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REVIEW:  Creativity underway in ‘Tick, Tick…BOOM!’ at Umbrella Arts Center

Posted on by The Sleepless Critic

Jon feels he is nearing the end of an era…his 30th birthday.

Creatively directed and choreographed by Ilyse Robbins with lively music direction by Jordan Oczkowski, Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM! Live and in person at Umbrella Arts in Concord, Massachusetts through Sunday, November 23.  This introspective and humorous musical journey runs 90 minutes with no intermission.  Click here for more information and for tickets.

Once a 2004 Off-Broadway musical, Tick, Tick…BOOM! was translated into a 2021 award-winning Netflix film adaptation directed by Lin-Manuel Miranda and scored an Academy award-nomination for Andrew Garfield  before taking the stage at numerous theater companies worldwide.  While creatively runs wild in the Netflix film, the Umbrella Arts musical is where you find the spark.

Anthony Pires Jr.* Vanessa Calantropo and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Set in January 1990, Tick, Tick…BOOM! Is a fascinating semi-autobiographical rock musical about Jonathan Larson, a struggling writer and composer living in New York City years before he created his hit rock musical, RENT.  A writer writes about what one knows and so much of this story offers glimpses into Larson’s inspiration for that wildly-successful musical.

However, this is about the struggle and this musical is brimming with it.  The painstaking work of creativity and all that could go wrong illuminates Tick, Tick…BOOM! as Larson struggles to keep it all together to achieve what at times seems impossible, especially in New York City.  Tick, Tick…BOOM! is not only about Jonathan Larson’s frantic life, but it is also an ode to the artist and the struggle to live that extraordinarily competitive dream while just skirting out and skimming by trying to get a chance.

Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Erik Diaz’s barebones set symbolically offers a different approach to this production featuring dual level scaffolding (also featured in Rent) a weathered apartment balcony, staircase and a NYC skyline. It may symbolically stand as a work in progress much like this particular period in Jon’s life.  However, Johnny Shea who delivers Jon’s detailed narration stretches the imagination to conjure up each setting such as a stainless steel kitchen, butcher block table, vast views and a luminous city skyline in a purple mist, part of Ben Rush’s warm and atmospheric lighting.

Anthony Pires Jr.* and Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

At its creative center is likable narrator and lead Johnny Shea who is instantly earnest, introspective and charming as the frenetic Larson on the eve of Larson’s 30th birthday.  The unconventional, imaginative, and quick-thinking Larson divides his time between writing, composing and working at the Moondance Diner.  However, music and writing naturally pours out of Larson’s soul and he is often consumed by it at the expense of everything else. 

For forward-thinking Larson, turning 30 is a looming chasm that soaks up every ounce of his time until that odious deadline demonstrated in the urgent and memorable number, 30/90.  Shea as Larson considers turning thirty as the end of youth, but it is certainly not too old to accomplish remarkable things.  Perhaps Larson always felt like he was running out of time.

This often lighthearted musical features a dynamic, infectious, and multi-dimensional soundtrack about living in your 20s in New York City and how life evolves.  RENT’s influence is unmistakably evident in the catchy and humorous number featuring Anthony Pires Jr. as Michael and Shea in No More which also reflects the strong camaraderie between best friends Michael and Jon.  It is also easy to recognize the roots that will develop Larson’s future work in Shea’s tender number Why. 

Anthony Pires Jr.* and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Inside the Moondance Diner, Sunday features beautiful harmonies and clever quips.  Vanessa Calantropo as Susan and Shea as Jon deliver a flirty duet with Green Green Dress.  Therapy is a fantastic and humorous number about the miscommunication of love and the chipper and lighthearted Sugar is great fun.  Johnny Can’t Decide harmoniously and pensively depicts the agonizing struggle living in the uncertainty of your dream or being practical which is a prevalent theme throughout the production.

With rich vocal arrangement and orchestrations by Stephen Oremus, this intimate onstage band can impressively jam and the musical’s small and mighty cast interacts with the band while delivering rich and powerful harmonies along this uninterrupted musical journey. With the exception of Shea as Jon, Anthony Pires Jr. as Michael and Vanessa Calantropo as Susan smoothly and humorously capture many other roles as Jon allows his story to unfold.  Calantropo especially stands out for the soaring number, Come to Your Senses. 

Anthony Pires Jr.* Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Tick, tick BOOM! explores the little victories, the larger victories, and the gut-wrenching defeats in Larson’s personal and professional world.  However, what is genuinely important becomes poignantly clear and what truly inspires his work changes as the musical progresses.

Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM live and in person through Sunday, November 23 at Umbrella Arts Center in Concord, 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 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. 

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

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:  Oscar nominated documentary shorts ‘Instruments of a Beating Heart,’ ‘Death by Numbers’ and ‘I am Ready, Warden’ at Coolidge Corner Theatre for a limited time

Posted on by The Sleepless Critic

The repercussions of two horrific and devastating crimes and a quiet lesson in discipline are just a few of the 2025 documentary shorts nominated for the 97th annual Academy Awards which took place on Sunday, March 2.  All of these shorts are available online and now playing at the Coolidge Corner Theatre in Brookline, Massachusetts through Thursday, March 6.  Click here for more information and for tickets.

Sam Fuentes in ‘Death By Numbers’

 Please note that this review does not include Netflix’s The Only Girl in the Orchestra who took home Best Documentary Short or the New Yorker’s Oscar nominated documentary short Incident.

A beautifully engaging documentary from the start, Ema Ryan Yamazaki’s 23 minute Japanese short film Instruments of a Beating Heart, presented by Op-Docs, is a tender and endearing piece about an audition held for first graders for a part in a musical performance Ode to Joy in Tokyo 2022.  The film’s cinematography is bright and inviting offering an inside look at these adorable, excitable and impressionable children learning about discipline amid competition.  Their teacher is wise and firm with the students to help them grow.  The film specifically focuses on intimidated Ayame who longs to play a particular instrument in the performance.  The hidden meaning behind the title will not revealed here, but it is worth seeing this wonderful and tender film.

Ayame in ‘Instruments of a Beating Heart’

 “Forever will always be yesterday.”

The classroom frozen in time, the warning signs and so much more encapsulate Parkland School horrific school shooting.

Written by Sam Fuentes and directed by Kim A Snyder, Death by Numbers dives deep inside case #26 from the perspective of traumatized survivor Sam Fuentes and the nature of what it is to live through this unimaginable loss.

The numbers represent not only the facts of the case, but what they know about the shooter through evidence of his mindset and sticks to Sam’s exclusive outlook on the case while tracing a fraction of her long and incalculable road to healing.

Death by Numbers also examines the unimaginable loss, guilt, forgiveness, grief, death, and mortality as well as an agonizing and riveting encounter with the shooter.  It is a unique and chilling film that is humanized by Sam’s dynamic perspective.

‘I am Ready, Warden’

In 2022, Texas Inmate John Henry Ramirez counts down the days until his execution after being convicted of the murder of Pablo Castro in 2004.  

MTV Documentary Films presents I am Ready, Warden, a stirring 37 minute documentary set in Livingston, Texas that impressively covers just about every perspective of this heinous and unplanned act, its aftermath, and a snapshot into Ramirez’s background.  It is mainly told from Ramirez’s perspective, but contains interviews with the godmother who supported Ramirez when his family left, the victim’s family, Ramirez’s son born when Ramirez was on the run, and takes a deeper look at Texas’s death penalty.  I am Ready, Warden also examines the complicated emotions of everyone involved in this case including what results when Ramirez tries to reach out to the victim’s son, Aaron.

All of these shorts are available online and now playing at the Coolidge Corner Theatre in Brookline, Massachusetts through Thursday, March 6.  Click here for more information and for tickets.

REVIEW:  Actors’ Shakespeare Project delivers an astounding ‘The Piano Lesson’

Posted on by The Sleepless Critic

“Money can’t buy what the piano costs.”

Berniece’s significant comment is markedly underestimated by Boy Willie, portrayed with tenacity, blind ambition and frenzied charm by Omar Robinson, who has big plans and is not wasting any time gathering what he came for…the family piano.  However, Jade Guerra as Berniece might not be the only one standing in his way.

Profoundly directed by Christopher V. Edwards, Actors’ Shakespeare Project continues August Wilson’s Pulitzer Prize-winning drama The Piano Lesson live and in person at Hibernian Hall in Roxbury, Massachusetts through Sunday, February 23.  A moving and intriguing mix of humor, suspense, storytelling, and legacy, The Piano Lesson  runs 2 hours and 45 minutes including one intermission.  Click here for more information and for tickets.

Omar Robinson and Anthony T Goss in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Featuring a billboard amid an ominous sky resembling the Pittsburg of Wilson’s Seven Guitars in which this show is also set except in 1936 during the Great Depression, Jon Savage’s layered, two floor scenic design allows the audience to see beyond what the cast can which becomes invaluable later in the production.  A green front door stands ahead of a spacious house featuring a living room with an attached kitchen, a large wooden staircase, vintage striped couch with softly lit retro lamps, an overhead brass chandelier and a chiseled black piano sitting center stage.  Highlighted by watch chains, suspenders, denim overalls, Ava tea dresses and three piece suits, Costumer Nia Safarr Banks not only aptly rewinds the clock, but captures each character’s distinct personality and individuality through their wardrobe.  Lighting designer Isaak Olson working together with sound designer James Cannon and R. M. Lawrence’s music direction generate surging and thrilling special effects at pivotal moments during the production.

The set of Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Having witnessed Netflix’s lauded The Piano Lesson back to back with this production, Actors Shakespeare Project’s The Piano Lesson is an all encompassing and far more powerful show even with Samuel L. Jackson filling Doaker’s discerning shoes.  The Piano Lesson delivers all the elements of a compelling story including humor, suspense, camaraderie, poignancy and carefully developed characters carrying more than a few regrets.  Although Netflix’s The Piano Lesson is an acclaimed work, this production’s intensity and style is best enjoyed with the action unfolding onstage simultaneously and all at once.

Jonathan Kitt and “ranney” in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

The production’s tone can be heavy, but is balanced by each member of this collaborative cast sharing a candid, organic and fascinating chemistry while delivering August Wilson’s robust dialogue at a lively and engrossing pace.  The comical moments and family tension builds right from the start and Jonathan Kitt’s frank and engaging storytelling reels you right into the Charles family’s harrowing history. 

Omar Robinson, “ranney”, Anthony T Goss, Daniel Rios Jr. and Jonathan Kitt in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

As the family matriarch and the voice of reason, Kitt portrays railroad cook Doaker’s low key presence with a wonderful humility, quiet strength and discernment.  Doaker wisely and metaphorically explains, “Train is going to get where it’s going.  It might not be where you going …the train don’t never stop.  It’ll come back every time.” 

Jade Guerra, “ranney”, Jonathan Kitt and Omar Robinson in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

“Ranney” is humorous, savvy and at times unhinged applying wildly amusing expressions as Wining Boy, Doaker’s sharply dressed and talented musician brother.  A comic force sharing anecdotes and a warm camaraderie with Kitt’s Doaker, “ranney” especially shines during a humorous scene attempting to sell a suit to Anthony T Goss as Lymon.  Wilson also demonstrates some observable inherited family traits within the Charles family including Boy Willie’s competitive instincts and confidence that may not have fallen far from the family tree in his Uncle Wining Boy.  It’s just one example of all the subtle yet significant connections Wilson establishes that seamlessly tie these characters together to refine its remarkable conclusion.

Jade Guerra and Daniel Rios Jr. in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

With amiable charm and naiveté, Anthony T Goss is wonderful as quiet, sympathetic and well meaning Lymon.  Goss makes the character one to root for through his easygoing demeanor and mannerisms.  Jade Guerra creates a unique and impressive intensity as tough and capable Berniece, a widowed mother ahead of her time carrying the weight of the world on her shoulders while sharing heated and riveting scenes with Robinson as persistent Boy Willie and letting the barbs fly.  Daniel Rio Jr.  infuses reserved conviction and earnestness as Avery, especially in his attempt to ease Berniece’s struggles.  Brittani J. McBride as flirtatious yet complicated Grace and Ariel Phillips as beautiful and precocious Maretha hold their own rounding out this compelling cast.

Jade Guerra and Ariel Phillips in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Exploring family, slavery, hardships, trauma and legacy, one of the most impactful scenes involve Robinson, Goss, Kitt, and “ranney” joining together in a zealous rendition of a hymn improvising with makeshift household instruments while processing their generational trauma together and as individuals working through their past and current hardships.  Enhanced by this skilled group, Edwards masterfully executes this multilayered scene that is warm, poignant, and powerful all at once.

Omar Robinson, Jonathan Kitt, “ranney”, and Anthony T Goss in Actors’ Shakespeare Project’s production of August Wilson’s The Piano Lesson. Photo by Nile Scott Studios.

Led by Omar Robinson who is fantastic as frenzied, excitable yet mysterious Boy Willie, The Piano Lesson culminates into a tremendous finale connecting each piece of August Wilson’s rich storytelling for a memorable and intense ending that may remain with you long after the production is over.

One of the best productions I have seen all season, Actors’ Shakespeare Project continues August Wilson’s Pulitzer Prize-winning drama The Piano Lesson live and in person at Hibernian Hall in Roxbury, Massachusetts through Sunday, February 23.  Click here for more information and for tickets.

REVIEW:  Make time for The Huntington’s unique ‘Stand Up if You’re Here Tonight’

Posted on by The Sleepless Critic

In some ways, Stand Up if You’re Here Tonight seems to be about nothing and everything all at once.

With a magnificent and probably one of the most gracious introductions to a production, Stand Up if You’re Here Tonight delves into the art of theatre, the luxury of Netflix, love, loss, loneliness, comfort, and all the idiosyncrasies of life that may or may not drive a person crazy.  Part standup, part existential crisis, and part play-within-a-play, this original comical theatrical experience is hosted by a man who has had just about enough.

Jim Ortlieb of The Huntington’s production of John Kolvenbach’s Stand Up If You’re Here Tonight, directed by John Kolvenbach; photo Nile Hawver. Running January 20 – March 23, 2024 at the Maso Studio, Huntington Theatre. Boston, MA 02115.

Written and directed shrewdly by John Kolvenbach, The Huntington presents Stand Up if You’re Here Tonight live and in person at the intimate and immersive Maso Studio at the Huntington Theatre in Boston, Massachusetts through Saturday, March 23.  The production is general admission and runs 60 minutes with no intermission with a special happening at the end of the performance.  Do not miss a moment of this show because it is worth it.  Click here for more information and for tickets.

Introduced by breezy 60s lounge music and surrounded by various vintage furnishings including lit chandeliers, doorways off their hinges, a ladder, a metal bird cage, and what starts out as a wooden lectern by Kristine Holmes and Sam Galvao, Stand Up if You’re Here Tonight  is unveiled with frenetic urgency and earnestness expertly navigated by host Jim Ortlieb. 

Jim Ortlieb of The Huntington’s production of John Kolvenbach’s Stand Up If You’re Here Tonight, directed by John Kolvenbach; photo Nile Hawver. Running January 20 – March 23, 2024 at the Maso Studio, Huntington Theatre. Boston, MA 02115.

In a gray suit making a casual entrance, Jim Ortlieb guides the surrounding audience into a performance so engaging and interactive that this critic barely has time to take notes which was a joy.  Lighting designers M Berry and Makenna Harnden’s rhythmic and atmospheric lighting acted as its own character perfectly timed with the quick pace and tricky transitions that lead to the most unexpected places. 

All of this production’s surprises will not be revealed here.  With a welcoming grin and a dose of self awareness, Ortlieb delves into some of his own vivid memories, imagination, and experiences with relatable and sometimes dark humor, but what is most important is that audience is here, present, and in the present. Laugh and be moved.  That is what really matters.

Jim Ortlieb of The Huntington’s production of John Kolvenbach’s Stand Up If You’re Here Tonight, directed by John Kolvenbach; photo Nile Hawver Running January 20 – March 23, 2024 at the Maso Studio, Huntington Theatre Boston, MA 02115

Written and directed shrewdly by John Kolvenbach, The Huntington presents Stand Up if You’re Here Tonight live and in person at the intimate and immersive Maso Studio at the Huntington Theatre in Boston, Massachusetts through Saturday, March 23.  The production is general admission and runs 60 minutes with no intermission with a special happening at the end of the performance.  Do not miss a moment of this show because it is worth it.  Click here for more information and for tickets.

REVIEW: Sparkle and charm fuel Titusville Playhouse’s ‘The Prom’

Posted on by The Sleepless Critic

Having been invited to The Prom for the second time this year, it seemed best to celebrate this time around in a frilly dress. It was especially appropriate catching a show while away on vacation and with Jordyn Linkous’s festive and glittery wig and costume design, it was easy to fit right in.

Innovatively directed and creatively staged by Niko Stamos with lighthearted choreography by Jordyn Linkous, Titusville Playhouse presents musical dramedy The Prom live and in person in Titusville, Florida through October 1.  This show contains some strobe lighting and special effects.  It runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

Mandy Kerridge as Dee Dee Allen, Steven J. Heron as Barry Glickman and cast in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry.  Inspired by a true story, anxious Emma, depicted with self effacing humility by Delaney Sue McGough, invites a date to the Prom with none other than Myanell Enriquez as popular Alyssa, the daughter of the head of the Parent Teacher Association.  Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town.  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.  The Prom delivers plenty of humor ranging from silly to satirical with a sincere and underlying message about helping others.

Mandy Kerridge as Dee Dee Allen and Delaney Sue McGough as Emma Nolan in ‘The Prom’ Photo credit to Titusville Playhouse

With extraordinary music direction by Spencer Crosswell, The Prom boasts strong vocals from an amiable cast.  Glamour takes center stage with Mandy Kerridge as Dee Dee Allan, a self absorbed and award-winning actress.   Kerridge’s impressive vocal range and wonderful belt is on full display for It’s Not About Me and The Lady’s Improving.  Along with Steven J. Heron as warm, lovable, and lauded actor Barry Glickman, Danny Sanchez as no nonsense PR rep Sheldon, Corey Evans as openhearted Trent, and Sarah Ruth Joyner as inspirational Angie Dickinson, these seemingly shallow thespians bring some humorous moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lit with soft and cheerful multicolored lighting by Davis Vande Steeg , The Prom features a dynamic set design by Niko Stamos including a digital screen that transforms settings in an instant including the store front of a 711, a monster truck rally, and the glittering festivities of a Prom.  Some clever staging includes the transformation of an Applebee’s to a balcony seat during a beautiful rendition of We Look to You as well as veiled and translucent staging for the number, Tonight Belongs to You.

Steven J. Heron as Barry Glickman and the Executive and Artistic Director of the Titusville Playhouse and Delaney Sue McGough as Emma in ‘The Prom’ Photo credit to Titusville Playhouse

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.  McGough’s chiming vocals in forlorn yet earnest number Just Breathe is a compelling revelation while Holly Fuller’s tight lipped delivery proves fitting for tough and immutable 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.

Cast photo Photo credit to Titusville Playhouse

The Prom contains a wealth of welcome, inside Broadway humor and references as well as notable choreography including a sweet rendition of You Happened and the Fosse-inspired choreography of Zazz.  The Prom provides a message driven and sparkling escape to fun and frivolity if only temporarily from the realities of life.  

Titusville Playhouse presents The Prom live and in person in Titusville, Florida through October 1.  This show contains some strobe and special effects and runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

REVIEW: Plenty of glitz, humor, and charm in SpeakEasy Stage’s ‘The Prom’

Posted on by The Sleepless Critic

It’s just so nice to be invited back to a Prom and not be the one in a frilly dress.

Though costume designer Miranda Kau Giurleo does bring all the glitz, glitter and glamour to this satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana.  SpeakEasy Stage Company’s The Prom delivers plenty of humor ranging from silly to parody to satirical not without its political ribbings with a sincere and underlying message about helping others.

Mary Callanan and Johnny Kuntz. Photo credit to Nile Scott Studios

Featuring stellar and intricate choreography by Taavon Gamble and lightheartedly directed by Paul Daigneault, SpeakEasy Stage Company continues musical comedy The Prom through June 10 live and in person at the Calderwood Pavilion in Boston Massachusetts.  The show is two hours and 25 minutes with one 15 minute intermission.  Click here for more information and tickets.

The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star shine including Meryl Streep as Dee Dee and James Corden as Barry.  Inspired by a true story, anxious Emma, depicted with self effacing and quiet optimism by Liesie Kelly, invites a date to the Prom with none other than Abriel Coleman as Alyssa, the daughter of the head of the Parent Teacher Association.  Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town.

Abriel Coleman (left) and Liesie Kelly. Photo credit to Nile Scott Studios

Lit with soft and cheerful pastels by Karen Perlow, The Prom features a flashy and dynamic set design including checkered red carpet doubling for any high school setting.  One of the stage highlights is a chameleon-like, glittering backdrop complete with shimmering disco ball and an onstage orchestra hidden behind a sports scoreboard.

From left: Lisa Yuen, Mary Callanan, Johnny Kuntz, and Jared Troilo. Photo credit to Nile Scott Studios

The Prom is helmed by a strong and exuberant cast with exceptional comedic timing.  Dynamite duo Barry Glickman and Dee Dee, portrayed with pizzazz by Johnny Kuntz and Mary Callanan, deliver lots of laughs as seemingly shallow thespians, but their real charm is exposed by the people they meet in this fish out of water production.  Their wild antics and Callanan’s fantastic belt are on spectacular display for fist pumping and humorous Changing Lives.  Adorned with glamorous red hair, Callanan shines in the commanding and infectious solo It’s Not About Me and has lively and fun loving chemistry with Anthony Pires Jr as compassionate and forthright Mr. Hawkins.  Pires Jr adds a shy charisma to the role and his scenes with Emma and Dee Dee are touching and memorable especially for the sweet solo, We Look to You.

From left: Amy Barker, Anthony Pires Jr., and Mary Callanan. Photo credit to Nile Scott Studios

Meagan Lewis-Michelson as no nonsense PR rep Sheldon Saperstein and inspirational Lisa Yuen as Angie Dickenson both have their great comedic moments, but Jared Troilo is a bit of a scene stealer hatching outrageous theatrical schemes to unique pronunciations as aspiring actor Trent Oliver.  Troilo’s character could have easily become obnoxious as the show progressed, but Troilo’s Trent remained endearing at every turn.  Though Troilo is wonderful in every number, perhaps the cheeky Love Thy Neighbor is the most noteworthy fueled by surprising musical accompaniment and gospel influences.

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.  Liesie Kelly’s lovely Just Breathe mixes dry wit with Kelly’s mellifluous vocals and smiling eyes.  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.

Tori Heinlein (center) and the company. Photo credit to Nile Scott Studios

Boasting amazing choreography that not only is reminiscent of popular musicals Footloose and Hairspray, but The Prom contains a wealth of welcome, inside Broadway references.  From a clapping and celebratory champagne dance to  the Fosse-inspired choreography of Zazz to the intricate chorography of  It’s Time to Dance, Gamble with Paul S. Katz’s music direction creates a complex yet sparkling escape to fun and frivolity if only temporarily from the realities of life.   

SpeakEasy Stage Company continues musical comedy The Prom through June 10 live and in person at the Calderwood Pavilion in Boston Massachusetts.  Click here for more information and tickets.

REVIEW: The Company Theatre is up to magic and mischief in family-friendly ‘Matilda the Musical’

Posted on by The Sleepless Critic

Not even a Willy Wonka candy coated confection could properly prepare one for what the Company Theatre has in store onstage.

With book by Dennis Kelly and music and lyrics by Tim Minchin, The Company Theatre’s Matilda the Musical is a holiday-themed whirlwind of caricatured adults and rage-filled adolescence while at its core, an inspiring story of an extraordinary girl in a peculiar and unique world that could only come from renowned storyteller Roald Dahl’s innovative imagination.  Add Lindsay Hoisington’s eye popping costumes that share their own story along with set designer Ryan Barrow’s striking, festive colors and Matilda the Musical made a refreshing debut from Company Theatre’s more traditional annual holiday fare.

Diana Lee as Lavender and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Inventively directed by Zoe Bradford with dynamic Music Direction by Melissa Carubia, The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18.  Click here for more information and for tickets.

With a string of renowned children’s books that includes classics such as James and the Giant Peach and Charlie and the Chocolate Factory, it is easy to see award-winning author Roald Dahl’s trademark characterizations, sardonic humor, and peculiarities within a morally driven subtext delivered in Dahl’s Matilda, a novel published almost 35 years ago.  Matilda went on to become a bonafide hit with children and adults and it was not long before a 1996 film adaptation arrived featuring Danny DeVito and his real life wife Rhea Perlman.  In 2012, Matilda became a Tony award-winning Broadway musical before Netflix recently premiered Matilda the Musical featuring Emma Thompson around Thanksgiving. Like most theatrical adaptations, nothing is quite like the experience of seeing it live.

Mischief during the holidays in Company Theatre’s ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Expectations were skewed immediately with the darkly comedic and infectious opening number, Miracle where cute, wild, and blatantly naughty children zip around a Christmas tree fueled by Brad Reinking’s athletic, energetic, and fist pumping choreography. Keep an eye out for some amazing feats by Ben Cavallo-Smith and others.

Ben Cavallo-Smith and cast in ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Imagination and mischief run wild in Roald Dahl’s tale of an extraordinary girl making her way through a peculiar world. Roald Dahl tugs at the heartstrings in this absorbing children’s tale, but not before displaying a wealth of less than savory characters making Matilda’s life arduous.  It is a darkly humorous tale guaranteed to delight children more than the grownups.

Annie Jones as Mrs. Phelps and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Clad in black and white, precious and precocious Matilda, portrayed with determination and quick wit by Reese Racicot, is one of the very few characters standing out in an ostentatious world where television is more important than cracking open a book. Racicot immediately charms from the spunky number, Naughty to mastering the heady lyrics in Quiet, punctuated by her light and airy vibrato. Racicot has a sweet rapport with Annie Jones as enthralled librarian Mrs. Phelps, who delights in Matilda’s significant and imaginative stories as well as Miss Honey, portrayed endearingly by Jennifer Beth Glick. With delicate and powerful vocals, Glick shines depicting Miss Honey’s quiet strength and good natured humbleness, especially for the tender and moving number, My House with Salvador Guillermo Garcia.

Brad Rafferty as Rudolpho, Emilee Dennis Leahy as Mrs. Wormwood and Jennifer Beth Glick as Miss Honey Photo credit to Zoe Bradford/Company Theatre

The adults are about as tempestuous and spoiled as their children.  Matilda’s scheming con artist father Mr. Wormwood, portrayed with a sneer and manipulative glee by Todd Yard is not to be outdone by his equally shortsighted, narcissistic, and ballroom dancing wife and Matilda’s resentful mother, Mrs. Wormwood, depicted by Emilee Dennis Leahy with the sort of flirtatious, chaotic humor reminiscent of Jennifer Coolidge. Accompanied by Brady Rafferty as egotistical Rudolpho, Leahy demonstrates limber dance moves and a wild cha cha in the shimmering and comically shallow number, Loud. Never have a pair claimed to know so much know so little. Oliver Dunn as Matilda’s conspiring brother Michael Wormwood seems to be following in their stealthy footsteps as Yard and Dunn open Act II with humorous improvisation and vaudeville inspired number All I Know.

Todd Yard as Mr. Wormwood and Oliver Dunn as Michael Wormwood Photo credit to Zoe Bradford/Company Theatre

Matilda the Musical is not without its dark moments and that is exemplified in Matilda’s iron fisted headmaster, Agatha Trunchbull. A fearful and miserably barreling adversary depicted enthusiastically by Christie Reading, Trunchbull is a force to be reckoned with, but against these lively students, anything is possible highlighted by the brilliant and ironic number, When I Grow Up.

Christie Reading as Miss Agatha Trunchbull, Jennifer Beth Glick, and the students Photo credit to Zoe Bradford/Company Theatre

The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18.  Click here for more information and for tickets.

REVIEW: ‘Who Killed Jazz’ and ‘Deadguy: Killing Music’ an unusual combination at the New York City Indie Film Festival

Posted on by The Sleepless Critic

What does an angry, vaguely defined metal band and classic jazz have in common? 

Though there doesn’t seem to be much, one thing is certain…both move to beats all their own.  At one time, live music was the way of the world, but with the impact of surging technology, the expansion of creativity and simultaneously the lack of original ideas, the use of sampled music and a vast array of music influences, music is a constant evolution.

Photo credit to Ben Makinen

What hasn’t changed is the effect is has on its listener.  Who Killed Jazz explores the art of jazz, a respected, quintessential genre defined by its clever improvisation, and how it fits into the contemporary world.  Deadguy Killing Music is a peculiar authorized documentary on Deadguy, a band that hinges on chaotic improvisation.  Both were featured in the documentary 13 series at the recent New York City Indie Film Festival at New York City’s Producers Club.

The New York City Indie Film Festival featured a variety of films from shorts to narratives to documentaries curated with common themes.  Sleepless Critic had the opportunity to review screenings on music, small businesses, love, connection and much more. 

Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it was first launched in 2010.  Click here for more information, film submissions for next year, and click here to see what we had to say about NYC Indie Film Festival’s Narrative 14 series,  here for film reviews in the Documentary 12 series, and here for a film review of 34 Carmine Street, part of the Documentary 14 series.

Skillfully written, directed, and produced by Ben Makinen and inspired by Makinen’s Jazztown documentary on Vimeo, on iTunes/Apple TV and Google Play Christmas Day, and soon on Amazon and Vudu, Who Killed Jazz is a comprehensive and fascinating analysis of jazz’s exciting history and how the value of it has changed over the years through the eyes of musicians who have lived and are living through it.  Becoming a jazz musician is more of a risk than it has ever been before as television, disc jockeys, and pre-recorded music take over the clubs and today’s club owners are paying musicians less.  Jazz is an extraordinary and complex genre as well as a standard in music education and yet, it struggles.

Filmed in Colorado and Indonesia with eye-catching cinematography that delivers vintage flair, Who Killed Jazz captures fascinating perspectives, memorable stories, and concert footage from renowned musicians such as Dianne Reeves and various insights from contemporary musicians like Esperanza Spaulding.  It takes a hard look at the industry and how jazz and jazz culture has changed to fit in, but in the process, is it losing what made jazz great in the first place?

Photo credit to the NYC Indie Film Festival

Foo Fighters front man David Grohl once advised wannabe musicians to go a yard sale, buy an old drum set, get in a garage, and just suck.  Deadguy is a 90s New Jersey metal band that started in a basement who claimed they didn’t care how they sounded and to some, that was part of the appeal.

After all, they had just about given up before they really got started.  Before selling some albums, performing with the Misfits or even before the release of their debut album, they had split up.  It was a band that almost lived up to their name.

Written, directed, and produced by William Saunders with mature themes, Deadguy: Killing Music is a unconventional, authorized, and fan-focused documentary about Deadguy, a self-proclaimed anti-establishment band with punk influences that seemed to self-destruct before their music raged on.  It is a by-the-numbers 90-minute documentary that could have easily gotten away with being a tighter 60 minutes if not for its occasional meanderings and side stories.

If you were a fan of this group, you’ll be satisfied by never-before-seen footage, the band’s self destructive and wildly absurd antics, songwriting, storytelling and just how they created their debut album, Fixation on a Coworker.  However, the sheer chaos of the band’s sound as well as their impulsive and rage-fueled delivery can be off putting even if the lyrics have some substance.  Having reunited in 2021, it is ironic that they have returned to sing anti-establishment songs while living the suburban life they so rallied against in a house with a mortgage, jobs, kids, and all. Maybe this time they really have something to be frustrated about.

Who Killed Jazz and Deadguy: Killing Music were both featured in the Documentary 13 series at the recent New York City Indie Film Festival which took place live and in person at the Producers Club in New York City.  Click here for more information about this annual event, film submissions, and more.

REVIEW:  Company Theatre’s regal ‘The Audience’ delivers lessons from a queen

Posted on by The Sleepless Critic

So much can transpire in a certain room.

Though I’m not a fan of The Crown, the intriguing Oscar-nominated Spencer is new on Hulu and I was too curious about the polarizing acting abilities of Kristen Stewart to miss this film.  Not only does the film focus on the tension, the princess’s fragility, and her deteriorating marriage, but  what is deemed a fable of a tragedy taught me a bit about the monarchy’s strict regime before heading out to see the Company Theatre’s production of The Audience.

Directed by Steve Dooner and the inspiration behind the Netflix’s hit drama The Crown, Company Theatre presents Peter Morgan’s The Audience through Sunday, February 20 at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts.  The show is 2 hours and 15 minutes including an intermission.  Click here for more information and tickets.

Carol Laing Stearns as Queen Elizabeth II with Pembroke Welch Corgis Gregory and Laci Photo courtesy of Zoe Bradford/Company Theatre

The Audience is named after an important room inside Buckingham Palace where Queen Elizabeth II discusses a wide range of topics with various Prime Ministers over the Years.  As Queen, she must live up to certain standards to have these meetings on a certain day for a certain length of time and keeping discussions strictly to Cabinet, Parliament, and Current Affairs.  Needless to say, conversations often take a turn in unexpected directions.  The show delivers light and subtle humor throughout the production, but this is mostly a historical drama.

Carol Laing Stearns portrays the sharp and coolheaded English monarch with sophistication, grace, and underlying prowess (with her royal corgis in tow).  She dryly describes herself as “a postage stamp with a pulse,” but we all know better.  Stearns has a natural and likable presence, but also stoic and headstrong.  She rarely lets her emotions get the better of her, even when she is commenting on it.  It is interesting to see the quirks and tenacity, navigating her age progression well.  However in a rare moment, thanks to the keen lighting design of Dean Palmer. Jr, the spotlight shines on Stearns in a moment of vulnerability, and it is difficult not be entirely moved by it.

Carol Laing Stearns as Queen Elizabeth II Photo courtesy of Zoe Bradford/Company Theatre

Ryan Barrow’s elegant set is flanked with wall-to-wall gold trim, historical portraits, and a sparkling chandelier shining overhead.  Charismatic Rama Rodriguez as Equerry acts as half narrator and half historian, sharing the relevance of this special room and its astute history.  From a tartan skirt to the dapper suits on each Prime Minister to the very replica of Queen Elizabeth II’s white dress and royal sash symbolizing her position as the Dame Grand Cross of the Royal Victorian Order, costume designer Elizabeth Cole Sheehan has a meticulous eye for historically-accurate regal flair.

The depiction of Elizabeth II’s flashes of childhood is handled in a unique and insightful way though at first it can be a little confusing.  Young Elizabeth, portrayed as a precocious and inquisitive old soul by Samantha LeBretton, struggles with her destiny and the separation of her public and private figure.  Although she is unsure of her place exactly, she feigns surefootedness, but not without questions. 

Carol Laing Stearns as Queen Elizabeth II Photo courtesy of Zoe Bradford/Company Theatre
Julie Dennis as Margaret Thatcher Photo courtesy of Zoe Bradford/Company Theatre

Chris DiOrio as Harold Wilson is the most sympathetic among the Prime Ministers while Julie Dennis as Iron Lady Margaret Thatcher comes in like a lion and remains one.  The tension between Stearns and Dennis as a compelling Thatcher is quite thrilling to witness as two people with much in common can barely agree.  DiOrio as Wilson thrives in the role, his strong Northern accent only accentuates his likability. 

Among the many political, social, and personal topics addressed, the clash between royal rituals and traditions with modernization and talk of the end of the monarchy is always looming.  However, The Audience presents a bigger picture and depicts just why Queen Elizabeth II’s, who just celebrated her Platinum Jubilee this month and is the longest reigning English monarch in history,  secret to her longevity reaches far beyond her wit.

Company Theatre’s ‘The Audience’ is the inspiration behind Netflix’s ‘The Crown’ Photo courtesy of Zoe Bradford/Company Theatre

Company Theatre presents Peter Morgan’s The Audience through Sunday, February 20 at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts.  The show is 2 hours and 15 minutes including an intermission.  Click here for more information and tickets.