REVIEW:  A summer not soon forgotten in Central Square Theater’s ‘Summer, 1976’

Some friendships are instant and others form through an inexplicable connection at just the right time. 

The latter is the case for Laura Latreille as free spirited Alice who meets Lee Mikeska Gardner as intellectual Diana through a babysitting co-op with their two daughters.  The daughters become fast friends and these unfulfilled mothers, fascinated with each other, become friends unexpectedly even in the face of their apparent differences. 

Paula Plum’s engaging direction explores friendship, societal expectations and much more in David Auburn’s dramedy, Summer, 1976 which ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30.  This candid two hander production contains adult content and runs 90 minutes with no intermission.  Click here for more information about Central Square Theatre and more on their upcoming production, Yellow Bird Chase.

Laura Latreille and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

Set in Columbus, Ohio during the Summer of 1976, two households sit side by side.  One is a cheerful yellow while the other is composed of sensible brick.  These distinctive houses by set designer Kristin Loeffler reflect two seemingly contrasting mothers’ personalities destined to become friends.

Justin Lahue’s colorful projections with Deb Sullivan’s illuminative lighting offers vibrancy to Kristin Loeffler’s summer set design through fireworks, sunsets, fireflies, clear blue skies and stoner psychedelic imagery.

Summer, 1976 is a reflective piece driven by a unique narrative.  Instead of two women recalling their own memories individually onstage, they share the stage and react to each other’s animated memories conversationally while correcting and playfully ribbing each other along the way.  The narration is a novel approach and it certainly draws on the compelling chemistry between Latreille’s Alice and Gardner’s Diana.  Their joys, heartbreaks, mischievousness and secrets unfold as the other is engulfed in the other’s story. 

Latreille portrays winsome, bold and seemingly carefree married housewife Alice exuberantly who tries not to think too far ahead while Gardner depicts immaculate, studious and practical single mother Diana who is always thinking ahead and encourages Alice to carefully think about her own future.  Occasionally engaging with the audience, Gardner and Latreille challenge each other while exposing one another’s hypocrisies and mutual stubbornness with a clever twist which changes the way you witness this tale.  It’s an important twist and revelation crucial to keeping this style of storytelling fresh.  From migraines to life changing decisions, these two sincerely root each other on and some of the most fulfilling friendships thrive with tough love under the best intentions.

Laura Latreille in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

Taking place during a pivotal and role shifting era for women from the 50s to the 80s, Summer, 1976 insightfully explores these two mothers and their life choices who long to see and understand each other clearly.  It is the kind of familiar camaraderie prevalent in so many important relationships.  I admire the way the production takes a relatable look at friendship and how it evolves throughout the years through a combination of comic and somber moments.  Exploring the joyous and bittersweet, Summer, 1976 delivers a summer not soon forgotten.

Laura Latreille, and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios

David Auburn’s dramedy, Summer, 1976 ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30.  This candid two hander production contains adult content and runs 90 minutes with no intermission. Click here for further details and more on their upcoming production, Yellow Bird Chase.

REVIEW:  Manual Cinema cleverly performed vibrant and layered children’s production ‘Leonardo!  A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre

Recently, Wheelock Family Theatre and Manual Cinema presented a vibrant tale about terrible monsters and the true meaning of kindness. 

Based on books by Mo Willems and playfully choreographed by Sarah Fornace, Wheelock Family Theatre and Manual Cinema highlighted the inner workings of puppetry, voiceover and much more wrapped in two inspiring tales with Leonardo!  A Wonderful Show about a Terrible Monster which continued through October 19.  This lively, semi-interactive and captioned production ran 50 minutes with no intermission.  Click here for further information and here to learn more about Wheelock Family Theatre’s upcoming productions including the classic musical Annie kicking off this month.

Kevin Michael Wesson and Kary Gesine Bergman in Manual Cinema’s ‘Leonardo! A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre Photo credit Manual Cinema

It was easy to sense the buzz from the audience and the building excitement from the children as everyone settled into one of Leonardo!’s final performances.  Accompanied by multi-talented guitarist, narrator, character voices and vocalist Lily Emerson, Leonardo! Focuses on a monster named Leonardo, portrayed with bold yet self-effacing charm by Kevin Michael Wesson, who seems incapable of scaring anyone, so Leonardo sets out to become the monster everyone thinks he should be.

Leonardo! Is an engaging and sweet production, but what truly sets it apart is the amazing and transparent nature in which this show is put together.  Taking place inside an onstage studio, witnessing everything being created live piece-by-piece with lighting, live action, illustrated projections and video makes it a remarkable behind-the-scenes learning experience.  It was also refreshing to see innovative puppetry leaning away from CGI and strictly computerized methods and more towards book-influenced illustration.

The cast of ‘Leonardo! A Wonderful Show about a Terrible Monster’ Photo credit to Manual Cinema

Mieka Van der Ploeg’s textured costumes and chunky wigs are illustrations come to life as the audience has the option to focus on the projections of the finished product and/or the behind the scenes aspect of the production.   

Fueled by a blend of light pop, inquisitive, echoing and effervescent music by Ben Kauffman and Kyle Vegter and spirited lighting by Trey Brazeal and Nick Chamernik, Lily Emerson is a marvel delivering this clever tale in all its swift transitions and voices alongside Karly Gesine Bergmann as pensive Sam, Sharaina Latrice Turnage as unexpected Kerry, and Wesson as Leonardo.  It was also easy to see the enthusiasm from everyone involved. 

Lily Emerson and cast and crew of ‘Leonardo! A Wonderful Show about a Terrible Monster’ Photo credit Manual Cinema

Leonardo!  A Wonderful Show about a Terrible Monster was authentic, amusing, boisterous and brief enough to keep the young audience captivated while teaching them about life and making friends.  I particularly appreciated a section of the story about the library and its various ‘suses’ and the expression, ‘Scare the tuna salad out of him.’

At just 50 minutes, both tales link seamlessly together building on themes such as bullying, social anxiety, sibling rivalry and appreciating one another’s differences.  Leonardo! boasts a fascinating and layered universal message valuable to anyone from toddler to elder.

Sharaina Latrice Turage in Manual Cinema’s ‘Leonardo! A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre Photo credit Manual Cinema

Wheelock Family Theatre with Manual Cinema highlighted the inner workings of puppetry, voiceover and much more wrapped in two inspiring tales with Leonardo!  A Wonderful Show about a Terrible Monster which continued through October 19.  This lively, semi-interactive and captioned production ran 50 minutes with no intermission.  Click here for further information and here to learn more about Wheelock Family Theatre’s upcoming events including the classic musical Annie kicking off this month.

REVIEW:  Thinking outside the box in American Repertory Theater’s artistic autobiographical comedy, ‘300 Paintings’

What happens after a dream doesn’t go quite as planned?  For Sam Kissajukian, it’s finding another one.

Created and skillfully performed by dynamic Australian talent Sam Kissajukian, American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25.  This cleverly executed production runs 90 minutes with no intermission.  Click here for more information and for tickets.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings carefully balances insight and humor in a zig zag autobiographical and educational journey about making a new start when your initial dream goes awry.  Allowing the audience into his captivating methodology and thought patterns, Sam intimately reflects on this time with a step-by-step skewed and spontaneous comic logic that might be farfetched if it wasn’t for his unwavering confidence.  Warmly yet dryly tracing out his often outlandish and complex ideas, you will marvel at his resourcefulness as Sam reflects upon his choices in the aftermath of his decisions. For example, Sam takes apart the art of doing business through the Museum of Modernia in such an interesting and unpredictable manner that one might wonder why no one has ever thought of that before.  As Sam reflects, ‘A manic person will never do something the way you expect them to do it.’ 

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

Part comedy and part fascinating art exhibition, this personal portrait has a sense of urgency as it tackles art, comedy, business, and mental health with sincerity and self deprecation while keeping the majority of his zany storytelling lighthearted and humorous.   

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings also contains a sense of adventure, gusto and discovery as the story unfolds behind these 300 Paintings.  As Sam states, ‘No one would ever expect’ and I do think that is a deft description of this entire journey.  With a mix of humor and surprise, Sam shows that discovering what you are meant to do is as significant as the journey toward it.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25.  Click here for more information and for tickets.

REVIEW:  Teaching and learning through adversity in Gloucester Stage’s impactful ‘No Child’

“If you can read this, thank a teacher.”

An American proverb like this speaks volumes about teaching being the very foundation of most everything in life.  Without the inspiring art of teaching, the world would be a very different place.

To think some people know they are born to teach and through it all, they do just that.

Beautifully directed by Pascale Florestal, Gloucester Stage continues Nilaja Sun’s semi-autobiographical No Child, a one person production continuing live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, August 23.  This insightful play within a play within a play contains strong language and runs 75 minutes with no intermission.  Click here for more information and for tickets.

Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer

The poorest congressional district in the nation is within the Bronx. One teacher embarks on a dubious journey to teach 27 tenth graders and quickly wonders if she may be in over her head.  Valyn Lyric Turner, starring in this one person production, takes on this insurmountable challenge and rises to the challenge with grace, wit, humor, and integrity.

Narrated by Turner as Custodian Baron with a twinkle in her eye, Turner embodies a wide range of animated characters from youthful to the elderly in innovative and brilliant ways capturing distinct mannerisms, posture, tics, accents, diction as well as various expressions and languages.  In a performance that might have come off bumpy and awkward, Turner’s shrewd solo performance is engaging and lively with each character uniquely and astutely personified through smooth and fascinating transitions. 

Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer

Turner as Janitor Baron speaks directly to the audience with sage musings and historical knowledge of the Bronx school Baron has cleaned since 1958 while sharing the story of aspiring theatre teacher Miss Sun.  In a tailored shirt and dark pants, Jose, Miss Sun, Jerome, Miss Kennedy, Miss Tam, Chris, and Janitor Baron are only a small portion of the dynamic characters Turner masterfully delivers in swift succession with finesse and unmitigated charm.  Not only exacting accents from southern to Jamaican at times within the same breath, but taking it one step further by occasionally correcting pronunciations in character from one character to another.  It is extraordinary to see Turner accomplish this amazing solo acting feat within this inspiring and absorbing tale.

Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer

Hazy windows, a weathered light fixture, an uncovered beige radiator and a water stained linoleum floor punctuated by two red steel classroom chairs at center stage detail Christina Todesco’s intricate scenic design.  Sound designer Jacques Matellus conveys the production’s surroundings through the show’s atmospheric sound design which includes a metal detector, a moving train and the authentic sounding class bell.

Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer

One of the many highlights of this production is it radiates not only what it is like to be a teacher in a challenging classroom, but unveils a number of significant perspectives including, as Custodian Baron states, what these “academically challenged” students are like facing fears, apprehension, frustration, lowered expectations and for some, an embattled home life. 

Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer

A humorous, timely, poignant, educational and inspiring journey, No Child remarkably explores the distractions, sacrifices and challenges that even the most patient teachers face and the power of every victory in the classroom and beyond.    

Gloucester Stage continues Nilaja Sun’s semi-autobiographical No Child, a one person production continuing live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, August 23.  Click here for more information and for tickets.

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

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’

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’

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’

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

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’

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.