no intermission

REVIEW: Behind the scenes take center stage in Hub Theatre Company’s satire ‘The Understudy’

Posted on by The Sleepless Critic

The understudy has a gripe…and he has a point.

Sharply yet familiarly written by hit show Smash creator Theresa Rebeck and resourcefully directed by Paula Plum, Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts.  The action is not limited to the stage and contains adult language.  All tickets are on a pay-what-you can basis and the show runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

Kevin Paquette in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Angelica Houston portrayed Eileen Rand, a savvy Broadway producer jilted and betrayed by Jerry.  Katherine McPhee as Karen and Megan Hilty as Ivy are competing actresses for the role of Marilyn Monroe in Bombshell, a new Broadway musical where the real drama took place behind the scenes.  This is the plot of Smash, a musical TV drama that lasted two seasons, but developed a cult following.

Like Smash, some elements of The Understudy are not meant to be taken seriously.   Though some of the core plot points between Smash and The Understudy bears some resemblance, it expands its satirical focus into films, theatre and what makes real art through a newly discovered Broadway work by renowned absurdist writer Kafka.  It also contains insightful commentary about creating quality work with meaning and creating less than quality work for profit while infusing inside humor about the nature of theatre.  What do audiences actually want? 

Kevin Paquette and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Symbolically wearing a Bad Brains punk t-shirt and flannel by costume designer Kara McGuinness, some of the play’s funniest and strongest moments come from Kevin Paquette as Harry who is a fed up and a bit of an embittered savant theatre actor performing exacting accents who just happens to be holding out for real art while Cristhian Mancinas-Garcia as Jake is a determined movie star reluctant to do theatre.  Both actors are charismatic and humorously egotistical as they realize their roles.  Paquette as Harry engages the audience with real gusto commenting on the state of art thinking outside the box while Lauren Elias as harried stage manager Roxanne and the picture of practicality, tries to keep the production rehearsal on track.  Paquette, Mancias-Garcia and Elias share rapid fire banter, physical comedy and a few surprises as the show unfolds.

Lauren Elias and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

It also acts as a love letter to the stage managers of the world and does it well.  The play may be called The Understudy, but rocking a legendary Kiss T-shirt, clever, skeptical and sympathetic Elias as Roxanne rises to the challenge attempting to avoid impending theatre disasters while keep it together personally and professionally.  No small feat as Emily Bearce’s haunting lighting and Justin Lahue’s impressively gothic projections seem to possess a mind of their own.  When these elements work with Gage Baker’s rich sound design, it is all quite the spectacle.

Cristhian Mancinas-Garcia, Kevin Paquette and Lauren Elias in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

A day at the theatre with The Understudy unveils drama, secrets, romance, and takes its time with a twist ending you may not see coming.   A production may come together onstage, but the absurdity of how it gets there is the real story.  Thank a stage manager and an understudy today.

Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts.  The action is not limited to the stage and contains adult language.  All tickets are on a pay-what-you can basis and runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Actors’ Shakespeare Project envisions a wildly mischievous ‘A Midsummer Night’s Dream’

Posted on by The Sleepless Critic

It may not be the lusty month of May yet, but Actors’ Shakespeare Project’s contemporary A Midsummer Night’s Dream has it covered by the time it arrives.  This is one wild ride.

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays.  It is everything but tragic and can be interpreted in a variety of ways.  It features magic, mischief, romantic comedy, action, and it was a perfect way to celebrate Shakespeare’s birthday on April 23.

Eliza Fichter and Dan Garcia in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

With bold direction by Maurice Emmanuel Parent, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts. The show’s action is not limited to the stage with two platforms immersed in the audience and runs 1 hour and 40 minutes with no intermission. Discounted tickets are available.  Click here for more information and for tickets.

The Cast of Actors’ Shakespeare Project’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text with some improvisation and pop culture references along the way.  Part play within a play, part fantasy, and part comedy, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to desire to true love to romantic comedy gone awry due to some mystical love potions.  A Midsummer Night’s Dream is also the source of some of Shakespeare’s most famous reflections on love such as ‘True love does not see with the eyes, but the mind’ and ‘The course of true love never did run smooth.’  Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines can translate seamlessly into a wide variety of contemporary scenarios.

Kody Grassett, Doug Lockwood, and Bobbie Steinbach in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Scenic designer Ben Lieberson’s multilevel and industrial scaffolding not only provides a club atmosphere, but a somewhat blank canvas for lighting designer Brian Lilienthal’s multicolored illumination as a glimmering disco ball hangs overhead. Seth Bodie’s distinctive costumes feature a wide array of 90s and turn of the century looks from refined to over the top in splashy, glimmering, feathered and suggestive club wear to edgy street attire in fringe, pleather and denim to lavish upscale suits.  Sound designer MacKenzie Adamick also sets a 90s and 2000s vibe with a mix of original and popular club beats for both comic relief and setting the scene.  

ia Giatrelis, Eliza Fichter, Evan Taylor, Doug Lockwood, and Kody Grassett in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, bold, and chock full of passion, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and absorbing characters determined to fight for what they want and aren’t shy about absurdity demonstrated by Doug Lockwood as the enthusiastic and bombastic Nick Bottom along with Bobbie Steinbach as resourceful Quince and a group of madcap and dedicated mechanicals offer more than silly humor before the final curtain. 

Bobbie Steinbach and The Mechanicals in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

These mature characters are tougher and have experienced life’s hardships which is a valuable attribute for love is fickle.  Michael Broadhurst as Lysander may seem sweet and adoring sharing an endearing chemistry with Thomika Marie Bridwell as Hermia, but Broadhurst also has a chance to explore another side of this character.  Athletic Alan Kuang is remarkable as wild, mischievous, and break dancing Puck and his conspiring moments with Dan Garcia as Oberon make for street savvy and cunning pair.

Thomika Marie Bridwell and De’Lon Grant in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

The women in this production are strong, beautiful, and fierce. Eliza Fichter takes on dual roles as powerful Hippolyta as well as glamorous and seductive Titania.  Thomika Marie Bridwell is wonderful as headstrong, comically tough and fearless Hermia while Deb Martin is a scene stealer and redefines crazy in love wild eyed Helena. Martin’s physical comedic prowess and the arduous lengths she goes through to get what she wants would be inspiring if she was not so unhinged and she shares some madcap moments with De’Lon Grant as impulsive Demetrius.  However, one intense scene between Martin and Bridwell going head to head becomes so hilarious and well executed that it stands as my favorite scene in this production. 

De’Lon Grant and Deb Martin in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

One of the liveliest adaptations I’ve ever seen, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts Click here for more information and for tickets.

REVIEW:  Roots run deep in The Huntington’s powerful ‘Don’t Eat the Mangos’

Posted on by The Sleepless Critic

Family takes care of family.

Tensions run high when three tightly bonded but very different sisters join together to care for their ailing parents.  However, one sister’s harrowing secret will change everything.

With stirring direction by David Mendizábal, The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27.  This bilingual production contains strong language, adult content and runs 1 hour and 45 minutes with no intermission.  Though the production is mostly delivered in English, you may enjoy it more thoroughly if you are familiar with Spanish.  Click here for more information and for tickets.

Left to right: Evelyn Howe, Jessica Pimentel, Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Set in Puerto Rico in 2019, Tanya Orellana’s impressive scenic design unveils a seemingly functional house complete with a laundry room, yard, and a towering mango tree hovering over a portion of the house.  An eclectic mix of dishes and items scattered in the kitchen and stacked on built in shelves create a natural, lived in atmosphere with a dated fridge and latticed wooden embellishments.  This is just a portion of this extraordinary cement house that details subtle signs of mold and wear and tear on the family home.  The house rotates from scene to scene unveiling the action in each room.

Left to right: Jessica Pimentel, Susanna Guzmán in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Jake Rodriguez creates an effective and occasionally immersive sound design most notably when a storm knocks the power out.  The flash and crash blended with Cha See’s flickering bulbs, illuminating candles and startling lightning makes for a wild event.  Alexandra Buschman-Román and Jason Stamberger’s mystical original music  amplifies the production’s mercurial changes in mood from foreboding and suspenseful to catchy and lighthearted with music compositions infusing dance genres such as bomba and flamenco. 

Left to right: Jessica Pimentel in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Jessica Pimentel as organized loan officer Ismelda, Yesenia Iglesias as married and family oriented middle sister Yinoelle, and Evelyn Howe as activist professor Wicha know their roles when it comes to their parents.  While Ismelda lives with her parents, Yinoelle and Wisha assist where they can when they come to visit.  Zoë Sundra costumes reflects each character’s individuality through sharp and stylish costumes in vibrant patterns and tropical designs from sharp pant suits to colorful crocs to denim and athleisure.

Left to right: Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Not only does this trio share their joys, sorrows, and annoyances, but their snappy sibling rapport occasionally inspires harsh comments and resentment that cut deep and to the quick.  It is as if they are so tightly bonded that they can’t help but occasionally step over the line.  José Ramón Rosario portrays their ailing and temperamental father Papi who had a stroke and is bedridden dealing with other medical issues.  With startling outbursts, Rosario exudes an implied dominance as Papi and even as he sits in his wheelchair, he commands immediate attention ringing a bell for any and all of his needs.  Susanna Guzman depicts instantly likeable, headstrong and realist Mami who has been battling cancer.  Ismelda is evidently overwhelmed, overwrought but dedicated tending to their parents and while her two siblings are helpful, Papi prefers Ismelda to handle things.  With slumped shoulders and tightly wound tendencies, Pimentel exemplifies Ismelda’s anxiety, the weight of her worries and the pressure to do right by her family.

Left to right: Jessica Pimentel, Susanna Guzmán in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Don’t Eat the Mangos delves into many dark places including abuse, trauma, PTSD, and fanaticism.  It approaches tough subjects with dark humor that can provide relief and some of it is just heartbreaking.  It also offers some very funny and relatable family humor exploring cultural traditions, complications and challenges growing up in this Puerto Rican family.  It has many tense moments, but its heartwarming connection between the sisters is among the production’s brightest spots.  This is especially evident in a moment when the three sisters are trying to piece together a song from their childhood.  The scene is brought together in a beautifully organic way and reflects the true nature of the lifelong bond between these siblings.

Left to right: Evelyn Howe, Jessica Pimentel, Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

The production also delivers more than a few stunning revelations.  Susanna Guzman as Mami and José Ramón Rosario as Papi also hold their own in an escalating, powerful and alarming scene.  Guzman’s Mami may be ailing, but she is a force to be reckoned with.

The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27.  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 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.

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.

REVIEW:  Love and family drive a moving and powerful world premiere of ‘Did You Eat? (밥 먹었니?)’ presented by Chuang Stage and Seoulful Productions

Posted on by The Sleepless Critic

Family can be complicated.  Some ancestors have passed away and maybe you would give anything to speak to or enjoy a meal with them one more time.  Others you endure and it can be so emotionally draining, it is a battle to stay connected.

Featuring a special opening act concert performance by Sarah Shin on Wednesday, November 27 prior to Did You Eat? (밥 먹었니?), this particular evening presentation manages to explore both types of relationships.

Zoë Kim in Did You Eat? (밥 먹었니?) Photo by Maggie Hall Photography

Written and performed affectively by Zoë Kim and perceptively directed by Chris Yejin, Did You Eat? (밥 먹었니?) , a world premiere production from Chuang Stage and Seoulful Productions, is a moving autobiographical recollection on love and family continuing live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, November 30.  This bilingual one woman performance is 75 minutes with no intermission.  The paper program not only offers details on the show, but also features a wonderful and fitting cookbook section on Korean comfort food.  Click here for more information and for tickets which are limited.

Sarah Shin Photo credit to Chuang Stage

Candid and engaging, Did You Eat‘s featured a special opening act performance by Sarah Shin.  With a peach electric guitar, she paid tribute to her late grandfather who led a big life with a big family.  With yearning vocals, she longs for conversations with him about her craft knowing what she knows now.   Though the song might have been explored an octave lower, it is a lovely and personal number that resonates with anyone who discovers they have common ground with those who have come before them. 

With rich accompaniment by Alison Yueming Qu, Shin also performed a raw and humorous song about the aftermath of a breakup enhanced by Shin’s soaring and unique vocals.

Zoë Kim in Did You Eat? (밥 먹었니?) Photo by Maggie Hall Photography

Accented by ethereal and shrouded pastel colored drapes and a multicolored painted floor, Did You Eat evokes a guileless innocence and Aegyo in Szu-Feng Chen’s cheerful and lively set design and costuming featuring braids and sunflowers, a bloom which symbolizes resilience. Katie Kuan-Yu Chen’s lingering and at times dreamy sound design with Michi Zaya’s distinctive projections and Ari Kim’s dynamic lighting illustrates a wide range of emotions from hyper vigilance to love at first sight.

Zoë Kim in Did You Eat? (밥 먹었니?) Photo by Maggie Hall Photography

A mother (Umma) who was not ready to become a mother but wanted to please her family and a father (Appa) who wanted to please his family and prove his manhood by having a son.  Diving into the dysfunction and expectations set by a Korean family, Did you Eat is a multifaceted journey performed and recounted by Korean-American Zoë Kim in a stirring one woman performance.  Her use of the second person perspective is part of what makes Kim’s story engulfing for the audience as she navigates the struggle she endured growing up and the repercussions it had on her psyche and well being.

Zoë Kim in Did You Eat? (밥 먹었니?) Photo by Maggie Hall Photography

A winding journey that is at times funny, haunting, harrowing, relatable and always powerful, Kim transitions each feeling with skill, physical prowess, and a natural fluidity as each scene intensely alters in tone.  An earnest piece steeped in emotion, the production is enhanced by Christopher Shin’s striking chorography that varies from subtle to sharp and abrupt movements to interpretive dance.  Kim army crawls, slices the air, and slides across the floor and yet also emits joy through childlike movements and a beaming smile.

Zoë Kim in Did You Eat? (밥 먹었니?) Photo by Maggie Hall Photography

The term Did You Eat? (밥 먹었니?) is inherently a phrase used in love language and how actions speak louder than words and yet words are significant and binding.  Kim also longs to please her family and within its raw honesty through resentment, isolation, shame, guilt and seemingly impossible circumstances, shares a beautiful life lesson about identity, trust, self love and what it takes to shine.   

Zoë Kim in Did You Eat? (밥 먹었니?) Photo by Maggie Hall Photography

 Written and performed affectively by Zoë Kim and perceptively directed by Chris Yejin, Did You Eat? (밥 먹었니?) , a world premiere production from Chuang Stage and Seoulful Productions, is a moving autobiographical recollection on love and family continuing live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, November 30.  This bilingual one woman performance is 75 minutes with no intermission.  Click here for more information and for tickets which are limited.

REVIEW: Greater Boston Stage Company serves up more than laughs in ‘Dinner for One’

Posted on by The Sleepless Critic

Simple acts of kindness make all the difference.

This is not lost on James who is earnestly willing to bend over backwards to make Miss Sophie happy on her birthday.  Dinner for One is not sentimental or sappy, but demonstrates a lovely bond between valet James and elegant aristocrat Miss Sophie in her twilight years.

Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios

Directed endearingly by Weylin Symes, Greater Boston Stage Company continues Dinner for One live and in person at the newly-renovated Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, November 17.  This remarkable and semi-interactive production runs 70 minutes with no intermission.  Each production is slightly different due to the audience’s initial participation.  Click here for more information and for tickets.

Greater Boston Stage Company recently unveiled a classic theatrical makeover which includes stylish new light fixtures, carpeting and seats.   The classic vintage quality and celebratory nature of Dinner for One seems a perfect match for the theatre’s new look to open Greater Boston Stage Company’s 25th season.

Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios

Red velvet streamers draped alongside crystal chandeliers is just part of Katy Monthei’s festive set design which includes matching detailed wooden furniture, a grand staircase, fireplace, nostalgic photographs and a lively phonograph in anticipation of Miss Sophie’s annual birthday dinner gathering.   With Jeff Adelberg’s atmospheric and symbolic lighting and David Remedios’s piano-infused soundtrack, Dinner for One depicts the elusive passage of time through a clock without hands hanging overhead.  

In tux and tails by costumer Deidre Gerrard, Paul Melendy as dapper James demonstrates his sharp comic wit through his cordial and self aware engagement with the audience considering them honored dinner guests, his meticulously detailed manner in planning Miss Sophie’s festivities, and in what ensues when best laid plans sometimes go awry. This production has some surprises and a great deal of physical humor in which Melendy handles with aplomb moving skillfully around the house. From a mumbling Jerry Lewis-style imitation to an amorous suitor to a boisterous Sir Toby, Melendy as James exacts accents and distinct mannerisms seamlessly to Miss Sophie’s delight.

Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios

In a sophisticated lace floral and taffeta gown, Debra Wise as proper Miss Sophie is as game and dazzled with every charming and rollicking gesture delivered by Melendy, but with a sneaking and relatable awareness of life’s fragility.  With head high and chin cocked, Wise’s Miss Sophie is used to a certain way of doing things, but is at her best when she lets her guard down. 

Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios

As funny as this production becomes, the quiet fondness between Debra Wise as Miss Sophie and Paul Melendy as James is the real enchantment of this production. More than dedication, there is a genuine admiration between them.   In its simplicity and big heart, Dinner for One is a unique experience with as much humor and beauty demonstrated in what is said as what is left unsaid. 

Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios

Greater Boston Stage Company continues Dinner for One live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, November 17.  This remarkable and semi-interactive production runs 70 minutes with no intermission.  Each production is slightly different due to the audience’s initial participation.  Click here for more information and for tickets.

REVIEW:  Umbrella Stage Company gets up close and personal with ‘Network’

Posted on by The Sleepless Critic

How far will anyone go for ratings?

It’s a mad world and UBS is here for it.

With compelling direction by Ashley Kelly Tata, adapted for the stage by Lee Hall and based on Paddy Chayefsky’s Academy Award-winning screenplay, The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3.  This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes.  Click here for more information and for tickets.

Set in September of 1975, UBS is a struggling television station drowning in the ratings.  Tensions are sky high as executives scramble to save it.   As a result, world weary veteran newsman and widower Howard Beale, a metamorphic portrayal by Bill Mootos, has been forced to retire after 25 years dedicating his whole life to his work.  In an act of desperation, Beale makes a shocking decision that impacts everyone around him. 

Bill Mootos stars as Howard Beale in ‘Network’ Photo by Jim Sabitus

Steeped in nostalgic glory, Network seamlessly rewinds the clock to a time where television was the world’s primary source for news, information, and entertainment.  From three piece suits to wrap dresses to Barrymore collars, costume designer Nancy Leary captures the essence of the 70s while Afsoon Pajoufar’s duel level retro studio set features vintage studio equipment, a line of wall clocks keeping track of various time zones all over the world and a multitasking wooden desk. 

The cast of ‘Network’ Photo by Jim Sabitus

 The towering UBS logo printed across SeifAllah Salotto-Cristobal’s projection screen can be distracting at times, but symbolically portrays the media’s monstrous influence on the world over anything else. Not only does it provide a window into nostalgic television but an intimate account into the characters’ reactions as if the camera is always rolling.   Featuring flashes of famous 70s commercials to searing headlines to classic TV shows like Laverne and Shirley, Salotto-Cristobal’s montages are overwhelming, rapid and impactful.  Even the television test signal can be unsettling.  Aubrey Dube’s audio design bring to life some particularly intense moments as well as satirical humor demonstrated in David Bowie’s meticulously placed Fame during a pivotal scene in the production. 

Blythe de Oliveira Foster as Diane and Bill Mootos as Howard Beale in ‘Network’ Photo by Jim Sabitus

Having worked through the Golden Age of Television, Howard Beale has seen the trends change into a darker tomorrow.  Mootos craftily transforms as alcoholic newsman turned influencer Howard Beale.  From a professional newsman straightening his tie, Mootos captures the derailment methodically from weary to anguish and everything in between struggling to learn what is really important.     

Workaholic Diane, ferociously portrayed by Blythe de Oliveira Foster, is a laser focused executive voracious for success and ratings that she flagrantly talks of immorality like she is ordering a drink at a bar.  Justifying unimaginable things hungry to accomplish her goals, Foster as Diane brings gall, gumption and a dark humor to her greediness that make her fascinating in her audacity.  Foster delivers some thought provoking scenes with Barlow Adamson who is impressive as tough yet rational Max and one of the few sympathetic voices of reason in this production.   Will McGarrahan also makes a lasting impression as menacing Arthur Jensen.   

Jennifer Bubriski as Sheila and Blythe de Oliveira Foster as Diane in ‘Network’ Photo by Jim

Network is a cleverly executed and gripping production that becomes so immersive that it may encourage you to contemplate whether anything has changed today or worsened especially in this digital age.  Network’s lighting is almost glaringly bright during show time and shadows take over behind the scenes depicting a darker reality.  Tata’s direction is invasive and revealingly up close and personal to expose the nature of many of the production’s themes including corporate greed, corruption, sensationalism, consumerism, scandal, violence and fame.  It is a barrage of ideas that are peeled away bit by bit and what is unveiled is both fascinating, alarming and not so unfamiliar before it reaches its shocking conclusion.  When has it all gone too far? 

Bill Mootos is “Mad as hell” and he’s “not going to take it anymore” as Howard Beale in a new stage adaptation of the 1976 classic film, ‘Network’ Photo by Jim Sabitus

The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3.  This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes.  Click here for more information and for tickets.

REVIEW:  Experimenting with connection in The Huntington’s extraordinary ‘Nassim’

Posted on by The Sleepless Critic

So much can be said without saying a word.

Embarking on a new journey into experimental theater after the hilarious and frenetically urgent Stand Up if You’re Here Tonight, The Huntington delivers another unique work where anything is possible.

Eloquently directed by Omar Elerian and featuring a different guest for every performance, The Huntington presents Nassim Soleimanpour’s Nassim live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, October 27.  This fascinating and semi-interactive production runs 75 minutes with no intermission.  Click here for more information and for tickets.

10/09/2024 – Boston, Mass. – Opening of Nassim Soleimanpour’s play Nassim as performed by Jared Bowen in the Wimberly Theatre at the Calderwood Pavillion on the Wednesday, October 9th, 2024. (© Mike Ritter)

With nothing but a sealed box containing an unseen mysterious script sitting on a table labeled only with the guest’s name, the anticipation is high and this particular guest admits that he is terrified as a mysterious person quips, ‘No panic on the Titanic.’

10/09/2024 – Boston, Mass. – Opening of Nassim Soleimanpour’s play Nassim as performed by Jared Bowen in the Wimberly Theatre at the Calderwood Pavillion on the Wednesday, October 9th, 2024. (© Mike Ritter)

Who can blame him?

Being the first guest performer on opening night of a production that can virtually go anywhere should come with understandable trepidation.  GBH’s Jared Bowen stepped out on the stage not knowing what was in store for him and the audience.  This particular performance was deemed the 478th time this production has ever been performed and Jared had to be ready for spontaneity, plenty of improvisation and game for virtually anything.

10/09/2024 – Boston, Mass. – Opening of Nassim Soleimanpour’s play Nassim as performed by Jared Bowen in the Wimberly Theatre at the Calderwood Pavillion on the Wednesday, October 9th, 2024. (© Mike Ritter)

What occurred was genuinely humorous, personal, heartfelt, and revealing.  Nassim contains several moments of moving subtlety and unpredictability that is engrossing from start to finish watching this particular story unfold.  It is also communal, eye opening, educational, and contains compelling experiences that are both simple and challenging, but above all meaningful.

Sound designer James Swadlo and Lighting Designer Rajiv Pattani seamlessly set the tone to this original and spontaneous production that varies from moment to moment.  It is also best not to know what to expect, but to experience it as the story unfolds knowing that each moment of this production serves a profound purpose about connection and much more.

10/09/2024 – Boston, Mass. – Opening of Nassim Soleimanpour’s play Nassim as performed by Jared Bowen in the Wimberly Theatre at the Calderwood Pavillion on the Wednesday, October 9th, 2024. (© Mike Ritter)

Jared thrived through this engaging theatrical experiment and some of the future guest performers include Mike Gorman, Keith Lockhart, Marianne Bassham and Nael Nacer.  Nassim is a distinct and creative exploration into the unexpected and it was exciting to take a chance on something new.  It was absolutely worth it.

The Huntington presents Nassim Soleimanpour’s ‘Nassim’ live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, October 27.  This fascinating and semi-interactive production runs 75 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Speakeasy Stage delivers crackling chemistry and lots of ‘Laughs in Spanish’

Posted on by The Sleepless Critic

Down in Wynwood, Miami, Florida, Mari is in a panic. 

On the eve of one of the most important events of her art career, Mari’s gallery Studio 6 has been robbed.

However, those surrounding Mari are not reacting in quite the same way.  Uptight, stressed and just about at her wit’s end, Rebekah Rae Robles as Mari is determined to get to the bottom of it and somehow salvage the event.  In braids and silky loungewear, Luz Lopez as intern Caro and Daniel Rios, Jr. as Caro’s boyfriend Officer Jaun take note of what is happening, but seem a little more interested in each other. 

Rebekah Rae Robles, Daniel Rios Jr. and Luz Lopez in SpeakEasy Stage’s ‘Laughs in Spanish’

Directed exuberantly by Mariela Lopez-Ponce and in honor of National Hispanic Heritage Month, SpeakEasy Stage Company opened its 34th season with Alexis Scheer’s lively comedy Laughs in Spanish continuing live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 12.  This quick witted production has strong language and is 90 minutes with no intermission.  Click here for more information and for tickets.

Rebekah Rae Robles, Brogan Nelson, Luz Lopez and Daniel Rios Jr. in SpeakEasy Stage’s ‘Laughs in Spanish’

Rebecca Glick’s stylish costumes feature bold colors and vibrant patterns indicative of each character’s personality and especially prevalent of Robles as Mari in a serious gray suit.  Alexis Scheer boasts a refreshing script with good pacing, surprising revelations, and a wild dose of complicated family dynamics as well as a comical cast with crackling chemistry.  Robles as Mari seems as wound about as tightly as her celebrity, model, and movie star mother Estella is vivacious and carefree.  Making quite the grand and unconventional entrance, dramatic, spectacular, and self-centered Paola Ferrer as Estella appears to revel in her role as the adventurous life of the party.  Quick thinking, reposed and resourceful, there is much more to Ferrer’s Estella who delivers a standout performance embellished by a poignant and heartfelt monologue later on in the production.  Robles and Ferrer share a natural, relatable and yet complicated mother and daughter dynamic as these seeming opposites humorously searching for common ground.  Lopez as intern Carol and Rios Jr. as Officer Juan are adorable and genuinely funny as they bicker and flirt attempting to help Mari, but finding themselves in complications of their own.  

Paola Ferrer and Rebekah Rae Robles in SpeakEasy Stage’s ‘Laughs in Spanish’ Photo by Nile Scott Studios

With an uplifting Latin-inspired dance soundtrack, Laughs in Spanish boasts a multipurpose split set by Erik D. Diaz featuring an array of tropical greenery with wicker-infused furniture adorned with twinkling lights on one side and a pristine white and mustard colored studio with missing canvases, modern furniture and soft lighting on the other setting a sophisticated yet festive city tone.  This split set doubles the laughs as action often occurs simultaneously on both sides, especially in a notable performance by Brogan Nelson as Estella’s giddy and awkward assistant Jenny in a memorable solo piece of silent, physical humor as cast members converse in the other room.

Rebekah Rae Robles and the cast of ‘Laughs in Spanish’ Photo by Nile Scott Studios.

If you are looking for an upbeat, playful, and lighthearted piece of theatre with some interesting twists, modern pop references and a bit of mystery and family dysfunction with Latino flair, SpeakEasy Stage delivers plenty of Laughs in Spanish.

The cast of SpeakEasy Stage’s ‘Laughs in Spanish’ Photo by Nile Scott Studios

Directed exuberantly by Mariela Lopez-Ponce and in honor of National Hispanic Heritage Month, SpeakEasy Stage Company continues Alexis Scheer’s lively comedy Laughs in Spanish continuing live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 12.  This quick witted production has strong language and is 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Speaking out in Plays in Place’s ‘A Light Under the Dome’

Posted on by The Sleepless Critic

‘A breath, a heartbeat, and a prayer’

Wise words spoken directly from Plays in Place’s A Light Under the Dome and it was just what it took to muster speaker Angelina Grimké ’s strength and courage.  Stirringly portrayed by Amanda Collins, Grimké was the first woman to stand and speak out in front of the Massachusetts State Senate to fight for what is right.  What was brought to light was Grimké’s careful strategy, passion and the surrounding events that unfolded around a handful of humble yet powerful women who historically embarked together to brave their own struggles for the sake of others.

United we stand.

Directed poignantly and powerfully by Courtney O’Connor and commissioned by the National Park Service, Plays in Place presented Patrick Gabridge’s A Light Under the Dome for a limited sold out run with waiting list availability only from August 12 to 15 live and in person at the Senate Chamber of the MA State House in Boston, Massachusetts.  The production was approximately one hour with no intermission.  Click here for more information and for more on Plays in Place.

The Senate Chamber of the MA State House is the setting for Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

Plays in Place has been noted for taking a significant historical moment in time and infusing it with multiple perspectives as the audience witnesses it in the place where it happened. It is the first of three plays of the Suffrage in Black and White series commissioned by the National Park Service.  A Light Under the Dome examines the scope of Grimké’s significant speech and its effects on this united group of women and the turmoil surrounding them.  It was not just the reenactment of the speech itself, but included the build up and the fallout surrounding this occurrence.

Amanda Collins as Angelina Grimké in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

Amanda Mujica’s colorful period costumes ranged from stripes to plaids to puffed sleeves combined with Rachel Padula-Shufelt’s well coiffed wigs to make each well adorned and inspiring individual stand out in their own distinct way.  Collins as Grimké embodied a string of emotions through wringing hands, hesitation and anxiety to make the speech of her life in front of thousands back in 1838 only held up by the women who supported her. 

Regine Vital as Julia Williams Bridgette Hayes as Lydia Marie Child and Thomika Marie Bridwell as Susan Paul in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

Though it was not thousands that surrounded Collins’s exiled Southerner Grimké when she made her personable, articulate and convincing speech about women’s rights which included suffrage as well as abolishing slavery like it was on that pivotal day on February 21, 1838, it was no less an immersive experience as the audience was welcomed to open seating inside the pristine and regal senate chambers while these five individuals freely roamed the room.  Surrounded by the detailed crown molding and towering chandelier in the Senate chambers, Andrew Duncan Will’s rich sound design articulated the commotion in the room and the looming chaos that erupted outdoors.  

American educator and abolitionist Susan Paul (Thomika Marie Bridwell), Anti-slavery and absolutist Maria Weston Chapman (Marge Dunn), Vice President of the Convention 1838 Anti-Slavery Women Lydia Marie Child (Bridgette Hayes), and Boston Female Anti-Slavery Society member Julia Williams (Regine Vital) surrounded repentant slave owner Grimké and all had vested interest and offered unyielding support to Grimké as their unique stories were weaved into the production.

Thomika Marie Bridwell as Susan Paul and Marge Dunn as Maria Weston Chapman in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

Dunn, having starred as Sherlock Holmes in Greater Boston Stage Company’s Miss Holmes Returns, still masters that commanding gleam in her eye and knowing grin.  Chapman was a powerful and resourceful presence in the room and one that the other individuals looked to for guidance.  Each individual shared their personal lives including a particular highlight as Bridgette Hayes as Lydia Marie Child reflected that she married a man who was good with dreams but bad with money.   Regine Vital as Julia Williams was in a battle of her own fighting everyday to free her sister from slavery.  However, the camaraderie between these women was never so well depicted than when they marched arm in arm during the 1838’s historical day of terror.

Regine Vital as Julia Williams in Plays in Place ‘A Light Under the Dome’ Photo by Nile Scott Studios

Gabridge’s script unveiled the hardships and grim reality of the freed in the north and the still enslaved in the south as the fight continued to abolish slavery and segregation.  These influential women fought for everything they have and still faced oppression from every side.  Gabridge’s script imbues a contemporary undertone that some aspects of Boston still have not changed including and not limited to Boston’s continuously sky high rent. 

L to R: Thomika Marie Bridwell as Susan Paul, Marge Dunn as Maria Weston Chapman, Amanda Collins as Angelina Grimké, Regine Vital as Julia Williams and Bridgette Hayes as Lydia Marie Child in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

A Light Under the Dome was an informative and eye-opening experience while also expressing to the contemporary viewer to continue to call for change in today’s society and fight for what is right as well as a firm plea to love thy neighbor as thyself.

Directed poignantly and powerfully by Courtney O’Connor and commissioned by the National Park Service, Plays in Place presented Patrick Gabridge’s A Light Under the Dome for a limited sold out run with waiting list availability only from August 12 to 15 live and in person at the Senate Chamber of the MA State House in Boston, Massachusetts.  The production was approximately one hour with no intermission.  Click here for more information and for more on Plays in Place.