may

REVIEW:  Actors’ Shakespeare Project envisions a wildly mischievous ‘A Midsummer Night’s Dream’

Posted on by The Sleepless Critic

It may not be the lusty month of May yet, but Actors’ Shakespeare Project’s contemporary A Midsummer Night’s Dream has it covered by the time it arrives.  This is one wild ride.

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays.  It is everything but tragic and can be interpreted in a variety of ways.  It features magic, mischief, romantic comedy, action, and it was a perfect way to celebrate Shakespeare’s birthday on April 23.

Eliza Fichter and Dan Garcia in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

With bold direction by Maurice Emmanuel Parent, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts. The show’s action is not limited to the stage with two platforms immersed in the audience and runs 1 hour and 40 minutes with no intermission. Discounted tickets are available.  Click here for more information and for tickets.

The Cast of Actors’ Shakespeare Project’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text with some improvisation and pop culture references along the way.  Part play within a play, part fantasy, and part comedy, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to desire to true love to romantic comedy gone awry due to some mystical love potions.  A Midsummer Night’s Dream is also the source of some of Shakespeare’s most famous reflections on love such as ‘True love does not see with the eyes, but the mind’ and ‘The course of true love never did run smooth.’  Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines can translate seamlessly into a wide variety of contemporary scenarios.

Kody Grassett, Doug Lockwood, and Bobbie Steinbach in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Scenic designer Ben Lieberson’s multilevel and industrial scaffolding not only provides a club atmosphere, but a somewhat blank canvas for lighting designer Brian Lilienthal’s multicolored illumination as a glimmering disco ball hangs overhead. Seth Bodie’s distinctive costumes feature a wide array of 90s and turn of the century looks from refined to over the top in splashy, glimmering, feathered and suggestive club wear to edgy street attire in fringe, pleather and denim to lavish upscale suits.  Sound designer MacKenzie Adamick also sets a 90s and 2000s vibe with a mix of original and popular club beats for both comic relief and setting the scene.  

ia Giatrelis, Eliza Fichter, Evan Taylor, Doug Lockwood, and Kody Grassett in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, bold, and chock full of passion, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and absorbing characters determined to fight for what they want and aren’t shy about absurdity demonstrated by Doug Lockwood as the enthusiastic and bombastic Nick Bottom along with Bobbie Steinbach as resourceful Quince and a group of madcap and dedicated mechanicals offer more than silly humor before the final curtain. 

Bobbie Steinbach and The Mechanicals in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

These mature characters are tougher and have experienced life’s hardships which is a valuable attribute for love is fickle.  Michael Broadhurst as Lysander may seem sweet and adoring sharing an endearing chemistry with Thomika Marie Bridwell as Hermia, but Broadhurst also has a chance to explore another side of this character.  Athletic Alan Kuang is remarkable as wild, mischievous, and break dancing Puck and his conspiring moments with Dan Garcia as Oberon make for street savvy and cunning pair.

Thomika Marie Bridwell and De’Lon Grant in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

The women in this production are strong, beautiful, and fierce. Eliza Fichter takes on dual roles as powerful Hippolyta as well as glamorous and seductive Titania.  Thomika Marie Bridwell is wonderful as headstrong, comically tough and fearless Hermia while Deb Martin is a scene stealer and redefines crazy in love wild eyed Helena. Martin’s physical comedic prowess and the arduous lengths she goes through to get what she wants would be inspiring if she was not so unhinged and she shares some madcap moments with De’Lon Grant as impulsive Demetrius.  However, one intense scene between Martin and Bridwell going head to head becomes so hilarious and well executed that it stands as my favorite scene in this production. 

De’Lon Grant and Deb Martin in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

One of the liveliest adaptations I’ve ever seen, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts Click here for more information and for tickets.

REVIEW: Moonbox Productions presents Regina Taylor’s soul stirring ‘Crowns’

Posted on by The Sleepless Critic

 ‘When I’ve done the best I can, I want my crown.’

This is one of a few significant songs led by Lovely Hoffman in a production about faith through grief and much more.  Through testimonies, reflections, and soul stirring music, Regina Taylor’s inspiring Crowns explores life’s journey through hats which can make a profound statement, represent a lot of sacrifices, and ultimately stand for something greater. 

Mildred E. Walker, Cortlandt Barrett, Mirrorajah, Janelle Grace, Elijah Brown, Kaedon Gray, Cheryl Singleton* in ‘Crowns’
Photographer: Chelcy Garrett

With Regine Vital’s soul stirring direction, Kurt Douglas’s upbeat choreography, and David Coleman’s powerful music direction, Moonbox Productions continues Regina Taylor’s Crowns live and in person at Arrow Street Arts in Cambridge, MA through Sunday, May 4.  Perfectly timed around Easter and prior to Mother’s Day, this semi-interactive production is an uplifting 90 minutes with no intermission.  It is not limited to the stage and its church atmosphere has a collection benefiting Rosie’s Place.  Click here for more information and for tickets.

Hats in ‘Crowns’ Photographer: Chelcy Garrett

One may stay silent and observe, but this show is quite a celebration and the audience is invited to show their enthusiasm and engage in a joyful noise, clap and sing along.  The Crowns cast is friendly, warm, welcoming and makes it easy to join in as part of their community.  Having attended a previous Moonbox production, it is also comforting that a teleprompter is available to follow and sing along to a vast selection of powerful gospel works.

Mildred E. Walker and Mirrorajah in ‘Crowns’ Photographer: Chelcy Garrett

Demure and delicate or a sparkling showstopper, Crowns show that hats hold greater meaning than an article you place on your head, especially to a group of southern women who have welcomed a young girl from Brooklyn named Yolanda into their church.  After Yolanda’s brother in killed, Yolanda is sent to live with Mildred E. Walker as wise Mother Shaw, Yolanda’s grandmother in South Carolina. Mirrorajah portrays Yolanda, a city girl who looked up to her brother and had not had much guidance in her life.  Yolanda’s fish out of water experience makes room for compelling comical moments and soul stirring revelations with an excellent cast who takes on various roles as their stories unfold. 

The Cast of ‘Crowns’ Photographer: Chelcy Garrett

With gray columns and offstage instrumentalists David Freeman Coleman and Brandon Mayes, Issak Olson’s transformative lighting illuminates the altar in Baron S. Pugh’s modest set design enhanced by a variety of multicolored hats, hat boxes, flowers and vanity mirrors hung on each side of the stage.   Eye catching and detailed lace parasols also make a strong impression.  Decked out in distinctive hats, E. Rosser and wig designer Schanaya Barrows makes each character stand out sharply dressed in vibrant and bold colors as Yolanda makes her own impression in a colorful jacket and shining shoes.

Lovely Hoffman*, Mirrorajah and Cortlandt Barrett in ‘Crowns’
Photographer: Chelcy Garrett

Crowns is a collection of music, stories, testimonials, traditions and reflections exploring the meaning behind ‘hattitude’ while delving into cultural, ancestral and historical context including segregation.  From how to wear a hat to what type of hat to wear, structure, fabric, etiquette and significance, each character has an original reflection on how their hats made an impact in their lives and to those around them.

Kaedon Gray, Lovely Hoffman* and Janelle Grace in ‘Crowns’ Photographer: Chelcy Garrett

The entire cast which includes Cortlandt Barrett, Janelle Grace, Lovely Hoffman, Cheryl D. Singleton, Mildred E. Walker and Kaedon Gray boasts soaring vocals as well as irresistible charm in their lively and witty dialogue.  Mirrorajah delivers a moving performance as leery yet curious Yolanda, especially as she proclaims, ‘I don’t know how a dead soul can rise again’ and shines in the upbeat number I’ve Got Joy like a Fountain.  Dressed all in white, Walker as Mother Shaw exuberantly sings, In the Morning, blends beautiful harmony for Ol Ship of Zion and delivers an amazing a capella rendition of Take me to the Water with the cast.  Lovely Hoffman as Velma’s rendition of His Eye is on the Sparrow also boasts incredible harmony as well as the spiritual Wade in the Water featuring the cast.  It is difficult to choose standouts when they are all so brilliantly done.

Mirrorajah and company in ‘Crowns’ Photographer: Chelcy Garrett

Eshe O Baba is Yoruba for ‘Thank you father’ which is a significant phrase in Crowns. Fueled by love, experience the wonder of Crowns.   

Moonbox Productions continues Regina Taylor’s Crowns live and in person at Arrow Street Arts in Cambridge, MA through Sunday, May 4.  Click here for more information and for tickets.

REVIEW:  Chuang Stage’s visionary ‘Nüwa in Fairyland’ explores the nature of love and belonging

Posted on by The Sleepless Critic

Words matter.  Formalities matter.  Commitments matter.

Wise words firmly stated by Jen Alison Lewis as Maryanne in Brandon Zang’s Nüwa in Fairyland, an insightful coming of age tale that crosses imagination with a number of interweaving elements in order to bring consolation and understanding in the face of change.    

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage continues Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for the Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1.  This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission.  Pay-as-you-are tickets are available.  Click here for more information and for tickets.

Jen Alison Lewis and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Nüwa in Fairyland is primarily centered on the relationship between good natured, competitive, and playful Benji depicted by Trevyn Wong in an impressive and charismatic performance and Jen Alison Lewis as Maryanne, Benji’s protective and steadfast adopted mother.  Benji is starting to question his heritage beyond what he knows of his adopted life in America after seeing a documentary on China and Maryanne immediately feels anxious and uneasy.  Meanwhile, Bowen Huang movingly depicts a mystical creature frantically searching for a missing child.  There may be a connection here, but Nüwa in Fairyland explores a broader vision and branches out into fascinating territory and parallels that interweave imagination, reality and a certain Shakespearean play in order to cope with what is next.

Matt Goldstein, Trevyn Yong, and Jen Alison Lewis in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Navigating its various settings with precision while making the most of its theatrical space, Qingan Zhang’s ethereal and floral scenic design is highlighted by splendid translucent imagery and a sense of immersion due to Anna Drummond’s soothing and atmospheric sound design and Ashley Yung’s ambient lighting.  From feathers to crowns to capes to embroidered armor, Sandra Zhihan Jia’s costumes blend the fanciful with the contemporary while infusing a traditional Shakespearean influence. 

Jen Alison Lewis and Matt Goldstein in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

This capable cast has very good camaraderie and comedic timing as they find nuances not necessarily in the script which enhance certain sweet moments within the production.   A gleeful glance, an awkward gesture, and a delayed pause help to strengthen the bond within this small cast.  Henry Dolgoff as chatty and anxious Damian share several of these moments infatuated with Wong in an array of awkward and mixed signals.  Matt Goldstein as stern yet supportive Mr. Bailey and Lewis as Maryanne both share some soulful moments with Wong as Benji struggles with where he belongs.

Trevyn Wong and Henry Dolgoff in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

However, Bowen Huang shines as stunning Nüwa in an intense, sage and sympathetic performance.  Spoken in both Chinese and English, Huang is expressive, passionate, brave, and empowered with a wonderful charisma and zealousness convincingly drawing others to her plight in an unfamiliar place.   The cast collectively explores the bonds of love in a thought provoking and multi-layered journey while both Huang and Lewis uniquely and beautifully discover the unforeseen and unyielding expectations of motherhood.

Bowen Huang and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage presents Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1.  This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission.  Pay-as-you-are tickets are available.  Click here for more information and for tickets.

REVIEW: SpeakEasy Stage Company and Front Porch Arts Collective’s introspective ‘A Strange Loop’ clever from the start

Posted on by The Sleepless Critic

A Strange Loop’ is quite the existential crisis in one serious brainstorm.

Usher dreams of becoming a musical theatre writer.  In hopes of brighter prospects, Usher works as an usher on Broadway for Disney’s The Lion King musical but feels stuck.  Stuck in a pattern and flooded with self loathing and self defeatist thoughts over the pressure to be brilliant and accepted, Usher needs to overcome a great deal in order to create something great.

With Maurice Emmanuel Parent’s versatile direction and David Freeman Coleman’s complex music direction with expeditious choreography by Taavon Gamble, SpeakEasy Stage Company in co-production with Front Porch Arts Collective continues Michael R. Jackson’s Pulitzer Prize and Tony award-winning dark musical comedy satire A Strange Loop though Saturday, May 25 live and in person at Calderwood Pavilion in Boston, Massachusetts.  This unique and multifaceted production has explicit language, adult themes, and runs 100 minutes with no intermission.  Click here for more information and for tickets.

Kai Clifton (center) and the company of A STRANGE LOOP. Photo by Maggie Hall Photography

To say this production is multi-layered is an understatement.  It focuses on a queer black writer writing a musical about a queer black writer writing a musical about a queer black writer.  Usher, in a vivid, poignant and moving portrayal sung beautifully by Kai Clifton, is not only dealing with writer’s block but is overwhelmed by unpredictable, wild, unhinged, uninhibited, and punishing thoughts and it doesn’t take long to realize how brutal and undeserving these thoughts are for Usher’s wellbeing.  Kai Clifton’s Usher is reserved, shy, and nonconfrontational on the outside, but suffers from inner turmoil and loneliness.  Usher’s perspective of reality is a landscape of discouragement and the desire to be someone else, but also the desire to be free to be accepted for who Usher really is.

Kai Clifton (center) and the company of A STRANGE LOOP. Photo by Maggie Hall Photography

These frenzied thoughts, composed of Grant Evan, Davron S. Monroe, Jonathan Melo, Aaron Michael Ray, De’Lon Grant, and Zion Middleton, are compartmentalized cleverly into black stage lit cubes by John Savage and lighting designer Brian J. Lillienthal which act as a compelling metaphor for one’s tendency to  compartmentalize inner thoughts and feelings.  With powerful vocals and animated velocity, these actors master the gravity of quick changes in mood, personality, and roles seamlessly and with precision.

Some of the individual thoughts pop into multiple roles in Usher’s perception of reality as well.  In the comically guilt-ridden number, We Wanna Know, the cast wears identical housedresses and represents Usher’s pushy, religious and gossipy mother in various ways.  Clifton lets loose with Inner White Girl before taking a darker turn with the evasive yet telling Didn’t Want Nothing reflecting Usher’s strained relationship with Usher’s father.

The company of A STRANGE LOOP. Photo by Maggie Hall Photography

The loops in this production are not restricted to Usher’s thoughts but exist in circular conversations with parents, critics and others that have their own ideas of what Usher should write about and what they are comfortable with and if this production is being done right, the audience is anything but comfortable.  It also explores the psychological and frustrating journey of a writer and the pressure to write what is popular or safe rather than writing from the heart.  The notably well staged and satirical numbers Tyler Perry Writes Real Life and Writing a Gospel Play are both powerful, humorous and delve into some of these themes. 

Kai Clifton (center) and the company of A STRANGE LOOP. Photo by Maggie Hall Photography

A Strange Loop runs the gamut of raw emotions including fear and painful regret in the conflicted and sympathetic number Boundaries, gripping Memory Song, and the stirring title track.  It is humorous, but is also a harsh, shocking and challenging production.  Michael R. Jackson has noted that this Pulitzer prize-winning production is fiction, but perhaps emotionally autobiographical in its musical theatre style collection of original, evocative, and thought provoking songs that drives the show to its striking conclusion.

With Maurice Emmanuel Parent’s versatile direction and David Freeman Coleman’s complex music direction with expeditious choreography by Taavon Gamble, SpeakEasy Stage Company in co-production with Front Porch Arts Collective continues Michael R. Jackson’s dark musical comedy satire A Strange Loop though Saturday, May 25 live and in person at Calderwood Pavilion in Boston, Massachusetts.  This distinctive and multifaceted production has explicit language, adult themes, and runs 100 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Boston Ballet ‘Spring Experience’ an extraordinary awakening

Posted on by The Sleepless Critic

Dancers seemingly lie dormant, fires burn, a multi-limbed creation, and athletic feats from a Barre to calypso-inspired rhythms is just a portion of the imagery demonstrated in Boston Ballet’s 60th season closer, Spring Experience.   It embraces the eclectic and the unusual while ever bringing ballet to another level.

Ken Ossola’s ‘The Space Between’ photo by Liza Voll; courtesy of Boston Ballet

The Boston Ballet presents Spring Experience live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, May 19.  The production is approximately two hours and 15 minutes with two intermissions.  Click here for more information and for tickets.

Boston Ballet in Ken Ossola’s The Space Between; photo by Rosalie O’Connor; courtesy of Boston Ballet

A suspenseful world premiere, a carefully orchestrated Barre experience fueled by James Blake’s innovative works, and a provocative fan favorite create an exceptionally curious and intense set of performances. 

Boston Ballet in Ken Ossola’s The Space Between; photo by Rosalie O’Connor; courtesy of Boston Ballet

The Space Between builds a steady anticipation through its urgent and haunting piano-infused rhythms as dancers lie dormant or may be in sleeping state.  As each dancer comes to life and two perform an elegant pas de deux, Choreographer Ken Ossola’s highlights the speed and agility of the dancers in a combination of freestyle and synchronized movements to horn-infused rhythms enclosed on a sloped and curved midnight blue landscape, part of Benjamin Phillips’s multi-color schemed set design brightened by Brandon Stirling Baker’s transformative headlights.  Women dancers appear defiant as they prowl, jostle and swing with the push and pull of being navigated by men to the electronic hissing of Mischa Santora’s electronic rhythms.  Adorned in Lisa Dezmelyk’s translucent costumes in floral and shimmering patterns, the group leaps and align together which includes María Álvarez, Lia Cirio, Chyrstyn Fentroy, Seo Hye Han, Abigail Merlis, Chisako Oga, Haley Schwan, Jeffrey Cirio, Tyson Ali Clark, Paul Craig, Daniel Durrett, John Lam, Daniel Rubin, Gearóid Solan, Schuyler Wijsen, and Patrick Yocum.  The Space Between culminates into a grand finale with a new moving creation.

Ken Ossola’s ‘The Space Between’ photo by Liza Voll; courtesy of Boston Ballet

In Blake Works III (The Barre Project), the Barre highlights this performance steeped in synthetic vocal rhythms as María Álvarez , Graham Johns, Lia Cirio, Sangmin Lee, Ji Young Chae, Gearóid Solan, and Tyson Ali Clark showcase their contact with it.  Simply staged with a black back drop and Barre, María Álvarez and Graham Johns perform a playful and lively pas de deux into lifts, twists, and tight leaps.  William Forsythe’s urgent and slinky choreography navigate the zip, zing and hip hop tempo of James Blake’s catchy tunes showcasing each dancer’s athletic prowess gripping the Barre.  A particular highlight is moving to the tender and haunting rhythms of James Blake’s romantic Lullaby for the Insomniac and 200 Press.  Dancers demonstrate tight and urgent leaps in funky rhythms and at what point, letting the arms do the walking on the Barre at fascinating angles in an edgy and eclectic display.

Ji Young Chae in William Forsythe’s Blake Works III; photo by Liza Voll; courtesy of Boston Ballet

The final piece is still one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Jiří Kylián‘s Bella Figura Photo by Liza Voll; courtesy of Boston Ballet

 Jiří Kylián and Ken Ossola’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow.  In many ways, it bucks tradition as the dancers float and slide between closing curtains as one dancer, topless, wraps herself in only a black stage curtain.  The curtain seems to have a mind of its own as it frames, shrinks, and chases the dancers.  Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away.  As fires burn, Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements.   It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect.  In gathering rich red skirts which is part of Joke Visser’s bold costume design, topless men and women looking the same glide along the stage.  It is a memorable, distinctive performance as the piece continues even as the music concludes.

Boston Ballet in Jiří Kylián’s Bella Figura; photo by Rosalie O’Connor; courtesy of Boston Ballet

 The Boston Ballet presents Spring Experience live and in person at the Boston Opera House in Boston, Massachusetts through Sunday, May 19.  The production is approximately two hours and 15 minutes with two intermissions.  Click here for more information and for tickets.

REVIEW: Umbrella Stage Company delivers boldly funny ‘The Full Monty’

Posted on by The Sleepless Critic

For a few average guys down on their luck, the time has come to risk it all.

The Chippendales have landed in Buffalo, New York and have captured the local women’s attention while a local factory has closed down leaving a group of steel workers on the unemployment line to support themselves and their families, but on a quest to regain their self confidence and mojo back.   Suddenly Michael Levesque as Jerry realizes the only way to get ahead is with some daring ingenuity to the tune of $50,000.

The cast of Umbrella Stage Company’s ‘The Full Monty’ Photo by Jim Sabitus

With upbeat direction by Leigh Barrett and zany choreography by Najee Brown, The Umbrella Stage Company continues musical comedy The Full Monty live and in person at the Umbrella Arts Center in Concord, Massachusetts through Sunday May 19.  This show contains adult themes, partial nudity and runs approximately two hours and 20 including one intermission.  Click here for more information and for tickets.

Andrea Giangreco, Sarajane Morse Mullins, Shonna McEarchern, and Stephanie Barney in Umbrella Stage Company’s ‘The Full Monty’ Photo by Jim Sabitus

Set in 1989, Rebecca Glick’s colorful and at times neon costumes were quite a wild walk down memory lane.  From neon scrunchies to tiger print sequins and jean jackets to track suits, it was such fun to revisit that late 80s nostalgia.  Jenna McFarland Lord’s realistic and rolling two floor set reflect the run down nature of Buffalo in the stained metal walls, steel accents, and the paradox of escapism in the glowing sign and glittery curtains of Club Giordano.

Michael Levesque and Jackson Wisco in Umbrella Stage Company’s ‘The Full Monty’ Photo by Jim Sabitus

The Full Monty is more of a comedic romp than it is provocative, but both play an important role in this production.  This Full Monty is lighter on the innuendo and essentially explores the lives of a group of blue collar workers just trying to make it in this steel town as they face unemployment and various personal problems as explained in the humorous number, Scrap.  For example, depressed Night guard Malcolm in a lovably sympathetic performance by John Breen, wants to find his independence living alone with his ailing and emotionally abusive mother, depicted in a dual role by Jennifer Bubriski while Michael Levesque as impulsive yet sympathetic Jerry needs to earn enough to pay child support to his ex-wife, Pam portrayed by Stephanie Barney.  Levesque as Jerry shines in the heartfelt ballad, Breeze off the River and shares some endearing scenes with Jackson Wisco as adorable Nathan.  Tim Lawson as Jerry’s best friend Dave wants to support Jerry and soon realizes his own ardent need for a win.

Jennifer Bubriski, Joshua Wolf Coleman and the cast of Umbrella Stage Company’s ‘The Full Monty’ Photo by Jim Sabitus

Combining a charming group of actors to portray ego-bruised men with great chemistry, witty banter, and well timed physical humor placed in a vast array of awkward situations is no easy feat, but this skilled group shares a moving bond with exceptional camaraderie.  Joshua Wolf Coleman delivers fervent vocals and smooth dance moves in tweed as widower Horse during a hilarious audition process.  Tim Lawson’s Dave boasts strong vocals and notable comedic timing especially evident in a heartfelt duet with Will McGarrahan as Harold in You Rule My World and in the darkly satirical tune with Breen and Levesque for Big Ass Rock.  Jacob Thomas Less brings a delightful lightheartedness to the role of Ethan and Breen delivers a stirring and earnest rendition of You Walk with Me. 

Michael Levesque, John Breen, and Tim Lawson in Umbrella Stage Company’s ‘The Full Monty’ Photo by Jim Sabitus

Jennifer Bubriski is excellent as spunky, several times divorced accompanying piano player Jeanette.  Bubriski is frank and no filter funny which makes her a bit of a scene stealer.   Bubriski keeps the laughs coming in an excellent rendition of Jeanette’s Showbiz Number.  Aimee Doherty transforms a somewhat shallow role as Harold’s younger materialistic wife, Vicki and infuses absorbing charm and likability beyond the catchy, Latin-inspired number Life with Harold.

Will McGarrahan, Aimee Doherty, Louis Brogna and the cast of Umbrella Stage Company’s ‘The Full Monty’ Photo by Jim Sabitus

Najee Brown nails this particular brand of introverted and awkward dance moves into some of the most exciting parts of the production.  Got the Goods and Let it Go are equal parts embarrassing, raunchy, lively and funny with Got the Goods particularly feeding into each character’s insecurities.  One of the best parts of the show is watching those characters amusingly let loose.

Jennifer Bubriski, John Breen. Will McGarrahan, Tim Lawson, Michael Levesque, Joshua Wolf Coleman, and Jacob Thomas Less in Umbrella Stage Company’s ‘The Full Monty’ Photo by Jim Sabitus

The Full Monty has come a long way.  From a British 1997 film that I could not get through to a musical comedy tastefully bringing sexy back in ridiculous and heartfelt ways leaving you rooting for these six down on their luck men to show Buffalo what they are made of.

With upbeat direction by Leigh Barrett and zany choreography by Najee Brown, The Umbrella Stage Company continues musical comedy The Full Monty live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday May 19.  This show contains adult themes, partial nudity and runs approximately two hours and 20 including one intermission.  Click here for more information and for tickets.

REVIEW: Defying destiny in Fresh Ink Theatre Company’s ‘Orpheus and the Overworld’

Posted on by The Sleepless Critic

It’s Orpheus and Eurydice with a twist and doesn’t stop there.  What hasn’t changed is that a portion of this classic mythological tale still hangs on a song or two.

Written by Dante Gonzales with creative direction by Shira Helena Gitlin, Fresh Ink Theatre Company presented Orpheus and the Overworld live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, May 11.  This gender bending and semi-interactive production was approximately two hours including a 10 min intermission and was not limited to the stage.  Click here for more information.

The cast of ‘Orpheus and the Overworld’ Photo by Erin Solomon

Though still not a fan of mythology, feeling pretty fortunate to have recently reviewed Hadestown in Boston which is a musical retelling of the classic mythological tale of Orpheus and Eurydice before reviewing Orpheus and the Overworld.  Like Hadestown, Orpheus and the Overworld has appeal beyond what fans of mythology would appreciate. Through Orpheus and Eurydice’s tale in Hadestown hung on a song, Orpheus and the Overworld’s story is a more complicated expansion with a few more key players in the mix. Both productions suggest that retelling the tale offers hope that maybe this time the ending might change even if the gods are still in charge.

Some of the highlights of Meg Lynch’s dynamic set design includes a club-inspired heart shaped glowing sign, sparkling couch overlay, a disco ball as well as colorful florals in a cheerful rural setting while Z Weber’s haunting sound design illuminates both the peerless joy and the powerful dread within this unpredictable retelling.

Matthew Suchecki as Apollo, Kulfi Jann as Hades, and Rebekah Brunson as Artemis in ‘Orpheus and the Overworld’ Photo by Erin Solomon

Decked out in sparkling bangle bracelets and red velvet Greek robed flair with imposing combat boots which highlights a portion of Mikayla Reid’s edgy Greek and dynamic costumes, Kulfi Jann depicts Hades, the god of the underworld and reigns over Club Olympus.  Joining Hades is Lucy Bertolet as Cora mixing the drinks and Matthew Suchecki’s Apollo mixing the tunes as Rebekah Brunson’s Artemis looks on.  This is a new age Hades and this is a new age club, but the snarky banter, gossip, commentary and quips between the gods and their occasional interaction and interference with the retelling of Orpheus and Eurydice have its own amusing moments. 

Isabel Ginsberg as Eurydice and Elijah Brown as Orpheus in ‘Orpheus and the Overworld’ Photo by Erin Solomon

In Hadestown, Orpheus pursued her, but a few things have changed in this retelling.  Isabel Ginsberg’s Eurydice is the pursuer though there is love between them.  Hailing from California, Eurydice is more of a free spirit and determined to have what she wants though the odds are stacked against her.  Elijah Brown’s Orpheus is hesitant, a loner, introspective and perhaps not that into Eurydice because Orpheus is weighed down by not only discovering music, but searching for belonging and identity.  Ginsberg and Brown both have compelling vocals and make some beautiful acapella music together.  However, love is not the foremost thing on Orpheus’s mind. 

Much of this show explores the search for one’s true self, but two who are pretty certain of themselves are Junn as Hades and Brunson as Artemis.  The goddess of wild animals, hunt, chastity and the moon, Brunson delivers a bold, daring and self assured performance delivering quite the fiery warning to Brown’s Orpheus that goes to show that Artemis should not be underestimated.  Junn partially narrates and navigates this tale and is properly threatening and powerful.  Beautiful sun god Apollo amiably  portrayed by Suchecki and Bertolet as brilliant jack of all trades Cora have a sweet camaraderie as they  search for their true selves which takes them to the most unexpected places.

From L to R Lucy Bertolet as Cora, Elijah Brown as Orpheus, and Matthew Suchecki as Apollo in ‘Orpheus and the Overworld’ Photo by Erin Solomon

Though it seems an inconsistent choice to weave science into an enchanted mythological tale, Orpheus and the Overworld extends its world far beyond this classic tale to become its own journey of self discovery while wrestling with one’s past.  Orpheus and the Overworld’s contemporary themes offer some insight into growing into oneself and the struggle to defy one’s destiny to land somewhere beyond your control and find peace in whatever lies ahead…even if you’re a god.

With creative direction by Shira Helena Gitlin, Fresh Ink Theatre Company presented Orpheus and the Overworld live and in person at Boston Center for the Arts through Saturday, May 11.  The gender bending and semi-interactive production show was approximately two hours including a 10 min intermission and was not limited to the stage.  Click here for more information.

REVIEW:  Company One’s tech savvy ‘Morning Noon and Night’ makes room for what is important

Posted on by The Sleepless Critic

What has the world come to and what has come of us?

It is a prevalent and thought provoking theme as Company One continues Kirsten Greenidge’s tech savvy comedy Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25.  The show is approximately 1 hour and 35 minutes with no intermission and has some adult language.  Tickets are available on a pay what you can basis.  Click here for more information and for tickets.  

Schanaya Barrows, Sydney Jackson, Aislinn Brophy (Photography by Ken Yotsukura)

Innovatively directed by Summer L. Williams, Company One Kirsten Greenidge’s Morning Noon and Night with Boston University’s College of Fine Arts unveils a world where children are mesmerized by their phones and selfies and time is measured a bit differently referring to pre-Covid days as ‘from before’ and a long time ago is at least ‘two phones ago’.

Set in Post 2020 pandemic and 2020’s endemic  with a dose of virtual reality,  Morning, Noon and Night explores loss, grief, fear, frustration, uncertainty, and a journey toward healing from economic turmoil after the pandemic has turned the world upside down.  This production also delves into escalating technology and consumerism in daily life where phone addicted children believe most of what they read on the internet, have increased social anxiety and angst, and the dangers of allowing technology to run your life and solve your problems.

Sydney Jackson, Kaili Y. Turner (Photography by Ken Yotsukura)

If this sounds like a lot, Morning, Noon, and Night tries to do a lot and at times is a bit uneven in its storytelling getting weighed down by its own ambitions.  However, it is a touching and comedic piece that cuts through it all to reveal what is most important. It has a slick presentation blending Audrey Dube’s zippy sound design with Maria Servellón ‘s lustrous projections that  impressively portray the immaculate and too-good-to-be-true nature of the internet as well as beautiful memories.  It’s pristine, sparkling and deceptively perfect featuring colorful imagery likened to scrolling through a phone.  Amazon boxes, stacked CD’s and clothes strewn on the floor is part of Justin Lahue’s scattered and contemporary scenic design and the reality of Mia’s cluttered household.

Kaili Y. Turner, Eliza Fichter (Photography by Ken Yotsukura)

 Kaili Y. Turner delivers a memorable performance as overwhelmed and stern Mia who is planning a birthday party for her estranged daughter, Alex.  Sydney Jackson depicts Mia’s excitable, anxious, and somewhat bossy daughter, Dailyn and Alex’s sister who is alarmed by the state of the world depicted on the internet.  Turner and Jackson make a relatable and comical mother and daughter duo as Dailyn pushes all the boundaries.  Both want Alex’s party to be perfect in their own way, and when Alexandria King as upbeat, orderly and mysterious Miss Candace unexpectedly shows up at Mia’s doorstep, life as they know it is about to change.

Greenidge’s clever dialogue lets the tech lingo fly especially from Dailyn and supportive friends Schanaya Barrows as sunny perfectionist Chloe and Aislinn Brophy as Nat as they navigate their way through school and family issues.  Eliza Fichter as energetic and meticulous Heather delivers some candid moments of hesitancy that anyone can relate to in this 2020 endemic world.

Kaili Y. Turner, Alexandria King, Eliza Fichter, Sydney Jackson (Photography by Annielly Camargo)

However, Alexandria King is wonderful as impeccably dressed and never flummoxed Miss Candace, particularly sharing physical comedic prowess with Turner as Mia.  They share an interesting dynamic and their interactions are evenly fun and intense.  King’s bright eyes, clipped laugh and powerful presence is fascinating to watch and Miss Candace’s outlook on life is one we can all take a lesson from.

Innovatively directed by Summer L. Williams, Company One continues Kirsten Greenidge’s tech savvy comedy of Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25.  The show is approximately 1 hour and 35 minutes with no intermission and has some adult language.  Tickets are available on a pay what you can basis.  Click here for more information and for tickets.  

REVIEW: Plenty of glitz, humor, and charm in SpeakEasy Stage’s ‘The Prom’

Posted on by The Sleepless Critic

It’s just so nice to be invited back to a Prom and not be the one in a frilly dress.

Though costume designer Miranda Kau Giurleo does bring all the glitz, glitter and glamour to this satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana.  SpeakEasy Stage Company’s The Prom delivers plenty of humor ranging from silly to parody to satirical not without its political ribbings with a sincere and underlying message about helping others.

Mary Callanan and Johnny Kuntz. Photo credit to Nile Scott Studios

Featuring stellar and intricate choreography by Taavon Gamble and lightheartedly directed by Paul Daigneault, SpeakEasy Stage Company continues musical comedy The Prom through June 10 live and in person at the Calderwood Pavilion in Boston Massachusetts.  The show is two hours and 25 minutes with one 15 minute intermission.  Click here for more information and tickets.

The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star shine including Meryl Streep as Dee Dee and James Corden as Barry.  Inspired by a true story, anxious Emma, depicted with self effacing and quiet optimism by Liesie Kelly, invites a date to the Prom with none other than Abriel Coleman as Alyssa, the daughter of the head of the Parent Teacher Association.  Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town.

Abriel Coleman (left) and Liesie Kelly. Photo credit to Nile Scott Studios

Lit with soft and cheerful pastels by Karen Perlow, The Prom features a flashy and dynamic set design including checkered red carpet doubling for any high school setting.  One of the stage highlights is a chameleon-like, glittering backdrop complete with shimmering disco ball and an onstage orchestra hidden behind a sports scoreboard.

From left: Lisa Yuen, Mary Callanan, Johnny Kuntz, and Jared Troilo. Photo credit to Nile Scott Studios

The Prom is helmed by a strong and exuberant cast with exceptional comedic timing.  Dynamite duo Barry Glickman and Dee Dee, portrayed with pizzazz by Johnny Kuntz and Mary Callanan, deliver lots of laughs as seemingly shallow thespians, but their real charm is exposed by the people they meet in this fish out of water production.  Their wild antics and Callanan’s fantastic belt are on spectacular display for fist pumping and humorous Changing Lives.  Adorned with glamorous red hair, Callanan shines in the commanding and infectious solo It’s Not About Me and has lively and fun loving chemistry with Anthony Pires Jr as compassionate and forthright Mr. Hawkins.  Pires Jr adds a shy charisma to the role and his scenes with Emma and Dee Dee are touching and memorable especially for the sweet solo, We Look to You.

From left: Amy Barker, Anthony Pires Jr., and Mary Callanan. Photo credit to Nile Scott Studios

Meagan Lewis-Michelson as no nonsense PR rep Sheldon Saperstein and inspirational Lisa Yuen as Angie Dickenson both have their great comedic moments, but Jared Troilo is a bit of a scene stealer hatching outrageous theatrical schemes to unique pronunciations as aspiring actor Trent Oliver.  Troilo’s character could have easily become obnoxious as the show progressed, but Troilo’s Trent remained endearing at every turn.  Though Troilo is wonderful in every number, perhaps the cheeky Love Thy Neighbor is the most noteworthy fueled by surprising musical accompaniment and gospel influences.

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone.   It is positive throughout, even in the face of Emma’s most difficult challenges.  Liesie Kelly’s lovely Just Breathe mixes dry wit with Kelly’s mellifluous vocals and smiling eyes.  Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Tori Heinlein (center) and the company. Photo credit to Nile Scott Studios

Boasting amazing choreography that not only is reminiscent of popular musicals Footloose and Hairspray, but The Prom contains a wealth of welcome, inside Broadway references.  From a clapping and celebratory champagne dance to  the Fosse-inspired choreography of Zazz to the intricate chorography of  It’s Time to Dance, Gamble with Paul S. Katz’s music direction creates a complex yet sparkling escape to fun and frivolity if only temporarily from the realities of life.   

SpeakEasy Stage Company continues musical comedy The Prom through June 10 live and in person at the Calderwood Pavilion in Boston Massachusetts.  Click here for more information and tickets.

REVIEW:  Fresh Ink Theatre’s searing and contemplative ‘John Deserves to Die’

Posted on by The Sleepless Critic

Be meek and seek perfection.  Approval is what makes dreams come true.

In an intimate space inside the Boston Center for the Arts unfurl two simmering and intertwining tales.  One dives deep into the lives of a group of college students under the tutelage of their tenured and egotistical theatre professor.  The other is the centerpiece for Mamet’s play, Oleanna.  This play within a play focuses on power, rivalry, perspective, image, and how manipulation comes in many forms.  Who is the culprit and how innocent is a victim?  Yet, it is also about something more.

Fresh Ink Theatre presents ‘John Deserves to Die’ Photo credit to Paul Fox

Directed cleverly by Regine Vital, Fresh Ink Theatre Company presents Rachel Greene’s contemplative dramedy John Deserves to Die live and in person at Black Box Boston Center for the Arts in Boston, Massachusetts through May 13.  The show is two hours and 20 min including one intermission and has some mature themes. Click here for more information and for tickets.

John Deserves to Die is not a murder mystery, but it does have its share of venom.  Gripping from the start, the show is a searing, darkly humorous, and multilayer production delivered with haunting and progressive conviction.  It does not just grab attention as the cast occasionally breaks the fourth wall, but it is a careful and thorough analysis of how lines can blur between right and wrong.

Devon Whitney as Laura Vogel, Ethan Williams as Steven Sanders and Alex Jacobs as Professor Daniel Holmes in Fresh Ink Theatre’s ‘John Deserves to Die’ Photo credit to Paul Fox

James Cannon’s charged sound design showcases a selection of tunes that imply or speak directly to the show’s narrative, but none fit quite as brilliantly as Britney Spears’s remixed and eerily stirring Toxic.  Two multifunctional bookshelves of carefully selected works filling each side of the stage are just part of Victoria Rojo’s integral stage design and props by Victoria Hermann.  Kat Lawrence’s colorful and distinct apparel thoughtfully tap into each individual’s character while Isaak Olson’s cryptic lighting lends to the show’s heated moments.  

Tiffany Santiago as Andy Stark, Cara Clough as Jen Barnett, and Lorraine Victoria Kanyike in Fresh Ink Theatre’s ‘John Deserves to Die’ Photo credit to Paul Fox

This engaging production boasts a powerful cast in which each character plays a pivotal role in the big picture.  Cara Clough depicts self doubting yet determined Jen Barnett who longs for stardom through her theatre professor Daniel Holmes, depicted by Alex Jacobs.  Jacobs is impressive as enigmatic Professor Holmes with easy charm, quick wit, and a deliberate way with words that make his portrayal suave and astute, while always teetering on something amiss. Clough is riveting and understated as Jen especially in her quieter moments while Ethan Williams as Steven Sanders delivers memorable and darkly humorous moments from his skewed perspective. Lorraine Victoria Kanyike as Leah, Devon Whitney as Laura, Tiffany Santiago as Andy, and Cara Clough as Jen are collectively compelling which carries through this cleverly staged production. Approval is not always what it cracks up to be, but to these four individuals, it seemingly means everything.

Fresh Ink Theatre presents Rachel Greene’s contemplative dramedy John Deserves to Die live and in person at Boston Center for the Arts in Boston, Massachusetts through May 13.  The show has two select pay what you want and buy one, get one free productions. Click here for more information and for tickets.