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REVIEW: Umbrella Stage Company unveils riveting musical, ‘The Color Purple’

Posted on 2 Hours Ago by The Sleepless Critic

How does one find faith when everything falls apart?

Based on the Pulitzer Prize-winning novel by Alice Walker, The Color Purple is a powerful and thought provoking historical drama that examines life’s true meaning, redemption, transformation, and the search for faith and love when all seems lost.

With stirring direction by BW Gonzalez, Nathanael Wilkerson’s lively music direction, and instinctively choreographed by Najee A. Brown, Umbrella Stage Company continues the Tony award-winning musical, The Color Purple by Marsha Norman through Sunday, June 4 live and in person at the Umbrella Arts Center in Concord, MA. The show has two acts with one intermission and contains some mature themes. Some package shows also offer walking tours. Click here for more information and tickets.

Shy’Kira Allen as Celie and cast Photo by Jim Sabitus

Umbrella Stage Company could not have chosen a better time to bring this particular musical to the stage this year. The Color Purple celebrated the 40^th anniversary of the acclaimed novel last year and the 1985 film directed by Steven Spielberg featured an all star cast including Whoopi Goldberg, Danny Glover and Oprah Winfrey. It garnered several Oscar nominations including Best Picture. This December, a musical film adaptation of The Color Purple will premiere featuring a multitalented cast including Taraji P. Henson, Halle Bailey, Fantasia Barrino, and H.E.R.

Having never read the book or seen the film, The Color Purple was an eye opening experience. It holds turmoil, peril, and cruelty, but it is also an extraordinary tale of miracles, transformation, humor, and unyielding hope exclaimed by a mesmerizing cast of powerful voices each with their own challenges to overcome. Walker’s dynamic characters possess a wealth of depth and complexity that deliver some astonishing twists and turns. The Color Purple features a powerful and Grammy award-winning score that infuses gospel, ragtime, jazz, and blues. The uplifting Our Prayer is gripping right from the start and the tapestry of moving numbers that follow makes the musical all the more enthralling.

‘Our Prayer’ from The Color Purple Photo by Jim Sabitus

SeifAllah Salotto-Crisobal’s impactful lighting design meticulously sets the tone in creative and multicolored pastels transforming Janie E. Howland’s modest wooden set equipped with whips and a silver barrel. Covering a 40 year range, costume designer Danielle Dominigue Sumi navigates various eras with finesse including culturally appropriate attire from muted to kaleidoscopic colors.

Shy’Kira Allen as Celie and Kayla Leacock as Nettie Photo by Jim Sabitus

In 1909 rural Georgia, Celie at 14 is about to give birth. She finds solace in her buoyant and discerning sister Nettie in a beautiful depiction by Kayla Leacock. Their genuine camaraderie is sheer joy to witness as Celie navigates her own unmerited suffering. Nettie is one of many spiritually strong and often challenged women surrounding inquisitive, naïve, obedient, and shy Celie depicted remarkably by Shy’kira Allen, that teach her about resilience and fortitude. Kai Clifton is a powerful force as daring Sofia with a trailblazing attitude and demeanor rare of a woman in the early 1900’s as demonstrated in a sage and commanding rendition of Hell No! Crystin Gilmore holds her own power as captivating and liberated performer Shug Avery who breezes into Georgia on a whim bringing excitement, scandal, and humor to the town as demonstrated in an alluring rendition of Push the Button. However, Gilmore truly shines in quieter moments with her tender rendition of Too Beautiful for Words as well as the show’s heartfelt title track.

Crystin Gilmore as Shug Avery and cast Photo by Jim Sabitus

Shy’Kira Allen rises to the challenge as complicated Celie and though Allen has many memorable scenes with the cast, her most powerful scenes are the ones she must stand on her own such as in Lily of the Field, Dear God, and a brilliant rendition of I’m Here. Brian Demar Jones is impressive and deceptively charismatic as short sighted and egocentric Mister while Jordan Aaron Hall is likable as compassionate yet impressionable Harpo. Rural Georgia is an area not without its gossip and keeping the mood light in the midst of the show’s most difficult moments are the humorous and ever knowing Church Ladies, their clever vocal styling slick for Shug Avery Coming to Town and Uh Oh.

Kai Clifton as Sofia and cast Photo by Jim Sabitus

Umbrella Stage Company delivers Alice Walker’s message with such collective fervor, make time to witness this Color Purple.

Umbrella Stage Company continues the Tony award-winning musical, The Color Purple though Sunday, June 4 live and in person at the Umbrella Arts Center in Concord, MA. The show has two acts with one intermission and contains some mature themes. Click here for more information and tickets.

REVIEW: Theater Uncorked’s ‘Sideman’ grapples with a dream

Posted on 17 Days Ago by The Sleepless Critic

Nothing comes between a man and his music, but maybe something should.

Directed with a stirring cadence by Russell R. Greene, Theater Uncorked presented Warren Leight’s Sideman for a limited engagement from May 3-7 live and in person at Boston Center for the Arts Plaza Theatre in Boston, Massachusetts. The show was two hours with one 15 minute intermission and is not for children. Click here for more information and what is next for Theater Uncorked.

Phil Thompson as Jonsey Leonard Chasse as Al and James Hunt as Ziggy Photo credit to Gary Ng

A ‘sideman’ in jazz terms refers to a member of a jazz or swing orchestra. The term not only applies to Brad Michael Pickett as trumpet player Gene, but his loyal sidemen which include Leonard Chasse as Al, James Hunt as Ziggy, and an impressive Phil Thompson as troubled Jonesy. Gene’s band mates demonstrate an easy rapport and an unshakable and stalwart camaraderie as they bond into the wee hours over music, love, and the unstable life of the musician. Accompanied by Jennifer Shotkin in an invigorating performance as warm and wisecracking waitress Patsy, they seem far more like family to the dismay of the rest of Gene’s actual family.

Jennifer Shotkin as Patsy Photo credit to Gary Ng

From the viewpoint of Ben Gold as Gene’s son Clifford, Sideman is a unique memoir about Clifford’s dysfunctional family that matured him far too early. It delves into the excitement, seeming glamour, and the alarming upheaval in the pursuit of music that can leave madness for many in its wake.

Sideman offers dark and humorous moments in a jazz style storyline that culminates in intensity as quickly as it mellows. Delivered with dry wit, some notable deadpan expressions, and occasional despondence by Ben Gold, this ambitious show covers a lot of territory during an over 30 year timeline that rides the height of NYC jazz to its gradual decline. Short sided and neglectful Gene is more impressed by an unemployment check than an actual job while Clifford’s fast talking, hotheaded, and unraveling mother Terry, a rich and scathing performance by Shana Dirik, would rather let her ambitions and heartaches override her responsibilities. Brad Michael Pickett as Gene and Shana Dirik as Terry deliver some stunning scenes together that zip between star struck and fed up. All Clifford wants is a sense of normalcy, but that might be a tall order.

Shana Dirik as Terry and Brad Michael Pickett as Gene Photo credit to Gary Ng

From a distinct black and white Marilyn Monroe poster, neon lights, wood paneled walls, afghan quilts, and authentic vintage furniture, Shana Dirik with lighting designer Erik Fox steeps the viewer into multiple eras with a wealth of retro charm. Warren Leight’s script delves into the jazz era harkening to epic musical heights from Sinatra at the Copa to Neon Leon to Elvis’s performance on the Ed Sullivan Show driven by Tim Rose’s lively and reflective sound design.

Ben Gold as Clifford Shana Dirik as Terry and Brad Michael Pickett as Gene Photo credit to Gary Ng

Sideman is in many ways a toast to jazz, but is also about family. To become great requires sacrifice and yet there is something amiss about this band’s journey. Warren Leight’s characters accomplish a great feat in that most of his characters are still likable even through their selfish and undeniable blind ambition. Sympathetic and compassionate, Gold’s Clifford is a character worth rooting for as he navigates through this musical journey full of wild predicaments.

Theater Uncorked presented Warren Leight’s Sideman for a limited engagement from May 3-7 live and in person at Boston Center for the Arts Plaza Theatre in Boston, Massachusetts. Click here for more information and what is next for Theater Uncorked.

REVIEW: Apollinaire Theatre Company’s ‘Dance Nation’ starts funny, then at times loses its footing

Posted on 28 Days Ago by The Sleepless Critic

Dance can be a cutthroat sport. This is especially true for a group of prepubescent, adolescent, and rambunctious preteens in a dance competition who are told the results will change their lives.

However, the twist here is these teens are not actually portrayed by age appropriate preteens, but by a wide age range. Therein lays comedy and the rub for the rest of this story.

Audrey Johnson as Amina, Schanaya Barrows as Ashlee, Katie Pickett as Zuzu (additional image below) Photos: Danielle Fauteux Jacques

Fervently directed by Danielle Fauteux Jacques with lively choreography by Audrey Johnson, Apollinaire Theatre Company presents Clare Barron’s Dance Nation live and in person at Apollinaire Theatre Company in Chelsea, Massachusetts through May 14. Dance Nation has mature themes. The show is 100 minutes with no intermission. Click here for more information and for tickets.

A lot is at stake at Liverpool Dance Works in Liverpool, Ohio. From dance moms to competing with a best friend, Dance Nation delves into the pressure of perfection and the discoveries of coming of age including and certainly not limited to the magic of black coffee. It starts out with some amusing moments and it excels in depicting some of the angst, uncertainty, heartache and anguish associated with growing up. It personifies the travesties in a young girl’s life, her changing body, the all or nothing attitude in just about everything, and the sensitivity of a young heart. Everything is a victory or an absolute disaster.

Schanaya Barrows as Ashlee (front), Alison Butts as Sofia, Paola Ferrer as Vanessa, Erik P. Kraft as Luke Photo by Danielle Fauteux Jacques

Joseph Lark-Riley boasts a heart thumping, catchy and memorable sound design. Elizabeth Rocha’s dynamic costumes range from delicate tutus to casual wear and Nathan Lee and Jennea Pillay’s realistic scenic design create an everyday teen dance studio complete with hanging coats, multilevel compartments for shoes and dance bags as well as metal trophies displayed like a pillar of excellence for every student to strive for.

Dance Nation is highlighted with some fascinating performances. Katie Pickett delicately portrays self conscious and sensitive Zuzu with a tangible anxiousness and discomfort in her own skin. Dev Luthra portrays occasionally testy, sketchy, manipulative and yet inspiring Dance Teacher Pat. Luthra’s rapport with the students is complicated, especially with Audrey Johnson’s complex and conflicted perfectionist Amina. Paola Ferrer impressively juggles not only depicting a dancer, but the supportive, not quite in touch, and competitive dance mom whose child should always be the star. Imagination sweetly runs wild with Ann Carpenter as Maeve while Schanaya Barrows savagely depicts a mix of ego, vanity and complicated uncertainty as Ashlee.

Then somehow, it starts to lose its way. Dance Nation was funny until it becomes what some might call “fierce.” Teens do speak like little adults which is part of the humor of the show, but they are not adults and the show contains some unnecessarily dark and absurd scenarios that become more frequent as the show progresses. It can be anguish and cringe worthy to be a preteen, but some avenues in which this show takes do not resemble the average teen and it becomes too farfetched and graphic. Perhaps the crazy scenarios are to show the kids building their wild natures and confidence, but there are several other ways to depict that without the shock value that does not lend to the progression of the story.

With that being said, Claire Barron’s Dance Nation has its share of powerful and sound moments that resonate on a child’s tumultuous journey into adulthood with humor, sweetness, and poignancy…but beware the cringe.

Apollinaire Theatre Company presents Clare Barron’s Dance Nation live and in person at Apollinaire Theatre Company in Chelsea, Massachusetts through May 14. Dance Nation has mature themes. Click here for more information and for tickets.

REVIEW: Rejoice in Lyric Stage Company’s ‘Sister Act’

Posted on April 26 by The Sleepless Critic

Let the choirs sing! This Sister Act is one heavenly show stopper.

A lot of films have been cut, shaped and squeezed into the genre of musical, but Sister Act, based on the hit 1992 comedy film starring Whoopi Goldberg, has always been a natural fit. Featuring a variety of songs re-imagined by a group of amateur nuns, Sister Act is a thriller, musical, and comedy rolled up into one exciting and uproarious package.

Directed warmly by Leigh Barrett and judiciously choreographed by Dan Sullivan, Lyric Stage Company presents Sister Act live and in person at Lyric Stage Company in Boston, Massachusetts through May 14. This show is two and a half hours with one 15 minute intermission. Click here for more information and for tickets.

The Cast of ‘Sister Act’ Photo by Mark S. Howard

What makes Sister Act an ideal fit for a musical is not only does the musical deliver all the hijinks, danger, and the inherent message of the film, but it also expands on its characters through some welcome additional songs. The music, by Alan Menken, is well suited with the terrain of this already entertaining tale and numbers like It’s Good to Be a Nun, Lady in the Long Black Dress, and I Could Be that Guy particularly enhance the hilarity of each of its extraordinary characters. The original film inspired Sister Act 2: Back in the Habit before becoming a musical and there is even talk of a possible Sister Act 3 coming soon to Disney Plus.

Set in 1978 Philadelphia, Deloris Van Cartier, a sparkling depiction by Yewande Odetoyinbo, thinks it is only a matter of time until she is a star. However, after she witnesses a murder, the police decide the convent is the only place she will be safe. With blunt and practical Mother Superior at the helm, Deloris has a long road ahead of her.

Cast of Sister Act Photo by Mark S. Howard

Sister Act does a wonderful job rewinding the clock to that era with choreographer Dan Sullivan and Music Director David F. Coleman’s seamless infusion of classic 60s and 70s inspired dance moves to funky, smooth, and uplifting rhythms. Sparkling body suits, tiger prints, velvet pants, and knee high purple boots are just some of the era trends captured by Kelly Baker. Jenna McFarland Lord creatively handled Sister Act’s somewhat tricky staging making the most of the space with a versatile two floor set including glimmering disco ball and stained glass columns, though at times the blocking seemed a bit tight.

This dynamite cast matches and even excels over the original cast. It is difficult not to compare if one has seen the original film, but not only does Yewande Odetoyimbo’s bright smile resemble Goldberg’s, but the fun-loving and vibrant Fabulous Baby, Raise Your Voice, and Take Me to Heaven depict Deloris’s surefire attitude and superior vocals in this fish out of water story. The stunning surprise and angst Deloris endures over the course of the musical is a highlight of the show as Cheryl McMahon as Mother Superior looks on.

Cheryl McMahon and Yewande Odetoyinbo in ‘Sister Act.’ Photo by Mark S. Howard

Stepping into actress Maggie Smith’s role as Mother Superior is Cheryl McMahon. Smith portrayed Mrs. McGonagall in the Harry Potter film series which is one character among many of her stern and practical roles. Filling Smith’s shoes is no small feat, but McMahon’s comic wit has been proven in various past roles such as in Admissions, Miss Holmes Returns, Steel Magnolias and Grease, and is fabulous herself as wise and unyielding Mother Superior.

McMahon’s Here Within These Walls is a solemn call for tradition, discipline and sensibility which proves Mother Superior will not be easily swayed, but her stellar comic timing is best in I Haven’t Got a Prayer. Her dour expressions to Yewande’s carefree and aberrant nature are some of the show’s funniest moments.

Kathy St. George and the cast of ‘Sister Act’ Photo by Mark S. Howard

Led by Joelle Lurie as impressive Sister Mary Patrick who oozes the excitement of gleeful Kathy Najimy, the nuns showcase their immediate solidarity and camaraderie with the welcome and borderline sarcastic (even for nuns) It’s Good to Be a Nun. It’s a hilarious number that brings to light the dynamic and spirited group including Kathy St. George as scene stealing and sarcastic Sister Mary Lazarus and Kira Troilo as young and introverted Sister Mary Robert. Troilo particularly shines in the soaring and reflective number, The Life I Never Led. The group’s collective and sweet chemistry is the heart of the show and they bring it in spades.

Kara Troilo and Carolyn Saxon, Amie Lytle, Kathy St. George, Yewande Odetoyinbo, Beth Gotha, Meghan Rose, Kara Chu Nelson, and Joelle Lurie Photo by Mark S. Howard

Davron S. Monroe is amazing as Eddie, delivering a suave, charming and incredible rendition including a mix of 70s inspired choreography and a few surprises for I Could Be That Guy.

Meghan Rose, Carolyn Saxon, Davron S. Monroe and Todd Yard. Photo by Mark S. Howard

Balancing both solemnity and heartwarming charm is Todd Yard as Monsignor O’Hara. He and the nuns let loose for Sunday Morning Fever. Yard has handled some serious roles in the past, and it is great to see his wonderful talents as a heartwarming figure.

Beth Gotha, Kathy St. George, Amie Lytle, Meghan Rose, Todd Yard, Kara Chu Nelson, Yewande Odetoyinbo, Carolyn Saxon, Kira Troilo, Joelle Lurie, and Cheryl McMahon Photo by Mark S. Howard

Damon Singletary slays as commanding and menacing Curtis as he stealthily moves across the stage. With wild hair and mischievous smirk, Jackson Jirard has proven his charm and sleek dance moves in shows like Aint Misbehavin is also a bit of a scene stealer as TJ among the bumbling mobsters which include Cristhian Mancinas-Garcia as Pablo and James Turner as Joey. Mancinas-Garcia, Turner, and Jirard show off their spot on comic timing, game, and vocals for Lady in the Long Black Dress with each member having their chance in the spotlight.

Cristhian Mancinas-Garcia,Jackson Jirard, Damon Singletary, and James Turner Photo by Mark S. Howard

Lyric Stage Company presents Sister Act live and in person at Lyric Stage Company in Boston, Massachusetts through May 14. Click here for more information and for tickets.

REVIEW: Celebrity Series of Boston brought vintage effervescence to Boston with renowned touring group Paul Taylor Dance Company

Posted on April 24 by The Sleepless Critic

Forget those troubles and get happy with the lively, comedic, and exciting Paul Taylor Dance Company.

Infusing classical, big band, and swing with a modern twist, The Paul Taylor Dance Company zealously delivered comedy, athleticism, romance, drama as well as some reflective moments wrapped in vibrant costumes by Marc Eric and Santo Loquasto with Donald Martiny’s exuberant set design.

Celebrity Series of Boston presented renowned national touring group, Paul Taylor Dance Company for a limited engagement from April 14-16 live and in person at the Boch Center Shubert Theatre. The show was two hours including two intermissions. Click here to see where Paul Taylor Dance Company will perform next and here for a look into Celebrity Series of Boston’s upcoming events.

Somewhere in the Middle by Amy Hall Garner Madelyn Ho w L-R Devon Louis Lee Duveneck Austin Kelly John Harnage Photo by Ron Thiele

Bright colors gleam over a black landscape as Count Basie’s booming, horn-infused rhythms measure carefree spins and leaps in Somewhere in the Middle. Effervescent and gleeful in bursting lime, coral, teal, and mustard by Mark Eric, Madelyn Ho, Lee Duveneck, Devon Lewis, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, and Austin Kelly delivered childlike wonder and an uplifting glow tumbling in somersaults and breezy lifts to heart thumping rhythms by Sarah Vaughan, Count Basie, Duke Ellington, and Bill Evans. This joyful, upbeat spectacle, with captivating choreography by Amy Hall Garner, was only outdone by the subtle and spontaneous moments prevalent throughout the production. A cheerful shout, an impulsive wave, a kiss on the cheek, a snap of the fingers, or a swift tap on the shoulder brought unique distinction to the performances, making it all the more thrilling.

Brandenburgs Full Cast photo by Ron Thiele

Brandenburgs, featuring music by Bach and his Brandenberg concertos, is an athletic, sophisticated, and romantic foray into classical ballet. Featuring piano and fiddle-laden rhythms, dancers John Harnage, Eran Bugge, Madelyn Ho, Lee Duveneck, Alex Clayton, Devon Louis, Maria Ambrose, Shawn Lesniak, and Jake Vincent strut and promenade across the floor in regal stances which are at times, untamed, open, but always seamless by Paul Taylor. Devon Lewis and Maria Ambrose deliver a romantic and moving Pas de deux which is the first of two reflective pieces within this production.

Somewhere in the Middle by Amy Hall Garner Maria Ambrose Devon Louis Photo by Ron Thiele

Brandenburgs is a vigorous, rich, and robust performance that continues this compelling celebration, the second in a three part production. Adorned in gold trimmed and flowing garments in various shades of green, the group’s impressive linear and synchronized movements depict elegance and grace ending their dance as it began.

The Paul Taylor Company saved the best for last with Company B, a salute to the famous Andrew Sisters. Featuring the full cast that includes Christina Lynch Markham, Madelyn Ho, Kristin Draucker, Lee Duveneck, Alex Clayton, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, Devon Louis, Jake Vincent, Jessica Ferretti, and Austin Kelly, the ten song tribute features enough liveliness and humor to lift anyone’s spirits. Accessorized with flowers and simply dressed in flowing skirts and pants, white shirts, and accented red belts faithful to the late 30s and early 40s, Paul Taylor’s timely choreography infuses some popular dances of the era including the jitterbug, swing, the twist, and the polka in a mix of spontaneity, poignant reflections, and comic wit.

One of the many highlights included a humorous spin to the Andrews’ upbeat and horn-infused rhythms of Oh Johnny, Oh Johnny Oh! Featuring Lee Duveneck as a skipping Johnny in horned rimmed glasses and a gleeful smile, it is an unconventional, carefree and refreshing swing number about a guy who unwittingly attracts all the girls. As the Andrew Sisters’ frank vocals state ‘You’re Not Handsome, it’s true’ the catchy song boasts more than its share of amusing, spontaneous, and sweet moments.

Company B Lee Duveneck w cast Photo by Ron Thiele

Rum and Coca Cola features the art of the gaze as the tables are turned with Madelyn Ho under the captive eye of a spellbound group of men. In a flowing, red trimmed skirt, Madelyn’s hip shaking, and high kicks as she flirtatious fans herself knock the boys off their feet.

Though the production is mostly spirited and joyous, Company B does make references to the poignancy of wartime with I Can Dream, Can I featuring Christina Lynch Markham’s beautiful solo dance recalling a faraway soldier. The urgent Joseph! Joseph! depicts women, uncertain of the future, pleading to build a future with their boyfriends before they are shipped off to war. Maria Ambrose and Devon Louis reunite for another duet for There will Never Be Another You, a bittersweet and symbolic number as memories of men pass by in haunting shadow by Jennifer Tipton.

Paul Taylor Dance Company had a limited engagement in Boston, but they are still touring. Click here to see where the Paul Taylor Dance Company will perform next and here for more of Celebrity Series of Boston’s dynamic, upcoming performances this season.

REVIEW: ‘The Secret Garden’ blossoms at the Company Theatre

Posted on March 29 by The Sleepless Critic

In the midst of darkness, hope may be as tucked away as a garden.

Packed with secrets that reach far beyond the hallowed walls of the Misselthwaite Manor, The Company Theatre scheduled the perfect time of year to deliver a musical about finding light in loss, growth in darkness, and the best way to plant roots in Marsha Norman’s family-friendly The Secret Garden which continues live and in person at the Company Theatre in Norwell, Massachusetts through Sunday, April 2. The show is two hours and 20 minutes including one intermission. Click here for more information and for tickets.

Logo courtesy of Zoe Bradford/Company Theatre

Set in Colonial India and then North Yorkshire, England in 1906 based on the 1911 Frances Hodgson Burnett’s beloved novel of the same name, The Secret Garden focuses on Mary Lennox, portrayed with wise beyond her years fortitude and a mischievous streak by Diana Lee, an orphan girl who arrives at mysterious Misselthwaite Manor after tragedy strikes to live with her widowed Uncle Archibald, depicted with melancholy and seeming detachment by Peter S. Adams. On Mary’s first night at the manor, Mary starts to hear strange noises and the only thing left to do is investigate.

Dru Daniels as Lily in ‘The Secret Garden’ Photo courtesy of Zoe Bradford/Company Theatre

Fueled by gorgeous harmony, what stood out the most in this multilayered production was its enchanting score. Though the musical delves into grief, it also has its share of comical and heartwarming moments. With music by Lucy Simon, musically directed mellifluously by conductor Robert McDonough and with illustrative choreography and staging by Sally Ashton Forrest, The Secret Garden is well cast with divine and powerful voices, especially from Dru Daniels as discerning and strong willed Lily and Peter S. Adams as Archibald. Adams has a deeply emotive quality to his vocals and blended with Daniels’s beautiful and operatic tones, songs such as How Could I Ever Know are simply stunning. Adams movingly delivers both a tender and soaring A Bit of Earth and bittersweet Race You to the Top of the Morning. James Fernandes carries his own as practical and scrupulous Dr. Neville Craven in a powerful rendition of Disappear and with Adams in an awe-inspiring version of Lily’s Eyes.

James Fernandes as Dr. Neville Craven and Peter S. Adams as Archibald Craven Photo courtesy of Zoe Bradford/Company Theatre

Diana Lee shares the role of Mary Lennox with Francesca Miele on alternating performances. Lee’s angelic soprano vocals shine for A Girl I Mean to Be and she shares some fiery and amusing scenes with Lilly George as domineering and sheltered Colin who shares the role with Jackson Lynch.

Jennifer Beth Glick, delightful in Company Theatre’s previous family musical, Matilda, brings her bright smile and sweet demeanor to the role of Martha. Playful and nurturing, Glick delivers an exuberant rendition of the imaginative A Fine White Horse and charming chemistry with serious Lee. Glick also demonstrates Martha’s profound side with a soaring and memorable Hold On. Glick also shares her role with Emily Lambert on alternating performances. Another breath of fresh air is Tim Bevens as Martha’s brother Dickon who coaxes Mary to observe the world around her accompanied by a few well behaved, but also with a bit of hankering for mischief live animals that will have to be seen to be believed. Dickon’s adventurous and breezy demeanor makes him a treat among the musical’s heavier content in his wondrous rendition of Winters on the Wing and with Lee for Wick.

Tim Bevens as Dickon Photo courtesy of Zoe Bradford/Company Theatre

Managing a wild thunderous storm, a blanket of stars, and deep shadows on the manor walls is lighting designer Dean Palmer Jr. with Ryan Barrow’s dynamic and moving set design from the lofty bookcases of a vintage Victorian mansion to the stone walled, vine covered vitality of the outdoors inspired by the Victorian Era. Costume designer Cathy Torrey completes the look with frock coats, lorgnettes, cravats, and flowing frocks in muted colors faithful to the era.

The Secret Garden has plenty of discoveries in store continuing live and in person at the Company Theatre in Norwell, Massachusetts through Sunday, April 2. Click here for more information, tickets, and for Company Theatre’s upcoming events.

REVIEW: Take a wondrous romp ‘Into the Woods’

Posted on March 27 by The Sleepless Critic

What lies beyond happily ever after?

From David Patrick Kelly’s initial rich and spirited vocals as Narrator uttering the classic line, ‘Once upon a Time’ from a treelike podium, it is easy to see that Into the Woods is no ordinary fairytale. To Stephen Sondheim’s complex tapestry of famous storytelling numbers ranging from stirring ballads to catchy compositions, Into the Woods brings together some of literature’s most famous fairytale characters on a multi-arc journey through an enchanted wood. It’s a place where fortune smiles, but like every fairy tale, the road winds with surprise twists, turns and resounding life lessons for adults and children alike.

INTO THE WOODS 12 : The Company of Into the Woods Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Directed shrewdly by Lear deBessonet, seamlessly choreographed by Lorin Latarro with meticulous music direction by John Bell, the Grammy and Tony award-winning musical Into the Woods continues direct from Broadway live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, April 2. The musical is 2 hours and 45 minutes including one intermission. Click here for more information and for tickets.

Into the Woods boasts some absorbing special effects and Tyler Micoleau’s affective and multicolored lighting enlivens David Rockwell’s moving and immersive set with includes an onstage orchestra and a monstrous full moon.

INTO THE WOODS 25 : David Patrick Kelly Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Storytelling has never sounded better with David Patrick Kelly at the helm. Kelly brings gravitas and zealously delivers this humorous, adventurous, and poignant tale which includes a baker and his wife’s unfortunate encounter with a witch that drives them to embark on an unexpected journey. Into the Woods was revived on Broadway last year and with that, the characters seem more boisterous, the jokes sleeker, and cast’s quick witted comic timing and bold and hilarious adlibbing enrich the characters and their plights while occasionally breaking the 4^th wall.

INTO THE WOODS 21 : (L to R) Jason Forbach and Gavin Creel Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

The chemistry between this savvy cast crackles and they master Sondheim’s technically challenging harmonies in several collaborative numbers including the musical’s title track. Andrea Hood’s edgy, vibrant and lavish costumes are well suited for Nancy Opel as Cinderella’s stepmother and Ta’nika Gibson and Brooke Ishibashi as Cinderella’s fashion conscious stepsisters. Opel’s sarcastic fervor and tight lipped Cheshire smile is reminiscent of Jennifer Saunders and the conceited trio relishes in their own villainy. Gibson and Ishibashi is a pair of self-absorbed bookends who comically parade in their excessive glory, unaware of how foolish they seem. Diane Phelan impressively depicts an exasperated and contemplative Cinderella, her soaring and angelic vocals shine for the deliberative, A Very Nice Prince and conspiratorially for On the Steps of the Palace.

INTO THE WOODS 1 0 : (L to R) Gavin Creel and Katy Geraghty Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

The show’s edgy and coordinating costumes are also prevalent on a pair of egotistical and coiffed Prince Charmings in dazzling fuchsia by Jason Forbach and in brilliant yellow by Gavin Creel. Every bit the scene stealing pair, the two prance and pose like rock stars, their comic timing on point for the backhanded and love struck, Agony. Creel also utilizes some of that lively charm and Jim Carrey-esque energy with some menacing glee for Hello Little Girl with Katy Geraghty in a surly little scowl as blunt, daring, and voracious Red Riding Hood. Geraghty’s strong willed Riding Hood is fierce and exhibits incredible dry wit throughout the production, but especially with Sebastian Archelus as the proud and humble Baker and Stephanie J. Block as the conflicted Baker’s Wife in a bit of physical humor involving a loaf of bread. Archelus and Block are married in real life which only enhances their playful and affectionate duet, It takes Two. Block emotive eyes and desperate demeanor draws sympathy toward her plight, even in her occasionally warped reasoning for Maybe There’s Magic.

INTO THE WOODS 1: (L to R) Aymee Garcia, Cole Thompson, and Kennedy Kanagawa Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Cole Thompson is wonderful as idealistic and naïve Jack in an amazing rendition of Giants in the Sky and has some sweet and humorous scenes with Aymee Garcia as Jack’s protective and practical mother as well as Kennedy Kanagawa, who is one of a few lively personalities depicted splendidly through puppetry.

Montego Glover glides along the stage maliciously as The Witch, but maybe unlike one found in any other fairytale. Glover depicts this harsh and complex practicality with vigor, finesse, and perhaps as a wearied storyteller all her own. The Witch’s multi-faceted demeanor stuns in a harrowing rendition of Stay with Me and in a riveting The Last Midnight.

INTO THE WOODS 7 : Montego Glover Credit: Matthew Murphy and Evan Zimmerman for MurphyMade

Into the Woods made its musical debut in 1987 and there is a reason it still thrives over 35 years later. It still has that timeless wonder, humor and charm, but more importantly, it metaphorically encapsulates realistic complexities of life in a fairytale that reaches happily ever after…and beyond.

The Grammy and Tony award-winning musical Into the Woods continues direct from Broadway live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, April 2. Click here for more information and for tickets.

REVIEW: Boston Ballet delivers lighthearted and triumphant ‘Don Quixote’

Posted on March 24 by The Sleepless Critic

Armed with oversized artillery and a makeshift helmet, Don Quixote is a chivalrous and enchanting hero like none other.

Boasting a wealth of delightful physical humor, resplendent costumes, and exuberant choreography, the Boston Ballet presents Rudolf Nureyev’s uplifting and family friendly romantic comedy Don Quixote through Sunday, March 26 at Citizens Bank Opera House in Boston, Massachusetts. This production is approximately two hours 48 minutes including two intermissions. Click here for more information and for tickets.

Daniel Rubin as Don Quixote, Isaac Akiba as Sancho Panza and John Lam as Gamache Photo by Rosalie O’Connor Photography

A crowd toss, a tense and impressive knife dance, formidable puppetry, and every one of Don Quixote’s grand entrances are just a few of Don Quixote’s indelible moments when the company is not thrilling audiences with daring and athletic lifts and dives.

Isaac Akiba as Sancho Panza Photo by Rosalie O’Connor Photography

Delving into the wise words of Don Quixote author Cervantes, ‘The most perceptive character is the fool because the man who wishes to seem simple cannot possibly be a simpleton.’ Whether in love or in battle, My’kal Stromile’s charismatic and natural assurance as Don Quixote stands out amid his occasionally wild and rowdy surroundings. Chivalrous to a fault and a sympathetic admirer, Don Quixote, accompanied by his trusty and comedic sidekick Sancho Panza portrayed winningly by Angel Garcia Molinero, set out on a quest through Spain to find his ideal Dolcinea.

Ji Young Chae as Kitri and Jeffrey Cirio as Basilio Photo by Rosalie O’Connor Photography

Don Quixote encounters a vast array of dynamic characters from dryads to gypsies to matadors in distinct and exceptional garb in this consistently upbeat and lighthearted production. Viktorina Kapitonova dazzled audiences when she portrayed Cinderella in Boston Ballet’s 2019 Cinderella and that exuberance, determination and confidence shine through as Kitri. A red rose in her hair, Kapitonova’s bright smile lights for Basilio, portrayed impressively by Lasha Khozashvili. Kapitonova and Khozashvili are marvelous together as they perform a playful pas de deux, their captivating chemistry sweet and jubilant. Kapitonova also has some amusing moments with Rasmus Ahlgren as Lorenzo. Chyrstyn Fentroy’s spitfire Mercedes has spicier chemistry with Paul Craig as equally charming Matador Espada. Fentroy and Craig’s sharp and sweeping pas de deux is enthralling in daring lifts and leaps. One of the highlights of the performance is Fentroy’s thrilling knife dance. The matadors are elegant and gallant in bolero jackets in black and gold. Later, Jon Lam delivers a complex and powerful solo dance as a rowdy lead traveler .

The company demonstrates a plethora of visually impressive comedy ranging from absurd to mischievous to self deprecating. Lawrence Rines Munro as wealthy and foppish nobleman is an amusing scene stealer through his over the top expressions and comedic stances. On another notes, Addie Tapp is wonderful as Queen of the dryads delivering sweet chemistry with an enamored Stromile as Quioxote in a fanciful display as her dryads glide along the stage. Kaitlyn Casey intrigues as a mysterious bride.

Viktorina Kapitonova as Queen of the Dryads Photo by Rosalie O’Connor Photography

Boston Ballet’s Don Quixote’s resplendent visions of beauty vary from muted colors to floral pastels to bold and exotic creations inspired by Spain’s reformation era. In silks, lace, flowing capes and skirts, bolero jackets as well as ethereal, glittering and majestic attire, costume designer Nicholas Georgiadis effectively captures Quixote’s distinctive journey with finesse. The multi-functional fans frequently used by the company are characters in themselves for flirtation and comedy. From giant windmills to rustic wagons to towers and cannons, Georgiadis also helmed the production’s distinctive set design. Brandon Stirling Baker’s emotive lighting is especially prevalent for Don Quixote’s vivid and haunting visions.

Boston Ballet in Rudolf Nureyev’s Don Quixote, photo by Rosalie O’Connor, courtesy of Boston Ballet

Skillfully conducted by Mischa Santora, Ludwig Minkus’s brilliant score varies from fanciful to powerfully epic to mischievous, setting the perfect tone for this unique and amazing classic tale.

Boston Ballet presents Rudolf Nureyev’s uplifting and family friendly romantic comedy Don Quixote through Sunday, March 26 at Citizens Bank Opera House in Boston, Massachusetts. Boston Ballet’s upcoming lineup includes Our Journey and Sleeping Beauty. Click here for more information and for tickets.

REVIEW: Fueled by a tight knit cast, August Wilson’s ‘Seven Guitars’ by Actors’ Shakespeare Project strums a spiritual and resonating tune

Posted on February 25 by The Sleepless Critic

A shadow lingers over Pittsburgh, Pennsylvania.

In the aftermath of World War II, grief and death lingered like a shadow over the world’s existence. In the late 40s in the Pittsburgh Hill District of Pennsylvania, that shadow hovers over a close knit group of friends in August Wilson’s gripping mystery, Seven Guitars. Love, loneliness, grief, friendship, and the blues strike a chord as each character in Seven Guitars search for their share of happiness in an area nicknamed ‘The Crossroads of the World.’

Directed conscientiously by Maurice Emmanuel Parent, Actors’ Shakespeare Project presents August Wilson’s Seven Guitars through March 5 live and in person at Hibernian Hall in Boston, Massachusetts. Hibernian Hall provides an intimate theatre setting without a bad set in the house. Seven Guitars is intended for mature audiences and runs for two hours and 45 minutes with one 15 min intermission. Click here for more information and tickets.

Vera at the Funeral (0034).jpg: Maya Carter (front) with Johnnie Mack, Dereks Thomas, Regine Vital, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Written after August Wilson’s Fences, it is easy to see a few of the earmarks of Wilson’s lauded work including Wilson’s rich and cadenced dialogue. Fences and Seven Guitars are set in Pittsburgh in a neighborhood backyard, and some of the characters in Seven Guitars and Fences share some loose similarities including the ill-advised, but unwavering loyalty from Rose Maxson in Fences and Vera Dotson in Seven Guitars.

Jon Savage’s inviting backyard scenic design features a multi-tiered set, colorful garden plot, mood setting hanging string lights, and an inhabited patio dining set. From lively to tense and shocking moments, Amanda E. Fallon’s affective lighting combined with Abe Joyner- Meyers’s mood induced sound design and Dewey Dellay’s haunting and carefully crafted music composition impressively maneuver this evolving and multi-layered production. Costume Designer Nia Safarr Banks utilizes classic colors and retro patterns to enhance each character’s distinct personality including vintage flowing dresses and plumed bowler hats.

Red at the Funeral (0042).jpg: Johnnie Mack, Dereks Thomas, Maya Carter, Omar Robinson, and Regine Vital in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

However, one of greatest strengths of this particular production is Parent’s great care in the cast’s tight bond. Whether pondering their own mortality, listening to the radio, shooting the breeze or gripped by a suspenseful moment, the cast easily draws in the audience by their natural and captivating chemistry.

Schoolboy with Bandmates (2793).jpg: Anthony T Goss, Dereks Thomas, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Following the funeral of Floyd ‘Schoolboy’ Barton (Anthony T Goss), Seven Guitars follows a group of friends that gather to honor a complicated man. Goss skillfully depicts Barton’s sass, swagger and charm, but also his admirable determination and dream to be among the haves than the have-nots. His resolution for success makes him sympathetic despite his egotistically justifiable wrongdoings. He has compelling chemistry with Maya Carter who delivers a moving performance as devoted, spiritual, and skeptical Vera. Carter’s intense opening monologue is relatable and heartrending and Carter only gets better from there. On a lighter note, Regina Vital’s fiercely independent, loyal, and charismatic Louise provides a wealth of humor and fun, especially when she goes toe to toe with Omar Robinson as Canewell, Dereks Thomas as Red Carter, or Valyn Lyric Turner as Louise’s seemingly impressionable niece Ruby. Robinson as talkative and good natured Canewell, Thomas as ladies man Red, Mack as Hedley and Goss as Floyd share some engrossing camaraderie whether it is for a spontaneous dance with makeshift instruments, playing pranks on each other, or sharing their riveting musings about the future. However, when they are enjoying themselves, it is a relaxed vibe that is a joy to watch.

Hedley Plays Along (1671).jpg: Johnnie Mack, Dereks Thomas, Anthony T Goss, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Johnnie Mack delivers a searing and multi-dimensional performance as peculiar, lonely and hardworking dreamer Hedley. In overalls and an apron, Hedley has lofty dreams and supportive friends, but lives in a sad reality. Mack seamlessly navigates Hedley’s intermittent moods with rising tension weaved into some compassionate moments.

Visions of grandeur, ambition, and destiny play more than a medley in August Wilson’s Seven Guitars on a landscape that has experienced harsh realities. For August Wilson’s richly drawn and dynamic characters, one cannot help but share their hopes for a brighter future.

Actors’ Shakespeare Project presents August Wilson’s Seven Guitars through March 5 live and in person at Hibernian Hall in Boston, Massachusetts. Click here for more information and tickets.

REVIEW: Lexus Broadway in Boston’s ‘Hamilton’ – history and the hype

Posted on February 22 by The Sleepless Critic

Having witnessed Lin Manuel Miranda’s dynamite, hip hop improvisational event Freestyle Love Supreme live in Boston prior to seeing Hamilton, it is easy to see some of the inspiration and contemporary influences on the renowned historical rap musical, Hamilton which centers around one of America’s founding fathers, Alexander Hamilton. As an illegitimate orphan immigrant from the West Indies, Hamilton created a legacy and became one of the forefathers of the constitution, but not without making enemies and causing scandal along the way.

Directed by Thomas Kail and inspired by the book, Alexander Hamilton by Ron Chernow, Broadway in Boston presents Tony award-winning Hamilton live and in person at the Citizens Bank Opera House in Boston, Massachusetts through March 12. Click here for more information and for tickets.

Hamilton Joseph Morales and Nik Walker will lead the second national tour of Hamilton as Alexander Hamilton and Aaron Burr, respectively. Other principal roles in Hamilton will be played by Ta’Rea Campbell as Angelica Schuyler; Marcus Choi as George Washington; Elijah Malcomb as John Laurens/Phillip Schuyler; Shoba Narayan as Eliza Hamilton; Fergie L. Philippe as Hercules Mulligan/James Madison; Kyle Scatliffe as Marquis de Lafayette/Thomas Jefferson; Danielle Sostre as Peggy Schuyler/Maria Reynolds and Jon Patrick Walker as King George. The second national tour also includes Tia Altinay, Amber Ardolino, Conroe Brooks, Cameron Burke, Evan S. Cochran, Phil Colgan, Desmond Sean Eillington, Hope Endrenyi, Lili Froehlich, Daniel Gaymon, Camden Gonzales, Jennie Harney, Stephen Hernandez, Kristen Hoagland, Abby Jaros, Emily Jenda, Wonza Johnson, King David Jones, Carina-Kay Louchiey, Brandt Martinez, Taeko McCarroll, Tyler McKenzie, Justice Moore, Antuan Magic Raimone, Julian Ramos, Jen Sese, Willie Smith III, and Julius Thomas III. Photo by Joan Marcus

One of Hamilton’s most memorable lines reflected on legacy. It is defined as “planting seeds in a garden you never get to see.” Hamilton has an innate urgency as big as Hamilton’s persistent and risk taking drive. Having emigrated from the West Indies where life was short to New York, Alexander knew many in the West Indies at that time did not expect to live past 20 as he arrived in New York with big aspirations according to the musical at 19 years old.

Hamilton’s life was lived without a second to lose and the show emphasizes this with vigor, roaring cannons by sound designer Nevin Steinberg while Howell Binkley’s peak lighting blares in the distance for My Shot. In spite of a mountain of obstacles, Alexander knew this was his chance to rise up and bring the United States to freedom.

Quite the opposite is the leisurely sarcasm of King of England’s King George, an amusingly smug performance by Neil Haskell as he waits in the wings for his estranged renegades’ surefire defeat and return. Wearing a gleaming crown, Haskell’ s droll and intriguing remarks are so certain and so methodically threatening in You’ll Be Back as he drives his once followers into submission from a distance. In feigned loyalty and villainy, he remarks, “You were mine to subdue.”

One of the strongest and most fascinating aspects of the musical is Jared Dixon’s regal, sophisticated and reserved Aaron Burr to Pierre Jean Gonzalez’s impulsive and expedient Alexander Hamilton. Dixon is exceptional as Burr, emphasizing how these two greats are so alike and so incredibly different as is demonstrated in the stirring number, Dear Theodosia. Burr and Hamilton’s building tension, especially while working with an inspiring Marcus Choi as wise, firm, reasonable and commanding George Washington, is among the best parts of the production. Aaron Burr Sir, Non-Stop, and The Room Where it Happens emphasize this gripping tension while Choi makes a formidable Washington as he delivers soaring vocals in an exhilarating rendition of One Last Time.

Hamilton’s reflective number Hurricane is an indelible performance fueled by Andy Blankenbuehler’s intricate and purposeful choreography while contemporary meets vintage colonial flair in a stream of clever storytelling for the playful Helpless and then the discerning Satisfied. Hamilton’s colonial era setting hits the mark with costumes by Paul Tazewell ranging from bustiers to velvet suits to sweeping ball gowns in muted colors. Ta’Rea Campbell is extraordinary as conflicted Schuyler sister Angelica. Her silvery vocals depict her charisma, determination, but steadfast loyalty established in Helpless and Satisfied. She has intriguing chemistry with Hamilton as she deliberately matches her sister Eliza with him. Nikisha Williams is well suited for wide eyed, altruistic, and unwaveringly supportive Eliza as demonstrated in the touching duet That Would be Enough with Gonzalez and the complex and poignant It’s Quiet Uptown enhanced by Blankenbueher’s sweeping choreography.

Shoba Narayan, Ta’Rea Campbell, and Nyla Sostre – Hamilton National Tour Photo credit Joan Marcus 2018

Hamilton has had quite a sterling reputation over the years. Witnessing this musical the first time brought incredibly high expectations, so perhaps those high hopes was not fair to the musical itself. It was a unique and immersive experience featuring some fast paced and catchy numbers, but also a wealth of heady and historical dialogue delivered in rap libretto, which sometimes made the musical difficult to follow. Streaming it with subtitles certainly helped on Disney Plus and returning fans of Hamilton are already familiar with the story and soundtrack, but though the style is contemporary and innovative, it was a bit frustrating trying to capture every word. Perhaps it is wise to experience Hamilton through the soundtrack and/or streaming before watching it live.

Much acclaim to Alexander Hamilton who literally picked himself up by his bootstraps and created such an incredible legacy. Hamilton is packed with some lesser known historical facts about United States history and history buffs will especially enjoy it as events unfold. Hamilton is full of patriotism and stands as a much needed reminder of the kind of timeless zealousness that originally established America’s independence and freedom as it pulses to its own contemporary beat.

Broadway in Boston presents Tony award-winning Hamilton live and in person at the Citizens Bank Opera House through March 12. Click here for more information and for tickets.