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REVIEW: Karin Trachtenberg’s ‘My Mother Had Two Faces’ examines the woman in the mirror

Posted on March 9, 2024 by The Sleepless Critic

They say beauty is only skin deep.

My Mother Had Two Faces explores beauty in all of its forms and how to accept the person in the mirror including the flaws on both the outside and on the inside.

Written by Karin Trachtenberg in a heartfelt performance and directed and developed by Jessica Lynn Johnson, The Rockwell presented the one woman self reflecting play, My Mother Had Two Faces: Reflections on Beauty, Aging, and Acceptance live and in person at The Rockwell in Somerville, MA through Sunday, March 3, but this production is currently touring. Karin will make her next stop at the United Solo Festival at Theatre Row on March 14 in New York City. The show is approximately 60 with no intermission. Click here for more information and here for further details and for tickets.

Karin Trachtenberg in ‘My Mother Had Two Faces’ Photo credit to Karin Trachtenberg

The magnifying mirror is beauty’s classic frenemy. It stands out on a vanity counter strewn with jewelry, makeup and all the items it takes for a person to enhance their best features. The magnifying mirror enlarges all the remarkable parts of the face, but is also unrelenting and unforgiving for all the parts that glaringly need improvement. For Karin’s Swiss mother, it was a beacon of hope and an essential part of her daily routine that gave into an illusion that goes back generations that women must look perfect in today’s society. As the show most poetically asks, ‘What does it mean to be seen by the envelope and not the letter?’

This revelatory production is not just about beauty, but it is a memoir about healing. As a ritual for Karin’s Buddhist faith, it is a therapeutic journey into the past to get better insight into Karin’s struggles in order to achieve enlightenment. My Mother Had Two Faces delves into important moments for Karin, her mother, and her family’s history while masking family trauma.

Karin and Lindt chocolate Photo credit to Karin Trachtenberg

Offering free Lindt chocolates as a tribute to Karin’s family heritage, My Mother Had Two Faces is an engaging, bare, honest, and sincere portrayal of the good, the beautiful and the horribly ugly with humor, joy, fear, grace, and anguish in the sting and string of life’s revelations. Accompanied by slideshows, photos and much more shared through a multimedia screen by 3 Cubed, Karin shares some of her mother’s reflections in a thick and playful Swiss accent and an occasional lighthearted free spiritedness. Dressed in black, Karin is a blank canvas for her mother and her own various idiosyncrasies, frustrations, hypocrisies, earnest dreams and more. It is an eye opening journey accompanied only by the wise, sensible, and logical musings of the woman in the mirror exploring her most wonderful and toughest experiences. Eric Bornstein’s expressive and finely-detailed masks are effective aides during the production with well timed lighting while sound and tech designer Bobby Raps rewinds the clock with a vintage soundtrack that includes the theme song to Mission Impossible and Edith Piaf’s Non je ne regrette rien (No regrets).

Karin Trachtenberg and Eric Bornstein’s masks Photo credit to Karin Trachtenberg

Karin paints a well rounded portrait of her enigmatic and glamorous mother and therefore making invaluable discoveries about herself and her family on this healing journey. It is funny and moving and may encourage you to take a closer look in the mirror at what makes a person who they are.

My Mother Had Two Faces: Reflections on Beauty, Aging, and Acceptance will next be at the United Solo Festival at Theatre Row on March 14 in New York City. The show is approximately 60 with no intermission. Click here for further details and for tickets.

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

Posted on February 28, 2024 by The Sleepless Critic

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

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

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

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

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

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

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

REVIEW: Life is full of surprises in Lyric Stage’s unconventionally ‘Rooted’

Posted on June 15, 2023 by The Sleepless Critic

Plant a tree and save the planet. Be a ‘smartie plants’ and explore the ‘wood wide web.’

That is a few of the many mottos and a bit of humor uttered by Emery, a disabled recluse spending life in a tree house in the small town of Millersville, Pennsylvania. Emery talks to plants more than people with the exception of her sister and caretaker Hazel as well as her cousin who she depends on for everything. Longing for companionship she is comfortable with, Emery decides to post about her plants on YouTube. What could go wrong?

L to R Lisa Tucker as Emery and Karen MacDonald as Hazel Photo by Ken Yotsukura Photography

Directed conscientiously by Courtney O’Connor, Lyric Stage Company presents Deborah Zoe Laufer’s dramedy Rooted continuing live and in person at Lyric Stage Company in Boston, Massachusetts through June 25. The show is 100 minutes without one intermission. Click here for more information and tickets.

The stage unfolds with blooming splendor as a lively, bending tree hovers over the cast. Soothing and eclectic music by Dewey Dellay as well as streaming and transformative lighting by Karen Perlow provide a warm and peaceful vibe as Emery carefully handles the greenery surrounding her. Janie E. Howland’s meditative and functioning set at first sight provides an oasis from the real world.

Lisa Tucker as Emery Photo by Ken Yotsukura Photography

Rooted explores various topics such as the internet, climate change, healing, taking risks, and companionship with insightfulness and humor as Hazel and Emery manage one surprise after the next. The small cast is rooted in connection to one another. With sun hat and a mix of modest and eccentric attire by Chelsea Kerl, Lisa Tucker portrays plant loving and serious Emery with fragility and compassion while evoking determination and anxiety bubbling just under the surface as she faces decisions she has never encountered before in her sheltered existence. Karen MacDonald portrays Emery’s sister and lifetime caretaker Hazel, an adventurous spirit who longs to ‘spread her leaves’ beyond this small town. Dressed in a short diner uniform with white go-go boots, MacDonald lights up as chatty Hazel, exuding Hazel’s frank and responsible yet opportunistic spirit as Hazel struggles with day-to-day-life. With Emery as careful observer and Hazel’s big and cynical personality, Tucker and MacDonald are definitely yin and yang in this production, but manage at times to streamline their differences. Katherine Callaway as impressionable and naïve East Coopersville native Luanne brings a unique outlook and has an ultimately calming effect on the group.

L to R Katherine Callaway as Luanne Karen MacDonald as Hazel and Lisa Tucker as Emery Photo by Ken Yotsukura Photography

Finally, the plants themselves by Props Artisan Lauren Corcuera deliver subtle charm as these sentient beings gauge the frequently changing energy and emotion of the production’s increasingly complex environment.

Rooted challenges a few of life’s bigger questions and is ultimately one wild and engaging production about what can come from good intentions as three uniquely flawed individuals work together to maneuver hope and healing to the masses during life’s surprising turns.

Katherine Callaway as Luanne and Lisa Tucker as Emery Photo by Ken Yotsukura Photography

Lyric Stage Company presents Deborah Zoe Laufer’s dramedy Rooted continuing live and in person at Lyric Stage in Boston, Massachusetts through June 25. The show is 100 minutes without an intermission. Click here for more information and tickets.

REVIEW: Fresh Ink Theatre’s searing and contemplative ‘John Deserves to Die’

Posted on May 6, 2023 by The Sleepless Critic

Be meek and seek perfection. Approval is what makes dreams come true.

In an intimate space inside the Boston Center for the Arts unfurl two simmering and intertwining tales. One dives deep into the lives of a group of college students under the tutelage of their tenured and egotistical theatre professor. The other is the centerpiece for Mamet’s play, Oleanna. This play within a play focuses on power, rivalry, perspective, image, and how manipulation comes in many forms. Who is the culprit and how innocent is a victim? Yet, it is also about something more.

Fresh Ink Theatre presents ‘John Deserves to Die’ Photo credit to Paul Fox

Directed cleverly by Regine Vital, Fresh Ink Theatre Company presents Rachel Greene’s contemplative dramedy John Deserves to Die live and in person at Black Box Boston Center for the Arts in Boston, Massachusetts through May 13. The show is two hours and 20 min including one intermission and has some mature themes. Click here for more information and for tickets.

John Deserves to Die is not a murder mystery, but it does have its share of venom. Gripping from the start, the show is a searing, darkly humorous, and multilayer production delivered with haunting and progressive conviction. It does not just grab attention as the cast occasionally breaks the fourth wall, but it is a careful and thorough analysis of how lines can blur between right and wrong.

Devon Whitney as Laura Vogel, Ethan Williams as Steven Sanders and Alex Jacobs as Professor Daniel Holmes in Fresh Ink Theatre’s ‘John Deserves to Die’ Photo credit to Paul Fox

James Cannon’s charged sound design showcases a selection of tunes that imply or speak directly to the show’s narrative, but none fit quite as brilliantly as Britney Spears’s remixed and eerily stirring Toxic. Two multifunctional bookshelves of carefully selected works filling each side of the stage are just part of Victoria Rojo’s integral stage design and props by Victoria Hermann. Kat Lawrence’s colorful and distinct apparel thoughtfully tap into each individual’s character while Isaak Olson’s cryptic lighting lends to the show’s heated moments.

Tiffany Santiago as Andy Stark, Cara Clough as Jen Barnett, and Lorraine Victoria Kanyike in Fresh Ink Theatre’s ‘John Deserves to Die’ Photo credit to Paul Fox

This engaging production boasts a powerful cast in which each character plays a pivotal role in the big picture. Cara Clough depicts self doubting yet determined Jen Barnett who longs for stardom through her theatre professor Daniel Holmes, depicted by Alex Jacobs. Jacobs is impressive as enigmatic Professor Holmes with easy charm, quick wit, and a deliberate way with words that make his portrayal suave and astute, while always teetering on something amiss. Clough is riveting and understated as Jen especially in her quieter moments while Ethan Williams as Steven Sanders delivers memorable and darkly humorous moments from his skewed perspective. Lorraine Victoria Kanyike as Leah, Devon Whitney as Laura, Tiffany Santiago as Andy, and Cara Clough as Jen are collectively compelling which carries through this cleverly staged production. Approval is not always what it cracks up to be, but to these four individuals, it seemingly means everything.

Fresh Ink Theatre presents Rachel Greene’s contemplative dramedy John Deserves to Die live and in person at Boston Center for the Arts in Boston, Massachusetts through May 13. The show has two select pay what you want and buy one, get one free productions. Click here for more information and for tickets.

REVIEW: Fueled by sardonic wit and intense humor, The Huntington’s ‘The Art of Burning’ crackles

Posted on February 4, 2023 by The Sleepless Critic

Cutting sarcasm, sardonic wit, and a feigned smile does little to contain Patricia’s smoldering rage lurking just beneath the surface. No question Patricia has every reason to harbor resentment considering what she is going through affects her entire family. As a painter, it is important for Patricia to express her mounting feelings through art, but what if the pain is so deep that not even a canvas can exorcise that anger?

Directed methodically by Melia Bensussan, The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. The show is 85 minutes with no intermission, contains adult themes, and is not appropriate for children. Click here for more information and tickets.

Adrianne Krstansky, Michael Kaye, and Rob Barkhordar in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning takes an unconventional look at love and all of its side steps, misunderstandings, and complications. It also delves into betrayal, divorce, survival, and all of the lingering emotions simmering just below the surface. With dark humor that can be disquieting at times, The Art of Burning explores the complexity of human relations including a few of its vast repercussions.

Rom Barkhordar and Vivia Font in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Jane Shaw’s haunting score and Aja M. Jackson’s vivid lighting enriches scenic designer Luciana Stecconi’s paradoxical, gleaming, and seemingly modest scenery set against a striking and evocative frame. Jackson’s lighting is crucial for each inventive scene change while the foreboding score keeps the tension rising throughout the production. Kara Harmon’s bold costume design not only reflects each character’s distinct personality, but plays a pivotal role in the show’s mounting tension.

The Art of Burning is also fueled by a powerful cast highlighted by Adrianne Krstansky’s captivating portrayal of Patricia and Clio Contogenis, who makes an impactful impression as conflicted Beth. Krstansky achieves a delicate balance between a strong and sympathetic woman who, for the most part, is holding her own in spite of her circumstances when she is not taking takes things a bit too far. The complexity of that balance still makes her likable even at her lowest points. Patricia’s sardonic wit and realism is nearly bereft of any boundaries. She seems to have lost her inhibitions long ago somewhere in the turmoil of her discoveries.

Michael Kaye and Laura Latreille in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Contogenis weaves in some of Krstansky’s biting humor and pensiveness as Patricia’s daughter as she faces her own unique challenges along the way. These issues are handled delicately and with vulnerability. Rom Barkhordar portrays Jason, a character with some misplaced optimism and a certain lack of empathy and yet Barkhordar weaves in a subtle obliviousness that Jason can almost be forgiven for. He has some meaty scenes with Krstansky and Contogenis that would be concerning if they were not so humorous. Mark, portrayed by Michael Kaye, seems to depict the onlooker and voice of reason, but things are much more complicated than they appear. Some sobering aspects of Mark and Charlene’s marriage are incredibly relatable and humorous. Kaye and Laura Latreille as capricious Charlene have a fascinating dynamic onstage. Vivia Font takes a memorable turn as Katya as she wrestles with the weight of her decisions.

Snodgrass’s witty, poignant, and intermittently humorous dialogue makes a strong statement about the state of our contemporary world and exposes some hard realities. The truth is people are all a little lost but even at its bleakest times, love may still find a way through it all.

Clio Contogenis and Adrianne Krstansky in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. Click here for more information and tickets.

REVIEW: The 52nd annual ‘Midwinter Revels: A Solstice Celebration Tales from Ellis Island’ shares solace and warmth into a tapestry of traditions from around the world

Posted on December 24, 2022 by The Sleepless Critic

After a half century, the Midwinter Revels can not only still create fresh and concise storytelling while weaving in various cultures and traditions with a balance of joy and poignancy, but this year recalls a miraculous event in history that is not shared enough during the holiday season.

Innovatively written and directed by Patrick Swanson and guided by Carolyn Saxon as the Immortal Spirit of Place, Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15. Each performance pays tribute to Revels supporters and this particular performance was dedicated to the The Rioff Family in honor of WGBH’s Brian O’Donovan. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

The Ensemble of The Christmas Revels Photo by Roger Ide

Veteran reveler David Coffin’s enthusiasm reflected the same from the audience as he vigorously prepared them pre-production for the Revels live and interactive sing-along that features a vast array of carols and cultural songs. Meticulously musically directed by Elijah Botkin and led by Keith Murphy of A Saint Patrick’s Day Celtic Sojourn, an intimate onstage band returns as the Liberty Band performing carols to folk to war songs from around the world right alongside the cast. The joy and gratitude in singing in front of an audience again is as uplifting as ever and the cast’s a cappella harmonies are a glorious treat.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island does not just take place on Ellis Island, but provides the foundation for each of the tales shared during the production. The tales of hardship and strife seem so different, but are somehow tied into shared experiences as immigrants from all over the world find themselves stranded together on Christmas Eve in 1924. The spirit of the season is exemplified in several tales including a fiddle that needs mending featuring Maeve Leahy as Bridget and Ewan Swanson as Isaac.

From Left to Right Carolyn Saxon, Maeve Leahy and Ewan Swanson and the Revels Ensemble Photo by Paul Buckley

Adorned in a glimmering gown and gold wreathed crown, Carolyn Saxon makes a warm and welcome return to Revels this time as the Immortal Spirit of Place. Her subtle charm and light humor enhance each aspect of the production as she guides the audience through various tales and periods in history in Nikes. Saxon is clearly enjoying this enigmatic role becoming invisible when she wishes and popping up at felicitous and spontaneous moments.

While last year’s show focused on saving a bar by venturing into the past, family is much more prevalent as members of the cast tie in pieces of their own cultural holiday memories into the production. Irish and Jewish Dramaturg Nicole Galland contributed by drawing on her own experiences and upbringing. With frank and humorous inflections, Reveler Stephanie Clayman is an amiable and avid storyteller as she brings some of those tales to life such as two well staged pieces of morally centered Jewish folklore and several Chanukah traditions.

Stephanie Clayman, Ewan Swanson, The Ellis Island Children, and the Midwinter Revels Adult Chorus Photo by Paul Buckley

David Coffin as Conor Riley revealed a miraculous event during World War I that took place on Christmas Eve in 1914. For a brief time, soldiers showed camaraderie with their enemies as they joined together in song, games, and friendship. It is a historical event that needs to be shared with as much frequency as annual holiday traditions such How the Grinch Stole Christmas, A Christmas Carol, or It’s a Wonderful Life. That brief interlude of peace made such a significant impact on the world and Midwinter Revels depicts that moving period of time with Christmas in the Trenches, O Tannenbaum and Stile Nacht as the production spread itself beyond the Sanders Theatre stage.

The children are always a joy to watch and this year as the Ellis Island Children, they share upbeat, jumping rope rhythm for There’s a Big Ship Sailing and later with Las Posadas as Mary rides on a donkey. It is just one example of the many endearing appearances they make in song and tale.

A brilliant performance comes from Ricardo Holguin who passionately performs a wondrous rendition of Mexican love song La Malgeuna followed by striking number El Relampago featuring women in gorgeous floral headdresses and sun drenched gowns by Heidi Hermiller. Kelli Edwards’ multifaceted choreography is on full display throughout as well as for a tricky and intricate sword dance accompanied by an onstage accordion and drummer for The Straw Folk Mummers Play and Rogue’s Delight.

Maeve Leahy (left), Ewan Swanson (center), and dancers from Great Meadows Morris & Sword Photo by Paul Buckley

Though the show lulled a bit on occasion, Midwinter Revels: A Solstice Celebration Tales from Ellis Island’s engaging tales bring unity and light and depicts how sharing different traditions can bring a new understanding and warmth into the darkest of times.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15. Click here for more information and tickets.

REVIEW: Boasting a strong cast, Company Theatre’s ‘Something Rotten’ a fresh and clever musical comedy

Posted on March 26, 2022 by The Sleepless Critic

Amid set designer Ryan Barrow’s quaint, warmly-lit, Tudor-inspired cottages of 1595 London is a Renaissance rock star…and the ones he left behind. Company Theatre’s Something Rotten has something new to say about something olde and what it truly takes to be remembered.

Slickly directed by Zoe Bradford with zealous musical direction by Steve Bass, Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is not recommended for young children and runs approximately two hours with a brief intermission. Click here for more information and tickets.

Director Zoe Bradford and the cast of ‘Something Rotten’ Photo courtesy of Zoe Bradford/Company Theatre

The phrase, Something Rotten, calls to mind a number of references, but primarily this alludes to the one and only William Shakespeare, London’s resident celebrity. While music was prevalent in 1595, writers were the real stars of their time and Shakespeare, charismatically portrayed with plenty of ego, prowess, and smirking, flamboyant charm by Brad Reinking, was a legend. Surrounded by Shakespeare’s Bard Boys (watch their expressions as he speaks), Reinking’s stage presence is an eclectic cross between Prince and Elvis.

Christopher Spencer as Nigel Bottom, Brad Reinking as Shakespeare, and Donny Norton as Nick Bottom Photo courtesy of Zoe Bradford/Company Theatre

In the glow of stardom, there must be a few naysayers and no one does it better than Donnie Norton as cynical and struggling writer Nick Bottom who once worked with that famous Bard. Nick’s level of griping is prevalent in the catchy number, God, I Hate Shakespeare, but what makes the song particularly interesting it is also embodies relevant reasons some people do not care for Shakespeare’s writing. Norton as Nick Bottom is so good at the role that payoff is big when he finally shows a trace of optimism. Christopher Spencer also shines as idealistic, impressionable, and head-in-the-clouds Nigel, Nick’s little brother and fellow writer. Spencer’s best moments as Nigel is when he shows reason and aptitude, though his giddy chemistry with Emily Lambert as wide-eyed yet steadfast Portia is also wonderful to watch.

Emily Lambert as Portia and Christopher Spencer as Nigel Bottom Photo courtesy of Zoe Bradford/Company Theatre

Something Rotten is often self aware and its irreverent brand of humor brought to mind the classic comedy of Mel Brooks in musicals such as in the Tony award-winning The Producers or Young Frankenstein. Sally Ashton Forrest’s notable choreography boasts some splashy and humorous dance sequences including tap dancing and even a glorious kick line.

Elizabeth Cole Sheehan’s gleaming, colorful, and historically-faithful costumes cross the pond between regal classical to edgy contemporary adorned in gold-embroidered velvet, puffed sleeves, and leather.

Welcome to the Renaissance Photo courtesy of Zoe Bradford/Company Theatre

Something Rotten features some powerhouse vocals, especially from these forward-thinking leading ladies in jolly ol’ England. Emily Lambert as Portia lifted her soaring soprano vocals for the gospel-inspired, We See the Light and the sweet and cheeky duet, I Love the Way with Spencer’s Nigel. Melissa Carubia as spunky, confident, and loyal to a fault Bea is also ahead of her time, her dynamic vocal range on display for the groundbreaking number, Right Hand Man. With quirky comedic charms fueled by a mix of Catherine Tate and Jennifer Saunders, Janis Hudson is perfectly smashing as royally-dressed Lady Clapham.

Janis Hudson as Lady Clapham Photo courtesy of Zoe Bradford/Company Theatre

With bright, inquisitive eyes and a mischievous and knowing grin, Christopher Hagberg is a scene stealer as Thomas Nostradamus who leads with Norton in the funniest and most brilliant number of the show, A Musical tailor-made for literary and musical lovers everywhere.

Donnie Norton as Nick Bottom and Christopher Hagberg as Thomas Nostradamas Photo courtesy of Zoe Bradford/Company Theatre

Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show runs approximately two hours with a brief intermission. Click here for more information and tickets.

REVIEW: Mikko Nissinen’s ‘The Nutcracker’ remains a visually-stunning journey for all ages

Posted on December 22, 2019 by The Sleepless Critic

With enchanting special effects and performances that would endear any holiday pessimist, Mikko Nissinen’s The Nutcracker once again returns with an entire world seeped in the fondest of daydreams for adults and children alike. With the enhancement of internationally-renowned Finnish lighting designer Mikki Kunttu and Tchaikovsky’s classic score conducted by Misha Santora, The Nutcracker is as picturesque as ever, emphasizing its mark as an annual holiday institution.

Boston Ballet The Nutcracker cast Photo by Liza Voll

The 150 dancers making up ‘The Nutcracker’s’ spectacular cast. Photo credit to Liza Voll/Boston Ballet

The castle on a cloud is only the prelude to an enchanting journey as Mikko Nissinen’s The Nutcracker returns to the Citizens Bank Opera House with new surprises. An elegant party, a valiant battle, and a variety of spectacular toys springing to life is just part of Clara’s exquisite journey when she is gifted an intriguing Nutcracker for Christmas.

The Boston Ballet takes the stage for Mikko Nissinen’s The Nutcracker continuing through Sunday, December 29. The Boston Ballet features discount youth pricing. Click here for more information and for tickets.

Stage view Photo courtesy of Jeanne Denizard

Robert Perdziola’s meticulously-detailed set and costume design not only create an inviting atmosphere whether inside a fire lit, multi-dimensional living room with a towering, emerald-lit Christmas tree or surrounding an outdoor fire pit where locals can keep warm, but also creates a pristine wintry wonderland where you can almost feel the chill. The ornate period costumes are gorgeous as women are adorned in velvet, silk, and ribbons and the men are dressed to the nines. Sweet, sophisticated, yet playful Clara, portrayed impressively by Emma Blake, is lovely in her pale blue coat, bonnet hat, and fur hand warmers.

Boston Ballet The Nutcracker Party Scene by Liza Voll

Party scene. Photo credit to Liza Voll/Boston Ballet

Christmas Eve is a magical time, especially for children. Paulo Arrais unveils some of that magic as charismatic and confident showman, Drosselmeier. Mustachioed Arrais is a grand presence as he delivers visions sprung from the imagination, showing children anything is possible.

Boston Ballet Nutcracker Ricardo Santos and Ji Young Chae by Rosalie O Connor

Harlequin Doll and Ballerina Doll. Photo credit to Rosalie O’Connor/Boston Ballet

Among the most memorable moments is a Soo-bin Lee’s convincing portrayal as a Ballerina Doll, her rigid movements out of the box a fascinating sight. Tyson Clark’s Harlequin Doll and Sun Woo Lee’s life size, exotic bear are exuberant, playful, and among the most highly- anticipated scenes in this production.

The appearance of the Nutcracker Prince, depicted by a chivalrous and gallant Derek Dunn, is extraordinary surrounded by bright, multicolored, shimmering ornaments in a magnificent tree. His appearance highlights one of the most spectacular and exciting special effects of the production that will not be revealed here. His encounter with Alec Roberts’s bold and at times humorous Mouse King is thrilling and partially what makes The Nutcracker a children’s classic.

Boston Ballet 'The Nutcracker' Mouse King and Wooden Soldiers by Liza Voll

Alec Roberts as the Mouse King and a valiant battle Photo credit to Liza Voll/Boston Ballet

Seo Hye Han and Tigran Mkrtchyan are visions as The Snow Queen and King on a sparkling silver sleigh as surrounding dancers joyfully flock and frolic in a glorious scene. Seo Hye Han and Tigran Mikrtchyan have a sweet chemistry as they join together in a captivating dance.

Boston Ballet The Nutcracker Snow fairies by Liza Voll

An enchanted winter wonderland. Photo credit to Liza Voll/Boston Ballet

Under glimmering chandeliers is a group of remarkable, electric performances which is less story progression and more showcase driven presented by the iconic and sparkling Sugar Plum Fairy, portrayed with finesse by Chisako Oga. Two pairs of Spanish dancers portrayed by Ekaterine Chubinidze, Haley Schwan, Daniel Cooper, and Benji Pearson, sway and twirl in a dazzling spectacle. Chyrstyn Fentroy and Paul Craig receive a rousing applause as a pair of exotic and athletic Arabian dancers while Desean Taber, Daniel Durrett, and Fuze Sun show off their flexibility and athletic prowess as a trio of leaping Russian dancers.

Among the most humorous scenes is an adorable appearance by Bo Peep accompanied by a mischievous black sheep and Graham Johns as towering and surprising Mother Ginger.

Boston Ballet The Nutcracker By Liza Voll

Clara, portrayed by Mia Steedle, Nutcracker Prince portrayed by Tigran Mkrtchyan, and reindeer by students of Boston Ballet School Photo credit to Liza Voll/Boston Ballet

Whether seeing Mikko Nissinen’s The Nutcracker for the first time or returning to enjoy it all over again, The Boston Ballet is as elegant and magical as you remember with enough refreshing additions to endure as a splendid holiday treat for the entire family.

The Boston Ballet takes the stage for Mikko Nissinen’s The Nutcracker continuing through Sunday, December 29 at the Citizen Bank Opera House, 539 Washington Street in Boston, Massachusetts. These performances feature group rates and discount youth pricing. Click here for tickets and for more information on Boston Ballet’s 2020 season.

REVIEW: Company Theatre’s enhanced, lively production of Lionel Bart’s ‘Oliver! ‘kicks this classic up a notch

Posted on December 8, 2018 by The Sleepless Critic

It was a nostalgic night witnessing Company Theatre’s livelier version of Lionel Bart’s musical, Oliver! having performed in the musical production in high school. While my part was limited to selling roses on a busy London street, the Company Theatre opened up an entire world for the holidays with enhanced flair for Lionel Bart’s Oliver! continuing through Sunday, December 16 at The Company Theatre in Norwell, Massachusetts. The production has recently sold out. Click here for more information on the Company Theatre and their future productions.

Directed by Zoe Bradford and Jordie Saucerman and musically directed by Steve Bass with choreography by Sally Ashton Forrest, Lionel Bart’s Oliver! is the latest version of this Charles Dickens’ classic. This family production has enjoyed several tours and revivals in different parts of the world in its close to 60-year history.

It’s is the tale of a workhouse orphan who get entangled in a series of unfortunate events that lead him to face many adversaries, but stays strong in his search for hope and love. With a large cast featuring memorable numbers such as Consider Yourself, As Long as He Needs Me, I’d Do Anything, and the title song, Oliver, this tale has its share of dark and humorous moments while delivering an important message about humanity that is especially relevant during the holidays.

Matthew O’Connor as Oliver Photo courtesy of Company Theatre

During the holiday season, the Company Theatre tends to make whichever production they have chosen bigger and more spectacular in line with the spirit of the season. Lionel Bart’s Oliver! stays consistent with that tradition featuring extended, more upbeat musical numbers, grander sets, and sharper choreography, especially during the sweeping numbers and quicker pacing of Food, Glorious Food and Consider Yourself.

From the humble, stone-lined workhouse surroundings with a single banner that reads, ‘God is Love’ to a bright street setting, Ryan Barrow’s impressive, rolling set design details the diversity of 1840’s London. Set pieces dropping from the ceiling was a particular highlight.

The musical’s classic line, ‘I want some more’ has never sounded more humble than from the adorable countenance of Matthew O’Connor as Oliver, a sweet, naïve, but daring workhouse orphan boy who, by uncontrollable circumstances, has an opportunity to see life beyond the workhouse walls. He shares some amusing camaraderie with Colin Paduck as the Artful Dodger, portrayed with a thick, regional accent and a charismatic grin. They stay in time with the children’s ensemble’s compelling choreography, an energetic bunch light on their feet during some of the production’s most challenging numbers.

The Sowerberrys Christopher Spencer as Mr Sowerberry and Christa Dunn as Mrs. Sowerberry Photo courtesy of The Company Theatre

Mr. and Mrs. Sowerberry are wonderfully wicked together. With a nasal voice and prominent sideburns, Christopher Spencer is quite comical as dour Mr. Sowerberry and Christa Dunn as stern and maybe a bit tipsy Mrs. Sowerberry. With a prominent stance and a great voice, Francis Sheehan takes on the gruffly bombastic parish beadle Mr. Bumble.

Company Theatre's Oliver - Oliver Fagin and Artful Dodger

Colin Paduck as The Artful Dodger, Christopher Hagberg as Fagin, Matthew O’Connor as Oliver and the children’s ensemble Photo courtesy of Company Theatre

With a white beard, black hat, and flowing overcoat, Christopher Hagberg delivers a limber, stealthy performance as Fagin. Hagberg captures the magic of Fagin, his deceptively good nature and comic greediness put on display in the number, You’ve Got to Pick a Pocket or Two and the fiddle-infused Reviewing the Situation.

Company Theatre's Oliver- Nancy, Oliver, Bet, and Artful Dodger

Brittany Rolfs as Nancy, Matthew O’Connor as Oliver, Aliyah Harris as Bet, and Colin Paduck as the Artful Dodger Photo courtesy of the Company Theatre

Brittany Rolfs brings sass and saavy to the role of Nancy, a sweet but tough woman who has mixed with the wrong crowd. From her passionate, tenacious version of As Long as She Needs Me to the catchy harmony of the playful, rollicking number, Oom-Pah-Pah, Nancy is a force of her own onstage, sweet with the children, but always certain of what she wants.

With a deep seated growl and a menacing stare, Damian Smith steps into the role of troubled Bill Sikes. In this production, The Company Theatre brings a new dimension and lesser known angle to this character as he stalks the city streets. Remington is a welcome addition to the cast as scene stealing Bullseye, Bill Sikes’s dog.

Company Theatre celebrates 40 years Photo credit Jeanne Denizard

The Company Theatre’s Renovation fund Photo credit Jeanne Denizard

The Company Theatre is capping off its 40th season with Lionel Bart’s Oliver! continuing through Sunday, December 16. Click here for how to support the Company Theatre and here for more on their 2019 season.

Director Matt Silva and ‘Waist Watchers the Musical’s’ cast talks improvising, exercise, and girl’s night out

Posted on June 10, 2017 by The Sleepless Critic

Since April, Alan Jacobson’s Waist Watchers the Musical, a musical comedy from the production team responsible for You Say Tomato, I Say Shut Up, My Mother’s Italian, My Father’s Jewish, and I’m in Therapy, and Menopause The Musical, has been taking a frank and lighthearted look at four women’s struggle with dieting, body image issues, exercise, and much more. Perfect for a date night or a girl’s night out, this musical comedy continues through Sunday, June 25 at the Regent Theatre in Arlington, Massachusetts. Click here for the full schedule and for tickets.

‘Waist Watchers the Musical’ cast Photo courtesy of Playhouse Productions/Regent Theatre

The atmosphere was full of excitement and laughter as the cast and director of Waist Watchers the Musical, having just performed a weekday matinee, spoke about the unique preparation for this show, working with the choreographer of the acclaimed film, Silver Linings Playbook and Hairspray Live, and keeping the show fresh and more hilarious each and every night. Director Matt Silva and cast members Kiley McDonald, Stephanie Genovese, and Krissy Johnson all agree they are having a blast.

Sleepless Critic: Waist Watchers the Musical tackles a unique and sometimes sensitive subject. How does this show balance comedy with working out?

Kiley: We’ve talked about that a lot and how to approach the material knowing about body image and social media. It really takes a toll on women and how they envision what’s perfect. This show does a really good job of making light of everything and reminding us to laugh, accept, and love who you are. Everyone has flaws and trouble with something. That can’t hold you back and rule the choices you make in life.

‘Waist Watchers the Musical’ cast at Cook’s Gym Photo courtesy of Playhouse Productions/Regent Theatre

SC: Waist Watchers The Musical’s choreographer, Dani Tucci-Juraga, was behind the choreography for the acclaimed film, Silver Linings Playbook and Hairspray Live, which featured some amazing dance moves. Did you find learning the dancing particularly challenging?

Stephanie: Dani is fantastic. She is the sweetest woman I’ve ever met, but she is tough. She knows exactly what she wants and pushes you to become a better dancer, performer, and in this case, athlete. There were times when we were sore and complaining and she told us to deal with it and try harder.

SC: What attracted you to this show and these roles?

Matt: I am the orchestrator for this company who had taken on the show. It was out in Phoenix and I didn’t have anything to do with it. I went to see the show and thought the material was cool, acceptable, and empowering for women. The production itself wasn’t all that successful in terms of the talent, choreography, and the production value. I was really excited to take the message, empowerment, and the women’s process and collaborate with them and make it fun. I thought the production was lot of fun, but I thought the show I saw needed a little injection.

‘Waist Watchers the Musical’ cast Photo courtesy of Playhouse Productions/Regent Theatre

SC: The cast has very unique roles to prepare for. Aside from the dancing, what other preparation was involved?

Kiley: We knew right away that we needed to condition our bodies for the show because it is non-stop, 90 minutes of cardio. We would have to sing and dance without a lot of time to breathe. We also don’t leave the stage very often. It took us a little while to get our bodies moving, figure out where to breathe, and where to sing. A lot mental preparation goes into it.

SC: This show features all new and original music by Vince Di Mura. Do you have any favorites that stand out for you?

Stephanie: I love Lazy.

Kiley: My top favorite is The Morning After.

Chrissy: Eat it.

SC: You have been performing this show since April and the final show will be on Sunday, June 25. How does the show stay fresh each time you perform? I understand the show involves a lot of improvisation.

Stephanie: We try to make new discoveries each night. Every audience is different and they react to different things, so every performance stays different and fresh.

SC: You must encounter your share of surprises improvising and trying new things. Any memorable moments that occurred onstage?

Krissy: At this one performance, we had a new sound system. It was the first time using this wireless microphone. The mic cracked and made a loud noise onstage right before one of my lines. It frightened me so badly, I screamed! From that moment to the end of that scene, I could not stop laughing or get my lines out. It was quite amusing.

SC: You all obviously have really snappy chemistry on and off-stage.

Kiley: We are very fortunate to all get along and appreciate each other’s sense of humor.

SC: What is the best reason to see Waist Watchers The Musical?

Stephanie: It is definitely a girl’s night out and one hundred percent campy. It’s a feel good show with lots of laughs. Good clean fun, but definitely PG-13.

Presented by Playhouse Productions, Waist Watchers the Musical continues at the Regent Theatre until June 25. After the Regent Theatre, the show continues its tour in Huntington Beach and Sacramento, California. Click here for further details and for tickets or call 781-646-4849. Group rates are also available at 888-264-1788.