Of the performances the Sleepless Critic has reviewed, here are the Top Ten favorite Performances:
‘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.
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.
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.
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.
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.
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.
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.
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.
An odd couple and a lucrative bet….but if you think you know how this slippery musical comedy tango will end, there is much more here than meets the eye.
Directed skillfully by Allison Olivia Choat with absorbing music direction by Catherine Stornetta and upbeat yet spicy choreography by Brad Reinking, Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20. This show has adult themes and runs approximately two hours and 15 min with one ten minute intermission. It also boasts open captions that come in handy during the performance. Click here for more information and for tickets.
A remake of 1964’s Bedtime Story, Dirty Rotten Scoundrels hit the big screen in 1988 starring Michael Caine and Steve Martin before it became a popular Broadway musical comedy in 2004 garnering a number of Tony nominations including Norbert Leo Butz’s Tony Award-winning performance as Freddy. In 2019, Anne Hathaway and Rebel Wilson starred in the film remake renamed The Hustle.
From Hawaiian shirts to stately formal wear in cheerful colors, some aspects of E. Rosser’s costume design is inspired by the 1988 film, but thankfully contemporarily updated from the film’s bulky 80s style clothing.
Taking place over one summer on the French Riviera, Dirty Rotten Scoundrels focuses on a group of conmen doing what they do best. It has an odd coupling vibe with Matthew Zahnzinger as sophisticated master conman Lawrence with his co-conspirator André who encounters Phil Tayler as skilled yet uncouth novice Freddy. Freddy is a small time conman who immediately admires Lawrence’s success and longs to learn the ropes. When they both set their eyes on Shonna McEachern as mysterious Christine, the stakes are high and the con is on.
With simple staging on two floors by Peyton Taveres with portable props by Andrew Reynolds as well as an onstage band behind glass, Andrea Sala’s upscale multicolor lighting takes center stage and has a delightful mind of its own demonstrated by Zahnzinger’s Lawrence who drolly exclaims, ‘Breeding is important, but lighting is everything!’
Adorned in a three piece suit with a red carnation and suave ascot, Zahnzinger perfects a thick British accent and is the picture of refinement as Lawrence. Charismatic, suave and boasting a crafty smirk, Zahnzinger shines as Lawrence and is more than game as this smooth world traveling con artist. Julius P. Williams III portrays Lawrence’s behind the scenes right hand man André. Williams III is quite the schmoozer who is big on decorum and short on patience. Lawrence and André’s conspiratorial tête-à-têtes and knowing glances make them an amusing comedy duo. When Phil Tayler as younger, outspoken, unhinged and underhanded Freddy Benson enters the scene, the real excitement begins.
It is easy to see how seamlessly Dirty Rotten Scoundrels fits as a musical comedy and after watching the 1988 comedy film, the musical is tremendously more fun. With sultry and exuberant choreography by Brad Reinking, this charming ensemble has as big of a personality as the distinct main cast. From the two step to yodeling to even birdcage choreography which has to be seen to be believed, Dirty Rotten Scoundrels infuses these dance sequences in all the right places.
Most of the women seem gullible and naïve with few exceptions including Tader Shipley as Jolene Oakes as a fabulous, cart wheeling southern belle in glittering gold cowboy boots. Shipley’s over the top delivery as she headlines Oklahoma is an unforgettable treat. Boasting soaring vocals, Shonna McEachern depicts the altruistic Christine and performs a lovely ballad with Tayler for Nothing is Too Wonderful to Be True.
Through David Yazbek’s lyrically clever music, Dirty Rotten Scoundrels’ catchy soundtrack often plays on words, especially demonstrated through Ruffhousen with Schüffhausen featuring a memorably comedic twist between Lawrence, Freddy, and Christine. Like Zis, Like Zat is a coy duet featuring André and Christine English as wide eyed Muriel and the tongue twisting and captivating cha cha-inspired The More We Dance between Lawrence and Christine. Phil Tayler as Freddy is at his avaricious best for Great Big Stuff!
Dirty Rotten Scoundrels is silly, sneaky and romantic with a brand of self aware humor that smoothly brings the audience in on the art of the con. It’s a lot of fun to be in on this hustle.
Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20. Click here for more information and for tickets.