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REVIEW: No stopping this beat in Sullivan Rep’s vibrant and uplifting ‘Hairspray’

Posted on February 28, 2025 by The Sleepless Critic

If only we can all have Tracy Turnblad’s unwavering optimism and this much dancing in my own life.

‘I’ll eat some breakfast and change the world’ is just one of the confident lyrics that Nora Sullivan as tenacious Tracy declares in Good Morning Baltimore while dreaming about dancing on television in 1962 Maryland.

Nora Sullivan as Tracy in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

With a glowing chandelier above, Sullivan Rep kicks off its second season fittingly lighting up an American Legion dance floor with scattered colorful platforms and an energetic groove in Hairspray, an upbeat romantic musical comedy that just might lift anyone’s spirits.

With exuberant direction and choreography by Dan Sullivan as well as creative music direction by Jenny Tsai, Sullivan Rep continues Hairspray live and in person at the American Legion in Newton, Massachusetts through Saturday, March 1. This theatre in the round production is approximately two hours with one intermission. Click here for more information and for tickets.

Featuring a large and lively cast, Hairspray has always been an upbeat production while infusing important messages about body positivity, bullying and racism boasting a hopeful and bubbly lead that believes anything is possible. What I enjoyed most about this particular production of Hairspray is its vibrancy and constant motion demonstrated while scenes unfold simultaneously on colorful platforms as dancers spin, turn and flow in DW’s vivid and elegant costumes into each changing scene. For example, Good Morning Baltimore depicts Tracy’s world with infectious rhythms and clever staging as Eve Harrison as Tracy’s best friend Penny and Tracy pour over an authentic retro television set surrounded by what they are seeing on the screen. Not only is the audience treated to the action onstage, but to Tracy and Penny’s reactions to what they are witnessing.

Jack Magan as Link Larkin and Nora Sullivan as Tracy in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Another highlight is demonstrated in Big Doll House which infuses tap and portable and intersecting bars that elevate the comedy and the chemistry between the actors and as hula hoops spin, teen rebellion takes charge as Eve Harrison, Emily Lambert as Amber Von Tussle and Sullivan sound off on their own individual microphones for Mama I’m a Big Girl Now.

Kevin Hanley as Corny Collins and cast in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Tracy dreams of performing on Baltimore’s teen dance TV show The Corny Collins Show and winning the heart of Link Larkin, a council member and heartthrob performer on the show as Tracy demonstrates in the love struck and beautifully staged I Can Hear the Bells. Sullivan exudes charm and an imaginative turn of phrase as Tracy in a jovial performance with pretty vocals that expel spontaneous and comical shrieks of teen excitement during various parts of the production. Eve Harrison as Penny and Sullivan’s Tracy share a fun loving rapport in exciting teen high jinks. Jack Magan depicts heartthrob Link with smiling eyes and a mix of openness and charisma sharing some amusing scenes with Tracy. Marell Perry is cool and collected delivering smooth and distinctive vocals as Seaweed J Stubbs, especially for the catchy number Run and Tell That. Kevin Hanley is disarming as classically handsome Corny Collins for its title track while Katie Van Clark as Velma Von Tussle and Emily Lambert as Amber Von Tussle make for an impressive egotistical, calculating, manipulative and at times a bit unhinged mother daughter team out to win. One of Lambert’s funniest moments was when she shouted, ‘What happened to the bland and spineless guy I fell in love with?’ and boasts sharp vocals in the number Cooties.

Jack Magan as Link Larkin in Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Tim Lawson revels in his role as Tracy’s once aspiring designer mother Edna and Kai Chao is delightful as Tracy’s inventor father Wilbur during a sweet rendition of You’re Timeless to Me.

Lizzy Pierre Saint as Little Inez and Hanifa as Motormouth Maybelle in Sullivan Rep’s ‘Hairspray’

Whether delivering the playful and bluesy Big Blonde and Beautiful or a moving rendition of I Know Where I’ve Been, Hanifa offers passion, charisma, and stylish vocals as Motormouth Maybelle. Whether portraying a principal at the end of his proverbial rope, a wild bailiff or taking control of a TV shoot, Anthony Rinaldi manages to make each of his roles amusingly memorable.

The Dynamites of Sullivan Rep’s ‘Hairspray’ Photo by Sullivan Rep

Get up and see Hairspray continuing live and in person at the American Legion in Newton, Massachusetts through Saturday, March 1. 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.

REVIEW: Domestic bliss takes a spooky turn in Sullivan Rep’s immersive ‘Blithe Spirit’

Posted on October 30, 2024 by The Sleepless Critic

It is much more interesting to feel part of the dinner party.

Surrounded by a glowing fireplace and mantel, a grandfather clock, a vintage piano, stained glass doors and a Victrola inside a cozy living room, Sullivan Rep truly sets the stage for an immersive experience. As house guests, audience members are strategically placed without a bad seat in the house to become an intimate observer in this enclosed space.

In light of the 125^th anniversary of Noel Coward’s plays directed by Dan Sullivan, Sullivan Rep performed Noel Coward’s haunting comedy Blithe Spirit live and in person from October 16 through October 26 live and in person at the Women’s Club of Newton Highlands in Newton, Massachusetts. The three act production was 2 hours and 40 minutes with an 20 minute intermission. Click here for more information and for more on Sullivan Rep’s future events.

of Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

Though Blithe Spirit is partially an otherworldly experience, it is also a comedy on marriage and much more. Set in the early 1940’s, Robert Orzalli as novelist Charles and Melissa Paz as Ruth are a well to do married couple who decide to hold a dinner party with guests Brian Higgins as dubious Dr. Bradman and Carly Evans as distinctively merry Mrs. Bradman and a séance featuring Catherine Lee Christie as medium Madame Acarti. The two couples are skeptical and consider it entertainment until something goes eerily awry.

Brian Higgins, Melissa Paz, Catherine Lee, Robert Orzalli and Carly Evans in Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

Blithe Spirit is helmed by a supremely capable cast. With an eccentric and enthusiastic delivery selectively rolling her R’s in a singsong lilt, Catherine Lee is a captivating scene stealer as Madame Acarti. In bright purple stockings and distinct boots, Lee humorously and masterfully encapsulates Madame Acarti infusing her subtle and unique idiosyncrasies into her daily mannerisms. A particularly fascinating highlight is Lee’s kicks and peculiar dances as she attempts to tap into the spirit world.

Catherine Lee as Madame Acardi in Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

Robert Orzalli as sophisticated intellectual Charles shares an elusive tension with his new wife Ruth portrayed by Melissa Paz. They seem a happy couple and supremely cordial at first, but the mood becomes strained when Ruth asks Charles about his late wife. Logical, matter of fact and persistent, Paz also depicts Ruth with an underlying anxiety in her demure mannerisms as Charles evaluates his late wife mostly on her flaws.

Robert Orzalli in Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

In silver from head to toe in Bridget Sullivan’s amazing hair and makeup design, Janis Hudson portrays youthful, spontaneous, and confident Elvira, Charles’s late first wife. Noel Coward’s dialogue can be complicated to pull off because it often contains overlapping and parallel conversations. To see these separate relationships and snappy conversations so distinctly articulated with sharp comedic timing especially between Orzalli, Paz, and Hudson is quite a feat. Ozalli’s Charles is refined, a bit narcissistic and is quite enjoying the attention while comically navigating these conversations. Blithe Spirit is about domestic bliss and dysfunction simultaneously and it is both fascinating and amusing to see how this trio pushes each other’s buttons and sparks fly in such an intimate setting.

Silk gowns and gloves, tuxedos, pearls, and diamonds are just a part of the Dan Sullivan’s primarily elegant costume design. Paul Roach’s sound design features popular music of the time and a key component in some of the production’s clever special effects with Eric Fox’s mood infused lighting.

Melissa Paz and Robert Orzalli in Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

Blithe Spirit is a bit lengthy, but the suspense certainly builds in a darkly comical way and contains a few powerful twists and lasting observations about love and marriage before it brings this production to its wild conclusion.

Sullivan Rep performed Noel Coward’s haunting comedy Blithe Spirit live and in person from October 16 through October 26 live and in person at the Women’s Club of Newton Highlands in Newton, Massachusetts. Click here for more information and for more on Sullivan Rep’s future events.

REVIEW: Sullivan Rep’s ‘A Little Night Music’ soars

Posted on June 18, 2024 by The Sleepless Critic

Love is in the air among the rich and glamorous…elusive and oftentimes fleeting.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8. This production was not for children and ran approximately two hours with an intermission. Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions.

The cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Having never seen A Little Night Music before, it was with great anticipation to witness another classic Sondheim production. A Little Night Music was first staged on Broadway in 1973 and was revived on Broadway in 2009 starring Angela Lansbury as Madame and Catherine Zeta-Jones in her Tony award-winning performance as Desiree. Send in the Clowns is one of my favorite Broadway songs and it was exciting to finally see it performed in the context in which Sondheim intended.

Veronica Anastasio Wiseman and Libby Sweder in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Set in 1900s Sweden, Sondheim’s A Little Night Music has bit of a soap opera vibe focusing on the jaded love lives and lifestyles of the upper class emphasized in the number, The Glamourous Life which is sung by some questionably moral aristocratic characters who lead anything but a mundane daily routine and where absolutely nothing is out of reach. In a black dress and burgundy sash, accomplished matriarch Madame, cleverly and amusingly portrayed by Veronica Anastasio Wiseman, decides to advise her granddaughter, an adorably precocious Libby Sweder, in the ways of the world. Surrounded by several love triangles, Sweder soon learns that the world is far more complicated, especially among the privileged.

The Newton Town Hall, though the acoustics had a bit of an echo that muffled some lyrics, was an ideal setting for this sophisticated production with its sterling piano, marble floors, a candelabra and the full orchestra refreshingly set above the stage and cleverly utilized in a brief play-within-a-play scene. An opulent table setting and a countryside picnic arranged by cast members are part of Rick Grenier’s ornate properties design. DW emphasized this regal atmosphere with upscale Edwardian attire featuring lace, stately coat tails, and long silk gloves embellished by ritzy and sparkling jewelry and adornments.

A Little Night Music’s refined cast have a sense they are a cut above the rest and prove it mastering complex harmonies, powerful vocals and droll comic timing. Led by Veronica Anastasio Wiseman as Armfeldt matriarch Madame, Wiseman huffs and admonishes with the best of them musing about today’s Liasons with rapier wit, ‘Where is the style? Where is skill? Where is forethought? Where is the discretion of the heart?’ knowing full well she leads this glamorous life for good reason. Wiseman and Sweder share an intimate and knowing camaraderie and it is fascinating to see how Sweder responds to her surroundings.

With a shriek and bubbly childishness, Rebekah Rae Robles impressively embodies lively and youthful teenager Anne who happens to be married to much older, wealthy and experienced attorney Fredrik, enigmatically depicted by Brian Higgins. It is not immediately evident Fredrik’s motives for marrying her and it is strangely comical to see them together in her innocence. Fredrik’s eyes shine fondly with former love, Desiree for a reflective rendition of You Must Meet My Wife.

Andrea Giangreco, Rebekah Rae Robles and the cast of Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

In glasses and a sweater vest, Jacob Thomas Less depicts smart, ambitious and neurotic Henrik, son of Fredrik. Awkward and sweet, Less meaningfully conveys Henrik’s sincere and frustrating invisibility in this world of excess and longs to be understood demonstrated in an earnest rendition of Later, part of a vocal trio for Now/Later/Soon.

Jacob Thomas Less in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Andrea Giangreco is a standout as Charlotte with wonderful dark humor and enchanting vocals as Anthony Rinaldi as Carl-Magnus’s long suffering and conflicted wife. Everyday a Little Death with Rebekah Rae Robles as Anne is a solemn and tender duet and Giangreco’s witty and sympathetic portrayal and solid vocals makes it easy to root for her. Giangreco shares some very funny moments with scene stealing Rinaldi as plotting and conceited military dragoon Carl-Magnus as he storms and struts around the stage with an entitled air and an over the top sneer emphasized in a soaring rendition of In Praise of Women.

Anthony Rinaldi in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As a big fan of Into the Woods, there is a gleam of similarity to where Sondheim might have been inspired for his later works in A Little Night Music. For example, the contemplative duet It would have been Wonderful featuring Brian Higgins as Fredrik and Anthony Rinaldi as Carl-Magnus share lighthearted and humorous reflections similar in comic tone to the Into the Woods’s duet in Agony featuring two rivals that may share more in common than they think. Higgins and Rinaldi’s absurd reasoning keeps their ridiculous rivalry interesting.

Nora Sullivan in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

Nora Sullivan masters the quick paced vocals prevalent in Sondheim’s works in a commanding rendition of The Miller’s Son as flirtatious and spontaneous Petra who savors each passing day. In tight red curls, Carly Evans portrays renowned actress Desiree who falls for an old love which quickly becomes much more complicated than she ever anticipated.

Carly Evans and Brian Higgins in Sullivan Rep’s ‘A Little Night Music’ Photo by Doug Keene

As for Send in the Clowns, Evans as Desiree delivers a moving rendition that is winsome and rueful, reminding me why I love that song in the first place.

Elegantly directed and choreographed by Daniel Sullivan with excellent music direction by Jenny Tsai, Sullivan Rep is in the middle of unveiling its first ambitious season and recently presented Stephen Sondheim’s classic, Tony award-winning musical farce, A Little Night Music live and in person at Newton Town Hall in Newton, Massachusetts through Saturday, June 8. This production was approximately two hours with an intermission. Click here for more information and to take a closer look at Sullivan Rep’s upcoming productions.

REVIEW: Featuring Grammy award-winning mezzo-soprano Krista River and special guest musicians, A Far Cry ended season with a stirring ‘Sunset’

Posted on May 23, 2022 by The Sleepless Critic

Having witnessed A Far Cry’s triumphant return to performing live and in person last September as they kicked off their 15th season with Circle of Life, it was an honor and fitting to review Sunset, A Far Cry’s final concert of the season. Sunset was originally scheduled for March 2020 and this Grammy-nominated, self-directed chamber orchestra was thrilled to finally present it onstage. With a heartfelt introduction by Sarah Darling, Boston-based A Far Cry brought a diverse repertoire of suspense, tragedy, and soaring vocals by mezzo-soprano Krista River before joining a collection of promising musicians including Project STEP for a robust finale.

A Far Cry criers at Jordan Hall Boston MA Photo credit to A Far Cry

Following opening group Project STEP, A Far Cry took the gorgeous Jordan Hall stage in Boston, MA for their final concert on Friday, May 13 for 90 minutes with no intermission. A Far Cry will cap off their 15^th season with a Spring Soiree on June 1 at the Nathaniel Allen Center for Arts and Culture in Newton, MA. The event includes a sneak peek of next season, outdoor cocktails, hors d’oeuvres, and a charity auction with the option to attend in person or virtually. Click here for more information and here for a look at A Far Cry’s upcoming season.

Grammy-nominated Chamber Orchestra A Far Cry Photo courtesy of A Far Cry

Elegantly dressed in flowing dresses and suits, A Far Cry opened their final concert with all 18 criers for Julius Eastman’s Joy Boy. A piece likened to the feeling of falling in love, Joy Boy has a trickling and mounting intensity as the orchestra gradually comes to life. It is fascinating to watch the ebb and flow in Joy Boy’s soothing opening rhythms which escalate to a gripping crescendo before lulling into its resonating finale.

Imagine moments before a stunning discovery in a suspenseful film. That’s the escalating tension built around Lutoslawski’s fiery Musique Funebre, Spanish for Funeral Music. A Far Cry performs this chilling and somber dirge with rich, Hitchcockian flair enhanced by a stroke of the viola and plucking, creeping rhythms. Fueled by searing drama and violin-tinged, pulsing urgency, A Far Cry plays furiously to bring this masterful work to an exciting and astounding climax that might leave you with a few goose bumps by the finale.

‘Il Tramonto Photo credit to Sarah Darling/A Far Cry

Led by Grammy award-winning mezzo-soprano Krista River’s airy and soaring vocals, A Far Cry took on Respighi’s classic piece, Il Tramonto, which is an Italian phrase translated as The Sunset. It is a popular piece having been featured in films such as the western classic, The Good the Bad and the Ugly. Adorned in a shimmering blue gray gown with her hair swept into an updo, River’s expressive vocals and her stirring countenance brings out the surreal poignancy of this tragic romance. Based on a poem by Percy Bysshe Shelley, Il Tramonto has a moving story behind it and possibly inspired by a real life disaster in Indonesia.

Mezzo-soprano Krista River Photo credit to A Far Cry

A Far Cry recalled how music has been “cathartic journey” and like many in the arts and beyond, the love for the arts has been tested, especially in the last few years. Joined by promising musicians in New England Conservatory, NEC Prep, and Project STEP, A Far Cry brought this concert to a robust and wondrous close with Vicente Lusitano’s Aspice Domine and Ralph Vaughan Williams’s Fantasia on a Theme, the latter dedicated to an inspiring teacher that encouraged young musicians to pursue their musical aspirations. Highlighted by a duo of skilled violinists, this group of musicians brought A Far Cry’s 15^th season to a glorious close with a mix of fragility, power, and a stirring finale.

Students in Project STEP Photo credit to Project STEP/A Far Cry

A Far Cry will cap off their 15^th season with a Spring Soiree on June 1 at the Nathaniel Allen Center for Arts and Culture in Newton, MA. The event includes a sneak peek of next season, outdoor cocktails, hors d’oeuvres, and a charity auction with the option to attend in person or virtually. Click here for more information and here for a look at A Far Cry’s upcoming season.

Flutist Sarah Paysnick delves into Grand Harmonie’s rollicking ‘March Madness’ concerts

Posted on March 17, 2017 by The Sleepless Critic

For a musician, choosing the right instrument is the key to success. For Grand Harmonie flutist and co-founder Sarah Paysnick, family and Sesame Street played a big part in her choosing the right one. When a group of successful musicians got together to pursue something new and exciting, the innovative and eclectic music ensemble, Grand Harmonie was born.

Grand Harmonie in action Photo courtesy of Sarah Paysnick

Grand Harmonie will deliver March Madness, two exciting and inventive concerts that mixes a little bit of everything. Featuring conductor Scott Allen Jarrett and soprano Jacquelyn Stucker with horn by Yoni Kahn, March Madness kicks off on Friday, March 24 at Arts at the Armory in Somerville, Massachusetts at 7:30 p.m. On Sunday, March 26, March Madness will take the stage at the Second Church of Newton in West Newton, Massachusetts at 3 p.m.

Grand Harmonie Scott Allen Jarrett conductor

Grand Harmonie conductor Scott Allen Jarrett Photo courtesy of Scott Allen Jarrett

Sarah Paysnick discusses her music career, Grand Harmonie’s educational outreach, the excitement behind Grand Harmonie, and a closer look into March Madness. Click here for more information and for tickets.

Jeanne Denizard: What first sparked your interest in music and what inspired you to pursue it as a music career?

Sarah Paysnick: In kindergarten, many of my friends started learning piano. They would teach me what they were learning, so I begged my mom for piano lessons. I remember wanting to quit after a short time, but my mom told me I had to finish the year. A few years later, many of my friends started learning string instruments. I have a cousin my age that played the violin and she’d teach me when we got together. When I told my mom I also wanted violin lessons, she said that I have two cousins who play the violin and I should pick something else. Watching Bob on Sesame Street and because another cousin was learning it, I decided on the flute.

In 4th grade, when asked what we wanted to be when we grew up, I said I wanted to be a cantor because Judaism and music were important to me. I didn’t have proper training as a singer. Something told me, over the next few years, it would exclusively become a music career even though Judaism is still important to me. I never really thought about doing anything outside of music, though my music path has taken me in a variety of directions. Ultimately, it led me to historical performance on flutes and teaching piano to children.

JD: How did you become a founding member of Grand Harmonie and what do you enjoy most about this group?

SP: I knew Yoni Kahn, our horn player and soloist for this concert! With Yoni Kahn and a couple of other founding members, we were interested in starting something new and exciting. Though my favorite music to perform falls a bit earlier than Grand Harmonie’s core repertoire, I am constantly inspired by my colleagues who push me every day to be a better musician and honored to be an organizing member of the kind of ensemble people enjoy working with. Everyone has such a positive, generous attitude and it’s infectious!

Yani Kahn, horn Photo courtesy of Grand Harmonie

JD: Grand Harmonie is very versatile and can transform from a symphony orchestra to an opera orchestra, or even become a chamber ensemble. Is the unexpected part of what sets Grand Harmonie apart from other groups?

SP: Yes, Grand Harmonie is a bit of a moving target. People attempt to put us into a box and we don’t fit into one. Every performance is different, but it also makes anything possible!

JD: Grand Harmonie will be touring through Somerville and Newton on March 24 and 26 for March Madness. Is this Grand Harmonie’s first time performing March Madness? Where did the idea come from?

SP: This is our first time doing this performance as well as splitting up the movements of a symphony and sprinkling them throughout a concert. In the 19th century, performances were quite different than they are today. Maybe a full symphony wasn’t performed or it was performed in its entirety but not straight through. Perhaps a small chamber ensemble gave listeners a break from the big symphonic sound or a soprano would delight everyone with her beautiful voice.

Grand Harmonie Jacquelyn Stucker Soprano

Jacquelyn Stucker, soprano for March Madness Photo courtesy of Jacquelyn Stucker

These concerts were a social event and audiences didn’t remain silent as they think they are expected to today. Grand Harmonie wants to break the tension and allow people to clap when they want to, explore the space around them, and enjoy the concert without fear of getting stared down if they clap at the wrong moment or make a noise during the music.

On Friday night, the cash bar at the Somerville Armory will be open all night. Through a generous donation from Aeronaut Brewing Company, the first 30 ticket purchasers will receive one free beer! On Sunday in Newton, we encourage people to relax and enjoy themselves, but the concert will not include alcohol and will be a more traditional performance.

JD: This concert will be a particularly intimate and uplifting concert experience since it will take place in-the-round. Additionally, Grand Harmonie will deliver classical pieces in an entirely unique and rollicking way. Putting something like that together must have been a lot of fun.

SP: Friday’s show is a really exciting experiment in how to make a “classical” concert more accessible and we can’t wait to experience it with our audience! Sunday’s show will be more traditional with the audience in pews and the orchestra in front, but we still expect it will be a rollicking good time!

JD: For March Madness, Grand Harmonie weaves Mozart, Beethoven, and Weber into one big concert. You have a unique way of breaking up Beethoven’s First Symphony during this “in the round” concert experience.

SP: It may sound unique to split up a symphony today but this was not unusual in the 19th century! Sometimes even a single movement was chosen for a particular program.

JD: Grand Harmonie also participates in educational outreach. Please tell me about that.

SP: Grand Harmonie has given master classes at the Longy School of Music at Bard College, MIT, and Harvard, among others. We have also given informational lecture/demonstrations at MIT and Yale’s Lewis Walpole Library. We love sharing what we’ve learned with musicians and music enthusiasts young and old! Audience members are very curious about our instruments and we are happy to engage with them.

JD: A few Grand Harmonie concerts are coming up before the end of the season. Please tell me about Grand Harmonie’s future plans.

SP: March Madness is the official close of our season, but we have plenty coming up! We will be performing Haydn’s The Creation with Edward Jones and the Harvard University Choir and Mendelssohn’s Symphony No. 2 Lobgesang with Edward Jones and the Harvard-Radcliffe Chorus. We have loved working with Ed at least once a year since we began and it’s fair to say we have a mutual admiration for each other. In NYC, we will be partnering with On Site Opera to perform a wind octet Harmonie arrangement of Mozart’s The Secret Gardener by our own Yoni Kahn on horn and Thomas Carroll on clarinet. Also, keep an eye out for us during the Boston Early Music Festival the second week in June!

Grand Harmonie group Photo courtesy of Hannah Shields

Click here for all of Grand Harmonie’s upcoming concerts and here for more on Grand Harmonie’s educational outreach. Follow Grand Harmonie on Facebook and Twitter for upcoming events and more.