musical | The Sleepless Critic

REVIEW: Nostalgia, strong vocals and electrifying special effects fuel ‘Back to the Future the Musical’

Posted on July 23 by The Sleepless Critic

Time is of the essence in Back to the Future the Musical.

Innovatively directed by John Rando with Chris Bailey’s energetic choreography and dynamic Music Direction by Matt Doebler, Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20. This zippy production runs 2 hours and 40 minutes with one intermission and is currently on national tour. Some subtle themes and dialogue are toned down to make this musical more family friendly. Click here for more information on their next stop and for tickets.

David Josefberg in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

No one will ever be Michael J. Fox or Christopher Lloyd in these particular roles. Moreover, I am a firm believer the original film is perfectly cast and a reboot or any other adaptation will never quite live up to the original 1985 hit film. However, I do think that there are a lot of thrills and fun to be had in some of the extensions from the film such as Back to the Future: The Ride and Back the Future: The Musical which boasts some spectacular and immersive special effects and quick pacing to make this production more like a theatrical thrill ride.

To think Back to the Future was conceived when producer Bob Gale discovered his father’s high school yearbook and wondered if they would have been friends if he and his father attended high school together. Back to the Future the Musical not only boasts technological and scientific wizardry, but is also a family tale. Marty, in a likable portrayal infused with some of Fox’s notable inflections by Lucas Hallauer, knows his family is not on the fast track to success as Luke Antony Neville as uncompromising Principal Strickland insultingly blares at Marty into his Matterhorn in Got No Future.

Luke Antony Neville and Lucas Hallauer in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Marty wishes his family were on a different path as Marty’s family is swiftly introduced in Hello-Is Anybody Home? Hallauer explains, ‘My dad would come in third in a two man race.’ Introverted, anxious and painfully shy, Mike Bindeman captures the awkwardness of Marty’s father George who takes what he gets while trying to avoid confrontations at all costs. Zan Berube delivers strong vocals and embodies Marty’s mother Lorraine with ease.

With a memorable laugh, wild facial expressions and threatening presence, Nathaniel Hackmann is well cast as obnoxious and calculating Biff as if the film’s Biff, depicted by Thomas F. Wilson, went back in time for this role.

Nathaniel Hackman, Lucas Hallauer, Mike Bindeman and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Some of the cast leans on some of the original cast’s inflections, but David Josefsberg as eccentric Doc Brown, makes the character his own and shares a warm rapport with Lucas Hallauer as Marty reminiscent of the hit film.

David Josefberg and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Fast talking and excitable, Josefsberg exudes Doc’s wise and unwavering optimism while dreaming of an immense future in the motivational ballad, For the Dreamers as well as in lighter moments in a bit of self aware humor for It Works and the synthetic sounding 21^st Century as the stage lights in sparkling, flashy and futuristic costumes when it is not leaning into scientific white lab coats.

This production would have worked just as effectively as a play and does not necessarily need to be a musical, but the cast’s powerful vocals, especially by Cartreze Tucker who is a highlight as optimistic visionary Gordie Wilson in an extended role, work. Tucker boasts sensational vocals as Gordy Wilson for the inspirational number, Start Somewhere.

Cartreze Tucker and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

Back to the Future The Musical also makes some clever choices that capture the spirit of the film while building on some of the film’s themes such as Doc Brown’s inspirational For the Dreamers and the nostalgic harmony in Cake which is a welcome trip into 50s nostalgia and ironic humor while offering mellifluous harmony. Other songs such as the cringe My Myopia and Pretty Baby are better left as brief scenes than full songs. Something about that Boy brings together multiple scenes featuring Berube, Hackmann, and the cast. Fifties classics such as Johnny B. Goode and Earth Angel recreate classic scenes from the film as well as selections from the film’s iconic soundtrack by Huey Lewis and the News.

Lucas Hallauer and Zan Berube in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The multicolored costumes capture two iconic eras as well as ensembles right out of the 1985 film. High tops, slouch socks, jean jackets, diner attire, frilly retro patterned dresses, Marty’s orange vest, and Lorraine’s classic pink prom dress are just a sample of this array of distinctive retro apparel. The fifties and the eighties are defined by certain characteristics, but it does not overpower the film’s universal themes.

Filled with retro pieces and realistic projections, the rolling and rotating sets are impressively detailed from an elaborate tree bursting with fall leaves, Lorraine’s bedroom similar to the hit film and Doc Brown’s house complete with portraits of his legendary mentors and inventors under twinkling stars.

Lucas Hallauer and the DeLorean in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative

The story is good, but the electrifying special effects are worth the price of the ticket as the real star, the DeLorean, roars to life. Chris Fisher’s impressive illusion design, Tim Lutkin and Hugh Vanstone’s intricate and futuristic lighting, Finn Ross’s realistic video design, and Gareth Owen’s rumbling sound design unite to create an elaborate time jumping experience that immerses the audience into this compelling journey.

Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20. The production is also currently on national tour. Click here for more information on their next stop and for tickets.

REVIEW: Spectacular and heartfelt, experience the magic of North Shore Music Theatre’s stellar ‘The Wizard of Oz’

Posted on July 18 by The Sleepless Critic

There’s no place like home or Oz, especially when it comes to North Shore Music Theatre’s immersive production of The Wizard of Oz.

With Matthew Stern’s splendid music direction and featuring rarely heard full versions of The Wizard of Oz’s classic numbers including Over the Rainbow and If I Only Had a Brain, The Wizard of Oz focuses on a sweet Kansas farm girl and her trusty dog who find themselves in a strange land with no idea how to get home and a witch suddenly in their wake.

Creatively directed by Robert W. Schneider with Brianna Fallon’s lively choreography and Alex Berg’s robust sound design, North Shore Music Theatre continues beloved musical, The Wizard of Oz live and in person through Sunday, July 20 at North Shore Music Theatre in Beverly, Massachusetts. The action is not limited to the stage and runs two hours and twenty minutes including an intermission.

Not only is this theatre in the round experience family friendly, but tailored to be universally enjoyed by all ages with plenty of refreshing surprises and originality as if you are seeing this classic again for the first time. Click here for more information and for tickets.

Bridget Delaney (Dorothy Gale) and Bug Minnie (Toto) in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Opening with Pamela Hersch’s encompassing and picturesque projections which unveil a unique and moving message before this classic tale begins to unfold, it was easy to see that North Shore Music Theatre’s The Wizard of Oz is going to be one for the ages. In braids and a gingham sepia dress, Bridget Delaney as Dorothy vocally glides through the full version of Harold Arlen’s Over the Rainbow and her luminous performance suggests a certain Judy Garland appeal. A beautiful soprano, Delaney embodies Dorothy with unrestrained curiosity and a determined spirit, yet careful not to let her impulsiveness get the better of her. Her endearing interactions with her little dog Toto, portrayed with impressive poise by Bug Minnie, make them a delightful pair.

Ethan Carlson (The Scarecrow) and Bridget Delaney (Dorothy Gale) with the cast of “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Featuring a couple of songs and a few characters not included in the 1939 film, North Shore Music Theatre keeps this classic musical with a lion’s share of freshness and surprises. For example, though the Jitterbug number is not included in the final 1939 film, it is an inviting and catchy jazz-inspired addition as black, yellow and white striped creatures invade the stage with stealthy and humorous intensity.

Sean Bell (The Tin Man) with Sarah Crane, Jessica Minter, Caitlin Wilayto in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

I cannot say enough about costumer Travis M. Grant with wig and hair designer Rachel Padula-Shuflet creating an incredible array of vintage and vibrant ensembles crucial to artfully transform each scene and Fallon’s inventive chorography, especially evident in its exhilarating and surreal tornado sequence. Poppies swirl elegantly, trees chat animatedly, and snow materializes with a graceful flourish. Jack Mehler’s dynamic lighting includes the vivid yellow brick road thrillingly or hauntingly enhances Ryan M. Howell’s meticulously executed and imaginative set.

The cast of “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

The Wizard of Oz’s large and captivating cast is an exuberant and enthusiastic bunch that elevates each memorable scene and may appear from anywhere around the venue. Astute comic quips and improvisational moments including clever pop culture references give this classic an updated feel without taking away from the musical’s poignancy and heartfelt timelessness. In a sparkling ball gown in various shades of pink and surrounded by adorable munchkins, Kerry Conte’s bright vocals and warm and nurturing demeanor veer away from the egotistical, vivacious and chipper voiced diva established in other iterations of Glinda. This epic musical also boasts remarkable dual roles that will not be revealed here, but are surprisingly brilliant casting choices for this classic tale.

Kerry Conte (Glinda) and the cast of Munchkins in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Decked out in a amazing black gown peppered with glimmering red sparkle, Michele Ragusa’s unpredictable Wicked Witch delivers a mischievous cackle and is depicted occasionally a bit more humorously, putting a lighter spin on the character. Ragusa clearly relishes the role in an energetic and intimidating performance. David Coffee amiably captures the mysterious, well meaning, and avid storytelling Professor Marvel.

Michele Ragusa as The Wicked Witch in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Ethan Carlson is an expert tumbler and his pliable body and warmth make him a wonderful Scarecrow. Sean Bell as Tinman and E. Mani Cadet as Cowardly Lion both deliver endearing and humorous performances and this trio truly make the characters their own. Cadet’s spirited demeanor and quick wit make the number, If I Were King of the Forest a lot of fun and baritone Bell brings charismatic charm in a tender rendition of If I Only Had a Heart. With Delaney as Dorothy, this quintet develop a lasting and compelling camaraderie that ring especially true during the numbers We’re Off to See the Wizard, Merry Old Land of Oz, and huddled together for Lions and Tigers and Bears.

Ethan Carlson (The Scarecrow), Sean Bell (The Tin Man), Bridget Delaney (Dorothy Gale), and E. Mani Cadet (The Cowardly Lion) in “The Wizard of Oz” on stage at North Shore Music Theatre thru July 20, 2025. Photo©Paul Lyden

Simply put, it is one of the best staged versions I have ever seen and was moved several times during the production. North Shore Music Theatre’s The Wizard of Oz is a magical, spirited and unforgettable musical journey that still profoundly resonates to everyone young at heart.

Dash down this yellow brick road and immerse yourself in North Shore Music Theatre’s production of The Wizard of Oz which continues through Sunday, July 20 live and in person at North Shore Music Theatre in Beverly, Massachusetts. Click here for more information and for tickets.

REVIEW: Reputation and a darker vision in Reagle Music Theatre of Greater Boston’s stirring ‘Evita’

Posted on July 17 by The Sleepless Critic

She was a mystery, but everyone thought they knew her.

From a wily and ambitious teenager to rising political figure, Eva (Evita) Perón knew she belonged at the top before she ever knew how to get there.

Thoughtfully directed with sweeping chorography by Rachel Bertone as well as robust musical direction by Dan Rodriguez, Reagle Music Theatre of Greater Boston proudly presents Andrew Lloyd Webber’s Tony award-winning musical, Evita through Sunday, July 20 at The Robinson Theater in Waltham, Massachusetts. This production is approximately 2 hours with a fifteen minute intermission. Click here for more information and for tickets.

Eddie Noel Rodriguez and the cast of Reagle Music Theatre of Greater Boston’s ‘Evita’

Evita, with music, book and lyrics by award-winning collaborators Andrew Lloyd Webber and Tim Rice, is a rock opera set in Argentina from 1934-1952. Part of what makes Evita such a captivating work is its vibrant pacing and memorable soundtrack. Based on the life of Maria Eva Perón, Evita’s life moves much like the soundtrack’s quick rhythms as it journeys through song from night club to city street to majestic balcony with barely a pause for applause. Cameron McEachearn’s grand set divulges Eva’s life in its sheer magnitude in its sterling balcony with brick bursting out of its cracked walls.

This version of Evita includes songs not featured in the 1996 film of the same name. The Art of the Possible, a cryptic number not in the film and featuring a group of officers, is particularly engaging. Eva, in a powerful performance by Isabella Bria Lopez, is a young woman taking Argentina by storm and sees opportunity in Juan Perón, depicted with regal like mindedness by Ryan Mardesich.

Eddie Noel Rodríguez as Che; Isabella Bria Lopez as Eva Perón; and the Cast of Evita

Lopez exudes stealthy charm in a knowing smile when she first appears as a teenager. However, behind her feigned naiveté, Eva is shrewdly on the move as soon as her feet hit the ground for the catchy and effervescent number, Buenos Aires. Lopez takes Eva from a vivacious teenager onward and excels at her developing influence and maturity through the years.

She hits her vivacious stride with Buenos Aires which delves into her instant love for the city and keeps up the brisk pace for this demanding role throughout, though some notes at times can sound a bit strident. She delivers an impressive version of Evita’s signature number, Don’t Cry for Me Argentina, glowing in a pristine glittering gown, one of Ellie De Lucia’s 400 vintage costumes in a multitude of dress patterns from casual to elegant to military garb. The production’s visceral ensemble ranges from heartwarming to heartbreaking as they collectively portray the elite to peasants to Eva’s fascinating family.

Eddie Noel Rodríguez as Che; Isabella Bria Lopez as Eva Perón; Ricardo “Ricky” Holguin_ as Magaldi

No one succeeds without opposition. Che, depicted with charisma and sardonic wit by Eddie Noel Rodriguez, resonates as part keen observer and part narrator while representing not only the poor working class, but perhaps the truth in his personable delivery. In a vest, gray slacks and a scally cap, he occasionally engages the crowd, but his primary focus is on Evita. Tempering each scenario with satirical flair, Rodriguez captures the essence of Che and makes the role uniquely his own as he travels on a risky path for speaking up. From his mocking observations in Oh What a Circus as well as And the Money Kept Rolling In, his humorous duet in Good Night and Thank You with Lopez, and the reflective ballad, High Flying Adored, you’ll be glad to be taking this musical journey with Rodriguez.

Ricardo “Ricky” Holguin and cast in Reagle Music Theatre’s ‘Evita’

Boasting rich and charming vocals for Magaldi’s signature song, On This Night of a Thousand Stars, Ricardo “Ricky” Holguin blends sensitivity, melodrama, and humor to bombastic night club singer, Magaldi and was a hit with the audience. Other notable numbers include a tender rendition of Another Suitcase in another Hall by Rebekah Rae Robles and the stirring harmony of Santa Evita.

Rebekah Rae Robles in Reagle Music Theatre of Greater Boston’s ‘Evita’

Engulfing the audience from the moment of Eva Perón’s death from the very beginning, Reagle Music Theatre’s Evita delivers a darker and more distinctive version of Evita. Baron Pugh’s alarming red and yellow lighting intensifies the fanaticism, dark humor and the power struggle not only between Eva and Juan tempering Eva’s supercilious ambition to run things behind the scenes, but among the masses and in the hypnotic cries of ‘Perón!’ Previous versions portray Eva and Juan as likeminded, but share a genuine love. Here they seem more like fellow conspirators and Lopez’s You Must Love Me becomes less of a realization or statement, but a desperate plea.

Isabella Bria Lopez; Ryan Mardesich and the Cast of Evita

Reagle Music Theatre of Greater Boston’s Evita offers a unique and memorable perspective that sets it apart from other versions in its resonating and cautionary storytelling while leaving room to get lost in the music and motivations of this intriguing, enigmatic and controversial figure yearning for the spotlight.

Reagle Music Theatre of Greater Boston proudly presents Andrew Lloyd Webber’s Tony award-winning musical, Evita through Sunday, July 20 at The Robinson Theatre in Waltham, Massachusetts. Click here for more information and for tickets.

REVIEW: Not too late to see Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’

Posted on June 18 by The Sleepless Critic

When it comes to music, Carol King triumphs.

Carole King, one of the most successful songwriters of the latter part of the 20^th century, hits the ground running after showcasing her songwriting talent for the first time walking into the studio at age 16. This is not the average biopic where the protagonist has to overcome some sort of terrible tragedy or failure, but a woman on the move from the very start.

Olivia Palmer and Shad Hanley in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’ Photo credit Robert Pascucci

Showcasing a library of hits before Carole even considers performing her own songs, Beautiful brings on the nostalgia of passing generations from the chic retro clothes to the distinctive music style. It is a sweeping musical from a songwriter’s perspective with few low notes and anyway, why not pack a show with hits and a lighter story that just might leave you smiling?

With uplifting direction and chorography by Deanna Dys, Reagle Music Theatre of Greater Boston kicks off their 56^th summer season with Beautiful: The Carole King Musical through Sunday, June 22 live and in person at the Robinson Theatre in Waltham, Massachusetts. Beautiful: The Carole King Musical runs 2 hours and 30 minutes with one intermission. Click here for more information and for tickets.

Just moments after Olivia Palmer as Carole makes contact with that baby grand piano for a ruminating rendition of So Far Away, Scenic designer Derek McLane’s detailed rolling, dual level sets framed by a latticed gold border transports Carole Klein into her Brooklyn home where she first started writing. Franklin Meissner Jr.’s energetic lighting often works with Mindy Cimini’s lively Music Direction to the beat ranging from infectious pop to rock to romantic ballads. Dys makes the most of Reagle’s space using split scenes divided by a piano as performances take place anywhere on the stage.

The cast of Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carol King Musical Photo credit Robert Pascucci

Portrayed by Olivia Palmer throughout the show, Carole is introspective yet dreamy while seemingly more than ready for her life to take off. Palmer captures the essence of Carole’s ambition, shyness, anxiousness, tenacity, self deprecating demeanor, and brilliance having skipped two grades in school. Her resonant vocals are an impressive tribute to Carole’s full trademark voice. With a thick Brooklyn accent, cynical sass and sensibility, Jennifer Bubriski is amusing as Genie Klein, Carole King’s mother, who cuts a deal with Carole in order for Carole to pursue her dreams.

Dominating this musical journey is some of the most popular music of the 20^th century and at times, it can feel like a showcase of the music of the era more than Carole’s story. It just goes to show just how deeply influenced the music scene was by Carole King’s songwriting and that of her peers.

The Shirelles in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carol King Musical’ Photo credit Robert Pascucci

Beautiful offers a peek into how some of these classic songs hit the charts. Some of the standout harmonies include Noah Colvin, Brandon Howard, Kenny Lee, and Martinez Napoleon as The Drifters delivering a refreshing mellifluous rendition of On Broadway and The Drifters with Shad Hanely as Gerry Goffin for a soulful Up on the Roof. Palmer and the ensemble also perform a unique and riveting rendition of Chains. A rollicking mix of hits including There Goes My Baby, Splish Splash and Yakety Yak encompasses the sensational 1650 Broadway Medley as a glittering display of guitars, scripts, music sheets, and sound systems hang in the background.

Shad Hanley, Olivia Palmer, Harley Seger and Luke Hawkins in Reagle Music Theatre of Greater Boston’s ‘Beautiful The Carole King Musical’ Photo credit Robert Pascucci

From shimmering gowns to some of the era’s most popular and colorful fashion trends, Allejo Vietti’s costume design dazzles with Deanna Dys’s lively choreography which infuses some of the dance moves and crazes of each era.

Beautiful: The Carole King Musical is full of moments of light humor and endearing chemistry among the cast. With smooth and euphonious vocals, Shad Hanley portrays idealistic, intense, and flirtatious Gerry Goffin. Hanley and Olivia Palmer as Carole share some sparks even though Carole never feels deserving of such attention and Hanley’s portrayal as Gerry delivers intensity in both his brightest and darkest, most restless moments. They complement each other and their duet, Take Good Care of My Baby is particularly sweet.

Shad Hanley, Olivia Palmer, Harley Seger, Luke Hawkins and Jim Sorensen in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’ Photo credit Robert Pascucci

With soaring vocals, Harley Seger as confident, independent, supportive yet driven Cynthia Weil and Luke Hawkins as hypochondriac Barry Mann make an engaging comic duo. Hawkins performs a raw and remarkable rendition of We’ve Got to Get Out of This Place. Jim Sorensen is also impressive as seemingly hardnosed, inventive, yet open minded Don Kirshner, who always knows talent when he sees it.

Reagle Music Theatre of Greater Boston kicks off their 56^th summer season with Beautiful: The Carole King Musical‘s through Sunday, June 22 live and in person at the Robinson Theatre in Waltham, Massachusetts. Click here for more information and for tickets.

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

Posted on June 12 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Featuring a solid cast, North Shore Music Theatre’s ‘Waitress’ freshly bakes humor and heart in and out of the kitchen

Posted on June 11 by The Sleepless Critic

North Shore Music Theatre’s heartwarming and meaningful musical Waitress shows life’s most important answers can be found in a pie.

Mixed with Kevin P. Hill’s innovative direction, Ashley Chasteen’s uplifting chorography, and Milton Granger’s mellifluous music direction, North Shore Music Theatre serves up musical dramedy Waitress live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 15. This immersive production runs 2 hours and 35 minutes with a 15 minute intermission and the action is not limited to the stage. Click here for more information and for tickets.

he cast of WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Since screenwriter Adrienne Shelly brought Waitress to the big screen in 2007 starring Keri Russell as Jenna, Waitress has enjoyed an enduring history. With book by Jessie Nelson, music and lyrics by Grammy award-winning and Tony award-nominated singer-songwriter Sara Bareilles, Waitress has since been adapted into a musical and debuted on Broadway in 2016 before going on a national tour and in 2023, hit theatres as a filmed stage musical starring Bareilles as Jenna.

Full of heart, Waitress strikes a delicate balance between the sweetness and sobering realism of life, delving into the lives of a group of colorful and comical individuals who dream of a better life. Baker and waitress Jenna, portrayed with humble and self deprecating charm by Christine Dwyer, expresses her moods and philosophies through the humorous titles she gives to Joe’s daily Diner Pie of the Day. When Jenna finds herself pregnant, she quickly realizes that it’s time for a change. Impressive songs range from catchy to reflective and numbers like Opening Up to the soft melodious whispers of What’s Inside are sure to stay with you long after the show is over.

Maggie Elizabeth May (Dawn) and the cast of WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

What makes North Shore Music Theatre unique is its theatre-in-the-round staging and director Kevin P. Hill makes the most of the aisles and multiple platforms to deliver an encompassing experience. The ensemble not only depicts diner customers, but often surrounds the stage lending musical accompiament and interacting with the action onstage. From a bright chrome neon sign, chalkboard easel listing pies, and linoleum flooring to worn recipes and a mouthwatering Diner menu, scenic and lighting designer Jack Mehler’s rising and sliding set pieces shift seamlessly to occasionally portray multiple scenes simultaneously from various locations around the theatre with the majority of Waitress set inside picturesque Joe’s Pie Diner. Glancing at the appetizing selections and hearing about Jenna’s incredibly creative and delectable pie ingredients made me long for lunch or dessert and inspiring me to bake my own pie.

Christine Dwyer (Jenna) and Brandon Kalm (Dr. Pomatter) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Christine Dwyer delivers an inspiring and relatable vulnerability as Jenna. Dwyer portrays Jenna’s complex web of emotions and generational trauma with a blend of dark humor and a note of optimism. Her voice is as rich as the pies she bakes and her intense rendition of She Used to Be Mine is one of the show’s greatest highlights. Her awkward exchanges, humorous misunderstandings, and beautiful harmony with handsome and geeky Brandon Kalm as Dr. Pomatter are prevalent in the playful It Only Takes a Taste which is one of three duets, flirtatious Bad Idea and a tender rendition of You Matter to Me.

Dressed in a plaid shirt, worn jeans, and work boots, Matt DeAngelis is a standout as gruff and manipulative Earl. With a guttural growl punctuating his rock n roll vocals for You will Still be Mine, DeAngelis seems to relish in the role through dark humor and creative in the character’s thoughtlessness.

Matt DeAngelis as Earl in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Brandi Chavonne Massey delivers a great deal of comic relief as outspoken and wise cracking waitress Becky, especially in Massey’s sharp exchanges with Arnold Harper II as Cal. Passionate, direct, and sympathetic, Massey shines in the soaring number, I Didn’t Plan It.

Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

In bright red glasses, Maggie Elizabeth May portrays waitress Dawn with her own magnetic and giddy comedic timing. Dreamy and shy, Dawn deems herself ‘a woman of many passions’ and is enchanting performing the yearning number, When He Sees Me as imaginary suitors line up to meet her. Alongside Courter Simons as scene stealing Ogie, they are a comedic force to be reckoned with. Dawn, Becky, and Jenny are a compelling trio making marvelous harmony together for A Soft Place to Land.

Maggie Elizabeth May (Dawn), Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Gleeful and goofy with a habit of over sharing, Courter Simmons is confident and awkwardly charming with a bungle of flawless, unsuppressed energy as Ogie, especially during the steadfast number, Never Getting Rid of Me.

Courter Simmons (Ogie) and Arnold Harper II (Cal) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

In a colorful suit and tie, Keith Lee Grant is curmudgeonly eloquent as difficult customer and diner owner, Joe. A complicated and perceptive storyteller, his conversations and rapport with Jenna are full of humor and openness, especially during a bright and spirited rendition of Take it from an Old Man. Speaking to the uplifting spirit of this engaging production, Joe proclaims, ‘Baking a pie is a magical experience.’

Christine Dwyer (Jenna) and Keith Lee Grant (Joe) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Life is a little sweeter with North Shore Music Theatre’s Waitress continuing live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 15. Click here for more information and for tickets.

REVIEW: Summer love is luminous in The Huntington’s ‘The Light in the Piazza’

Posted on June 3 by The Sleepless Critic

Summer in Italy brings certain charms, especially when it comes to love punctuated by a brilliant light.

Meaningfully directed by Loretta Greco paired with Daniel Pelzig’s joyous choreography, The Huntington continues heartwarming musical, The Light in the Piazza through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. This bilingual production in English and Italian runs two hours and 10 minutes including an intermission. Click here for more information and for tickets.

Based on Elizabeth Spencer’s 1960s novella of the same name, The Light the Piazza was quickly adapted into a sweeping romantic film in 1962 starring George Hamilton and Olivia de Havilland. The film offers further details into the plot and answers a few questions left by the musical, but the musical more than makes up for it through Adam Guettel’s riveting Tony award-winning Opera-inspired score and collection of English and Italian songs. The Light in the Piazza debuted on Broadway in 2005 and was the winner of two Tony Awards including Lead Actress in a Musical.

Sarah-Anne Martinez and Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Set in Florence, Italy in 1953, a mother and daughter embark on an extraordinary vacation through Florence when a surprising incident leads to an encounter with Joshua Grosso as awestruck Fabrizio. It is quite the meet cute surrounded by Andrew Boyce’s detailed gold and marble architecture and an amiable ensemble. Yuki Izumihara’s lifelike projections combine with Andrew Boyce’s captivating sliding set design to revel in this beautiful country’s works of art, iconic buildings, church settings and the Italian countryside. These surroundings are exquisite and yet not overdone as gold frames hang aloft elegant Italian furniture which includes an elaborate bookcase, swaying silk curtains, lacy tablecloths and a vintage rolling gold lap tray.

Much of the musical explores the idea of feeling understood through the heart rather than the head. Through anguish, joy, humor, protectiveness and passion, this talented cast display stirring and powerful vocals in a remarkable journey while intensely expressing what each of them hold in their hearts. It is also a musical that explores love of all kinds as faith is put to the test.

Sarah-Anne Martinez is instantly enchanting as exuberant Clara. Martinez wows with her gorgeous rendition of The Beauty Is and shares immediate and endearing chemistry with Grosso as Fabrizio. Grosso simply dazzles in his rendition of Il Mondo Era Vuoto. Martinez’s wide eyed sincerity and Grosso’s benevolent charm blend harmoniously for Say it Somehow, The Beauty Is reprise and Passeggiata, a playful duet between Grosso and Martinez practicing a beloved Italian tradition on a revolving stage.

Joshua Grosso and Sarah-Anne Martinez in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

The cast occasionally confides in the audience as Emily Skinner as Clara’s mother Margaret withholds a secret about Clara. Skinner evokes the weight of her tormented decisions through her emphatic hesitancy, protectiveness and gentle compassion. Clara shares a special bond with her mother, but also one that can be strained and conflicted.

Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

William Michaels as Signor Naccarelli and Rebecca Pitcher as Signora Naccarelli share great comic timing (at times sardonic) and are a complicated pair. Alexander Ross as Fabrizio’s charismatic brother Giuseppe brings lively humor to American Dancing and Rebekah Rae Robles is also impressive as mysterious Franca.

Greco’s immersive direction applies subtle and comical scenarios alongside the main plot to broaden this enchanting world such as kids playing together, doves flying overhead, a woman selling flowers or discussions among the clergy. The Light in the Piazza contains some twists and turns while maintaining its optimistic yet underlying seriousness.

The cast of The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Soaring vocals, a wonderful cast, a splendid Italian setting, and an affecting family tale combine for an incandescent event at the Huntington.

Witness a powerful tale of love, beauty, faith and much more with The Light in the Piazza continuing through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Wheelock Family Theatre’s ‘The Prom’ delivers humor and frivolity into an inspired true story

Posted on May 29 by The Sleepless Critic

This time I chose comfort over a frilly dress for this Prom.

Similar to Maureen Keiller’s diva-esque Dee Dee Allen, my prom style resembled Allen’s stylish jumpsuits. It is one of Zoë Sundra’s many festive, glittering and characteristic-defining costumes displayed in this production, especially highlighted by Janis Hudson as Angie in a sparkling and show shopping red dress. I felt like I fit right in.

Gary Thomas Ng*, Janis Hudson, Maureen Keiller*, Elias Robles, Davron S. Monroe* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

With lighthearted direction and occasionally sashaying choreography by Larry Sousa as well as upbeat Music Direction by Jordan Oczkowski, Wheelock Family Theatre at Boston University rolls out the red carpet for musical comedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8. Wheelock Family Theatre boasts open captions that come in handy during the performance which runs two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Since The Prom premiered on Broadway in 2018, it was adapted into a Netflix film that boasted an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry. It has been brought to the stage locally over the last few years. Inspired by a true story, anxious Emma, earnestly portrayed by Siri Manju, invites a date to the Prom with none other than Annie Parrinello as popular perfectionist Alyssa, the daughter of the head of the Parent Teacher Association. However, their high school will not allow them to attend the prom together. Once a group of egocentric Broadway celebrities get wind of this human interest story, they decide to make a difference in this small Indiana town.

Annie Parrinello & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana. It delivers humorous moments ranging from silly to satirical with a sincere and underlying message about helping others.

The Prom boasts strong vocals from an amiable cast and lauded local talent. Maureen Keiller brings ego and attitude as Dee Dee Allan, a self absorbed award-winning actress. Keiller’s powerful belt is on full display for It’s Not About Me and The Lady’s Improving. Along with soaring vocals by Davron S. Monroe as warm and charismatic actor Barry Glickman, Gary Thomas NG as no nonsense and frazzled PR rep Sheldon, Elias Robles as openhearted Trent, and Janis Hudson as inspirational Angie Dickinson, these seemingly shallow thespians share some comical moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lauren Velasco O’Donovan, Arabella Hardgrave & Ensemble in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

SeifAllah Salotto-Cristobal’s soft and cheerful multicolored lighting cleverly divides high school and theatrical scenes by illuminating vintage stage lights for celebrity numbers. James Rotondo’s rolling and colorful set design are mainly set inside James Madison High School halls using some projections to transform settings from a 711 store front to a hotel to an Applebee’s.

David Jiles Jr.* & Maureen Keiller* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

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. Siri Manju’s chiming vocals in the forlorn and self effacing number Just Breathe is a compelling revelation as well Manju’s sweet rendition of Unruly Heart while Jennifer Bubriski’s tight lipped delivery proves fitting for tough and controlling antagonist Mrs. Greene. 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.

Janis Hudson & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom contains a wealth of welcome, inside Broadway references as well as symbolic choreography during the pivotal number, Tonight Belongs to You and It’s Time to Dance reflecting how the tide turns during the production. Janis Hudson shines during the Fosse-inspired Zazz, an uplifting rendition delivering sparkle and encouragement. Manju shares a touching rapport with both Hudson and Monroe, sure to make you smile.

As David Jiles Jr. as serious, compassionate and theatre loving Principal Hawkins reflects, “A distraction is momentary. An escape helps you heal.” The Prom tells a complex and message driven story while also providing a temporary glittering escape from the realities of life.

The full cast and crew of ‘The Prom’ Photo by Nile Scott Studios

Wheelock Family Theatre at Boston University rolls out the red carpet for musical dramedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8. Click here for more information and for tickets.

REVIEW: Witness the quiet beauty inside The Umbrella Stage Company’s stirring ‘The Spitfire Grill’

Posted on May 7 by The Sleepless Critic

From Liza Giangrande’s first few haunting verses sung as Percy as her eyes brim with tears, it is easy to see that The Spitfire Grill is going to be something special.

Liza Giangrande as Percy. Photo by Jim Sabitus

According to the Bible, Gilead is a mountainous region east of the Jordan River and considered a place of asylum and refuge. After spending five years in prison, Percy places her hopes in the remote and mysterious town of Gilead, Wisconsin, but its residents find it a ghost town suited only as a place for leaving. However, Gilead may still have a few surprises in store.

Based on the 1996 film by Lee David Zlotoff, warmly directed by Ilyse Robbins, and with haunting music direction by Jack Cline, The Spitfire Grill musical continues live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, May 18. This production is approximately two hours with one intermission. Click here for more information and for tickets.

Kerry A. Dowling* as Hannah, Sean Donnelly as Joe and Liza Giangrande as Percy. Photo by Jim Sabitus

Blending acoustic and fiddle-infused melodies from an intimate band conducted by James Haupt, The Spitfire Grill boasts a wide range of driving folk rhythms such as Shoot the Moon, swift catchy melodies such as Out of the Frying Pan and luminous harmonies in Colors of Paradise.

Costumer Kelly Baker captures a deep woods ambiance in earth tones and layered clothing, denim, flannels and hiking boots. Karen Perlow’s haunting and revelatory lighting brings stirring character to enigmatic Gilead. Prison bar shadows, a gleaming moon, twilight skies, soft glowing lanterns and prism shaped forest patterns illuminate Janie E. Howland’s dual level rustic wooden Spitfire Grill diner complete with a cozy kitchen and scattered appliances, living room, dining space and a faded staircase leading up to the bedrooms. This set has worn character detailed in its red faded Spitfire Grill sign.

Liza Giangrande as Percy, Christie Lee as Effy, and Kerry A. Dowling* as Hannah. *Indicates a member of Actors Equity Association. Photo by Jim Sabitus

Featuring a powerful cast, The Spitfire Grill is a well paced musical that exudes a quiet beauty focusing on ordinary people with haunting regrets longing for a new start. Everyone knows everyone which is quite advantageous for Catherine Lee Christie as nosy town gossip Effy who is always starved for news as demonstrated in Somethings Cooking. Though Christie’s Effy could seem malicious, her incorrigible curiosity and humorous know-it-all demeanor seems to stem from boredom imagining Gilead as an exciting town.

Liza Giangrande as Percy, Kerry A. Dowling* as Hannah, and Shonna McEachern* as Shelby. *Indicates a member of Actors Equity Association. Photo by Jim Sabitus

Kerry A. Dowling depicts practical and business minded Spitfire Grill owner Hannah who hires Percy to tend to the kitchen. Course, frank yet introverted, Hannah has a secret from her past she has kept for years. Hannah has been struggling to sell The Spitfire Grill for a decade, but Percy may have come up with a new way to lure buyers Hannah’s way. Dowling’s Hannah and Giagrande establish a genuine rapport while they both quietly carry burdens from their past.

A charismatic actress with a dynamite vocal range, Liza Giangrande is brilliant as relentlessly hopeful Percy who is determined to reestablish herself as demonstrated in the sneakily and humorously frazzled number Out of the Frying Pan, emphasized with some impressive vocal gymnastics. However, Giangrande is simply riveting for the revelatory number Sunrise/Shine.

Shonna McEachern* as Shelby, Liza Giangrande as Percy, and Kerry A. Dowling* as Hannah. *Indicates a member of Actors Equity Association. Photo by Jim Sabitus

Giangrande develops a sweet rapport with Shonna McEachern as Shelby delivering soaring harmony for Colors of Paradise. McEachern has a lovely vocal range and offers a stirring rendition of Wildbird. Giangrande’s Percy is under Sean Donnelly’s parole supervision as Sheriff Joe Sutter who has his own dreams beyond the wide woods of Gilead.

Anthony Pires, Jr. delves into the role of discouraged and traditional Caleb who feels aimless and frustrated with his life longing to get a foothold as demonstrated in a potent rendition of Digging Stone while Cristhian Mancinas-Garcia is memorable as The Visitor.

Shonna McEachern* as Shelby, Liza Giangrande as Percy and Anthony Pires, Jr. as Caleb. Photo by Jim Sabitus

The Spitfire Grill tackles loneliness and isolation, but also has its share of memorably heartwarming, frank and comical moments. Steeped in quiet beauty, it is an uplifting musical that captures hope and meaning while shedding light in the darkest of places.

The Spitfire Grill musical continues live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, May 18. Click here for more information and for tickets.

REVIEW: ‘Mean Girls The Musical’ kind of makes fetch happen

Posted on May 4 by The Sleepless Critic

As is the custom in this Mean Girls girl world, it was Wednesday and I work pink…fuchsia to be exact.

As a big fan of the 2004 hit film Mean Girls featuring Lindsey Lohan and Rachel McAdams, I couldn’t wait to revisit the famous catch phrases which became part of the pop culture landscape in this musical adaptation and it did not disappoint. While some of them are straight out of the 2004 film, other phrases are delivered slightly differently.

Mean Girls the Musical is mostly faithful to the 2004 film with some exceptions with some story elements expanded, enhanced or changed. Seeing the musical is a new experience.

Pictured (L- R): Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), MaryRose Brendel (Karen Smith) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

With nimble direction and sharp choreography by Casey Nicholaw, Mean Girls the Musical continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, May 4 before it continues on its national tour. This production is two hours and 30 minutes including one intermission. Click here for more information and for tickets.

Since the release of the 2004 film, Mean Girls the Musical ran on Broadway from 2018 through 2020 before the commercial success of the 2024 musical film starring Angourie Rice as Cady and Broadway’s Reneé Rapp as Regina.

Pictured (L- R):Mary Rose Brendel (Karen Smith), Maya Petropoulos (Regina George), Kristen Amanda Smith (Gretchen Wieners) Photo by Jenny Anderson, 2023

Having never witnessed either the Broadway musical or the 2024 musical film, it was exciting to see this story unfold in a different genre from an updated perspective acknowledging the widespread use of social media. In 2004, North Shore High School student wrote in an actual Burn Book. It was a wild thought to consider how that might be imagined online, but fortunately, The Burn Book has not changed. Cells phones, social media and autocorrect are integrated into the musical’s enhanced plot.

From shimmering mirror reflections to vibrant and detailed backdrops, scenic designer Scott Pask’s rolling set unfolds at a thrillingly agile pace as montages of classrooms transform in simultaneous desk twirls. Kenneth Posner’s animated lighting can largely be considered its own character enhancing the musical’s quick pace through unique and changing patterns overhead in time to John Clancy’s upbeat orchestrations while at times lending to the humor in key scenes.

While some aspects of the musical do not quite live up to the 2004 film, other aspects are done better. This cautionary tale, introduced by Joshua Morrisey as Damian and Alexys Morera as Janis, begins with Katie Yaomens as adorably quirky, awkward and anxious new student Cady who has moved to Illinois from Kenya after being homeschooled her entire life. Boasting soaring vocals and expanding on Cady’s fearless and adventurous Kenyan spirit in the enchanting song, It Roars, Yaomens brings naiveté and earnestness with a certain charisma as Cady that you can’t help but root for her success. Yaomens further glows with optimism alongside José Raúl as Aaron Samuels in the number, Stupid with Love. However, Cady learns that high school is much more complicated than she could have imagined.

Pictured (L -R): José Raúl (Aaron Samuels) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

Yaomens shares some compelling scenes with Morrisey and Morera as they open Cady’s eyes to an entirely unfamiliar new way of life – high school. This trio builds amiable and playful camaraderie as the show progresses. Joshua Morrisey turns on the charm portraying theatrical Damian. From excellent tap dancing to show choirs to harmonious backup vocals to dance breaks, Morrisey is exuberant delivering funny and sage advice about impulsiveness we can all learn from in the insightful number, Stop and the value of finding your place in Where do you Belong with Alexys Morera as Janis and Yeomans as Cady. In fish net stockings, rhinestone denim shorts and bleached hair, Morera portrays an edgier Janis with finesse for Apex Predator and in the revealing number, I’d Rather Be Me.

Kristen Amanda Smith’s excitable and fast talking Gretchen is a bit too much at once and would benefit slowing down a bit, but Smith delivers some fabulous vocals, especially for the empathetic number, What’s Wrong with Me, diving into Gretchen’s insecurities and expanding on her character. Geekier and more energized, Kabir Gandhi’s iteration of Kevin G lacks the suave and smooth demeanor from the 2004 film which is missed. MaryRose Brendal is hilarious as dimwitted but not to be underestimated Karen and shines in the Halloween-inspired number, Sexy.

Joshua Morrisey (Damian Hubbard) and Tour Company of Mean Girls Photo by Jeremy Daniel, 2025

What made Rachel McAdams as Queen Bee Regina so appealing are those little glimpses of insecurity and weakness under that plastic facade. Maya Petropolos as Regina has real Valley girl bite, arrogance, and a deranged power over others demonstrated in a commanding rendition of My Name is Regina George, but that vulnerability is never truly explored.

Pictured (L-R): Katie Yeomans (Cady Heron) and Kristen Seggio (Mrs. George) Photo by Jeremy Daniel, 2025

It was genius to triple cast Kristen Seggio as frank and quirky Ms. Norbury, zoologist Mrs. Heron and “cool mom” Mrs. George. Seggio is so talented at portraying each distinctive character, it was difficult to believe they were depicted by the same person. Seggio portrays Ms. Norbury a bit quirkier while blending a similar nonchalant frankness that Tina Fey is famous for. Dialing down “cool mom” Mrs. George was a real benefit to the character while still cradling her signature large margarita peppered with umbrellas. Mean Girls the Musical expands on Mrs. George’s character during the sympathetic number, What’s Wrong With Me, bringing new dimension to this amusing character.

The students form a collective army of Regina’s minions and followers on the path to popularity which is reflected in Casey Nicholaw’s sharp choreography. Whether dancing while swinging bright red lunch trays for the captivating number, Where do You Belong, as jungle creatures gathering around the watering hole, but in this case, a fountain at the mall or as partiers in Whose House is This, Nicholaw’s lively chorography reflects the students’ hive mind mentality with each scene. Edgy and creative, costumer Gregg Barnes boasts an extraordinary array of innovative ensembles from sexy to shimmering to edgy to imaginative costumes which include transformers and sexy corn.

MaryRose Brendel (Karen Smith) and the Tour Company of Mean Girls Photo by Jenny Anderson, 2023

It was a lot of fun to see Mean Girls as an engaging musical and witness new elements in this lighthearted story while it also provides additional lessons surviving ‘girl world.’ In today’s world, we can all use a few more pointers.

Mean Girls the Musical continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, May 4 before it continues on its national tour. Click here for more information and for tickets.