Though in a sleepy town like Grover’s Corners, change may not be frequent, but with time, it is inevitable.
Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s 1938 Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. This classic three-act production is not limited to the stage and runs two hours and ten minutes including an intermission. Click here for more information and for tickets.
Thomika Marie Bridwell* and Amanda Collins* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver
Our Town is one of the great American masterpieces of our time and holds a special place in my heart. Its subtle yet gripping messages about the circle of life universally resonate and can speak to any generation. I’ve seen Our Town several times before, and yet, every production is its own fresh and unique experience.
An astute play, I believe your perception of Our Town changes as you grow and change. Watching it as a teenager in a school play hits differently than seeing it as an adult and will transform again watching it as an elder. In its simplicity, it carefully unveils life’s profound and fleeting journey while staying relevant for each generation.
Scenic designer Shelley Barish and costumer Rachel Padula-Shufelt embrace its timeless quality by creating a modest yet classic tone in each element of the production. An impressive multipurpose wooden circular structure is the symbolic centerpiece of Grover’s Corners as Deb Sullivan’s rich and stirring lighting comes to life during affective and pivotal moments, especially in a vibrant purple moonlit sky bathed in puffy clouds. Instead of using early 19th century period costumes, Rachel Padula-Shufelt shrewdly showcases classic Americana attire which includes suspenders, button down shirts, cardigans, stately three piece suits, understated dresses, and baseball and newsboy caps.
WIll McGarrahan* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver
Using very few physical props, much of the production is traditionally imagined through Will McGarrahan‘s skilled and interactive narration as Stage Manager. His engaging, mirthful and intimate delivery acts as part educator, omniscient narrator, occasional sage commentator, and at times, stepping into the action.
Kathy St. George* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver
As much as the show may focus on the residents of Grover’s Corners, New Hampshire, they are second fiddle to the town itself and its unfolding features. Within the town’s examination and analysis starting in 1901, something lies deeper within its quiet beauty and unlocked doors. It also contains a wealth of local references that is not too far from its Boston staging.
Darren Paul, Thomika Marie Bridwell,* Jacob Thomas Less, Kathy St. George,* Amanda Collins,* Jessie Garlick and John Kuntz* in Lyric Stage’s Our Town Photo by Nile Hawver
Whether it’s Josephine Moshiri Elwood as forthright and wondrous Emily or Thomika Marie Bridwell as fanciful Mrs. Gibb, delightful Kathy St. George as inquisitive and precocious Rebecca or Amanda Collins as staunch traditionalist Mrs. Webb or John Kuntz as frank and disheartened Simon Stimson, this wonderful and well cast company authentically explore the small joys, hardships and realities of life with humor, humility and grace. Elwood as Emily and Dan Garcia as George Gibbs particularly share a sweet sincerity and idealistic charm as they discuss their bright futures.
Dan Garcia and Josephine Moshiri Elwood* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver
Some productions don’t need all the bells and whistles in order to be genuine and Our Town fits the bill through its strong sense of community. In this age where life is becoming more and more digitized, this small town unpacks life’s perplex meaning through connection in an impactful production season by season.
Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. Click here for more information and for tickets.
Insects can be elegant and extraordinary…and it all starts with an egg.
The Foreigner (Blue Fly) with a mysterious OVO (Egg). Photo credit Vlad Lorenzo courtesy of Cirque Du Soleil: OVO
Cirque du Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing in at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then at the SNHU Arena in Manchester, New Hampshire August 8 through 11. Click here for more information and for tickets.
The costumesThe Laced FlyThe Red Spider
Going behind the scenes at Cirque du Soleil: OVO, some intriguing facts were unveiled about how this tremendous production comes together. From the preparation to the performers which includes two Olympians to Liz Vandal’s kaleidoscopic costumes from Montreal, this unique production is brought to life in distinctive venues all over the world. The following are some amazing facts from Senior Publicist Janie Mallet of OVO:
The Cricket and the Jewel Beetle
Cirque du Soleil is celebrating its 40th anniversary! OVO’s cast and crew is a multi-cultural group that has been traveling around the world since 2009. A quick paced touring production, OVO has spent fifteen years on the road changing city or country every single week. The show did break during the pandemic before returning in 2022 with a revamped production featuring new acts and new music.
‘Ovo’ is Portuguese for ‘egg’. The production starts when The Foreigner arrives at this new colony of insects with an egg on his back. The show explores how we interact with one another and learn to accept and celebrate our differences. There is a love story, curiosities, and a bit of a confrontation in a world likened to a Brazilian rainforest.
Not only does the production travel with a full gym backstage, but with a full time coach, access to nutritionists, two performance therapists, doctors and an artistic team of 100 people with 52 performing onstage.
The artists and athletes do their own cardio, strength training, and flexibility before attending meetings and trainings for the show. The performers expend so much energy and do not follow a diet. They eat what is best for them at their own discretion, but if they want to work on a specialized thing, they have three chefs and a catering team on hand.
The production has a lot of moving parts and the size and how the trucks are packed for the tours are different, especially if they fly across the ocean. Everything is meticulously labeled and the teams need to be ready to adapt to any last minute changes.
The production has over 1000 costumes. These costumes are built for the function of each performer and there are four full time technicians on tour to take care of the costumes. All the costumes require some training in order to wear them comfortably. The clowns have larger costumes while the crickets’ costumes are light and contain a lot of stretch for performing flips and jumps. The aerial acts also have lighter costumes as they fly from one platform to the next.
The production has six washers and three dryers that travel with them all over the world. Delicate costumes and wardrobes are dried with the fans and 60 loads of laundry are completed prior to each performance.
The shoes
Washers and Dryers
Gary portrays Master Flipo, the chief of the insect colony. Alongside Canadian poles artist acrobat David, they deliver some insight into their history in the circus, their favorite insects, and anticipating OVO’s opening night in Boston. In real life, Gary is from Austria and lives in Spain.
From L to R: David and Gary of OVO
Gary: When I was 12, I decided I wanted to be a clown. I told my mom and never lost this dream. I ended up in a mime and circus school and then started to work in the circus before I joined Cirque de Soleil. They said, ‘We like your stupid face’ in 1992. I moved and did a show in Las Vegas and then back to Europe and then I’ve been here almost 7 years.
David: I started in the circus quite late at the age of 20. Usually acrobats start at a much younger age with gymnastics but at 20, I started from nothing. I saw a circus show and said that I want to do that and found out there were circus schools. I didn’t know they existed in Quebec City so I trained really hard for two years to get in because I found out that there are people all over the world who are trying to enter these professional schools. You need to already be good at something to get in and then somehow I got in. I did my three years of circus school for like 40 hours a week of training. Ever since, I’ve been in the circus and working with different circuses. I’ve been with OVO since the re-launch in 2022 with new artists and music. I’m part of the new acts.
We are very excited about the show and don’t know how the public is going to react yet, but we’re all feeling super rested because we just came back from three weeks of tour break from home. We’re very happy to be in Boston with the beautiful summer weather. We’ve met Bostonians on the street and they seem very nice.
Gary: Especially for us clowns it is very interesting in Boston to find out where they laugh and where they don’t laugh. We have to adjust the timing and are already having butterflies.
David: We toured with the show everywhere in the world. Depending on the different cultures, finding out how the audience will react is always our biggest concern.
Gary: What I anticipate sharing with the audience the most is always taking people onstage. Sometimes I have to improvise which I love and it challenges me. Generally, the whole show is a big festival of happiness. I don’t have favorites.
David: I am excited about my act just because in the living arts and in the circus there is always a bit of modification. It is never one stable show. It is thousands of versions of the show, even though it’s the same show for the public. For us, it has little changes and our act has new music, so we work on it frequently and make little changes in the choreography. It’s going to be fresh, new and exciting.
Gary as Jeweled Beetle Master Flipo Photo credit Vlad Lorenzo courtesy of Cirque du Soleil: OVO
David: It’s a very beautiful insect.
Gary: But at the same time, I love the ladybug.
The Foreigner and The Ladybug Photo credit Pat Beaudry and courtesy of Cirque Du Soleil: OVO
David: I really like the laced fly. The lace fly is the hair extension act and I think her costume is just brilliant and so colorful. It’s a beautiful act.
Gary: I like the crickets for the costumes. How they have an engineered costume where I always think, ‘How is it possible to move in that?’
The Crickets Wall Act Photo credit Vlad Lorenzo and courtesy of Cirque Du Soleil: OVO
David: Shout out to the Red Queen.
The Red Queen with cast of ‘Cirque Du Soleil: OVO’ Photo courtesy of Cirque Du Soleil: OVO
Gary: …and the clowns and the musicians.
David:OVO is really about inclusion. It’s about accepting our differences and celebrating the whole of the colony, even the cockroaches. They are all our friends. It’s sort of hard to choose one specific insect because they are all amazing.
David: The show takes years to train, but for this particular show, usually the creation of a Cirque de Soleil show is a few months. Like six months maybe and because the acrobats have been thinking about the show for a year or two, the physical preparation to get to this level takes years and years of training. Then we adapt the skills we have to the specific number and choreography that we need for the show, but it’s not like I train physically for years to be an insect. I train physically to be a circus acrobat and artist and then transfer the skills in a few months.
Gary: It’s the same thing with us…the clowns. We are being cast for that because our profile fits in it. The clown has his own profile for performing and stupidity. So I was cast because I am stupid and smart.
David: (laughs) Maybe that is also why I was cast.
Gary: (laughs) Bingo!
The insects of ‘Cirque du Soleil: OVO’ Photo courtesy of Cirque du Soleil OVO
Cirque de Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing in at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then at the SNHU Arena in Manchester, New Hampshire August 8 through 11. Click here for more information and for tickets.
New England Dance Ensemble founder Barbara Mullen knows that if people do not know history, they are doomed to repeat it.
On Sunday, April 16, the New England Dance Ensemble (NEDE) performed A Child’s View of the Holocaust at Temple Beth Abraham in Nashua, NH. The show was free and a benefit for the nonprofit organization. The temple generously served lunch prior to the production. This ballet was 40 minutes with no intermission followed by a brief Q and A session and the show is currently streaming online. The audience was encouraged to pause in quiet reflection rather than applaud. Click here for more information.
A Child’s View of the Holocaust presented by New England Dance Ensemble Photo credit to NEDE
Barbara Mullen, NEDE’s Artistic Director, first produced A Child’s View of the Holocaust in 1990 and it has become an educational tool for thousands of audiences in its over 30 year history. Its purpose is to memorialize the youngest victims of the Holocaust to ensure society will never forget and these horrors will not ever be repeated. Few survived to tell their story, but relatives of a few of the victims were present in the audience on April 16.
Set in 1939, A Child’s View of the Holocaust is a depiction of how insidiously and methodically the new Nazi regime darkened the world and lured millions of victims. One million out of six million victims of the holocaust were children. It shows the progression of once innocent school children in braids and plaids as they wave at their friends shortly before a new and harrowing reality unfolds. The panic, the shame, the indignation, and the implied brutality are difficult to watch, but the discovery and final understanding is the most poignant piece in the production.
The Nazis, led by Anya Petravicz, snake like a menacing train. Stiff, militaristic, and linear, the dancers invade with expressions vacant and unyielding. Coordinated by ballet master Andrew Matte, the production has a wealth of physical engagement that implies violence, but is no less powerful.
Students in ‘A Child’s View of the Holocaust’ Photo credit to NEDE
A Child’s View of the Holocaust is a collaborative and stirring production delivered with careful grace, skill, and sensitivity by these young performers. However, Harrison Conellier as the Holocaust’s first victim and Ipeksu Yucel as a Jewish mother offer powerful performances in evocative surprise, anger, and anguish as they are forced into impossible decisions in this journey to find light in the depths of loss.
New England Dance Ensemble continues to offer this important production to different institutions for educational purposes. NEDE will next present The Lorax followed by The Nutcracker in the fall. Click here for more information.
Full of Easter eggs and a time hopping storyline, this cleverly titled production lives up to its name many times over and reveals a family secret near impossible to see coming. Sponsored in part by the Mass/NH Chapter of the Alzheimer’s Association, Breadcrumbs is a mysterious piece of theatre about the meeting of two individuals and how they fit into each other lives.
Jennifer Haley’s Breadcrumbs, Theatre Kapow’s most recent production, ran live and in person February 17 to 19 at the Bank of NH Stage in Concord NH before streaming live on February 24 and 25. Directed intuitively by Catherine Stewart, Breadcrumbs is 80 minutes with no intermission and is part of Recent Remote Remember, the theme of Theatre Kapow’s 15th season. Click here for more information and here for more on Theatre Kapow.
From L to R Rachel Chapin Longo and Katie Collins Photo credit to Matthew Lomanno Photography
Stark blue lighting evoked a haunting quality as Alita, a hardworking, unassuming, and reclusive writer depicted perceptively by Katie Collins, knows there is something is missing. Collins, in a multilayered performance, portrays Alita with an increasingly brisk and suspicious manner as she struggles to connect with what is occurring around her. Rachel Chapin Longo commands a challenging and multi faceted role as compassionate, talkative, impulsive, resourceful, but needy Beth who seemingly cannot get her life together to Alita’s rising frustration. Beth admires Alita’s work which often focuses on metaphorical fantasy which is a surprising contrast to Alita’s practical sensibilities.
From L to R Rachel Chapin Longo and Katie Collins Photo credit to Matthew Lomanno Photography
What is fascinating about this meticulous production is each item, scene, and aspect including Alita’s writing plays an integral and significant role within a sometimes unreliable viewpoint. Longo and Collins seamlessly navigate a number of vivid, stirring and mercurial scenes together and there isn’t a piece of dialogue that strays from this insightful look at these two individual’s lives. The production also serves as an informative vehicle for an all too common life altering impairment.
From L to R Rachel Chapin Longo and Katie Collins Photo credit to Matthew Lomanno Photography
Tayva Young’s nostalgic and evocative lighting combined with Matt Cahoon’s vintage and eerie sound and projection design navigates each sudden flashback and time leap in an innovative and engrossing manner. Barbara Holbrook’s distinctive costume design boosts each character’s personality with subtle hints on what they mean to each other.
Jennifer Haley’s Breadcrumbs cultivates a rich and unique path through trauma and struggle to reveal what is ultimately important. Directed intuitively by Catherine Stewart, Breadcrumbs is 80 minutes with no intermission and is part of Recent Remote Remember, the theme of Theatre Kapow’s 15th season. Click here for more information and here for more on Theatre Kapow.
Two dynamic actors take the stage for some wacky fun in Popcorn Falls, a wild, improv-inspired tale about a small, provincial New Hampshire town brimming with zany townspeople of all ages affectionately called, “kernels.” From a feline-loving librarian with a flair for the dramatic to jack-of-all-trades Joe, Popcorn Falls must find a way to save itself from bankruptcy before it’s too late.
Christopher Chew and Sarah Elizabeth Bedard in ‘Popcorn Falls’ Photo courtesy of Greater Boston Stage Company
Written by James Hindman and directed warmly by Lisa Rafferty, Greater Boston Stage Company presents quirky, family-friendly comedy, Popcorn Falls live and in person through October 2 at Greater Boston Stage Company in Stoneham, MA. This show is 90 minutes with no intermission. Click here for more information and for tickets.
Sarah Elizabeth Bedard and Christopher Chew in ‘Popcorn Falls’ Photo courtesy of Greater Boston Stage Company
Doing the heavy lifting is Christopher Chew depicting a set of unique characters including the Town Mayor and Sarah Elizabeth Bedard who portrays other wild characters including Joe. They are more than up for the challenge of keeping the pace of this lively production from a broken mic wire to journeys unknown. From shifting voices to lightning-fast wardrobe changes thanks to dynamic Properties Designer Sarajane Mullins and Costume Designer Deirdre Gerrard, Bedard’s ability to transform into a wide spectrum of characters from seductress to meet cute to smarmy sometimes in mid-sentence is amusing to say the least. The kernels can make a lot of noise and the audience is in on the joke rooting on each shifting character. Christopher Chew largely portrays the straight man with few exceptions, enduring the eccentricities of each alternating character in stride while putting his own twist on his changing persona.
‘Popcorn Falls’ full cast and artistic team Photo courtesy of Greater Boston Stage Company
Kristin Loeffler’s inviting town hall set up including a brick backdrop, a chalkboard, and a town flag does little to reveal the path this duo is about to embark on while sound designer Caroline Eng enhances each running gag. Popcorn Falls doesn’t take itself too seriously, but each prop, sound, and set piece lends itself to the production’s playful and zany antics.
Sarah Elizabeth Bedard and Christopher Chew Photo courtesy of Greater Boston Stage Company
Quite a tale develops as this play kicks off in mid-action as the audience must piece together what exactly is happening onstage and what “kernel” the audience is sure to meet next. Popcorn Falls is a feel-good show for the whole family that will keep the audience guessing at each unpredictable turn. It is endearing and funny journey that saves the big, eye opening reveal for last.
Greater Boston Stage Company presents quirky, family-friendly comedy, Popcorn Falls live and in person through October 2 at Greater Boston Stage Company in Stoneham, MA. This show is 90 minutes with no intermission. Click here for more information, discount tickets, and more.
Comic great Robin Williams once said, “I used to think the worst thing in life was to end up all alone. It’s not. The worst thing in life is to end up with people that make you feel all alone.” Williams suffered from depression, but his ability to feel the lows and to make people laugh perhaps contributed to his gift on a deeper level. Getting the laugh is greater when the pain in which it is earned is also felt, achieving connection. Perhaps this is why there is also an in-house psychiatrist at The Laugh Factory in Los Angeles, California.
Theatre Kapow captured isolation and resilience in a play centered around a group of people clinging for hope in A.J. Ditty’s resonating play, The Boyg based partially on the life of Per Krohg. Art and isolation are key elements and are heavily weighed as each character attempts to connect with each other in their own distinct way.
Dan Daly’s set and cast Photo credit Matt Lomanno Photography
Celebrating its first indoor production in over a year, Theatre Kapow presented A.J. Ditty’s The Boyg in Derry, New Hampshire in September, toured in Charlestown, Massachusetts as October started, and the show is now available online through October 10. Click here for tickets and more information.
Before continuing, it is important to note that A.J. Ditty’s The Boyg, named after Ibsen’s classic play Peer Gynt’s groundbreaking literary monster, does not make the play a prerequisite to appreciate this production, but a companion piece. The show is part play within a play and for those who know Peer Gynt, having read Ibsen’s work may promote a richer understanding, but does not affect the universal appeal of this show.
There is a phantom presence lingering over The Boyg, a sense of tension and dread that builds throughout the production and is rarely addressed until it is unavoidable. It hides in games, questions, plays, and pleasant conversation and perhaps glimpsed in a pause or a worried glance. Enhanced by Tayva Young’s mood-induced lighting and versatile sound designed by Jake Hudgins, it is an element as real as any of the characters in this production.
Sabrina Schlegel-Mejia as Mikhail and Rebecca Tucker as Per in ‘The Boyg’ Photo credit Matt Lomanno Photography
Set inside a Norwegian concentration camp during World War II, each character has every reason to try to forget their present circumstances, but struggle within the inevitability of their situation. Duty, work which is often self defeating, and art seem only to hold more than a moment’s distraction.
R to L: Lisa Boyett as Old Man and Sabrina Schlegel-Mejia as Mikhail Photo credit Matt Lomanno Photography
The cast displays good timing and chemistry even as characters who often struggle to understand each other in their mutual pain. As barracks leader Odd Nansen, portrayed ardently by Carey Cahoon, Odd seems the most willing to give into whatever is necessary to keep up morale while Professor Francis Bull depicted by Molly Kane Parker, prefers to escape into literature and theatre to cope with the present.
Rebecca Tucker delivers an intriguing and heartfelt performance as secretive, complex, and anguished Per Krohg who struggles with what it takes to survive. Tucker’s cat-and-mouse conversations with Nicholas Wilder as harsh and manipulative Captain Denzer and Sabrina Sehlegel-Megia’s earnest portrayal of rebellious and mysterious Mikhail Hjorthson’s haunting recollections of past experiences are particular highlights.
R to Left: Rachael Chapin Longo as Robert and Rebecca Tucker as Per Photo courtesy of Matt Lomanno Photography
What does it take to peel back life’s meaning where there is no other choice? Reflecting on art and culture while staring into the face of mortality, isn’t life better with connection over dread?
Directed contemplatively by Matt Cahoon, Theatre Kapow timely production of A.J. Ditty’s The Boyg streaming through October 10. Click here for more on The Boyg and Theatre Kapow’s new season, Return.
An unusual walk, a wordless journey spoken in song, a hollow room, and bittersweet scenes from the past is just a peek into ROOM, a series of three one-act plays by two Irish playwrights. It explores three people who see the world through their isolated circumstances yet share so much.
Directed by Rachael Chapin and Matt Cahoon, New Hampshire’s Theatre Kapow embarks on their final virtual show of their 13th season themed ‘We will get through this’ with ROOM, a poignant and meaningful journey into loss, isolation, regret, and hope continuing to live stream through Sunday, May 2. Click here for more information and tickets.
Through Edna Walsh’sRoom 303 and A Girl’s Bedroom as well as Ailis Ni Riain’sI Used to Feel, each actor take in their surroundings, reflect on happier and more sorrowful times, and take in what they can of the present while depicting the meaning behind their “room.”
Heidi Kranz in ‘A Girl’s Bedroom’ Photo courtesy of Matthew Lomanno Photography/Theatre Kapow
In A Girl’s Bedroom, ethereal special effects portray a rich countryside and more as Emily Karel reflects on a significant childhood memory. Karel offers a captivating portrayal as the girl as her world becomes vast in her small, colorful bedroom. Her bright inflections, enthusiasm, and surety are also tinged in sadness and loneliness as she reminisces on her young life.
Heidi Krantz embraces an emotional journey of loss and misunderstanding in I Used to Feel. In this brief musical portrait, Krantz evokes the frustration and heartache of misunderstanding due to a disability and the longing for connection again in any way possible. The visual imagery tied into a solitary clarinet makes this piece particularly poignant.
Peter Josephson in ‘Room 303’ Photo courtesy of Matthew Lomanno Photography/Theatre Kapow
Perhaps the most powerful piece is in Room 303. Peter Josephson delivers a raw and moving portrayal of a bedridden man reflecting on his past and his future in his current circumstances. His journey calls to mind those who have been sick and alone with only the comfort and betrayal of their thoughts and imagination in these uncertain times. Anxious and bitter through his steely and weakening eyes, Josephson struggles with his recollections as his world becomes smaller.
Theatre Kapow’s ROOM continues live streaming through Sunday, May 2. Click here for more information and for tickets.
It is no surprise that Theatre KAPOW added Peter Josephson’s A Tempest Prayer, based on Shakespeare’s The Tempest, to their 13th season entitled, ‘We Can Get through This.’ Having lived through the Great Plague of London, Shakespeare was sadly familiar with the anguish of isolation and solemnity that encapsulates a person during a pandemic and the closing of theatres. It is a perfect choice for this indelible year.
Peter Josephson’s A Tempest Prayer, a solo retelling of William Shakespere’sThe Tempest also starring Peter Josephson, was live streamed at various times from Theatre KAPOW’s studio in Manchester, NH from November 13 through November 15. Click here for more information on season 13 and how to support them on Giving Tuesday on December 1.
Theatre KAPOW company member and award-winning actor Peter Josephson takes on quite a lot capturing the essence of a Shakespearean classic while displaying a full range of emotions not only as Prospero, but as other mystical figures. It is a harrowing journey within a man’s psyche stranded with his daughter on a mystical Mediterranean island imprisoned by his thoughts. He knows there is a way to escape, but must come to terms with himself in order to find freedom. If the show’s surroundings and lead actor’s struggles do not seem a bit familiar in this odd year of 2020, maybe you’re adjusting better than you might expect.
Peter Josephson in ‘A Tempest Prayer’ Photo courtesy of Matthew Lomanno Photography/Theatre Kapow
Though A Tempest Prayer is a solo retelling, Josephson portrays other mystical characters on the island in innovative ways while simultaneously making him look that much more unhinged. He uses marionettes for the illusion of interaction and Prospero’s daughter Miranda looks lifelike in a moving CGI portrait. Multiple camera angles, the dark and ominous island setting, and stirring sound effects by Matt Cahoon, Tavya Young, and Jake Hodgins all contribute to Peter’s captivating torment.
Josephson gives a fierce and gripping performance as Prospero expressing his inner turmoil as he struggles to forgive, the weight of his ills threatening to drive him mad unless he can let go. He’s menacing, fearful, shrewd, and human. It is easy to witness this turmoil and have empathy while he is wracked by loneliness and confinement. He paces and ponders the insignificance of life as he attempts to propel himself into a brave new world and appreciate what he does have.
Peter Josephson in ‘A Tempest Prayer’ Photo courtesy of Matthew Lomanno Photography/Theatre Kapow
Perhaps you are your own worst enemy. Perhaps more than anyone surrounding you, the unbearable truth is that the biggest struggles are the ones you endure within yourself. Letting go is the key to making things better if only it were that easy.
Sleepless Critic had the honor of interviewing Peter Josephson on a past production he performed with Theatre KAPOW. Click here for the interview.
Theatre KAPOW’s 13th season is underway. Click here for more information about Theatre KAPOW, their mission, and how you can support them on Giving Tuesday on December 1.
Megan Gogerty’s interactive and dynamic Feast makes you part of this production and it won’t be long until you get reeled into dinner conversation. New Hampshire’s Theatre Kapow brings back theatre in a unique way all while delivering real dessert (and a little extra) and as a person starved for the arts, Megan Gogerty’s Feast will leave you full while remaining behind the computer.
Theatre Kapow delivered party favors for ‘Feast’ Photo credit to Matthew Lomanno Photography/Theatre Kapow
Directed by Matt Cahoon who offers an insightful introduction, Theatre Kapow presented Megan Gogerty’s Feast live with select performances from Friday, September 25 through Sunday, September 27. This show contains mature content and has its own share of dark notes. Click here to learn more about Theatre Kapow’s 13th season, We Can Get through This and much more.
Feast is an intriguing blend of the classic and contemporary featuring to-the-minute pop culture references while unraveling an ancient mystery. Cleverly self-aware through its philosophies and contextual principles, Carey Cahoon is the hostess of this part conversation and part confessional one-woman show in 75 minutes – no small feat for one person. Opening night had a few technical glitches, but Carey didn’t miss a beat, picking up the moment she left off.
Feast acts as much a warning as a mystery and does not shy away from raw and difficult topics, but Carey’s candor makes these subjects easier to swallow. From government to grief, Feast is not preachy or “political” per se, but you’d be remiss if the conversation doesn’t cause you to look inward.
Carey Cahoon as Agathae Photo credit to Matthew Lomanno Photography/Theatre Kapow
Carey Cahoon is refined, biting, powerful, but most of all compelling as Agathae, an upper-class socialite getting to know the company she is keeping. She handles this complex personality with zeal through her gripping, slow-burn performance and combined with Megan Gogerty’s innovative script, keeps the tension rising as revelations are unveiled.
The show could have been one note and a bit long, but Matt Cahoon’s discerning staging and Tavya Young’s ominous lighting made interesting use of the limited space and various props, especially for an evocative scene involving a curtain. Multi-faceted, shrewd, and on its own calculated mission, Feast also markedly holds onto the famous proverb, ‘Revenge is a dish best served cold.’
Theatre Kapow presents Lauren Gunderson’s ‘Natural Shocks’ from October 23-25 Photo courtesy of Matthew Lomanno Photography/Theatre Kapow
Theatre Kapow continues its 13th season with a live stream of Lauren Gunderson’s Natural Shocks from October 23 – 25. Click here for more information and for tickets.
Ice Dance International’s Executive Artistic Director and choreographer Douglas Webster reflected wistfully as he introduced what was likely Ice Dance International’s final performance on The Skating Club of Boston’s ice rink on Saturday, February 29. With a 100-year reputation of bringing everything from amateur to Olympic skaters to the ice, The Skating Club of Boston has been sold and will move to a much larger facility in Norwood, Massachusetts. During the week of Ice Dance International’s historic performance in Boston, WGBH’s Open Studios’ star Jared Bowen interviewed Ice Dance International’s exemplary ice dancers at WGBH and took to the ice with them for a stunt or two.
ICE DANCE INTERNATIONAL “IN FLIGHT: LIVE” TOUR 2020 FULL Cast Front Row: Laura Seal, Klabera Komini, Lara Shelton, Douglas Webster, Alissa Czisny, Kseniya Ponomaryova; Back Row: Ian Lorello, Neill Shelton, Rohene Ward, Collin Brubaker Not pictured: Adam Kaplan Photo credit to David J. Murray, ClearEyePhoto.com
Ranging from searing romance to lighthearted fun to big band to catching the wind, Ice Dance International’s ‘In Flight: Live’ gave The Skating Club of Boston a proper send off with a sold out show at 1240 Soldiers Field Road in Cambridge, Massachusetts. Ice Dance International, who holds residence at Strawbery Banke Museum in Portsmouth, Massachusetts, is currently on a national tour through April 4. Click here for more information and tickets.
Neill Shelton and Kseniya Ponomaryova in ‘Till the End’ Choreographed by Douglas Webster
Ice Dancing is not competitive skating, but a unique artistic journey on ice. Not only did ‘In Flight’ feature captivating and extraordinary ice dancers that delivered more than their share of eye-popping stunts, but what was most impressive was how different each dance was from the other. Featuring dynamic choreography from Douglas Webster, Trey McIntyre, Stephanee Grosscup, and Benoit Richaud, Ice Dance International delivered a wide range of music from classical to contemporary including pop, hip hop, and ballads evoking stories of heartache, excitement, humor, and passion.
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Just a few of the highlights included a stirring couples skate from Collin Brubaker and Kseniya Ponomaryova called ‘Till the End’ to the haunting ballad, Kissing You by Des’ree. A passionate and bittersweet performance, the pair seemed to float upon the ice as Collin dipped, spun, and lifted Kseniya. They joined together as one before he must let go. Another elegant performance was delivered by Klabera Komini and Neill Shelton called ‘In Space’ choreographed by Douglas Webster with music by Tom Yorke called Suspirium. To a luminous, piano-infused melody with a deeper meaning, the dancers skillfully glided together connected only by a sheer purple scarf.
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Alissa Czisny and Rohene Ward delivered beautiful solo performances. Rohene was charming and humorous in a beard and suspenders in ‘Wind Dancer’ choreographed by Stephanee Grosscup while Alissa was a vision in blue skillfully keeping a precise, quick pace to Yo-Yo Ma’s Cello Suite No. 1 in G Major in ‘Primavera.’
Some lighter moments included a group skate with Collin Brubaker, Adam Kaplan, Ian Lorello, Laura Seal, and Lara Shelton to Ben Kweller and Parsonfield’s How It Should Be. In a dance appropriately called ‘A Blade of Sunshine,’ what looked like a freestyle, fun loving group skate in bright, rich colors culminated into a jaw dropping moment as one dancer dove underneath and through the group of moving dancers and landed on his feet. It’s only one example of the sensational stunts witnessed throughout the evening from daring lifts to high speed spins to impossible twists and turns.
Ice Dance International’s ‘In Flight: Live’ continues its 2020 national tour through Saturday, April 4, concluding in Aspen, Colorado. Click here for more information and tickets. For upcoming events and more, follow Ice Dance International on Facebook.
