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REVIEW: Greater Boston Stage Company adds an illustrated personal touch to uplifting family musical classic ‘Annie’

Posted on June 17 by The Sleepless Critic

There’s nothing like the promise of tomorrow and no one delivers plunky optimism quite like Annie.

Even in the worst of circumstances, Annie can always find a silver lining which can be demonstrated in a moment when a homeless person complains of empty pockets to which Annie responds, ‘At least you got pockets.’

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks in 1933 Depression-era New York. 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, Greater Boston Stage Company proves this steadfast musical favorite never goes out of style.

Livia Quist as Annie and Gideon as Sandy Photos by Nile Scott Studios.

Warmly directed by Tyler Rosati with Bethany Aiken’s uplifting musical direction and Ceit Zweil’s endearing chorography, Greater Boston Stage Company continues Annie: The Hit Broadway Musical live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts. This family-friendly musical classic runs two and a half hours including an intermission. Click here for more information and for tickets.

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 originally watched the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn as well as the late great Albert Finney, I’ve gone on to see Annie film and stage adaptations performed in a variety of ways featuring a small and large cast. Greater Boston Stage Company features a seemingly smaller cast but the sentiment remains the same and is no less effective.

Ainsley Moulton as Molly and Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Katy Monthei’s layered and folded set appears uniquely illustrated by children and opens like a book playfully illustrated with markers and crayons featuring homemade drawings, rainbows, sunshine and a drawn city skyline. However, the most striking are the orphans’ illustrations of their imagined families. The folded set is impressive as it turns to various scenes, but can occasionally create a tighter space for the characters.

The cast of Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Kelly Baker’s costumes run the gamut of 1930s vintage flair featuring a wide spectrum of patterns faithful to the era including pinstripes, plaids and paisley as well as elegant coat and tails, bowler hats, mother of pearl broaches, pinafore dresses, furs and silks.

Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Donning a soft curled redheaded bob, signature red sweater and weathered pinafore dress, Livia Quist portrays a little and mighty Annie with angelic features and big expressive eyes. Quist is one of two Annies that take the stage during this musical’s run. Quist is darling, emotive and has a talent for sadness behind a smile and vice versa. Endearing and sympathetic, she is unlike any other Annie I’ve ever seen. Her powerhouse vocals light up Maybe with delicate yet spunky Ainsley Moulton as Molly as well as the show’s signature song, Tomorrow. In long braids and an earnest smile, Moulton’s Molly is mischievous roaming about in the most unexpected of places and Brianna Brien is also impressive as tough talking bully Pepper who tests Annie several times during the musical.

De’Lon Grant as Oliver Warbucks Photos by Nile Scott Studios

Quist’s Annie shares endearing and lighthearted moments with De’Lon Grant as dapper and driven Oliver Warbucks and charming him into seeing a movie in New York City with her is a particular highlight. De’Lon boasts textured and soaring vocals as workaholic, urgent and tough-minded New York City billionaire tycoon Oliver Warbucks as he pays tribute to his beloved city with N.Y.C. before later performing a tender rendition of Something was Missing. Quist also shines with Michael Sáenz as a jovial FDR.

Ceit Zweil as Miss Hannigan in Little Girls in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

In a black haired bob and a whistle around her neck, Ceit Zweil depicts an exasperated and sassy Miss Hannigan and certainly makes the part her own. Dramatic, smarmy and dreaming of a better life, Zweil’s skilled depiction shows a woman who may have once been glamorous, but spends her days stunned, fed up and dreaming of a better life. Tough and street smart, Zweil is a stylish alto demonstrating a sharp vocal growl, belt and a way of turning a phrase. Zweil shows off her strident vocals for Little Girls as the orphans demonstrate their frequently amusing knack for pushing her buttons.

Tader Shipley as Grace and Ceit Zweil as Miss Hannigan in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Tader Shipley warmly depicts sophisticated and determined Grace Farrell, Oliver Warbucks’s levelheaded secretary. Shipley’s bright eyes enliven with admiration and reverence when speaking of De Leon’s Warbucks. Grace’s breezy yet professional demeanor fits in well with Warbuck’s no nonsense moxie. However, Shipley as Grace’s veiled exchanges and frequent battle of wills with Zweil’s Miss Hannigan are a riot.

Livia Quist and the Orphans in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

The orphans’ version of Fully Dressed and A New Deal for Christmas is sure to make you smile. From feigned footsteps to cowbell to kazoo, sound designer Adam Smith fascinatingly rewinds the clock depicting vintage radio programs and how radio created sound effects in the 30s. Christian David delivers lighthearted flair as jocular radio announcer Bert Healey and the gum chewing New Yorker Boylan Sisters were a treat.

Ceit Zweil as Miss Hannigan, Mark Linehan as Rooster and Kathy St. George as Lily St. Regis in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Polished in a pinstriped and purple paisley suit, Mark Linehan brings pizzazz and charisma as smooth talking Rooster, Miss Hannigan’s conman brother. With local favorite Kathy St. George as Lily St. Regis, they make an amusing, sleazy pair and with Zweil, a trio of conspiratorial adversaries with a rollicking version of Easy Street.

Livia Quist as Annie, De’Lon Grant as Oliver Warbucks and cast in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Wearing thick scarves, layers period hats and surrounded by newspaper headlines, 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. However, from select city shoppers to matching uniformed house staff to government officials, this enthusiastic cast enhances the joy in this classic tale and Giselle’s noticeably vibrant and knowing smile performing a variety of roles capturing this production’s uplifting spirit.

Raise your spirits with Greater Boston Stage Company Annie: The Hit Broadway Musical continuing live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information and tickets.

REVIEW: Kevin T. Durfee’s ‘Scenes of (Dis)Connections’ at NYC’s The Chain Theatre One Act Winter Festival

Posted on March 11 by The Sleepless Critic

Oh, what might have been….

Don’t let the upbeat opening music fool you. This is one intense table.

Three individuals arrive at a poker game. One individual is earnestly present in spite of her current circumstances and two cannot escape their immediate pressures and distractions even though they all share a common goal – to be present together.

Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Written and directed thoughtfully by Kevin T. Durfee, Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City. Due to a blizzard, this program had to be delayed a week. Click here for more information about the production and here for more information about Chain Theatre, which presents over 90 one act productions during its annual winter festival.

Mary McCarthy in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

A small, floral covered table should bring friends together, but they cannot help but misunderstand each other. In their own way, they all secretly plead for help, but cannot be heard. Durfee uses communication breakdown in a clever way to depict each individual’s perspective through Mary McCarthy as struggling mother One, Griffin Garnett portrays struggling worker Another, and Hannah Wu depicts unemployed Alternative. Athleisure, a business suit, and casually dressed respectively fittingly reflect their distinctive life perspectives. They all aptly underline their distress as they long for the comfort of each other’s company, but cannot escape their various individual pressures.

Griffin Garnett in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Confiding and connecting are so important. Durfee was inspired to write this work through his own experiences meeting up with friends and everyone is so engulfed in their current circumstances, they catch up, but may lack genuine connection. Durfee uses potentially life altering circumstances, but lack of connection is so easy to do in friendship or in any relationship, especially when even the lure of a cell phone is enough of a distraction from making a genuine human connection. Listening, connection and confiding can lighten anyone’s struggles even when things happen.

Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Scenes of (Dis) Connections provide just a snapshot of a friendship without a background story, but could be the foundation of a larger narrative. In its brief time, it begs a few questions about these three interesting characters. How they became friends, how they found themselves in these circumstances and how their friendship progresses would make for an excellent larger production.

Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Ryan Blaise and Shannon Adams Creative

Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City. Click here for more information about the production and here for more information about Chain Theatre.

REVIEW: Discovery enriches two short films: A frenetic ‘Subway Crush’ and sophisticated ‘Waltz for Three’

Posted on January 25 by The Sleepless Critic

A simple crush becomes something more.

In a matter of three minutes on a New York City subway, Subway Crush makes a statement about ideas of perception and interpretation that continually resonates in our digital culture. It is a slice of digital life that escalates quickly and stands as a peek into a bigger picture ominously, candidly, and realistically captured by more than one person behind a phone. What is the truth behind what you are seeing and explores one of many ways information can be dangerously misinterpreted.

Still from ‘Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi

Both written and directed by Oriana NG, Subway Crush and French short film Waltz for Three are two profoundly different films. Crush exhibits escalation while a subtle revelation emerges in Waltz for Three. Increasingly feverish and frenetic Crush is candidly captured as it makes a significant statement about our contemporary culture while Waltz for Three is timeless and sophisticated with a stirring emotional core. Yet both films are built in misunderstandings that long to be resolved.

With impactful direction and written by Oriana NG, Subway Crush and Waltz for Three continue to make the film festival circuit and were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.

A quiet encounter has a profound effect on two people.

Surrounded by distinctive finery in a gorgeous castle in France, Agnès feels isolated. Ophélie Lehmann portrays reserved, soft spoken and unassuming Agnès who is quite certain what she wants when she invites Mikaël Mittelstadt as handsome Jean home. However, it is not for the reasons one might expect.

In many ways, French short film Les Trois Valseurs (Waltz for Three) explores two worlds. This multilayered and unpredictable tale has a meaty emotional core for two likable people who have experienced a great deal in very different ways. The film takes its time, but does not drag as these two make discoveries about each other. The costuming and props, includes a distinguished victrola, an ethereal clock and a golden lighter, are delicate, detailed and gleaming and the way the two carry themselves evokes almost a dreamlike ambiance. With hair swept up and adorned in an elegant dress, stately and enigmatic Agnès is mature beyond her years while Mikaël Mittelstadt’s Jean is charming and uncertain with his whole life ahead of him. They share compelling chemistry and perceive each other in a new light as the film unfolds.

Not all the film’s questions are answered and in many ways, the answers aren’t necessary. The genuine moments that gently unfold are encapsulated in their gradual understanding of one another.

Mikaël Mittelstadt and
Ophélie Lehmann in ‘Waltz for Three’

Subway Crush and Waltz for Three were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.

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

Posted on June 12, 2025 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Thinking outside the box is part of the appeal of ‘Class Dismissed’

Posted on May 1, 2025 by The Sleepless Critic

‘It’s easier to imagine the end of the world than the end of capitalism.’

This quote from philosopher Frederic Jameson is one of many reflections studied in this energetic and satirical experimental theatre work, Class Dismissed. This interactive work features a cast of students, teachers and volunteers from the audience. Some of the lighter topics include pillow fights and day drinking.

Director and performer Daniel Irizarry in ‘Class Dismissed’ Photo by Bronwen Sharp

This is no ordinary classroom and the production’s moments of seriousness resonate over the lighter ones. As director and performer Daniel Irizarry states, ‘Knowledge is painfully acquired’ and that resonates on many levels. As in any classroom, pearls of wisdom shine through.

Pepper Binkley in ‘Class Dismissed’ Photo by Bronwen Sharp

Written by Robert Lyons and imaginatively directed by Daniel Irizarry, La Mama Experimental Theatre Club presents ‘Class Dismissed’ live and in person at Ellen Stewart Theatre in New York City through Sunday, May 4. This work runs 95 minutes with one intermission and is also available to live stream. Please bring a book so you may donate it or swap it with an audience member. You can also be a consensual volunteer. Click here for more information and for tickets.

In high socks and pumpkin letterman jackets which is just a glimpse of Hayley Wallenfeldt’s vibrant costumes, these earnest, unconventional and adventurous teachers lend to Florian Stabb’s inventive sound design playing instruments and creating music including makeshift instruments like two skillets and sing a cappella ranging from dance to horn infused rhythms to Italian opera.

Yaraní del Valle Piñero and Rhys Tivey in ‘Class Dismissed’ Photo by Bronwen Sharp

Hallucinating a post-capitalist manifesto, Class Dismissed also focuses on two grad students portrayed by Yaraní del Valle Piñero and Rhys Tivey satirically and at times outlandishly reporting on the state of the world. This creative experimental work can be confusing at times but an intriguing concept and some elements work better than others. As this is interactive and experimental theatre, you won’t see the same show twice and a different artist is featured at every performance. Recent live stream performers were Ji-Young Kim from South Korea’s Seoul Institute of The Arts and Naz Göktan and Efe Çetinel from Bilkent University in Turkey.

Lit-professors Pepper Binkley and Daniel Irizarry explain that they are using two different strategies for two different goals. This work recites as much poetry, prose and noir as it comments on consumerism, pleasure and the established order. You can expect the unexpected in this classroom and these teachers are willing to go to great lengths to deliver a high energy and memorable experience while the students dream about the future.

La Mama Experimental Theatre Club presents ‘Class Dismissed’ live and in person at Ellen Stewart Theatre in New York City through Sunday, May 4. Click here for more information and for tickets.

REVIEW: Searching for reconnection in Central Square Theater with Front Porch Arts Collective’s world premiere of Mfoniso Udofia’s intensely heartfelt ‘Her Portmanteau’

Posted on April 14, 2025 by The Sleepless Critic

Sundays are Abasiama’s good day.

It is on a Sunday that Jade A. Guerra as Iniabasi arrives to New York from Nigeria to reunite with family she has not seen in many years. However with a misunderstanding from the start, reconnecting will prove to more of a challenge than anyone could have imagined.

Profoundly directed by Tasia A. Jones, Central Square Theater with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia‘s Her Portmanteau, the fourth production in the Ufot’s nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Central Square Theater in Cambridge, Massachusetts through Saturday, April 20. This intense bilingual production in English and Ibibio runs 90 minutes with no intermission. It is fascinating to see how these families progress over these nine plays, but you can witness and enjoy one without having seen the others. Click here for more information and for tickets.

Victoria Kanyike and Jade A. Guerra in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Scenic designer Shelley Barish emphasizes family with an Ufot personal touch displaying framed family photos and gold embellishments around Adiaha’s New York City apartment in January 2014. Having seen Ufot’s second production The Grove, it was wonderful to see the progression in the Ufot Family from the earlier production in 2009 evident in the set such as Kimberley’s portraits lying by the door. This stylish apartment is enlivened with splashes of vibrant color in the kitchen and living room as well as gold ropes surrounding it as if symbolically anchoring it in place. Arshan Gailus’s urgent and at times roaring scenic design emphasizes the family’s building tension, making their surroundings occasionally overwhelming. However, the family silences are more deafening that any outside activity. Enclosed in this city apartment, the past is bound to come out.

Jade A Guerra and Patrice Jean-Baptiste in Central Square and Front Porch Arts ‘s Collective ‘Her Portmanteau’ Photo by Maggie Hall Photography

Her Portmanteau continues to build Udofia’s rich characters in each piece and from the moment Jade A. Guerra as serious and direct Iniabasi appears, though she is in the same room as her mother and half sister, they seem continents away. At first, you wonder if this is due to a language barrier or something more. Iniabasi is as short, awkward and defensive as Lorraine Victoria Kanyike as Adiaha is thoughtful, chatty and earnest in making Iniabasi comfortable. Kanyike and Guerra share some notably humorous moments as they struggle to understand each other sharing quips and slights comparing their contrasting upbringing. With an occasional nervous chuckle, Kanyike’s Adiaha exhibits anxious and yet it is interesting to witness charisma and confidence in Adiaha who has clearly come into her own while Patrice Jean-Baptiste depicts Abasiama, their loving yet complicated mother.

Victoria Kanyike and Patrice Jean-Baptiste in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Family tension and strain is palpable right from the start and it is intriguing to watch this impressive cast try to break it in a mix of humorous, intense, and painfully relatable moments. Jean-Baptiste exhibits a carefully executed mix of excitement, curiosity and apprehension as she searches for avenues of reconnection while still dealing with her own struggles and trauma with quiet and harrowing strength. Patricia Jean-Baptiste and Guerra share stirringly complex scenes in their strained conversations and Udofia’s moving dialogue. Rooted in love, anger, brokenness and resentment, they misunderstand each other in vast and impactful ways searching to a sense of belonging speaking from different worlds and yearning for middle ground.

Patrice Jean-Baptiste and Lorraine Victoria Kanyike in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Her Portmanteau is a remarkably moving chapter about family. It contains struggles and conflict as well as surprising and heartwarming discoveries that were simply wonderful to watch unfold.

Central Square Theatre with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia ‘s Her Portmanteau live and in person at Central Square Theatre in Cambridge, Massachusetts through Saturday, April 20. Click here for more information and for tickets.

REVIEW: Life’s meaning through theatre in Harbor Stage Company’s witty ‘My Dinner with André’

Posted on March 25, 2025 by The Sleepless Critic

Dinner with a friend or a long lost and former long time mentor can have its moments.

However, when it’s co-written by multitalented comic, character, and voiceover actor Wallace Shawn and actor, director and playwright André Gregory, it becomes an intriguing venture into the power of theatre.

Harbor Stage Company presents an original adaptation of My Dinner with André live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, March 30. This production is 90 minutes with no intermission. Click here for more information and for tickets.

Jonathan Fielding and Robert Knopf in Harbor Stage Company’s ‘My Dinner with André ‘ Photo by Joe Kenehan

The “inconceivable” villain Vizzini in film classic The Princess Bride, the voice of Rex the dinosaur in the Toy Story series, and Young Sheldon’s eccentric physics mentor are just a few of Wallace Shawn’s most popular roles. Though My Dinner With André was created before these later successes, this critically acclaimed 1981 indie film starring Shawn and Gregory in the title roles gained its own cult following, especially among theatre lovers. Wallace’s voice and presence is always distinctive and the writing in this piece offers glimpses of that intellectual charm, wit and humor in little moments of life’s realizations and nuances. However, it should be noted that these two characters are not necessarily patterned after this co-writing duo, even if they are named after them.

Harbor Stage Company received special permission from Wallace Shawn and André Gregory to adapt this film to the stage for the first time in the United States and it translates beautifully. It transforms it into theatre within a theatre experience and this adaptation is so naturally done, that it is hard to imagine that Dinner with André was not originally a stage production.

Set in a stylish corner booth enhanced by John Malinowski’s soft and atmospheric lighting, Evan Farley elegantly creates an authentic upscale restaurant ambiance. Framed reflective mirrors above the colorful booth and fine details of the embossed crown molding complete this inviting set design as classical music including Satie’s Gymnopédie plays gently in the background.

Jonathan Fielding portrays anxious out of work actor Wallace who is dreading having dinner at a fancy French restaurant in New York City with Robert Knopf as André, mainly because Wallace is not sure what to expect. What transpires is a sophisticated three course meal that dives deep into life’s mysterious meaning, city life, the art of theatre, the artists’ past experiences, and philosophizes about what is truly important as the next adventurous course is served. Their exchanges on humans and robots seem timeless as if this production was written yesterday.

Robin Bloodworth, Jonathan Fielding and Robert Knopf in Harbor Stage Company’s ‘My Dinner with André ‘ Photo by Joe Kenehan

My Dinner with André makes thought provoking observations on theatre and how it applies to and reflects reality and the conversation often veers into an unexpected direction which could come off as awkward had not been for the skilled instincts of these two actors and their observance and self aware comic timing. Gregory tells outlandish stories about his life experiences and experiments and how it relates to theatre. Wallace seems a little more guarded and the bemused look on Fielding’s face as Andre’s stories get more bizarre perhaps reflects the audience’s amazement among those anticipating a twist.

While Fielding’s Wallace is frank and forthright with a casual charisma as he engages the audience, Knopf’s charisma lies in his intimate and confiding demeanor with Fielding and warm exchanges with Robin Bloodworth as the attentive waiter. André seems more of an adventurer in search for greater meaning while Wallace is contented in the little things. Knopf can certainly hold an audience in his deep and animated exchanges with Fielding and their good natured debating is always done with mutual respect.

Cut out all the noise and have dinner with André, especially if you love theatre. My Dinner with André blends insightful banter, witty dialogue and subtle humor into a memorable reunion among friends.

REVIEW: From comedy to complication in Erin Moughon’s ‘Escape (The Pina Colada Song), Kevin Cheng’s ‘Dear Diary,’ Pascal Phoa’s ‘Last Train to Nevada’ and Kevin T. Durfee’s ‘Between the Wired Fence’ at NYC’s The Chain Theatre One Act Winter Festival

Posted on February 28, 2025 by The Sleepless Critic

From traumatic to comical to poignant, Program #9 explores a variety of struggles among two people from strangers to spouses including grief, circumstances or growing apart.

Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Erin Moughon’s Escape (The Pina Colada Song), Kevin Cheng’s Dear Diary and Pascal Phoa’s Last Train to Nevada are 15 minute One Act productions Kevin T. Durfee’s Between the Wired Fence runs 45 minutes. Click here for more information and for tickets.

Aren’t most breakups complicated? However, this particular one is on another level.

Claire Shiell and Matthew Menendez in Erin Moughon’s Escape (The Pina Colada Song) Photo courtesy of Chain Theatre

Candidly directed by Perryn Pomatto, Erin Moughon’s Escape (The Pina Colada Song) shares too small a snapshot into a relationship with quickly building tension as a woman breaks the news to her boyfriend that she wants to break up with him. What ensues is outside the expected as Claire Shiell and Matthew Menendez share some humorous moments unleashing frank relationship truths along the way building to a fascinating revelation. Escape leaves more questions that beg for a prequel or a sequel to this one act.

Elizabeth McBryde and Kevin Cheung in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin

With ruminating direction by Emily M. White, the cherry blossoms are in bloom as Elizabeth McBryde as reserved Josie settles on a Central Park bench to verbalize her thoughts in her daily journal entry in Kevin Cheng’s Dear Diary. However, her sensible thoughts are interrupted by an encounter with Kevin Cheng who is memorable as optimistic and cheerful Pablo practicing a speech. Dear Diary is poignant and funny with more to the story that Josie can reveal as disarming Pablo charms her into helping him out and they discover more about one another.

Elizabeth McBryde and Kevin Cheng in Kevin Cheng’s ‘Dear Diary’ Photo by Genda Lin @gendalin

What if escape is your last hope?

Pascal Phoa’s Last Train to Nevada focuses on a couple who are running out of options in 1942. Their only hope of being together requires a drastic change that is sure to change both their lives. With stirring direction by Yibin Wang, Pascal Phoa portrays an uncertain Freddy and Gwyneth Benitez-Graham as a despairing Ida from different countries in a dangerous and intolerant climate. Phoa and Graham bring complexity to their character’s motivations as time is running out and they are in urgent need of an answer.

Pascal Phoa and Gwyneth Benitez-Graham in Pascal Phoa’s ‘Last Train to Nevada’ Photo courtesy of Chain Theatre

At some point, something has to give.

Written and directed by Kevin T. Durfee, Between the Wired Fence reflects on timing and aspiration as a couple metaphorically stares at one another from two sides of a figurative fence.

Elisa Falanga and Shannon Adams-Gray in Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre

Shannon Adams-Gray offers a thought provoking performance as overwhelmed but successful financial adviser Sawyer who was once an aspiring actress. Daniel Bishop portrays Odie, Sawyer’s spontaneous and intuitive husband who tries to help her cope as he pursues a career in performance art. Bishop as Odie’s outlandish and over the top persona is a seeming contrast to Adams-Gray as Sawyer’s forced sensibilities, but there lies an underlying charm and clear bond in their brief stage time together.

Daniel Bishop Kevin T. Durfee’s ‘Between the Wired Fence’ Photo courtesy of Chain Theatre

When Elisa Falanga delivers a mysterious package, it springs forth an eye opening reckoning for Sawyer and a new understanding on how they can both move forward.

Between the Wired Fence offers humor and insight on both sides of the fence into life’s delicate timing while touching upon the anxieties and pressures of the world and what it means to succeed.

Chain Theatre’s One Act Winter Festival continues both live stream and in person at the Chain Theatre in New York, New York through March 2. Click here for more information and for tickets.

REVIEW: Fueled by intricate and electrifying dance rhythms, American Repertory Theater’s ‘Diary of a Tap Dancer’ an inspiring and remarkable journey

Posted on December 28, 2024 by The Sleepless Critic

Ayodele Casel has so much to say and masters the best way to say it as a dancer once advised her, “You have all the vocabulary. You just need to speak.”

Ayodele Casel (creator, choreographer, performer) in performance for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

An immediately engaging bilingual tribute to tap dance and much more written and choreographed by acclaimed dance dynamo Ayodele Casel and directed with gusto by Torya Beard, American Repertory Theater (A.R.T.) continues the world premiere of Diary of a Tap Dancer live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Saturday, January 4. The production runs two hours and 30 minutes including one intermission. Click here for more information and for tickets.

Ayodele Casel (creator, choreographer, performer) dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer Photo by Nile Scott Studios and Maggie Hall

Contemplating who tap belongs to, Diary of a Tap Dancer is a genuine, deeply personal and revealing story as Ayodele Casel, a woman of color, explores different eras of her life in two worlds and infusing it into her artistry. Set to symbolic and pulsing dance rhythms, Ayodele shares her story while recognizing other trailblazing dance and tap masters in an emotionally charged journey taking her from the Bronx to Puerto Rico and more. Born in 1975, it makes a powerful and profound statement through her art which includes determination, gumption, and persistence rising from her challenging upbringing to wonders unknown while making unexpected discoveries about herself along the way.

The cast dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer Nile Scott Studios and Maggie Hall

Casel is charismatic, inviting and natural as she searches for her destiny, culture, identity and acceptance sharing her reflections, insecurities, rage, disappointment, pain, humor, and sheer joy for her art infused in each step. Her snappy, exciting and sleek choreography commands the stage as she joins talents Naomi Funaki, Afra Hines, Quynn L. Johnson, Funmi Sofola, Liberty Styles, Annaliese Wilbur, and Ki’Leigh Williams in driving and exhilarating rhythms. Each dancer also effectively steps into various roles as Casel makes connections in this fascinating narrative.

Liberty Styles (performer) and Ayodele Casel (creator, choreographer, performer) in production for A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

The star of this show is the dance illuminated with finesse by lighting director Brandon Stirling Baker in brilliant, gleaming and layered spotlight. Camilla Dely’s partially vaudeville-inspired costumes cross the classic with the contemporary featuring bow ties, top hats, suspenders, colorful street wear and billowing skirts.

Musically directed by Nick Wilders, an intimate onstage orchestra produces catchy rhythms composed of various instruments including Bomba drums by Keisel Jiménez Leyva so infectious, I could not help but bop my head to the beat.

Sharath Patel’s distinctive and energetic sound design combines nature and concrete jungle with honking horns, chirping crickets, and barking dogs that hold personal meaning of Casel’s upbringing in the city and Puerto Rico. Projection designer Katherine Freer captivates with transforming scenic projections that span from glowing diary writings that include Easter eggs within the production to stunning island sunsets and starlight to water color skies to graffiti decorated brick city buildings to images of Casel’s inspirations on Tatiana Kahvegian’s meticulously positioned scenic design.

Not only does Casel ruminate on her life, but historically explores the lives of a wide spectrum of inspiring dancers from chorus girls to Ginger Rogers who dedicated numerous hours to their craft facing pain, obstacles, oppression, racism, injustice and competition along the way. Casel’s immense love for the Golden Age of Hollywood to a wide range of music also inspires her incredible love for dance.

The cast dances in A.R.T.’s world-premiere production of Diary of a Tap Dancer. Photo by Nile Scott Studios and Maggie Hall

Diary of a Tap Dancer takes a relatable look at the dreaming, time, over thinking, worry, endless hours, tenacity, gumption, persistence, sheer grit and determination to dedicate to what you love no matter what which are lessons that transcends tap, but to any ambition.

Make time to see American Repertory Theater’s world premiere of Diary of a Tap Dancer continuing live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Saturday, January 4. The production runs two hours and 30 minutes including one intermission. Click here for more information and for tickets.

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

Posted on December 27, 2024 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.