the look is inspired by silent films, outrageous patterns combine with bow ties, top hats, sparkling converse sneakers, lace, corduroy, pearls, flowered shoes and boots.   Though it is gothic, it is not scary, but creative, inviting, and imaginative. 

Laura Detwiler as the Great Author and Brooks Reeves as King Cumbercrown in Imaginary Beasts ‘The Spider and The Fly’ Photo by Matthew Woods

The continual audience engagement fuels this wild tale that does meander and veer off course occasionally, but it is difficult to notice with such a lively cast of characters that weave in some random contemporary pop and winking adult references.  The Wednesday dance challenge, Rhianna, and random television show references are just a few examples. 

Jamie Semel as Young Woodby and Evan Turissini as Madame Bijou in Imaginary Beasts ‘The Spider and the Fly’

Some of the cast depicts more than one role.  Evan Turissini is all drama and also relishes in the part of lovelorn, flirty, and attention-seeking Madame Bijou, especially while vying for the attention of Bluebottle, portrayed with British flair by Colin McIntireSophia Yael Koevary as Daisy Mae and Jamie Semel as Young Woodby share some sweet scenes.  With choreographer Laura Detwiler’s dynamic choreography, Camille Charlier as the Gossamer Fairy and Lindsay Eagle as The Ghost of Mary Whosie-Whatsit perform a  harmonious rendition of Mills Brothers’ The Glow Worm.  Another memorable tune comes straight from the audience as the cast invites the crowd to believe in a spark, depicted by Erin FM and navigated by Beth Owens.

For a show about inspiration, The Spider and the Fly doesn’t need much coaching as it delves into this exciting production with a quick pace with lots of heart.

Imaginary Beasts presents live and in person Kiki Samko and Matthew Woods’s The Spider and the Fly or the Tangled Web (a gothic pantomime) through October 29 at Chelsea Theatre Works in Chelsea, Massachusetts.  The show is one hour and 40 minutes with a 10 minute intermission and is recommended for children 5 and up.  Click here for more information and for tickets that are quickly selling out.

REVIEW:  Between laughter and rage, the Huntington Theatre, Alliance Theatre, and Front Porch Arts Collective’s leaves food for thought with ‘Fat Ham’

Whether in a kingdom or a small town, rumors still fly.

However, at this small town barbeque and with the audience as small town witnesses, Juicy has to overcome more than a Fat Ham to make things right within his wild and dysfunctional family.

Based partially on Shakespeare’s classic production Hamlet and conscientiously directed by Stevie Walker-Webb, the Huntington Theatre in association with Alliance Theatre and Front Porch Arts Collective presents James IJames’s semi-interactive dramedy Fat Ham through Sunday, October 29 live and in person at Calderwood Pavilion in Boston, MA.  This Pulitzer prize-winning show is 90 minutes with no intermission and contains mature themes and strong language.  Click here for more information and tickets.

Marshall W. Mabry IV, Lau’rie Roach. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

What is refreshing about this contemporary iteration of Hamlet is not only is it much more of a comedy than a tragedy, but it also roots itself far more into the family dynamic than even Shakespeare portrayed.  Watching Hamlet, one assumes that the king and his son had a traditional and loving father-son relationship.  What if it everything was far more complicated?  What if the father is not the model dad that a child grows to admire?  Fat Ham bears a resemblance to the classic production in key plot points, but then flips the script and transitions into its own entity that delves into the cycle of intergenerational trauma swinging from ruthless, creepy and suspenseful to not taking itself too seriously. 

Rather than Hamlet standing for Juicy, the metaphorical star of this production is just what one roasts during a barbecue, a fat pig as a grill takes center stage.  However, there is a struggle of who is king of this house as Juicy’s father has just died and Juicy’s uncle suspiciously soon after marries Juicy’s mom, Tedra. 

Victoria Omoregie, Thomika Marie Bridwell, Lau’rie Roach, Amar Atkins, Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

Fat Ham is humorously set in ‘Virginia or Maryland or Tennessee’ and in a small town where gossip travels fast.  Luciana Stecconi’s working class set design boasts tiny, multi-functional and mood setting white lights that adorn a large tree on a dilapidated back porch strewn with arbitrary clothes hanging on a disheveled clothesline.  Baby shower balloons, a tire swing, grill and a fire pit surround a half decorated picnic table and chairs.  Costume designer Celeste Jennings leans on frenetic colors and patterns to accentuate the essence of each character.  Aubrey Dube’s rich sound design, Xiangfu Xiao’s sharp lighting, and Evan Northrup’s amazing illusion design all team up to illustrate some startling, eerie, foreboding, and pivotal revelations. 

Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

In some key ways, Fat Ham’s cast improves on the Shakespeare’s classic play and Ijames diligently exposes the hypocrisy of each character.  The casting is also particularly astute as Juicy, depicted with timid and burdened inquisitiveness by Marshall W. Mabry IV and Lau’rie Roach portrays lively and wisecracking cousin Tio who buries insightfulness in raunchy humor.  Ebony Marshall-Oliver as self centered Tedra still shares a nurturing and sympathetic rapport with Mabry while flaunting spicy swagger with Vincent Ernest Siders as Rev/Pap.  A particular scene in which Marshall-Oliver and Mabry both shine is a dynamic musical interlude that shows off their individual charisma and prowess. 

James T. Alfred, Ebony Marshall-Oliver, Victoria Omoregie, Thomika Marie Bridwell. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

Vincent Ernest Siders stepped in as Rev/Pap and punctuates his performance with a domineering sneer as well as savage and manipulative taunting.  Victoria Omoregie as Opal and Thomika Marie Bridwell as Rabby deliver a relatable and hilarious mother-daughter relationship while Amar Atkins bears his own burdens as Opal’s seemingly straight laced brother Larry.

Victoria Omoregie, Thomika Marie Bridwell, Lau’rie Roach, Amar Atkins, Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

Sometimes it takes something big for life to change.  Fat Ham explores overcoming betrayal and one’s supposed lot in life against all odds to forge a new path in a crazy world.

Based partially on Shakespeare’s classic production Hamlet and conscientiously directed by Stevie Walker-Webb, the Huntington Theatre in association with Alliance Theatre and Front Porch Arts Collective presents James IJames’s semi-interactive dramedy Fat Ham through Sunday, October 29 live and in person at Calderwood Pavilion in Boston, MA.  This Pulitzer prize-winning show is 90 minutes with no intermission and contains mature themes and strong language.  Click here for more information and tickets.

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

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 50th 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 AtlantisMisery 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.

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

Sharply directed by Michael Hammond on the eve of Stephen King’s 50th 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: Arlekin Players Theatre divulges vivid, twisty and gripping ‘Just Tell No One’

Arlekin Players has multiple secrets to tell.

Arlekin Players ‘Just Tell No One’ Benjamin Evett Photo credit to Arlekin Players

In a world saturated by news, war, and strife, Just Tell No One shares a few conflicts up close and personal and each are a matter of life and death.  Magnified by multiple television screens while a script lies among the tattered and charred papers littering black film on the floor, Arlekin Players reaches into Natal’ya Vorozhbit’s Bad Roads translated by Sasha Dugsdale, Natal’ya  Vorozhbit’s Three Rendezvous translated by John Freedman with Natalia Bratus, and Just Tell No One from Oksana Savchenko’s full-length play Night Devours Morning translated by John Freedman to illustrate a number of brutal revelations with a sort of abandon.

Arlekin Players ‘Just Tell No One’ Anne Gottlieb Photo credit to Arlekin Players

In Partnership with Worldwide Ukrainian Play Readings which is part of CITD’s Hope Initiative, The Arlekin Players (zero-G) Lab reaches into the dark recesses of the human condition with staged reading benefit Just Tell No One  live and in person at the Arlekin Players in Needham Heights, MA through October 14.  This show has adult themes, explicit language and graphic imagery. The show runs 65 min without an intermission and without a bad seat in this intimate, theatre in the round setting.  Click here for more information and for tickets that are selling fast.

Arlekin Players ‘Just Tell No One’ Gene Ravvin and Polina Dubovikova Photo credit to Arlekin Players

With ruefully clever direction by Igor Golyak, Just tell No One is a raw, intense, and unyielding journey with moments of grim humor stemming from mysterious motivations.  No ordinary staged reading, Just Tell No One latches onto the audience through its powerful cast consisting of Lucas Boniface, Irina Bordian, Daniel Boudreau, Polina Dubovikova, Benjamin Evett, Rimma Gluzman, Anne Gottlieb, Alexander Petetsky, Gene Ravvin, Julia Shikh, and Robert Walsh.  Gene Ravvin as He is crude, menacing, and frightening as he circles alert, calculating, and shrewd Polina Dubovikova as She in a fight for their lives in the shadows of a dank basement as Eric Dunlap’s immersive video and multi-media effects with Tyson Miller’s eerie blue lighting punctuate the filthy and isolated atmosphere.  Dunlap and Miller’s innovative skills later generate a fantastical and notable icy setting.   Lines become blurred as they both struggle for power over the situation.  Alex Petetsky as Vasya the farmer and Julia Shikh as Vasya’s wife make amusing conspirators hinging onto a naïve and young girl’s guilt, depicted impressively by Irina Bordian. Bordian’s anxiety is palpable as she faces the couple.

Benjamin Evett depicts sympathetic and humble The Man with questionable motives and Anne Gottlieb introduces the chill in the air as she opens the show with masterful and thought provoking prose as The Woman.  Each vivid, suspenseful and unflinching scenario tells so much and yet so little and now it’s best to say no more.

Arlekin Players ‘Just Tell No One’ The Women Photo credit Arlekin Players

The Arlekin Players (zero-G) Lab reaches into the dark recesses of the human condition with staged reading benefit Just Tell No One live and in person at the Arlekin Players in Needham Heights, MA through October 14.  This show has adult themes, explicit language and graphic imagery. The show runs 65 min without an intermission and without a bad seat in this intimate setting.  Click here for more information and for tickets that are selling fast.

REVIEW:  Central Square Theater reveals ‘Angels in America Part 1: Millennium Approaches and Part 2: Perestroika’

For a show about grief, life springs forth briskly inside the pristine walls of hospital quarters that house only a few scattered chairs.   The radio comes to life with a few select news and pop culture references signaling its 80s setting.  Much of what is portrayed isn’t what it seems and Director Eric Tucker and scenic designer Deb Sivigny provide order to the disarray as props twist, sashay, and sway in the semi-interactive chaos at a terrific pace.  In a particular highlight, members of the cast physically pile together to form a bed as they rely on each other for support while the dialogue flows and it all works beautifully.  Angels in America:  Millennium Approaches somehow makes sense of it as it embraces the manic nature of the world and in this genius and raw staging, consistently propelling it forward.

Eddie Shields as Prior Walter and Zach Fike Hodges as Louis Ironson in Central Square Theater’s ‘Angels in America Part 1’ Photo by Nile Scott Studios

Central Square Theater and Bedlam present Tony Kushner’s Pulitzer Prize-winning and Tony Award-winning Angels in America Part 1:  Millennium Approaches and Part 2:  Perestroika at select times through Sunday, October 8 live and in person at Central Square Theatre in Cambridge, MA.  This is a review of Part 1 which is three and a half hours including two intermissions and contains adult content, nudity, and some graphic scenes.  Click here for more information and for tickets.

This multi-talented, collaborative cast not only demonstrate physical prowess with its integral props and settings for each energetic and urgent scene, but some depict a mix of complex and sympathetic characters which intersect into different storylines.  Debra Wise slips into a beautiful Yiddish accent as a Rabbi tasked with officiating a funeral, a significant phantom from the past, and later as a stern Mormon mother.  The Rabbi’s terse, wry wit and candid delivery highlight Wise’s apt skills before she later manifests Hannah Pitt’s guarded and concerned motherly misgivings.  One looks death in the eye, one has faced death and the latter is afraid to watch.  At one point, the Rabbi examines an immigrant’s journey by exclaiming, ‘You do not live in America.  No such a place exists.’ 

Central Square Theater Angels in America Part 1 Debra Wise Photo by Nile Scott Studios

Angels in America takes off with the hustle and bustle of death and business that zings and marches as acclaimed lawyer and power broker Roy Cohn, depicted with biting wit and magnetic, yet morbid cynicism by Barlow Adamson meets his new Mormon assistant from Salt Lake City, Joe Pitt, portrayed with principled diffidence by Alexander Platt.  Adamson and Platt are quick to establish a mentorship as they learn more about each other.

Maurice Emmanuel Parent, Zach Fike Hodges, Kari Buckley, and Eddie Shields in Angels in America Part 1 Photo by Nile Scott Studios

Angels in America addresses many complex questions including the nature of love, grief, religion, freedom, and the state of the world where hope is so hidden and nearly bereft of existence.   John R. Malinowski’s menacing lighting is at once investigative and haunting as it veers and shifts so cleverly that it is difficult to tell if it is shedding light in a dark world or exposing the dark with light.  The show profoundly tackles loneliness in most of its characters and how each one of them copes with their present circumstances.  Eddie Shields as Prior Walter gets the brunt of it physically and psychologically as he is faced with HIV.  Using humor and escapism to mask his inner turmoil, Shields delivers a bold and heartrending performance facing obstacle after obstacle. 

Maurice Emmanuel Parent, Helen Hy-Yuen Swanson and Kari Buckley in Central Square Theater’s ‘Angels in America Part 1’ Photo By Nile Scott Studios

Kari Buckley suffers a quieter battle as agoraphobic Harper.  Buckley’s gleaming smile, endearing and quirky inquisitiveness, and denial masks her own inner turmoil as she turns to medication for relief and as a life raft for her unhappiness.  Harper muses, ‘People are like planets.  You need a thick skin.’ Buckley and Maurice Emmanuel Parent as Mr. Lies share some whimsical scenes that cleverly act as a relief from the heavier material.  Maurice Emmanuel Parent also portrays supportive, compassionate, and reasonable Belize who levelheadedly sets the record straight in a debate about love and politics with Zach Fike Hodges as Louis who is doing everything he can to avoid the truth about Prior’s condition.   Hodges weaves impulsively in out of the five stages of grief and in his suffering further complicates things.

Central Square Theater Angels in America Part 1 Maurice Emmanuel Parent and Zack Fike Hodges Photo by Nile Scott Studios

Angels in America is not for the faint of heart.  It is rueful, witty, cynical, sobering, and unflinchingly unearths the shadows and heartache of the boundaries of freedom in a world gone mad before it sheds some light.  Though both parts of Angels in America can exist on their own, Part 1’s conclusion leaves plenty of room for Part 2.

Helen Hy-Yuen in Central Square Theater’s ‘Angels in America Part 1’ Photo by Nile Scott Studios

Central Square Theater and Bedlam present Tony Kushner’s Pulitzer Prize-winning and Tony Award-winning Angels in America Part 1:  Millennium Approaches and Part 2:  Perestroika at select times through Sunday, October 8 live and in person at Central Square Theatre in Cambridge, MA.  Part I is three and a half hours including two intermissions and contains adult content, nudity, and some graphic scenes.  Click here for more information and for tickets.