memory play | The Sleepless Critic

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

Posted on March 4 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Vivid dreams of what could be in Gloucester Stage Company’s affecting ‘The Glass Menagerie’ by Tennessee Williams

Posted on June 18, 2025 by The Sleepless Critic

This is a memory play.

This description speaks volumes about legendary playwright Tennessee Williams’ autobiographical and deeply personal play, The Glass Menagerie. De’ Lon Grant serves as narrator, the protagonist Tom and perhaps Williams himself focusing on the dysfunctional Wingfield family, the delicate nature of life, and the hope of what the future holds. This memory play was the first of its kind and Tennessee dedicated it to his sister in real life.

De’Lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Exquisitely directed by Doug Lockwood, Gloucester Stage presents their 46^th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28. The show runs two hours and 25 minutes including one 10 minute intermission. Click here for more information and for tickets.

Adrienne Krstansky and Liza Giangrande in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

There is a certain magic in The Glass Menagerie, even as dreams and reality collide. Taking place during the Great Depression in the 1940s, hope and illusion inhabit a cramped apartment in Saint Louis, Missouri even as dusty dining room chairs are uncovered in a dank room. Thin, translucent curtains, dining room chairs and a square of iridescent light shine in this space as De’lon Grant as Tom, Liza Giangrande as Laura, and Adrienne Krstansky as Amanda make themselves at home. Jenna McFarland Lord’s amazing set design infused with Aubrey Dube’s rich and crucial sound design is a breath of fresh air and holds a surprise which will not be revealed here.

Nia Safaar Banks successfully rewinds the clock to this vintage era with floral tea length dresses, wide brimmed hats, suspenders, and page boy hats. Amanda Fallon blends inviting and haunting illumination to this production which is often moody, veering from the evocative red flash of dancehalls to soft and luminous candlelight casting vivid shadows in the background.

Patrick O’Konis and De’lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

In a long coat and brimmed hat, Grant weaves in and out of his dual role charismatically recalling Wingfield history and recollections while playing his part as Tom as the play unfolds. The Glass Menagerie’s small cast holds challenging and meaty characters steeped in deeply rooted flaws. Some of the family and societal issues that are brought up in Williams’ timeless work, The Glass Menagerie could have been written yesterday. Working as a workhouse shipping clerk, Tom has grander dreams and secretly struggles as the man of the house since his adored father left the family. Liza Giangrande portrays Tom’s helpful, quiet, anxious, sweet and imaginative sister Laura who has lived with a disability her entire life. Pretty and slight with delicately braided hair, Giangrande delivers a meaningful performance as Laura exuding quiet strength in this sympathetic character as she struggles between escaping the world and a longing to fit in.

Liza Giangrande and Patrick O’Konis in Gloucester Stage Company’s ‘The Glass Menagerie’ Photos by Shawn Henry

Patrick O’Konis is enchanting as Jim O’Connor who dreams of a life beyond working in a factory with Tom. Easygoing and ambitious, O’Konis makes quite an impression with Amanda and Tom while sharing some endearing moments with Laura.

At the center of the family is Adrianne Krstansky as Tom and Laura’s chatty, bubbly and yet anxious and controlling mother, Amanda Wingfield. Visibly shaking at times and fiddling with her clothes, Krstansky delivers a brilliant and unsettling performance as Amanda who veers from sing song excitement and fixation to alarm and paranoia handing out backhanded compliments. Dwelling on past charms and occasionally reminiscent of Blanche in A Streetcar Named Desire, Amanda fixates on her days of prosperity when she was the bell of the ball. Ruminating on symbolic jonquils, she nitpicks, fusses, plots, plans and worries over her children’s success and happiness hoping to find Laura a husband.

De’Lon Grant, Lia Giangrande and Adrienne Krstansky in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Boasting raw and compelling characters, The Glass Menagerie is an affecting drama that mixes relatable humor, cruelty, regret, and generational trauma, but also joy, sweetness and amazement. Strong are the ties that bind. It is poignant, hopeful and it unveils a certain beauty in this family’s unwavering strength in these hard times.

With exquisite direction by Doug Lockwood, Gloucester Stage presents their 46^th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28. Click here for more information and for tickets.

REVIEW: Finding your voice in Lyric Stage Boston’s stirring ‘Crumbs from the Table of Joy’

Posted on January 25, 2025 by The Sleepless Critic

Looking back on life can bring joy, discovery, sorrow and wisdom in unexpected ways.

Cleverly directed by Tasia A. Jones, Lyric Stage Boston continues Lynn Nottage’s family drama Crumbs from the Table of Joy live and in person at Lyric Stage Boston through Sunday, February 2. This partially coming of age production not limited to the stage runs two hours and 20 minutes including an intermission. Click here for more information and tickets.

Dominic Carter,* Madison Margaret Clark, and Catia* (Photo by Mark S. Howard)

Crumbs from the Table of Joy boasts a fascinating cast as each character’s motivation unravels over time and explores some hot button issues prevalent yesterday and today. Madison Margaret Clark as impressionable and determined Ernestine recalls a pivotal time in her life close to graduating high school in the 1950s having moved from the South to Brooklyn with Dominic Carter as her strict, born again and traditional recently widowed father Godfrey and her candid sister Ermina, portrayed with sharp comic wit by Catia. Clark’s engaging delivery is an endearing mix of fondness and reflection recalling life’s little joys such as sharing cookies and precious family moments within the thin walls of a small apartment. As an aspiring actor, Ernestine fantasizes about how cinema solves everything and those scenes stand out as some of the brightest parts of the production.

Catia* and Madison Margaret Clark (Photo by Mark S. Howard)

Cristina Todesco’s translucent and versatile, dual level scenic design framed by a gold embroidered vintage stage and ornate industrial lights transforms into various dim spaces including a living room with dated and crochet adorned tattered furniture. Eduardo Ramirez’s animated lighting design combined with Aubrey Dube’s rich sound deliver carefully timed flickers of joy to instantly transport characters right within the narration from an apartment to a movie theatre to a train station in an array of flickering of lights and distinctive sound effects. Mikayla Reid’s retro costuming ranges from sophisticated in statement ensembles and pin striped suits to handmade floral dresses and patent leather shoes.

Catia,* Thomika Marie Bridwell,* and Madison Margaret Clark (Photo by Mark S. Howard)

Glamorous and smartly dressed, Thomika Marie Bridwell’s dazzling entrance as feisty, forward, flirtatious and daring Aunt Lilly creates an immediate spark in the production with a combination of spice and outspokenness in direct contrast to Dominic Carter’s conservative and stoic Godfrey. Godfrey is so reserved that at one point, Ernestine explains that her father says only white people can laugh on a Sunday. Hanging onto Father Divine’s every word with intensity yet quiet zeal, Dominic Carter delivers a solid performance as Godfrey who claims they came to Brooklyn because of Father Divine’s Peace Mission until something unexpected happens. Bridwell’s Lilly immediately alters the atmosphere with an unexplainable tension and it stands to show whether or not it is for the better. However, there is far more to this tale than meets the eye.

Thomika Marie Bridwell,* Dominic Carter,* and Margaret Madison Clark (Photo by Mark S. Howard)

Bridwell’s excellent performance lies in Lilly’s bold nature and expertly building tension in Lilly’s unorthodox manner of living. Her mix of persuasive charm, laugh out loud comic timing and resolve brings to light this complex character in all of her hidden vulnerability sharing memorable scenes with the cast including Catia as Ermina and Madison Margaret Clark as Ernestine looking on with a mix of shock and admiration for their Aunt while certainly making an indelible impression. Bridgette Hayes is also impressive as mysterious Gerte who suddenly plays a significant role that will not be revealed here.

Madison Margaret Clark, Catia,* Brigette Hayes,* and Dominic Carter* (Photo by Mark S. Howard)

A family drama that delivers some surprising twists and turns, Crumbs from the Table of Joy is a stirring production that shows real life lessons can come from the most unexpected places.

Lynn Nottage’s family drama Crumbs from the Table of Joy continues live and in person at Lyric Stage Boston through Sunday, February 2. This partially coming of age production not limited to the stage runs two hours and 20 minutes including an intermission. Click here for more information and tickets.