musical

REVIEW:  Get swept off your feet by Hingham Civic Music Theatre’s ‘Kiss Me Kate’

Posted on by The Sleepless Critic

‘But for my bonny Kate, she must with me.’

Set in Baltimore, love and show business collide in more ways than one in the Cole Porter musical, Kiss Me Kate.  A Shakespeare play within a musical with plenty of backstage drama, David Daly as Fred/Petruchio and Sara Daly as Lilli/Katherine shine portraying exes onstage, but they are married in real life.

Sara and Dave Daly and Steve Dooner in ‘Kiss me Kate’ Photo by Pat Sherman

Well timed shortly after Shakespeare’s birthday and shrewdly directed by Steve Dooner, Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at the Sanborn Auditorium at the Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4.  Click here for more information and for tickets.

Justin Maloney and Joel Leonard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Musically directed by Sandee Brayton with exuberant choreography by Diana Byrne Gossard, this enchanting musical is approximately 2 hours and 30 minutes with one intermission.  Hingham Civic Music Theatre has dedicated their season to the memory of Violet (Vi) Villani.

Sara and Dave Daly in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

When a literary and music genius join forces, a Golden Age musical is born.  Kiss Me Kate boasts memorable Cole Porter classic tunes such as So in Love, Too Damn Hot, Wunderbar and Brush Up Your Shakespeare while infusing elements of Shakespeare’s Taming of the Shrew to create a romantic comedy for the ages.  Cole Porter’s music often reflects a jazz and bluesy feel as demonstrated in this play within a play’s self aware opening number, Another Opening/Another Show.

Kate Emily Crosta and Andy Gossard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Playful, charming, and imaginative, Kiss Me Kate tells the story of director, producer and star of Taming of the Shrew Fred, portrayed by David Daly, who is working with ex-wife Lilli, depicted by Sara Daly, a fading Hollywood star reluctantly turning to theatre and co-starring in his production.  Lilli is engaged to systematic and orderly General Harrison Howell, portrayed by Andy Gossard who seems to relish the role.  I’ve always considered Katherine in Taming of the Shrew a woman ahead of her time and Sara impressively takes on this dual role as Lilli and Katherine as headstrong and fearless women with minds of their own.  David brings lots of charm and earnestness to his dual role as Fred and Petruchio.  Boasting soaring vocals, it is delightful to watch David and Sara who share great chemistry onstage.  They perform a lovely and intense duet of Wunderbar and deliver sweet renditions of So in Love.

Emily Crosta and Justin Maloney in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman

Another adorable couple who make melodious harmony together is Justin Maloney as Bill/Lucentio and Emily Crosta as Lois Lane/Bianca. Maloney as Bill and Crosta as Lois make a captivating pair delivering a couple of coy and lighthearted duets including Why Can’t You Behave and Always True to You in My Fashion, the latter especially flirty and entertaining.  Fred, Lilli, Bill and Lois collaborate for a humorous rendition of the upbeat classic, We Open in Venice.

Dave and Sara Daly, Justin Maloney and Emily Crosta in ‘We Open in Venice’ in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman

Also offering some scene stealing comic relief are Brendan Smith and Connor O’Brien as the Two Men.  Tough and goofy with a hilarious strut in top hats and canes, these sharply dressed men perform a knowing Brush Up Your Shakespeare, advising the audience how to use Shakespeare to woo women.

Brendan Smith and Connor O’Brien in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Costume designer Ashley Buckeridge skillfully blends period pieces such as classic Juliet and romantic Renaissance attire in delicate patterns to the iconic post World War II era making a splash in coordinated polka dots, lace, silk, button down trousers and brimmed hats.

John Crampton and cast in Hingham Civic Music Theatre’s ‘Kiss me Kate’ Photo by Pat Sherman

From tap to traditional renaissance to swing dancing, Diane Byrne Gossard’s joyful and lively choreography is a particular highlight as John Crampton as smooth Paul leads a playful rendition with this enthusiastic cast in a whistling and horn-infused number, Too Damn Hot.   

Hingham Civic Music Theatre’s ‘Kiss me Kate’ cast Photo by Pat Sherman

Kiss Me Kate delves into a number of romantic high jinks including the war of the sexes and it is fascinating to see this topic resonate from the Renaissance to Post War II era to today with spirited flair.

John Crampton and Madison Pratt in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4.  Click here for more information and for tickets.

REVIEW: Boston Lyric Opera’s ‘Carousel’ illuminates in the darkest of times

Posted on by The Sleepless Critic

Anne Bogart establishes an immensely creative way to establish this carousel, but this one is enclosed behind a steel cage.

Under Anne Bogart’s symbolic direction, Shura Baryshnikov’s blend of sweeping and playful ballet-inspired choreography and beautifully conducted by David Angus, Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts.  The action is not limited to the stage and runs 2 hours and 50 minutes with one intermission.  Click here for more information and for tickets.  It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

Edward Nelson as Billy and Brandie Sutton as Julie in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Based on the 1909 Hungarian play Liliom, Rodgers and Hammerstein’s Carousel has stood the test of time as a classic musical with themes that have resonated with audiences and adapted in a number of ways over its 80 year history.  It debuted right here on Boston’s Colonial Theatre stage for its pre-Broadway run on March 27, 1945 and Gordon MacRae and Shirley Jones starred in its 1956 critically-acclaimed film adaptation.  It has also been revived onstage a number of times over the years, but its most acclaimed stage revival occurred in 1994.  This dark and provocative depiction won multiple Tony Awards including Best Revival of a Musical, Best Choreography, Best Scenic Design, Best Musical Direction and a Best Actress win for Audra McDonald as Carrie Pepperidge.

However, I am most fond of it because I was part of a traditional college production as Mrs. Mullin.   Dressed in a thick fur coat, leather maroon skirt and fishnet stockings, Boston Lyric Opera’s Sarah Heltzel holds her own as widow and carousel owner Mrs. Mullin.  Streetwise, lovelorn and more than a little manipulative, Heltzel puts up a tough front that can barely conceal her true feelings for Edward Nelson as complicated and charismatic carousel barker Billy Bigelow.

Set in coastal Maine, Carousel tackles what has been considered controversial themes when it was released in 1945.  Its portrayal of domestic violence, generational trauma and family pressures are some of the darker issues of this musical, but strength, faith, support and community stand just as tall in this production.

Olivia Moon dances at a celebration in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Earon Chew Nealey and Haydee Zelideth collaborate to showcase wildly modern and vibrant wigs and shimmering costumes which include carousel workers dressed from a glimmering butterfly to elaborate horses.  The script features a few subtle changes, but mostly sticks to the essence of the traditional production 80 years ago. Minor changes can make a big difference such as Jamie Barton’s rendition of When You Walk through a Storm instead of ‘hold your head up high,’ as Nettie’s building vocals advises ‘Keep your head up high.’  However, terms such as ‘scallywag,’ ‘riff raff,’ ‘pollywog’ and ideas such as mill workers having to be back for curfew in a boarding house sounds somewhat awkward within the contemporary glow of the production.

Carrie (Anya Matanovič) and Julie (Brandie Sutton) share a moment in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

 Sara Brown’s mostly barebones set features a multipurpose wooden platform, winding staircase and a rustic wooden set with beach grass, a plant is fittingly and symbolically capable of weathering any storms or conditions.  Brian H Scott’s multicolor lighting embellish these exuberant costumes, the rippling coastline, and its intense moments punctuated by an animated lit halo illuminated above the cast serving various purposes throughout the production. 

Anya Matanovič as Carrie and Omar Najmi as Enoch in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

The orchestra swells and the cast delivers soaring harmonies and rich and flawless vocals.  In denim cut off shorts, sparkling stockings and boots, soprano Brandie Sutton depicts mysterious Julie Jordan and in pink hair and an exuberant fuchsia tutu, soprano Anya Matanovic bursts with joy as Carrie Pepperidge.  Cool and collected Julie with dreamy and transparent Carrie is the envy of all friendships.  These are two strongly bonded women and their compelling and excitable camaraderie unfailingly lift each other up, look out for and support each other in every victory and heartache. 

Edward Nelson as Billy Bigelow charms the crowd in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a black beard and orange suspenders, tenor Omar Najmi portrays staunchly traditional, practical yet big dreamer Enoch Snow.  If you think Carrie has dreams, Enoch’s are bigger.  Enoch is confident of his strengths and Matanovic’s Carrie clearly adores him.  They embark on some sweet moments and humorously curious misunderstandings.

Boston Lyric Opera’s 80th anniversary production of CAROUSEL. Photo by Nile Scott Studios

In a white cowboy hat, black leather vest, tattered black jeans and multicolor hooded sweatshirt, baritone Edward Nelson strikes a chord in a powerful performance as prideful, defensive and contemplative Billy Bigelow.  Nelson not only masters the inflection and intensity of the character especially in a humorous and stirring transformation for Soliloquy, but also captures Billy’s conflicted and anxious demeanor.  Nelson shares some of that conflict with mysterious Sutton in a touching rendition of If I Loved You which isn’t love at first sight, but gently unfolds through song as the ensemble looks on.  They are a consistent presence as stage hands making blossoms fall, workers and community members who are never far away.

Abigail Marie Curran (as Louise) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a flowing black skirt and tied blouse, Abigail Marie Curran as misguided Louise is luminous expressing liveliness, longing, and loneliness in each delicate, athletic and dynamic step.  In fatigues and work boots, baritone Markel Reed delivers some comical moments in slick and tricky Jigger who does little to conceal his shady motivations, especially during Blow High, Blow Low.

Markel Reed (as Jigger Craigin) and Edward Nelson (as Billy Bigelow) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a billowing polka dot skirt and vibrant purple hair, mezzo soprano Jaime Barton is inviting as nurturing, wise and discerning Nettie.  Barton is as playful in June is Busting out All Over and This was a real Nice Clambake as Rodgers and Hammerstein’s appetizing lyrics burst forth in succulent glory.  When You Walk through a Storm is a masterpiece and Barton delivers it tenderly.

Nettie (Jamie Barton) and the townspeople post-clambake in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

It was a remarkable experience to revisit this beloved musical and Bogart’s latest vision does little to affect the show’s inherent story or the timeless message of hope and resilience in the darkest of times.

Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts.   Click here for more information and for tickets.  It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

REVIEW:  Sullivan Rep capped off their premiere season with a heartwarming ‘Annie’

Posted on by The Sleepless Critic

The power of tomorrow.               

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks during Depression-era New York in 1933.  It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope.  As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Sullivan Rep proves this steadfast musical favorite never goes out of style.

To cap off their first season of New Beginnings and Opportunities, Sullivan Rep brought back this beloved musical classic to a sold out audience for most of its run.  Directed warmly by Dan Sullivan, Annie continued its successful run through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts.  The music was two and a half hours including an intermission.  Click here for more information.

Charlotte Kuong and Leah Hudson in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

Part of what makes Annie such fun to produce is although the tale remains the same, there is always room to perform it a little differently each time.  Having seen the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn, and the late great Albert Finney, it is easy to forget the stage version sticks to the storyline for the most part, but also contains additional songs.  Sullivan Rep also added some welcome candid quips to the show such as ‘Some were from the Bronx, Miss,’ and ‘Just think…New Jersey’ for added humor as well as a touching moment when all the orphans harmonize for the final phrase in the number Maybe for added resonance.

Rather than utilizing the Windsor Club stage itself, Dan Sullivan made the most of the space for Annie by performing it at eye level in the auditorium to create an immersive experience featuring a pared down set the cast set up and took down with each scene.   From a startling lightning storm to a red glowing stove to colorful and festive cheer, lighting director Erik Fox kept the show’s optimistic spirit in check throughout the production.

The Orphans perform ‘It’s a Hard Knock Life’ in ‘Annie’ Photo courtesy of Sullivan Rep

Wearing thick scarves, layers and period hats, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today.  In a pinstriped suit and silk tie, Todd Yard boasted soaring vocals as workaholic and tough-minded New York City billionaire tycoon Oliver Warbucks as he paid tribute to his beloved city with N.Y.C.  before later performing a stirring rendition of Something was Missing which is just a couple of the additional songs included in the stage version of the musical, but not in the film.  N.Y.C. had a skip in its step featuring piles of presents, special appearances by Mr. Peanut and Santa Claus and a wowed city newcomer who delivered stunning vocals in her brief appearance during the song. 

Charlotte Kuong and Todd Yard in Sullivan Rep’s ‘Annie’ Photo courtesy of Sulliva Rep

In a fur lined coat and lilac heels, Temma Boudreau charmingly depicts elegant Grace Farrell, Oliver Warbucks’s levelheaded secretary and shares a few sweet moments of her own with Kuong.  Boudreau’s breezy yet professional demeanor fit in well with Yard’s no nonsense moxie.   

Donning a straight red haircut, Charlotte Kuong depicted a bit more restrained version of Annie still infused with cleverness, earnestness and charm.  Her strong and clear vocals were most prominent during the numbers Maybe with adorable Leah Hudson as Molly as well as the show’s signature song, Tomorrow.   She also shared some endearing moments with Yard as Oliver Warbucks and charming him into seeing New York City with her was a particular highlight.

Temma Boudreau and Charlotte Kuong in ‘Annie’ Photo courtesy of Sullivan Rep

The orphans’ version of Fully Dressed is adorable and sure to make you smile. Sound designer Andrew Mulholland successfully rewound the clock featuring vintage radio programs and an always entertaining look at how radio created sound effects in the 30s.

In curlers and a whistle that she makes the most of during the show, Carly Evans depicts a sarcastic and matter of fact Miss Hannigan.  While some actresses sink their teeth into what can be considered an over the top role, Evans instead downplayed Miss Hannigan as exasperated, dark and moody showing off her strident vocals for Little Girls as the orphans demonstrated their knack for pushing her buttons. Cristhian Mancinas-Garcia as Hannigan’s conman brother Rooster and Melissa Paz as bleached blond Lily St. Regis make an amusing, sleazy pair and with Evans, a trio of conspiratorial adversaries.  Paz is a powerful singer and looked like she enjoyed portraying a woman who can’t sing.  Some of the rollicking chorography of Easy Street offered some subtle nods to the film version.

Brian Higgins as FDR and cast in Sullivan Rep’s ‘Annie’ Photo courtesy of Sullivan Rep

From select city shoppers to matching uniformed house staff to government officials, this enthusiastic ensemble cast enhanced the joy in this classic tale highlighted by Brian Higgins as a jovial and charismatic FDR, Robert Orzalli as Drake with a twinkle in his eye, Anthony Rinaldi stood out as jocular radio announcer Bert Healey, and the gum chewing, New Yorker Boylan Sisters were a treat.

Sullivan Rep capped off their season with Annie through Sunday, December 21 live and in person at The Windsor Club of Waban in Newton, Massachusetts. Click here for more information and what is in store next season.

REVIEW: Facing corporate greed and corruption with a sprinkling of levity in Lyric Stage’s ‘Urinetown: The Musical’

Posted on by The Sleepless Critic

I went in skeptical. 

Having been invited to see this show years ago when a friend was in it, the title and premise lacked a certain initial appeal.  Yes, the show is about what the title suggests, but as narrator or maybe more like ringmaster Anthony Pires Jr as Officer Lockstock insists, ‘The setting is not Urinetown, just the name of this musical comedy.’  Janie E. Howland’s set is dingy in various shades of brown and littered with broken toilets and grime as undefined shapes pepper the stage. 

Anthony Pires, Jr and Paige O’Connor in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

And yet….

The set is a ruined landscape as one would imagine it would be for a musical comedy called Urinetown, but Mark Hollmann’s piano-infused music is suspenseful, foreboding, urgent and bright and Deb Sullivan’s mood-induced lighting design stands out.  As serious as some of the issues the show addresses are in a story about urination becoming a privilege for the rich and not a human right, the production’s satirical tone sits somewhere between not to be taken too seriously and a cautionary tale of oppression, corruption and more.

With thought provoking direction by Courtney O’Connor with lively choreography by Christopher Shin, The Lyric Stage Company opened its 50th anniversary season with musical parody Urinetown: The Musical live and in person at Lyric Stage Company in Boston, Massachusetts through October 20.  The action is not limited to the stage and run two hours with a 10 minute intermission.  Click here for more information and for tickets.

The cast of Urinetown: the Musical Photo by Nile Hawver

Taking place in an unknown city that suffers from a severe water shortage, Anthony Pires Jr as narrator and Officer Lockstock, Gabriel Graetz as Officer Barrell, and Lisa Yuen as rigid and business minded Penelope Pennywise, must enforce that each city resident pay a fee to urinate passed down by Christopher Chew as President and Owner of Urine Good Company’s Caldwell B. Cladwell.  When an incident takes place involving Remo Airaldi as Joseph “Old Man” Strong, Kenny Lee as Strong’s idealistic and determined son Bobby decides to do something about it.

Urinetown boasts a wealth of powerful vocals including Yuen’s stellar rendition of It’s a Privilege to Pee capped off by an astounding finale belt.  In rubber boots, fanny pack, and pigtails, Yuen brings depth to Pennywise who is caught between a rock and a hard place not unlike another survivor she portrayed earlier this year in Reagle Music’s South Pacific.  Pennywise must do what she thinks she must in fear of the alternative.

Lisa Yuen, Anneke Angstadt and James Turner in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Anthony Pires Jr is charismatic, engaging and a lifeline as Officer Lockstock who alternates between law enforcement and narrating the plot at various interludes.  Pires Jr’s self aware humor and sharp comedic timing adds levity to this bold satire that delivers its share of dark moments in a way that does not feel as heavy with Pires Jr at the helm.  The Cop Song, a duet with Graetz and Company, offers an inside look of what it’s like to enforce the law here to a cheerful beat.

Kenny Lee and Elliana Karris in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Elliana Karris depicts Cladwell’s rich, beautiful, compassionate, and idealistic daughter Hope who believes in change and shares an endearing rendition of Follow Your Heart with Bobby.  They are goofy, giddy and share each other’s wide eyed optimism and determination.  Kenny Lee is instantly likeable and impressive as Bobby who also longs to make a difference.  Paige O’Connor is excellent as precocious, street smart and conflicted Little Sally who shares some funny and fascinating scenes with Lee and Pires Jr throughout the production.

Christopher Chew and the cast of ‘Urinetown: The Musical’ Photo by Nile Hawver

With commanding vocals, Christopher Chew depicts threatening yet humorous adversary Caldwell B. Cladwell.  Chew strikes a delicate balance between scathing and corrupt with comic wit.  Cladwell could have easily delved into cartoon villainy, but Chew brings enough manipulative chutzpah to songs like Mr. Cladwell and Don’t Be the Bunny to make him a credible and worthy foe.

Musically directed by Dan Rodriguez, Urinetown features not only a number of songs in an array of styles, but also a variety of musical references which includes The Wizard of Oz, West Side Story and Les Miserables.  The cast’s moving rendition of Run Freedom Run and the seemingly peppy I See a River are both memorable.  As the band plays above the stage, it sheds some light as this skillful production delves into themes such as oppression, socialism, corporate greed, fear, corruption and freedom.  It’s also a strong metaphorical satire about something one would hopefully never have to go through.

If you can get past that, The Lyric Stage Company continues Urinetown: The Musical at Lyric Stage Company in Boston, Massachusetts through October 20.  Click here for more information and for tickets.

REVIEW: The con is on as Moonbox Productions presents musical comedy ‘Dirty Rotten Scoundrels’

Posted on by The Sleepless Critic

An odd couple and a lucrative bet….but if you think you know how this slippery musical comedy tango will end, there is much more here than meets the eye.

Directed skillfully by Allison Olivia Choat with absorbing music direction by Catherine Stornetta and upbeat yet spicy choreography by Brad Reinking, Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20.  This show has adult themes and runs approximately two hours and 15 min with one ten minute intermission.  It also boasts open captions that come in handy during the performance.  Click here for more information and for tickets.    

Matthew Zahnzinger, Shonna McEachern* and Phil Tayler in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

A remake of 1964’s Bedtime Story, Dirty Rotten Scoundrels hit the big screen in 1988 starring Michael Caine and Steve Martin before it became a popular Broadway musical comedy in 2004 garnering a number of Tony nominations including Norbert Leo Butz’s Tony Award-winning performance as Freddy.  In 2019, Anne Hathaway and Rebel Wilson starred in the film remake renamed The Hustle.

From Hawaiian shirts to stately formal wear in cheerful colors, some aspects of E. Rosser’s costume design is inspired by the 1988 film, but thankfully contemporarily updated from the film’s bulky 80s style clothing.

Taking place over one summer on the French Riviera, Dirty Rotten Scoundrels focuses on a group of conmen doing what they do best.  It has an odd coupling vibe with Matthew Zahnzinger as sophisticated master conman Lawrence with his co-conspirator André who encounters Phil Tayler as skilled yet uncouth novice Freddy.  Freddy is a small time conman who immediately admires Lawrence’s success and longs to learn the ropes.  When they both set their eyes on Shonna McEachern as mysterious Christine, the stakes are high and the con is on.

With simple staging on two floors by Peyton Taveres with portable props by Andrew Reynolds as well as an onstage band behind glass, Andrea Sala’s upscale multicolor lighting takes center stage and has a delightful mind of its own demonstrated by Zahnzinger’s Lawrence who drolly exclaims, ‘Breeding is important, but lighting is everything!’ 

Matthew Zahnzinger and Julius P. Williams III in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Adorned in a three piece suit with a red carnation and suave ascot, Zahnzinger perfects a thick British accent and is the picture of refinement as Lawrence.  Charismatic, suave and boasting a crafty smirk, Zahnzinger shines as Lawrence and is more than game as this smooth world traveling con artist. Julius P. Williams III portrays Lawrence’s behind the scenes right hand man André.  Williams III is quite the schmoozer who is big on decorum and short on patience.  Lawrence and André’s conspiratorial tête-à-têtes and knowing glances make them an amusing comedy duo.  When Phil Tayler as younger, outspoken, unhinged and underhanded Freddy Benson enters the scene, the real excitement begins. 

Matthew Zahnzinger, Phil Tayler and Sophie Shaw in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

It is easy to see how seamlessly Dirty Rotten Scoundrels fits as a musical comedy and after watching the 1988 comedy film, the musical is tremendously more fun.  With sultry and exuberant choreography by Brad Reinking, this charming ensemble has as big of a personality as the distinct main cast.  From the two step to yodeling to even birdcage choreography which has to be seen to be believed, Dirty Rotten Scoundrels infuses these dance sequences in all the right places.

Tader Shipley and cast in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Most of the women seem gullible and naïve with few exceptions including Tader Shipley as Jolene Oakes as a fabulous, cart wheeling southern belle in glittering gold cowboy boots.  Shipley’s over the top delivery as she headlines Oklahoma is an unforgettable treat.  Boasting soaring vocals, Shonna McEachern depicts the altruistic Christine and performs a lovely ballad with Tayler for Nothing is Too Wonderful to Be True.

Shonna McEachern* and company in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Through David Yazbek’s lyrically clever music, Dirty Rotten Scoundrels’ catchy soundtrack often plays on words, especially demonstrated through Ruffhousen with Schüffhausen featuring a memorably comedic twist between Lawrence, Freddy, and Christine.  Like Zis, Like Zat is a coy duet featuring André and Christine English as wide eyed Muriel and the tongue twisting and captivating cha cha-inspired The More We Dance between Lawrence and Christine.  Phil Tayler as Freddy is at his avaricious best for Great Big Stuff!

Phil Tayler and company in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

Dirty Rotten Scoundrels is silly, sneaky and romantic with a brand of self aware humor that smoothly brings the audience in on the art of the con. It’s a lot of fun to be in on this hustle.

Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20.  Click here for more information and for tickets.   

REVIEW:  Love takes a spectacular turn in Reagle Music Theatre of Greater Boston’s picturesque ‘An American in Paris’

Posted on by The Sleepless Critic

Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo.  An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.

With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

Adam Hochberg (Jared Troilo) and Lise (Samantha Barnes) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo Credit Robert Pascucci

By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world.  Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.

A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance.  In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable.  Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm.  It’s simple and yet absolutely extraordinary.

Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance.  Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background.  Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals.  From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.    

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron.  However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill.  Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.

Pictured Lise Dassin (Samantha Barnes) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother.  They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck.  Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.

Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives.  It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me. 

Pictured l to r Milo Davenport (Rebekah Rae Robles) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Credit Robert Pascucci

With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance.  Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up.  It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad.  Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.

Pictured_ l to r- Jerry Mulligan (Jack Mullen), Adam Hochberg (Jared Troilo), and Henri Baurel (Christopher Lewis) in Reagle Music Theatre ‘An American in Paris’ Photo credit Robert Pascucci

Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight!  Get swept up in this beautiful musical as soon as you can.

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

REVIEW:  Based on a true story and featuring music by Cyndi Lauper, Company Theatre’s ‘Kinky Boots’ has some bright ideas

Posted on by The Sleepless Critic

From beige to outrageously bold, Kinky Boots makes the shoes the stars.

‘Walking in another person’s shoes’ may be just a popular expression, but it fits so vividly into this unusual tale that is actually based on a true story.  Set in England, Brandon Wong portrays sensible marketing whiz Charlie, the son of the owner of his family’s men’s shoe factory business, Price and Sons.  Price and Sons has been passed down through generations, yet Charlie is not so keen on the world’s obsession with shoes or shoe manufacturing. His wise and distinguished father, memorably portrayed and boasting deep rich vocals by Peter S. Adams, wants to pass the business down to Charlie, but business isn’t what it used to be.

Company Theatre’s ‘Kinky Boots’ Dan Hannafin as George, Brandon Wong as Charlie, and Peter S. Adams as Mr. Price Photo by Zoe Bradford

However, one chance encounter leads to a Eureka moment in spades.

With conscientious direction by Zoe Bradford, upbeat musical direction by Robert McDonough and creatively choreographed by Sally Ashton Forrest, The Company Theatre steps into musical comedy Kinky Boots through Sunday, August 18 live and in person at the Company Theatre in Norwell, Massachusetts.  This layered rock musical has adult themes and runs approximately two hours and 15 minutes with one intermission.  Click here for more information and for tickets.

Originally a 2005 British film of the same name, Kinky Boots musical made its Broadway debut in 2013. Acclaimed singer-songwriter and She’s so Unusual singer Cyndi Lauper, who has always been driven by her unique individuality as much for her distinct talent, is a perfect fit for the musical’s score and became the first solo woman to ever win a Grammy for Best Music Theatre Album for Kinky Boots.

It was a delight to hear her pop synth and rock signature sound in a portion of the songs, especially evident in Charlie’s inspired rendition of Step One and in a standout performance by hilarious Liz Mongrello as Lauren expressively singing The History of Wrong Guys. Mongrello has a charismatic, edgy and lively vibe that was a hit with the audience and it’s easy to imagine a young Lauper in that role.

Company Theatre’s ‘Kinky Boots’ Brandon Wong as Charlie and Liz Mongrello as Lauren Photo by Zoe Bradford

Brandon Wong as humble and innovative Charlie’s best scenes are immediately evident with Gilbert Dabady as Simon aka drag queen performer Lola because most of their scenes are where both characters are at their most vulnerable.  Wong’s Charlie has great ideas, but not without Dabady as Lola/Simon who builds and enriches those ideas and takes the big risks over Charlie’s hesitation.  Along with a humorous performance by Dan Hannafin as factory manager George, their Eureka moment and niche market for saving the shoe company is building shoes for drag queens that accommodates the weight of a man.  However, it is still a mystery how they sold the shoes they already had manufactured in the former style.

Company Theatre’s Kinky Boots Andrew Farina as Don and Gilbert Dabady as Lola Simon and cast Photo by Zoe Bradford

Though being less of a fan of the more rambunctious portions of the musical such as the sultry The Sex is in the Heel, the spirited rendition of The Most Beautiful Thing, powerful duet for Not My Father’s Son, and the touching ballad The Soul of a Man resonates in each character’s struggle for authenticity.  Gilbert Dabady is a remarkable Lola/Simon who commands the room most of the time delivering strong vocals, a sharp sense of humor, and clever quips such as ‘Room full of people who feel normal by comparison.’  Flashy with distinctive taste that does not conform to gender limitations, frank and outspoken Dabady as Lola/Simon has complex confidence that hides veiled insecurity and shines the most at Lola/Simon’s most vulnerable and forthright moments.

Company Theatre’s ‘Kinky Boots’ Kat Murphy O’Connor as Nicola and Brandon Wong as Charlie Photo by Zoe Bradford

Andrew Farina as macho Don also shares some humorous and thought-provoking scenes with Dabady including a tango-infused duet for What a Woman Wants which leads to a stunning revelation.   Kat Murphy O’Connor compellingly portrays bubbly yet pushy with a taste for the finer things Nicola, Charlie’s girlfriend.   Sporting a classic look, O’Connor only has eyes for her future.

Company Theatre’s ‘Kinky Boots’ Kat Murphy O’Connor as Nicola and Brandon Wong as Charlie Photo by Zoe Bradford

Tackling an array of themes including grief and authenticity, Kinky Boots features some catchy tunes including Raise You Up/Just Be, the acoustically rich Take What You Got, and Everybody say Yeah’s notable choreography highlighted by some fancy footwork on conveyer belts.  

Company Theatre’s ‘Kinky Boots’ ‘Take What You Got’ number with onstage orchestration Photo by Zoe Bradford

Dean Palmer Jr. livens the production’s uplifting rock vibe through multicolored, mood-setting lighting that enhances set designer Ryan Barrow’s muted British shoe factory layered in steel and brick.  The rolling set does have its own share of sparkle and is structured to make room for the real stars…the boots!  Joe Michienzie’s dynamic costumes range from factory casual to flashy which includes sparking gowns, tiger furs, neon, and lace.  However, the glittering, wildly stated, eye popping delights are the boots themselves.

Company Theatre’s ‘Kinky Boots’ cast Photo by Zoe Bradford

With conscientious direction by Zoe Bradford, upbeat musical direction by Robert McDonough and creatively choreographed by Sally Ashton Forrest, The Company Theatre steps into musical comedy Kinky Boots through Sunday, August 18 live and in person at the Company Theatre in Norwell, Massachusetts.  This layered rock musical has adult themes and runs approximately two hours and 15 minutes with one intermission.  Click here for more information and for tickets.

REVIEW: A divine world premiere of ‘The Queen of Versailles’

Posted on by The Sleepless Critic

If eternal ambition had a face, it would be Jackie Siegel’s.  She chases her dreams like only a queen can.

With music and lyrics by Stephen Schwartz, shrewdly directed by Michael Arden with dynamic choreography by Lauren Yalango-Grant and Christopher “Cree” Grant, The world premiere of The Queen of Versailles continues its pre-Broadway run live and in person at Emerson Colonial Theatre in Boston, Massachusetts through August 25.  This impeccably well-timed show grandly opened during the Paris Olympics and runs two hours and 45 minutes including one 20 minute intermission.  Click here for more information and for tickets.

Kristin Chenoweth in THE QUEEN OF VERSAILLES. Photo Credit Ken Yotsukura

From its French-inspired royal opening, The Queen of Versailles is a gorgeous sight to behold and it is immediately clear that Emerson Colonial Theatre and this pre-Broadway debut are made for each other.  Emerson Colonial Theatre’s architectural design is patterned after elements of Versailles and The Louvre.  This elegant baroque-style venue’s meticulously-detailed gold trim, ornate murals, and glittering chandeliers superbly match Dane Laffrey’s multi-layered video and opulent scenic design including its fine crown molding, candelabras and matching gold embellishments.

The Queen of Versailles delves into the love of wealth, excess, and consumption led by a sterling performance by Kristin Chenoweth as the self-proclaimed queen herself, Jaqueline Siegel, or Jackie.  Small town New Yorker Jackie has tremendous dreams as well as the determination and ingenuity to make them all come true with a degree in computer engineering.  However, things do not go quite as planned, and Jackie is left to think of a new way to achieve her ‘champagne wishes and caviar dreams’ as described by host Robin Leach on the inspiring 80’s TV show, Lifestyles of the Rich and Famous that Jackie watched growing up with her family.  Chenoweth’s sunny disposition, rich vocals and sharp comic timing tempers Jackie’s seeming shallowness with irresistible charm to make determined, resourceful, and relentless Jackie an instantly likable lead.  Chenoweth’s vocals are just as dynamic and powerful as ever with the hilarious opening number, Because I Can as she embraces and embodies this complex character that prefers her diet coke in a golden chalice. 

Kristin Chenoweth as Jackie Siegel in The Queen of Versailles – Credit Matthew Murphy

Though Chenoweth as Jackie and the cast seem to be speaking to the audience, Arden’s clever direction has the audience watching the making of The Queen of Versailles documentary where Jackie and her husband, F. Murray Abraham in an impressive portrayal as David, is in the process of building the biggest house in America patterned after Versailles and located in Orlando, Florida with a budget to the tune of 75 million and a Benihana in the basement.   Leading to all this is a fascinating and vastly entertaining story based on Lauren Greenfield’s documentary film of the same name and the real life stories of Jackie and David Siegel.   It’s a multilayered rags-to-riches-story….and that is only the beginning. 

F. Murray Abraham as David Siegel in The Queen of Versailles – Credit Matthew Murphy

Boasting a brilliant cast, The Queen of Versailles is both socially satirical and genuinely funny while delivering a meaty and heartfelt storyline.  Sparkling Chenoweth meets her match in F. Murray Abraham as wildly successful, charismatic and equally ambitious Timeshare King David.  A slick and charming businessman, Abraham and Chenoweth rapidly share a likeminded rapport and some powerful scenes.  Abraham and the cast humorously perform The Ballad of the Timeshare King with Laffrey’s marvelous video projections, some onstage orchestrations, and Christian Cowan’s notable western-inspired costumes.  From meticulously-detailed historical to outrageously fabulous as well as from glitzy to edgy, Cowan’s colorful assortment of standout and distinctive costumes with Cookie Jordan’s embellishing wigs enliven each compelling scene.

Kristin Chenoweth and F. Murray Abraham in The Queen of Versailles – Credit Matthew Murphy

Nina White delivers a memorable performance as Jackie’s introspective daughter Victoria who feels like an outsider in her own home.  Jackie has a complicated relationship with Victoria who likes to be called Ricky in spite of being named after the Queen.  White’s soaring vocals lift stirring numbers Pretty Always Wins and Book of Random to another level as well as a stunning moment with Chenoweth for In Little Houses.  White’s lighthearted duet with Tatum Grace Hopkins as struggling Jonquil for Poor Little Lizard bring some levity to the production’s more serious topics.  White and Melody Butiu as a wonderful Sophia share a sweet camaraderie.  Hopkins shares the stage with Chenoweth for a phenomenal rendition of I Could Get Used to This.

The Siegel Family in The Queen of Versailles – Credit Matthew Murphy

The supporting cast all have fabulous comic timing with a notable performance by Pablo David Laucerica in multiple roles including a smirking King Louis and as well as Andrew Kober as an over the top pageant host and others.

The Cast of THE QUEEN OF VERSAILLES. Photo Credit Nile Hawver

With gumption, determination, courage, and ambition, Chenoweth as Jackie candidly tells the audience you must thrust yourself onto greatness.  Realizing your dream and what is truly important is quite a revelation and what a thrill to embark on this musical journey to chase a dream with the Queen of Versailles herself.

The Cast of THE QUEEN OF VERSAILLES. Photo Credit Nile Hawver

With music and lyrics by Stephen Schwartz, shrewdly directed by Michael Arden and dynamic choreography by Lauren Yalango-Grant and Christopher Cree Grant, The world premiere of The Queen of Versailles continues its pre-Broadway run live and in person at the Emerson Colonial Theatre in Boston, Massachusetts through August 25.  Click here for more information and for tickets.

REVIEW:  Turn up that jukebox for Reagle Music Theatre of Greater Boston’s lively musical comedy ‘All Shook Up’

Posted on by The Sleepless Critic

Meet Chad, a would-be Elvis big on swagger, sideburns and love for the ladies. 

From that electric Jailhouse Rock opening, All Shook Up soaks up the nostalgia and the lighthearted side of the ‘Fabulous ‘50s.’  Adding humor, fun frivolity and amazing choreography, All Shook Up boasts powerful vocals and plenty of love to the beat of Elvis’s greatest hits.  Turn up that jukebox.  It’s time for a ride down memory lane.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.

With exuberant direction by Arthur Gomez, tight and sweeping choreography by Larry Sousa with upbeat music direction by Mindy Cimini, Reagle Music Theatre of Greater Boston presents All Shook Up live and in person at the Robinson Theatre in Waltham, Massachusetts through July 21.  This engaging musical comedy is approximately two hours with one 15 minute intermission and not for young children.  Click here for more information and for tickets.

eagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.JPG

Vibrantly charged in florescent blue and red by Frank Meissner Jr, Reagle Music Theatre of Greater Boston brings the 50’s back to life with Janie Howland’s vintage set design of Main Street USA which includes Sylvia’s Honkey Tonk, Jim’s Service Station, Main Street Museum and appropriately Town Shoes which is a hint for those blue suede shoes.  Each locale plays an integral part in roustabout Chad’s wild journey.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Natalie (Gwynne Wood) . Photo by Robert P.

Boasting a Bye Bye Birdie vibe with Grease energy, All Shook Up looks at a small Midwestern town’s perspective on a summer day in 1955 when Chad, portrayed distinctly by Christopher Lewis, makes an instant impact.  Lewis shakes up Main Street USA for the better while unearthing a guitar-tinged bebop vibe that self righteous and plotting Mayor Matilda, depicted with sharp comedic timing by Janis Hudson in a performance reminiscent of Joan Cusack, is determined to stop.  In cat eye glasses and alongside James Turner the III as suspicious Sheriff Earl, Hudson shines in the fierce and catchy number The Devil in Disguise, humorously posing and barking out orders with zeal and authority. 

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Mayor Matilda (Janis Hudson) and (Christopher Lewis) and Sheriff Earl (James Turner III) Photo by Robert P.

All Shook Up is full of deadpan jokes and clever quips with Elvis song titles and lyrics. When a townsperson points out Chad’s blue suede shoes, Chad casually warns to lay off them.  Part impersonation with the vocal chops to match, Chad embodies the larger than life qualities of Elvis, but takes it one step further making the part his own exemplified in a resonating rendition of I Don’t Want to demonstrating Lewis’s own unique and dynamic range.

A storm of unrequited love and love triangles taken from a mix of Shakespearean comedies, this ‘50s musical comedy infuses a lot of elements into this lively tale and it works.  Christopher Lewis as Chad makes a powerful impression on everyone he meets.  Gwynne Wood as Natalie is the mechanic and is looking for more excitement than this little town can hold.  Wood is endearing as Natalie who is sensible, timid, and resourceful with a powerful belt for One Night with You.  Wood shares some charming chemistry with Jackson Jirard as best friend Dennis who only has eyes for Natalie.  Jirard also shares some amusing scenes with Lewis, Wood, and Alfred-Jean Chavier’s Jim as the voice of reason.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.

 Tader Shipley as vampy blond bombshell Miss Sandra also makes her own impression with a soaring rendition of Let Yourself Go and alongside the cast for a sassy take on Teddy Bear/Hound Dog.

Carolyn Saxon brings sincerity and candidness to Sylvia and shares a varying yet sweet rapport with her daughter, Lorraine, depicted by Amaris Rios and Jean-Alfred Chavier as forthright and apprehensive widow Jim.  Saxon performs a stunning rendition of There’s Always Me.   

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. Sylvia (Carolyn Saxon). Photo by Robert P.

The production also flips the script in more ways than one while staying faithful to the Shakespearean twists.  Rebellious Lorraine and Preston Karp as dutiful Dean share exciting chemistry and their rendition of It’s Now or Never is a delight alongside Sousa’s innovative bus choreography.    

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. Dean (Preston Karp) and Lorraine (Amaris Rios) Photo by Robert P.

C’mon everybody is a classic and vintage showstopper weaving in classic dance moves as Emerald City Theatrical does it again in vintage gleaming colored costumes ranging in plaids, bowling shirts, and gorgeous fit and flair crinoline dresses. 

All Shook Up is bright, catchy and a lot of fun with an inherent message within an array of beloved Elvis hits that might lighten the weight of this world for awhile. 

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Jim (Jean-Alfred Chavier). Photo by Robert P.

With exuberant direction by Arthur Gomez, amazing choreography by Larry Sousa with upbeat music direction by Mindy Cimini, Reagle Music Theatre of Greater Boston presents All Shook Up live and in person at the Robinson Theatre in Waltham, Massachusetts through July 21.  This engaging musical comedy is approximately two hours with one 15 minute intermission.  Click here for more information and for tickets.

REVIEW:  Greater Boston Stage Company turns on the charm for ‘Guys and Dolls’

Posted on by The Sleepless Critic

What a Guy wouldn’t do for some doll.

A sky high bet, a saintly woman, and a group of gamblers are all on the line in a musical comedy custom made in New York City.  Guys and Dolls is lighthearted and bustling with some of the most popular songs of Musical’s Golden Age such as Luck Be a Lady, Fugue for Tinhorns, I’ve Never Been in Love Before, Sit Down You’re Rockin’ the Boat and its beloved title track.

Directed and choreographed by Ceit Zweil, Greater Boston Stage Company continues Frank Loesser’s musical comedy classic Guys and Dolls live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through June 30.  This slick production is approximately two hours and 30 minutes with one 15 minute intermission.  Click here for more information and for tickets.

Arthur Gomez, Mark Linehan, Stephen Markarian and Greater Boston Stage Company ‘Guys and Dolls’ cast Photo by Gillian Gordon

Set on Broadway between Times Square and Columbus Circle, Greater Boston Stage Company reveals a little cozy but snazzy set by John Savage including vintage 1950s illustrated signs lit by marquis lights and an illuminated moving cityscape back drop.  With lively music direction and conducted by Dan Rodriguez, this glitzy version of Guys and Dolls has a bit of a concert vibe with the orchestra performing center stage amidst all the action.

Arthur Gomez and Sara Coombs in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

The show is as zippy as these fast talking gamblers ready for the next crap game.  In stylish hat and a pinstriped suit, Arthur Gomez as lovable but scheming Nathan Detroit is always cooking up a plan and usually one step ahead, but now he is short on money to hold his next floating crap game.  Enter Jared Troilo as smooth talking and high stakes gambler Sky Masterson and suddenly, Nathan has a new and seeming surefire plan to win big and finally marry his long suffering girlfriend, Miss Adelaide.  However, Sky discovers he is in for much more than he ever bargained for.

Jared Troilo and Sarah Coombs in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Guys and Dolls is a classic for a reason.  Not only did the 50s film adaptation star Marlon Brando and Frank Sinatra, but it’s an upbeat musical full of charm about love, the Big City vibe, taking risks and saving souls not necessarily in that order.  The characters are all likable in spite of their shady ways because most of them can humorously talk their way out of just about anything. 

Stephen Markarian and Mark Linehan in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

In glasses and a bowler hat, Stephen Markarian captures the cheery and good natured charm of Nicely-Nicely Johnson from the slick and catchy harmonies in Fugue for Tinhorns with Mark Linehan as Benny and Christian David as Rusty Charlie.  Their goofy chemistry and antics set the stage well along with the title track and bookended by Stephen Markarian’s exuberant and exciting classic number Sit down You’re Rocking the Boat which is not to be missed.

Allison Russell, Kaedon Gray and the cast of Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Sara Coombs as Miss Adalaide could easily have entered over the top caricature territory, but Coombs sticks with dramatic yet a bit more realistic subtlety for Adelaide’s Lament.  Hailing from Rhode Island, Miss Adelaide is not to be underestimated and knows exactly what she wants playing a long game of her own as Nathan’s girlfriend.  She shares some endearing chemistry albeit with some understandable bickering with Nathan as they perform a quick paced and intense rendition of Sue Me.  Alongside Hot Box dancers Hannah Shihdanian, Allison Russell and Abigail Martin, Coombs delivers some flirtatious and humorous scenarios decked out in Dierdre Gerrard’s timely, sparkling and playful costumes kicking off with a country coy Bushel and a Peck.  Russell and Shihdanian both perform triple roles with Russell notably as the infamous big time, tough talking gambler Big Jule.

Sara Coombs, Abigail Martin, Allison Russell, and Hannah Shihdanian in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

In a blue pinstripe suit and gleaming white shoes, Troilo depicts Sky Masterson with smooth talking swagger and shares some great scenes with Lisa Kate Joyce’s straight-arrowed and head of the Save-a-Soul Mission band, Sarah Brown.  Joyce’s angelic and silvery soprano vocals nail the delightful If I were a Bell and I’ve Never Been in Love Before alongside Troilo in a lovely duet.  Joyce also has a brief but memorable scene with Chip Phillips as lovable Arvide for the tenderhearted number, More I Cannot Wish You.

Lisa Kate Joyce and Chip Phillips in Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Gillian Gordon

Jared  Troilo shines in My Time of Day, but nothing beats Troilo’s determined earnestness teetering toward desperation with the rest of the cast for Luck Be a Lady embellished by Ceit Zweil’s tight choreography and Corey Whittemore’s vivid and flashy lighting which just about brings down the house.   

Jared Troilo and the cast of Greater Boston Stage Company’s ‘Guys and Dolls’ Photo by Photo by Gillian Gordon

Directed and choreographed by Ceit Zweil, Greater Boston Stage Company continues Frank Loesser’s musical comedy classic Guys and Dolls live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through June 30.  This slick production is approximately two hours and 30 minutes with one 15 minute intermission.  Click here for more information and for tickets.