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REVIEW: Boston Ballet’s ‘The Sleeping Beauty’ remains a regal and enchanting achievement

Posted on June 3 by The Sleepless Critic

When an invitation goes awry…

An unexpected hero, an insulted fairy, true love, and a terrible curse make up this enchanting and haunting fairy tale classic as Boston Ballet proudly presents The Sleeping Beauty. Unfolding with elegant and athletic choreography by Marius Pepita and Sir Frederick Ashton, The Sleeping Beauty has returned to Boston for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. This production runs two hours and forty-seven minutes with two intermissions. Click here for more information and for tickets.

Boston Ballet in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

A full house gathered inside the Citizens Opera House as Mischa Santora conducted Tchaikovsky’s famous and dramatic music score, transporting the enthusiastic crowd into a world of royalty, betrayal, innocence, a few familiar fairy tale faces, and a dose of magic. Disney’s popular animated adaptation possesses some similarities to this captivating tale, but Boston Ballet delivers more to the story. You may even find yourself humming along to the instrumental refrain of the iconic number, Once Upon a Dream.

At the center of The Sleeping Beauty is Ji Young Chae who is radiant as delightful and charming Princess Aurora. A triumph of delicate yet athletic grace, her poised and lithe body masters a few of ballet’s most difficult dance moves with impeccable balance including an array of arabesques that garnered particular applause. Seokjoo Kim, Francisco Schilereff, Tyson Ali Clark and Lawrence Rines Munro as prince suitors are enraptured by Chae’s playfulness, charisma, and charm. Chae as Aurora accepts their roses with a flourish.

Ji Young Chae in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Based on Russia’s Imperial Ballet’s 1890 production, The Sleeping Beauty remains a visual treat, boasting ornate costumes in a wide array of intricate patterns with picturesque and multi-dimensional set design by David Walker richly illuminated by Brandon Stirling Baker. From ornate, lush and colorful rural backdrops in gold, red, and green to the enchanting Renaissance era costumes, each scene is a wonder to behold. Wearing glimmering tiaras and dressed in sparkling pink, green, yellow, and blue, the gracious fairies made up of Lauren Herfindahl, Alexandria Heath, Kyra Muttilainen, Emily Aston, and Evelina Godunova floated, frolicked, and twirled, each displaying their own unique personalities. Muttilainen as the whimsical and tip toeing Woodland Glade Fairy and Godunova performing a joyful, skittering and humorous dance as energetic Golden Vine Fairy were particular highlights.

Chisako Oga in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

With a cruel and mocking laugh arriving in a dark, glimmering carriage was Haley Schwan as treacherous Carabosse. Accompanied by a group of monstrous henchmen performed by Ethan Collins, James Cunningham, Alexander Mockrish, and Clay Murray, Schwan displays vindictiveness as an insulted fairy in a mesmerizing array of sharp and rigid movements.

Chyrstyn Fentroy in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Tchaikovsky’s uplifting score hits a crescendo as Emma Topalova appears as the serene and captivating Lilac Fairy. In this adaptation, The Lilac Fairy acts as a guide, her warm presence, quick thinking and commanding courage setting her apart. Her charismatic and skillful performance was most evident among her lively lilac fairy attendants in a glorious display of fouettes, plies, and pirouettes. Topalova was also endearing in a compelling scene with Jeffrey Cirio as Prince Desire. Cirio has a regal and noble air, gallantly leaping with joy at Aurora’s image. Ji Young Chae as Aurora and Jeffrey Cirio as Prince Desire exhibit many tender and playful moments and perfectly complement each other in a fancifully-driven dance including extraordinary fish dives, swept up in love.

Ji Young Chae and Jeffrey Cirio in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

The Sleeping Beauty delivers many magnificent performances within this large cast taking on multiple roles. From a wild and thrilling duet from Layla Porter as Little Red Riding Hood and Lawrence Rines Munroe as the Wolf to humorous feline flirtation from Emily Aston as The White Cat and Spencer Wetherington as Puss ‘N Boots, many beloved fairy tale characters were presented in a joyous celebration.

Chisako Oga and Derek Dunn in Marius Petipa’s The Sleeping Beauty by Liza Voll, courtesy of Boston Ballet

With two intermissions, The Boston Ballet offers a photo friendly display located in the lower lobby. The Boston Ballet closes its season with The Sleeping Beauty for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Humor brightens The Huntington’s raw and gritty ‘Oedipus El Rey’

Posted on May 27 by The Sleepless Critic

Is it possible to alter your destiny?

If you are thinking of that classic Greek mythological tale, then yes, it’s that story…with a twist.

Boldly directed by Loretta Greco, The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Taking place in engaging stadium seating, the production runs approximately 100 minutes without an intermission. The program contains a valuable synopsis and guide of Spanish terms with translations. Click here for more information and for tickets.

Javier David in foreground, with LtoR:Jaime José Hernández, Juan Arturo, Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Oedipus El Rey is a re-imagining of Sophocles’s classic tale and is one third of Luis Alfaro’s Greek trilogy. The other two works include Sophocles’ Electra and Euripides’ Medea. Oedipus El Rey is shared through a distinct lens about a man wrestling with destiny.

Hana S. Kim’s barebones set comes to life through mystical, biblical, modern, and kaleidoscopic projected landscapes from shooting stars to prison bars to floral gardens. One of my favorite set pieces was the ice cream cart! Greco makes the most out of the intimate staging through the depiction of motion and scenes occurring side by side. From finely-detailed and mythological headdresses to modern orange emblazoned jumpsuits and track suits with thick gold chains and baseball hats to chic denim and Latino-inspired gowns, Hana S. Kim ties together this tale transcending time right down to Jocasta’s laced up Greek sandals.

Javier David in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Set in a contemporary urban Los Angeles landscape, Oedipus El Rey delivers universal themes with a dose of mysticism about the cost of relentless pride and infallibility. This world is raw and gritty while possessing its own distinct energy. It has a passing resemblance to Baz Luhrman’s gritty setting in Romeo and Juliet which takes place in California and combines Mexico City, Miami and Los Angeles with Catholic imagery.

If you don’t already know this classic story, it is a poignant tale not for the faint at heart featuring a group of wise and discerning narrators who also act as a Greek chorus delivering a mix of satirical humor and commentary that can lighten this production’s heavier elements.

Shared in a penitentiary setting, this Greek chorus disguised as inmates not only keep time, but assume a number of pivotal roles. Jaime José Hernández, Victor Almanzar, Javier David, and Gabe Martínez share a fascinating and seemingly easygoing and amiable rapport delivering relatable, modern, dark and humorous commentary as they share this fluctuating tale that is once cynically amusing, grim the next and thoroughly intense. It boasts music, celebration and comedy while still possessing all the elements to this at times shocking classic tale. Alongside Juan Arturo as Oedipus, the group displays athleticism, activity and prowess with an urgency to outrun or outsmart their ultimate fate.

Domineering gang leader Laius, fiercely portrayed by Gabe Martínez, learns he is expecting a baby with Melisa Soledad Pereyra as Laius’s faithful wife Jocasta. However, when a seer foretells the baby’s fate, Laius takes drastic measures to prevent Oedipus’s ultimate destiny.

Juan Arturo, Melisa Pereyra in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Juan Arturo as Oedipus sharply mixes hubris, resentment, rage and sympathy in a textured and intense performance. Oedipus is a victim of circumstance and longs for meaning veiled in relentless ego and pride and brings overriding sympathy but not endearment beneath an array of shocking actions.

Victor Almanzar in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Oedipus and Victor Almanzar as Tirasius share a complex and compelling relationship. Almanzar is particularly impressive as compassionate Tirasius who possesses profound power behind stirring humility. Melisa Soledad Pereyra also stands out as traditional and powerfully faithful Jocasta who demonstrates resilience through her struggle and resentment and Jaime José Hernández is charismatic as Jocasta’s protective brother Creon.

Jaime José Hernández in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

While I’m not a fan of Greek mythology and the classic tale of Oedipus isn’t one of my favorites, I can appreciate its resounding significance and moral messages. What I enjoyed about Oedipus El Rey is its liveliness and the imaginative retelling while still managing to stay true to its timeless mythological roots. The dark and occasionally lighthearted humor unexpectedly made me laugh quite a few times even as this troubling tale reached its inevitable climax and for that, I am grateful.

L to R: Victor Almanzar, Javier David, Juan Arturo,Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Click here for more information and for tickets.

REVIEW: The Umbrella Stage Company delivers a bright and uplifting ‘Hairspray’

Posted on May 15 by The Sleepless Critic

If only we can all possess Tracy Turnblad’s unwavering optimism and enjoy this much dancing everyday in our own lives, the world may be a little happier.

‘I’ll eat some breakfast and change the world’ is just one of the self-assured declarations that Nora Sullivan makes as tenacious during Good Morning Baltimore while dreaming about dancing on television in 1962 Maryland. Sullivan was also Tracy in Sullivan Rep’s Hairspray last year.

With glowing, innovative and multi-color television screens and a sparkling curtain in the background, The Umbrella Stage Company lights up The Corny Collins Show’s vinyl record dance floor with catchy beats and a spirited groove in Hairspray: The Broadway Musical, an upbeat 60s romantic musical comedy sure to brighten anyone’s spirits.

The cast of HAIRSPRAY, feat. Lisa Kate Joyce* as Amber Von Tussle, Joshua LaPierre as Corny Collins, and Nick Corsi as Link Larkin Photo by Jim Sabitus *indicates a member of AEA

Boasting exuberant direction and choreography by Najee A. Brown and Jordan Oczkowski’s uplifting music direction, Umbrella Stage Company Hairspray: The Broadway Musical live and in person at the Umbrella Arts Center in Concord, Massachusetts through Sunday, May 17. This engaging musical comedy delivers bold comical innuendos and runs approximately two hours with one intermission. Click here for more information and for tickets.

Featuring a large and lively cast, Hairspray has always been an upbeat satire which infuses important messages about body positivity, bullying and racism with a hopeful and bubbly lead that believes anything is possible. I had a marvelous time and could not help bopping my head several times to the musical’s joyous beat. Hairspray picks up right away in constant motion as scenes unfold simultaneously on Cameron McEachern’s dual level set. For example, Good Morning Baltimore unfolds with infectious rhythms and clever staging as Maggie Cavanaugh as Tracy’s best friend Penny and Tracy pour over an authentic retro television set alongside what they are seeing on the screen.

The cast of HAIRSPRAY, feat. Christian David* as Seaweed J. Stubbs in HAIRSPRAY at The Umbrella Arts Center in Concord, MA. Photo by Jim Sabitus.
*indicates a member of AEA

Big and fluffy standout wigs by Cara Guappone tower over vivid 60s costumes in flowing crinoline with colorful patterns including polka dots, florals, plaids and shimmering gold lamé by Emerald City Theatricals.

Another highlight is demonstrated in Big Doll House which elevates the comedy and the chemistry between the actors and teen rebellion takes charge as Cavanaugh’s Penny, Lisa Kate Joyce as Amber Von Tussle and Sullivan’s Tracy sound off in vivid intricate lighting by SeifAllah Salotto-Cristobal and sparkling harmony for Mama I’m a Big Girl Now.

Nick Corsi and Nora Sullivan in HAIRSPRAY at The Umbrella Arts Center in Concord, MA. Photo by Jim Sabitus.

Tracy dreams of performing on Baltimore’s teen dance TV show The Corny Collins Show and winning the heart of Link Larkin, a council member and heartthrob singer exhibiting the dreamy excitability of falling in love with Brown’s 360 degree choreography in I Can Hear the Bells. Sullivan’s jovial performance exudes charm and an imaginative turn of phrase as Tracy’s pretty vocals expel spontaneous shrieks and endearing chuckles during various parts of the production.

Sullivan’s Tracy gets into ambitious teen high jinks and Maggie Cavanaugh as best friend Penny is gleefully along for the ride. Boasting hints of Elvis croons and inflections, Nick Corsi portrays heartthrob Link with a mix of openness and charisma while sharing some amusing scenes with Tracy especially for the endearing ballad, It Takes Two. Christian David is easygoing and suave delivering smooth and distinctive vocals as Seaweed J Stubbs, especially for the catchy number Run and Tell That. With a broad and winsome smile, Joshua Lapierre as Corny Collins certainly lives up to Corny’s name and is shows off his sharp comedic chops while cutting a rug in Nicest Kids in Town.

Aimee Doherty, Lisa Kate Joyce and the cast of HAIRSPRAY at The Umbrella Arts Center in Concord, MA. Photo by Jim Sabitus.

Brutal, poised and snarky, villainy lives in Aimee Doherty who revels in her role as Velma Von Tussle bathed in ruthless red lighting. Lisa Kate Joyce as Velma’s coiffed and obnoxious daughter Amber Von Tussle is an appropriate mini-me striding onstage with a flashy smile. The duo makes an impressively egotistical, calculating, manipulative and often unhinged pair. Only second to an array of comical tantrums bellowed on a staircase, Joyce is brashly pitch perfect when she exclaims, ‘What happened to the bland and spineless guy I fell in love with?’ Joyce also delivers sharp comedic timing and over the top vocals for Cooties.

Robert Saoud infuses dry humor and a dazzled smile as Tracy’s once aspiring designer mother Edna and Chip Phillips lovably depict Tracy’s plucky and optimistic inventor father Wilbur for a humorous rendition of You’re Timeless to Me.

Robert Saoud* and Nora Sullivan as Edna and Tracy Turnblad and cast in HAIRSPRAY at The Umbrella Arts Center.
Photo by Jim Sabitus.
*indicates a member of AEA

Whether delivering the playful and bluesy Big Blonde and Beautiful or a moving rendition of I Know Where I’ve Been, Barbara Pierre offers frank, unflappable and soaring vocals as Motormouth Maybelle. Whether depicting a principal at the end of his proverbial rope, a wild bailiff, gym teacher, a camera shy advertiser or taking control of a TV shoot, Nick Miller and Meryl Galaid manage to make each of their multiple roles amusingly memorable.

Nora Sullivan and the full cast of in HAIRSPRAY at The Umbrella Arts Center in Concord, MA. Photo by Jim Sabitus.

No time but now to see Hairspray: The Broadway Musical continuing live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, May 17. Click here for more information and for tickets.

REVIEW: Helmed by a strong cast, Actors’ Shakespeare Project’s profound and soul-stirring ‘Gem of the Ocean’ shines

Posted on May 10 by The Sleepless Critic

Everyone should see Aunt Ester.

Joshua Lee Robinson delivers a captivating performance as complex young Citizen who is desperate to see Regine Vital’s Aunt Ester, believing she is the key to unburdening his heavy heart and cleansing his soul. Robinson conveys Citizen’s troubled spirit in low tones as well as pleading and urgent mannerisms that make it easy to feel the weight of his burden.

Joshua Lee Robinson and Regine Vital with Dereks Thomas and MarHadoo Effeh in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

August Wilson has woven a powerful tale with an array of interconnected characters and a supernatural twist that delves into the meaning of freedom, oppression, superstition, the law, redemption, biblical themes and much more.

Directed intuitively by Monica White Ndounou, Actors’ Shakespeare Project continues August Wilson’s Gem of the Ocean live and in person at Hibernian Hall in Boston, Massachusetts through Sunday, May 17. This beautiful production contains strong language and runs two hours and 40 minutes including one intermission. Click here for more information and for tickets.

Dereks Thomas, MarHadoo Effeh, Joshua Lee Robinson, Jonathan Kitt, and Kadahj Bennett in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

With the acclaim of Fences, Ma Rainey’s Black Bottom and The Piano Lesson, Denzel Washington recently made a deal with the August Wilson Estate to bring the rest of the plays from August Wilson’s Pittsburgh Ten Play Cycle to the big screen. Washington only met August Wilson once on a rainy day in Seattle between 2003 and 2005 when Wilson was considering Washington for a part in his new play, Gem of the Ocean.

Over the past few years, Actors’ Shakespeare Project staging August Wilson’s plays has proven to be a match made in Heaven. Since the premiere of Seven Guitars in 2023, Actors’ Shakespeare Project shines with each new production and Gem of the Ocean, their resonating fourth play in August Wilson’s Pittsburgh Cycle, is no exception.

Set in 1904 Pittsburgh, Gem of the Ocean was not written first, but it is set the earliest in the Pittsburgh cycle and stands as the historical and spiritual center of the cycle’s various works. Seven Guitars also ties in Gem of the Ocean nicely with a brief mention of Aunt Ester’s legendary gifts and now we are learning the full story.

Payton Tavares creates a wooden duel level and transformative set which features a balcony, a dark staircase, hanging wrought iron pots, a vintage etched cabinet with bread box, doilies adorning timely furniture and pivotal lanterns adorning both sides of Aunt Ester’s house.

Joshua Lee Robinson (center) with Jonathan Kitt and Regine Vital in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

Like The Piano Lesson, Gem of the Ocean has its own transfixing and suspenseful share of supernatural elements hauntingly illuminated by Isaak Olson combined with Aubrey Dube’s windswept, mystical, soulful and rumbling sound design.

Jonathan Kitt, Dereks Thomas, and Joshua Lee Robinson in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

The family bonded rapport between characters, the genuine humor, rich storytelling and shared pearls of wisdom are just a few of the common and riveting elements in August Wilson’s productions. With the soaring vocals Vital is known for in other productions, Regine Vital brings to life charismatic, weary, and home bound Aunt Ester whose power and discernment reveals itself in bursts. Aunt Ester’s mystical wisdom shapes this story while Jonathan Kitt portrays a heartfelt and larger than life persona as energetic Solly Two Kings. Kitt’s Solly muses, “If I live my life for a woman, I can’t live my life for the people” and “Wave the law in one hand and a Billy club in the other.”

MarHadoo Effeh and Kadahj Bennett in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

Kitt is as endearing and avid a storyteller as he was as reserved and discerning Doaker in The Piano Lesson, but Solly Two Kings is an impulsive, frank and instinctive man full of ideas. Even with a wooden stick for a cane, Kitt’s Solly is a man of action and devoted to his family with a harrowing history of survival that fuels his determination and only makes him stronger. Solly and Aunt Ester share a lighthearted and affectionate rapport. Aunt Ester also leans on Dereks Thomas as warm, concerned and protective Eli, a fascinating bond with Marhadoo Effah as Aunt Ester’s loyal caretaker Black Mary, and a growing and enigmatic connection with Robinson’s Citizen who resembles someone from her past.

Michael Broadhurst (right) with MarHadoo Effeh in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

In a black vest, holster and tie, Kadahj Bennett is terrific as tough, outspoken, wealthy and rigid free man Caesar, who has changed in recent years to the frustration of Effah is also Caesar’s humble, earnest and seemingly stoic sister. In a production boasting biblical references, it is likely Caesar is named after the Roman Emperor who practiced supreme civil authority. Blinded by self-righteousness and a dominating sneer, Bennett’s Caesar is intense and unflinching in the name of the law. Michael Broadhurst rounds out this intriguing cast as Solly’s trusted peddler friend, Rutherford.

Joshua Lee Robinson (center) with Jonathan Kitt, MarHadoo Effeh, Dereks Thomas, and Regine Vital in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

A gem is established when it is tested to its very limits. Gem of the Ocean is a remarkable spiritual journey that tests each of these characters and is rooted in harrowing history while emphasizing the importance of endurance and fortitude in life’s brutal battlefield. It is a moving production offering humor and profound life lessons that culminate in surprising revelations and full circle moments that keeps you guessing to the very end.

Actors’ Shakespeare Project continues August Wilson’s Gem of the Ocean live and in person at Hibernian Hall in Boston, Massachusetts through Sunday, May 17. Click here for more information and for tickets.

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: Calculations, connection, possibilities and their impact in Central Square Theater’s notable ‘Breaking the Code’

Posted on April 22 by The Sleepless Critic

A burglary is far more complicated than it seems.

Methodically directed by Scott Edmiston and based on Andrew Hodges’s critically-acclaimed best-selling biography Alan Turing: the Enigma, Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3. This engaging A Catalyst Collaborative@MIT Production contains some adult content and runs 2 hours and 30 minutes with an intermission. Click here for more information and for tickets.

I first learned about Alan Turing’s incredible life and accomplishments through the riveting 2014 biopic, The Imitation Game starring Benedict Cumberbatch and Keira Knightley. It is a shame that before seeing this eye opening film, I hadn’t been taught about this remarkable and renowned British mathematician, coder and computer scientist as part of my academic history.

Dom Carter, Matthew Beagan and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Edmiston does not necessarily present Turing’s story in chronological order, but through segments or scenes enhanced by enigmatic typewritten statements that become clearer as the production progresses. Scenic designer Janie E. Howland and SeifAllah Salotto-Christobal cleverly weave together innovation with vintage elements as projections of definitions to garden settings to calculations are vibrantly illuminated by Karen Perlow as tilted shelves stuffed with books, manuals, vintage electronic parts, old telephones and much more hang overhead. Classic three piece suits, scholarly cardigans and colorful dresses are just a portion of Chloe Moore’s fittingly traditional 50’s era costumes.

Set in England 1952, Eddie Shields as Alan Turing meets Dom Carter as unwavering and discerning detective Mick Ross to report a mysterious burglary at Turing’s home. When something seems amiss, Carter and Turing skillfully execute their increasingly tense cat and mouse game to a stunning conclusion.

Eddie Shields and David Bryan Jackson in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Eddie Shields embodies inquisitive, driven, blunt, painfully lonely and socially awkward Alan Turing who once considered numbers his imaginary childhood friends. The deep connection Turing possesses with numbers and technology are elements he longed for in other people. From Turing’s distinctive stutter and tics to his innate inquisitiveness to his distracted social awkwardness, Shields is exemplary as Turing. David Bryan Jackson adds easygoing humor as instantly likable and mildly muddled Dilwyn Knox who provides a good dose of lightheartedness during this often heavy production. Jackson also demonstrates his ample range as intimidating John Smith and Jackson’s dual role challenges Turing in distinct ways.

Eddie Shields and Matthew Beagan in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Turing is a relentlessly focused individual who walks a fine line between confidence and arrogance while facing obstacles thinking outside of the box. Turing’s driven nature and eccentricity rarely meets his match until two significant people enter his life. One is Matthew Beagan who portrays a number of roles including warm and charming Christopher, a man that Turing describes as someone who makes everyone else seem ordinary. The other is Josephine Moshiri Elwood as fellow coder Pat Green who shares a remarkable rapport and intellect that challenges Turing. Elwood beautifully depicts sweet, sympathetic and intuitive Pat with an earnest and unassuming sincerity. Their strongest moments are not in what is said but in the silences of what is left unsaid.

Breaking the Code Eddie Shields and Josephine Moshiri Elwood in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Paula Plum weaves an endearing mix of propriety, amiability and good humor as Turing’s mother Sara Turing who expresses interest and admiration of Turing’s various pursuits. However, a later pivotal and memorable scene between Plum and Shields is when both actors are at their best.

Paula Plum and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Not only is Turing the father of the computer and played a crucial role in World War II, but his forward thinking ideas back then about technology address the possibilities we are ever closer to making a reality today. It is fascinating to see just how this production presents technology’s rapid advancement while also making a profound statement about how we experience it in the world today.

Though I might have liked the show to have taken a closer look at how Turing accomplished his monumental feats, the production focuses more significantly on what drives him as well as his personal experiences and hardships that impacted his life. Turing’s calculations changed the world as we know it and yet, he suffered many unimaginably cruel injustices.

Imagine what more he could have done.

Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3. Click here for more information and for tickets.

REVIEW: The title is everything and more! Catch American Repertory Theater’s ‘Two Strangers (Carry a Cake across New York)’

Posted on June 12, 2025 by The Sleepless Critic

Two people with seemingly nothing in common, one wedding cake, and several pieces of luggage lead to a string of possibilities in this delightful spin on a romantic comedy.

I will admit, I didn’t want it to end.

Imaginatively directed and choreographed by Tim Jackson, American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. This fabulous production runs two hours and 10 minutes including one intermission. Click here for more information and for tickets.

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hall

On December 2, two strangers meet at a New York City airport unaware that their futures are connected. That is until Sam Tutty as naïve and perpetually optimistic Brit Dougal discovers that Christiani Pitts as cynical New Yorker Robin is Dougal’s ride from the airport. How they become connected to an expensive wedding cake is where the plot thickens.

Scenic and costume designer Soutra Gilmour cleverly makes innovative use of a pile of strategically placed luggage on a conveyer belt which multitasks as a coffee shop, hotel room, a dance club packed with a string of shimmering disco balls, and several other surprises that will not be revealed here. The rotating conveyer belt is a brilliant addition to the production that translates into multiple uses in various settings. Along with Music Director Jeffrey Campos working in conjunction with Sound Designer Tony Gayle and Cody Spencer, lighting designer Jack Knowles brings it all to life with the playful, flourishing and multicolored neon brilliance of Times Square to each of the onstage band’s rhythmic beat. It is one of the most inventive sets I have seen in a long time.

Sam Tutty in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hal

Sam Tutty evokes an innate charisma as Dougal, a guileless and irresistible British charmer who is visiting New York City for a wedding. Tutty’s Dougal is a movie loving, excitable, sincere, rose colored glasses, speak out of turn and puppy dog kind of charming that if Dougal does not win the girl, he will surely win over the audience. Dougal is only in New York for 48 hours to see his absentee dad get married and it is back to England. With a characteristic vibrato, Tutty expresses Dougal’s dreamy excitement for adventure in a duet with Pitts in New York and hopeful optimism in a reflective rendition of Dad.

Christiani Pitts is also terrific as cynical New Yorker Robin who is holding back a secret. While Dougal seems to love life and charges at its possibilities with fun loving enthusiasm, Robin approaches life financially-hanging-on-by-a-thread hampered by a complicated family life struggling to make ends meet in more ways than one. Robin sees the world just as it is and is more concerned about surviving it than taking it all in as exemplified in Pitts’s solo rendition of What’ll it Be.

Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

What these two do have in common is they are lost and trying to find their place in the world and within their family. They also have a lot more to learn about each other than they realize as demonstrated in their contemplative duet Be Happy.

If you think you know how this romantic comedy musical will turn out, Two Strangers holds plenty of surprises up its sleeve and brings a refreshing new take to the romcom. Leaving behind any shallow or empty plotlines that some romantic comedies are culpable, Two Strangers deliver a self aware and satirical approach to these scenarios through dialogue and song. It is a wink to past romantic comedies while also veering into new territory offering authentically exhilarating and stirring moments.

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

Much of that is due to the crackling chemistry between Christiani Pitts and Sam Tutty who banter, tease, joke, disagree and reflect on the their individual lives and their views on the future. Their irresistible affinity towards each other is endlessly entertaining and creates beautiful harmony in several duets, but especially for their humorous (and a little naughty) duet, On the App.

Two Strangers (Carry a Cake across New York) boasts catchy and unique pop-infused melodies that these leads seem to master effortlessly with charm, style and finesse. Pitts lends fluttering vocals and a mix of anxiousness and rising hopefulness to the powerful ballad This Year. Pitts also masters the a cappella and vocal gymnastics of the hysterical and hilarious number, The Hangover alongside Tutty.

Amusing, original, feel good and inventive, make time to witness how this heartfelt story unfolds! Two Strangers (Carry a Cake across New York) stands as one of my favorite productions this year.

American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. Click here for more information and for tickets.

REVIEW: The secret is in the sting in Theater Uncorked’s ‘As Bees in Honey Drown’

Posted on May 22, 2025 by The Sleepless Critic

The future looks bright for Evan Wyler. Fame couldn’t be this easy…could it?

Theater Uncorked’s unconventional satire As Bees in Honey Drown examines art, materialism, sensationalism and celebrity as debut writer Evan Wyler, depicted with wide eyed credulity by Michael Mazzone, dives into an alluring deal that promises fame and fortune, but the price of this ticket could be more than he bargained for.

Effectively directed by David Miller, Theater Uncorked presented Douglas Carter Beane’s As Bees in Honey Drown for one weekend only at BCA Plaza Box Theatre in Boston, Massachusetts through Sunday, May 18. This darkly satirical production contained adult themes and ran approximately 2 hours with an intermission. Click here for more information and what is next in store for Theater Uncorked.

Sehnaz Dirik and Michael Mazzone in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

Douglas Carter Beane creates a hard and fast world full of movers and shakers from Wyler’s perspective as he is suddenly thrust into the fame game and uncomfortably participates in an awkward magazine photo shoot with a disdainful London photographer, played to perfection by Benedict Dawn-Cross, alongside Isabel Ginsberg as his humorously apathetic assistant, Amber. However, this preamble is just making room for Sehnaz Dirik as fast talking and polished celebrity agent Alexa Vere de Vere who is about to up the ante on Wyler’s celebrity status.

The cast of Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

Director David Miller and Leonard Chasse’s rolling set design alludes to the art of observation as cameras and studio lights accompany a raised platform with a crowd backdrop. Some of the furnishings evoke an Andy Warhol and 90s flair which include white sculpted chairs and colorful furnishings. However, what is most prominent is the eye catching orange and white beehive images on the wall. Tim Rose’s awesome sound design combines fitting hits of the 70s and 80s while occasionally alluding to the hum and buzz of the bees.

Michael Mazzone and Sehnaz Dirik in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

As Honey in Bees Drown is not just a metaphor and is referenced forebodingly a number of times during this production. It lures Wyler in with talk of grandeur and achievement, but be aware of the sting. Dirik’s notable delivery somewhat resembles the comic genius of Absolutely Fabulous as Alexa Vere de Vere, a grandiose PR enigma with a glamorous British accent in sparkling black speaking as if money is no object. Impressionable and hungry for success, Wyler shares some unforeseen moments with Alexa who navigates from hardnosed agent to slick charmer to vulnerable victim in quick succession. Recalling comical quips, quotes and candid monologues about her personal history, Dirik offers quite the layered performance in a wide array of stylish costumes by Anna Silva from furs and pearls to sleek business suits. Manipulative, clever, and often shooting from the hip, Dirik’s Alexa’s rapid fire musings can spin a tale without restraint and it is no accident that Alexa occasionally refers to Wyler as ‘lamb.’ Mazzone also makes no bones about being molded while Dirik takes the reins.

Bradley Belanger and Sehnaz Dirik in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

With the exception of Mazzone and Dirik, the cast portrays a number of enhanced stereotypes that offer some comic relief. Isabela Ginsberg infuses likability and humor into an array of sarcastic, self important and airy characters inconvenienced by the work that they are doing. Lauren Elias juggles a self absorbed actress, partygoer and socialite breezily.

Bradley Belanger is in his element portraying your best friend and your worst enemy. What makes Belanger’s delivery so intriguing is a shared crazed expression that works for both characters with separate motivations.

Bradley Belanger and Michael Mazzone in Theatre Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

As Bees in Honey Drown presents an interesting concept and an engaging comedy, but the real kicker lies in its sting. As soon as you think this show is heading in one direction, the production turns the narration on its head. Part character study and part morality play, As Bees in Honey Drown is an actor’s showcase for Dirik luring everyone into her world and begs the question of what constitutes real success and authentic art. Is it creating for the sake of creating or does everything go for the highest bidder?

Theater Uncorked presented Douglas Carter Beane’s As Bees in Honey Drown for one weekend only at BCA Plaza Box Theatre in Boston, Massachusetts through Sunday, May 18. Click here for more information and what is next in store for Theater Uncorked.

REVIEW: A lively cast highlights SpeakEasy Stage Company’s ‘Jaja’s African Hair Braiding’

Posted on May 8, 2025 by The Sleepless Critic

‘Be kind, for everyone you meet is fighting a hard battle.’

It is a popular expression that will hold profound meaning to a group of designers in Jaja’s African Hair Braiding.

Today is a special day in this Harlem salon. The store owner, Jaja is getting married and before MaConnia Chesser as charismatic and outspoken Jaja makes her grand entrance, this salon buzzes with excitement, commotion, confiding, gossip, venting and conflict as steamy July temperatures show no sign of cooling off and the air conditioner hits a snag.

From left: Dru Sky Berrian, MarHadoo Effeh, Kwezi Shongwe, and Crystin Gilmore Photo by Nile Scott Studios

Directed with pizzazz by Summer L. Williams, SpeakEasy Stage Company continues Jocelyn Bioh’s dramedy Jaja’s African Hair Braiding through Saturday, May 31 at the Calderwood Pavilion in Boston, Massachusetts. This production is approximately 90 minutes with no intermission. Click here for more information and for tickets.

Set in 2019, behind these vividly painted graffiti double doors emblazed with ‘Jaja’s African Hair Braiding’ holds an impressive salon by Janie E. Howland featuring an array of identical salon chairs and overhead lights and includes meticulous details such as hazy steam fogging the mirrors, torn posters, and litter collecting out the doors.

While Jaja makes her big plans, this group of West African immigrant designers are holding down the salon and making plans of their own. Dru Sky Berrian makes a captivating entrance as Jaja’s anxious and cheerful daughter Maria who comically vents about already having a day of all days before the shop even opens. Maria helps out at the salon and although Jaja envisions Maria’s life in a lucrative profession, Maria has set her sights on other dreams. Well intentioned and earnest, sympathetic Berrian is the heart of the show.

From left: Dru Sky Berrian and MaConnia Chesser Photo by Nile Scott Studios

Crystin Gilmore portrays veteran designer Bea who has an ax to grind, particularly with younger designer, Ndidi, portrayed by Catia, who is there temporarily because the shop that Ndidi worked at burned down. Bea is appalled and claims Ndidi is stealing her customers. Catia is cool and collected as Ndidi who relishes this opportunity to grow her business. Gilmore’s Bea is glamorous, feisty, candid and frank as she shares the know-it-all vision she had of running this salon…if her plans had not gone awry.

From left: (foreground) Crystin Gilmore, Dru Sky Berrian, and Catia. (Background) MarHadoo Effeh, Hampton Richards and Kwezi Shongwe Photo by Nile Scott Studios

Customers and designers alike confide their stories and struggles as hair braiding is quite an extensive process handled expertly under Williams’ meticulous direction. This animated group holds compelling conversations, support each other, dance joyously, share juicy gossip, fight over the television remote and quietly tolerate what it is to be in customer service.

From left: Catia and Yasmeen Duncan Photo by Nile Scott Studios

Ashley Aldarondo and Yasmeen Duncan champion multiple roles as customers, each distinctive and range from delightfully gleeful to intolerably fussy as designers force a smile across their lips and a poker face in numerous relatable scenarios. It was particularly wonderful to watch Duncan pose and twirl teasingly in the mirror with her new Beyonce braids. Joshua Olumide encapsulates various roles from diligent socks salesman to turning up the charm as a promising love interest and a philandering husband.

From left: MarHadoo Effeh and Hampton Richards Photo by Nile Scott Studios

Vivid pinks, oranges and greens are only a fraction of costumer Danielle Domingue Sumi’s bold tones and stylish African patterns lending to each character’s vibrant personalities. Although these characters shine as individuals, the most fascinating moments come from their collective reactions from playful and horrified looks to synchronized cheers as this important day unfolds.

The cast of Jaja’s African Hair Braiding Photo by Nile Scott Studios

Jaja’s African Hair Braiding has its share of twists and turns, tackling societal and community issues including up to date matters of immigration. However, is also hopeful production that demonstrates the tight bond among this lively cast offering unwavering support, especially in the face of immense challenges.

SpeakEasy Stage Company continues Jocelyn Bioh’s Jaja’s African Hair Braiding through Saturday, May 31 at the Calderwood Pavilion in Boston, Massachusetts. This production is approximately 90 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Get swept off your feet by Hingham Civic Music Theatre’s ‘Kiss Me Kate’

Posted on April 30, 2025 by The Sleepless Critic

‘But for my bonny Kate, she must with me.’

Set in Baltimore, love and show business collide in more ways than one in the Cole Porter musical, Kiss Me Kate. A Shakespeare play within a musical with plenty of backstage drama, David Daly as Fred/Petruchio and Sara Daly as Lilli/Katherine shine portraying exes onstage, but they are married in real life.

Sara and Dave Daly and Steve Dooner in ‘Kiss me Kate’ Photo by Pat Sherman

Well timed shortly after Shakespeare’s birthday and shrewdly directed by Steve Dooner, Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at the Sanborn Auditorium at the Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4. Click here for more information and for tickets.

Justin Maloney and Joel Leonard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Musically directed by Sandee Brayton with exuberant choreography by Diana Byrne Gossard, this enchanting musical is approximately 2 hours and 30 minutes with one intermission. Hingham Civic Music Theatre has dedicated their season to the memory of Violet (Vi) Villani.

Sara and Dave Daly in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

When a literary and music genius join forces, a Golden Age musical is born. Kiss Me Kate boasts memorable Cole Porter classic tunes such as So in Love, Too Damn Hot, Wunderbar and Brush Up Your Shakespeare while infusing elements of Shakespeare’s Taming of the Shrew to create a romantic comedy for the ages. Cole Porter’s music often reflects a jazz and bluesy feel as demonstrated in this play within a play’s self aware opening number, Another Opening/Another Show.

Kate Emily Crosta and Andy Gossard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Playful, charming, and imaginative, Kiss Me Kate tells the story of director, producer and star of Taming of the Shrew Fred, portrayed by David Daly, who is working with ex-wife Lilli, depicted by Sara Daly, a fading Hollywood star reluctantly turning to theatre and co-starring in his production. Lilli is engaged to systematic and orderly General Harrison Howell, portrayed by Andy Gossard who seems to relish the role. I’ve always considered Katherine in Taming of the Shrew a woman ahead of her time and Sara impressively takes on this dual role as Lilli and Katherine as headstrong and fearless women with minds of their own. David brings lots of charm and earnestness to his dual role as Fred and Petruchio. Boasting soaring vocals, it is delightful to watch David and Sara who share great chemistry onstage. They perform a lovely and intense duet of Wunderbar and deliver sweet renditions of So in Love.

Emily Crosta and Justin Maloney in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman

Another adorable couple who make melodious harmony together is Justin Maloney as Bill/Lucentio and Emily Crosta as Lois Lane/Bianca. Maloney as Bill and Crosta as Lois make a captivating pair delivering a couple of coy and lighthearted duets including Why Can’t You Behave and Always True to You in My Fashion, the latter especially flirty and entertaining. Fred, Lilli, Bill and Lois collaborate for a humorous rendition of the upbeat classic, We Open in Venice.

Dave and Sara Daly, Justin Maloney and Emily Crosta in ‘We Open in Venice’ in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman

Also offering some scene stealing comic relief are Brendan Smith and Connor O’Brien as the Two Men. Tough and goofy with a hilarious strut in top hats and canes, these sharply dressed men perform a knowing Brush Up Your Shakespeare, advising the audience how to use Shakespeare to woo women.

Brendan Smith and Connor O’Brien in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Costume designer Ashley Buckeridge skillfully blends period pieces such as classic Juliet and romantic Renaissance attire in delicate patterns to the iconic post World War II era making a splash in coordinated polka dots, lace, silk, button down trousers and brimmed hats.

John Crampton and cast in Hingham Civic Music Theatre’s ‘Kiss me Kate’ Photo by Pat Sherman

From tap to traditional renaissance to swing dancing, Diane Byrne Gossard’s joyful and lively choreography is a particular highlight as John Crampton as smooth Paul leads a playful rendition with this enthusiastic cast in a whistling and horn-infused number, Too Damn Hot.

Hingham Civic Music Theatre’s ‘Kiss me Kate’ cast Photo by Pat Sherman

Kiss Me Kate delves into a number of romantic high jinks including the war of the sexes and it is fascinating to see this topic resonate from the Renaissance to Post War II era to today with spirited flair.

John Crampton and Madison Pratt in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4. Click here for more information and for tickets.