no intermission

REVIEW:  Hub Theatre Company of Boston’s wildly revealing ’46 Plays for America’s First Ladies’

Posted on by The Sleepless Critic

Life in the White House has always been messy.

Resourcefully directed and choreographed by Ilyse Robbins, Hub Theatre Company of Boston continues politically satirical play, 46 Plays for America’s First Ladies live and in person at Club Café in Boston, Massachusetts through Saturday, August 3.  This semi-interactive production is approximately 90 minutes with no intermission and tickets are on a pay-what-you can basis.  Click here for more information and for tickets.

Lauren Elias, Sophia Mulharram, Yasmeen Duncan and Katie Pickett in ’36 Plays for America’s First Ladies’ Photo credit Andrew Keefe

It is quite a feat having to navigate each distinctive perspective of ’46 Plays for America’s First Ladies’ in a constrained and approximate 90 minute timeframe with no intermission, so this production hits the ground running.  It serves more as a crash course for each first lady starting from Martha Washington literally framed elegantly with a classic side view as buntings hang above and the American flag is occasionally projected behind her.   E. Rosser’s symbolic, patriotic and muted colonial style garments stay true to each setting with some occasional surprises along the way. 

Sophia Mulharram, Lauren Elias, Yasmeen Duncan and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

With a cast of five which includes Yasmeen Duncan, Lauren Elias, Eleni Kontzamanys, Sophia Mulharram, and Katie Pickett portraying multiple roles with time saving costume changes and Samantha Mastrati’s essential props efficiently hidden in various places on the stage ranging from historical to contemporary to absurd, these hard working and talented individuals still manage to make it look easy. 

From absurdity to solemnity to comedy to tragedy including a few music numbers, each play is creative and vastly different with modern nuances and exposing the herstory and women’s societal hierarchy as time marches on.  Some of the production makes assumptions and analyses the perspectives of these ladies as modern observers.  Much of it is surprising and at the same time sadly not given the tumultuous state of politics throughout history.

Lauren Elias, Sophia Mulharram, Yasmeen Duncan, and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

’46 Plays for America’s First Ladies’ offers a wealth of information in its limited timeframe backed up by direct quotes from these ladies stylistically displayed as each play progresses.  A vast array of scenarios took place in the White House (which was first deemed The White House by a First Lady) and the title ‘First Lady’ has its own interesting back story with some stories questioning who the first lady really was at the time.

The cast of ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

The elicit affairs, the worries, the losses, unspeakable tragedies, disasters, emotional turmoil, the hospitality, the gossip, mudslinging and slander all had its place in the lives of the Presidents and their first ladies.  Some did not know that their husband ran for President, some felt invisible while some reveled in their station as ambitious First Ladies and advised their husbands without getting credit, and some stuck to their domestic duties including one first lady who invented the pink bathroom. Some changed America forever for the better, one even deemed herself the Queen of America and that just the tip of the iceberg.

Yasmeen Duncan, Sophia Mulharram, Lauren Elias and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe

It is not easy to delve into politics, especially these days. This fast paced production’s bold views are at times one sided and leading while exploring serious hot button issues in innovative and variety show style ways from vaudeville to comedic sketches to puppets to a play within a play and much more. While I enjoyed some parts more than others, the style of each play changes with each president and first lady with some revelations about these first ladies that just might unite us all.

Resourcefully directed by Ilyse Robbins, Hub Theatre Company of Boston continues politically satirical play, 46 Plays for America’s First Ladies live and in person at Club Café in Boston, Massachusetts through Saturday, August 3.  This semi-interactive production is approximately 90 minutes with no intermission and tickets are pay-what-you can.  Click here for more information and for tickets.

REVIEW:  Confronting the elements in Annas-Lee Design and Graham Cole’s visionary ‘Origami Night’

Posted on by The Sleepless Critic

A lithe dancer, strong local imagery, a powerful narrator and an immersive stage briefly come together in a compact space for a memorable experience.

Annas-Lee Design and Graham Cole continue ‘Origami Night:  a new choreopoem’ live and in person at the Plaza Blackbox Theatre at Boston Center for the Arts in Boston, Massachusetts through Sunday, August 4.  This swiftly paced production is approximately 50 minutes with no intermission and presented as an up close and personal theatre in the round.  Click here for more information and for tickets.

Origami Night continues through August 4. Photo courtesy of Annas-Lee Design and Graham Cole

Meditative, enchanting, and complex, Origami Night:  a choreopoem is an intense experience unlike anything I have seen before.  It delves into powerful themes such as grief, war, passion, trauma, and sheer joy in a unique manner that is constantly evolving as the production journeys through a woman’s life.  At first, dancer Elenaluisa Alvarez performs an interpretive dance to Annas-Lee’s dynamic sound design and Boston-based author and poet Pamela Annas’s contemplative work narrated rhythmically by Luz Nicolás, but Alvarez has a mind of her own as does her surroundings.  It is an unpredictable piece as Christopher Annas-Lee’s thunderous, alarming, tumultuous, dreamlike, soothing, and flashing multicolor lighting becomes its own character.  The lighting leads the dancer which is at times funny and unique, but that will change as well.  Red circle lighting where the narrator mentions red heels is a nice touch as well as the notable vibrations depicted by Annas-Lee. 

Elenaluisa Alvarez in Graham Cole; “Origami Night”

Fueled by Graham Cole’s emotive, symbolic and at times humorous and passionate choreography, Alvarez is coy, scowls, flaunts and it is easy to imagine her skipping along a windswept aqua coast as it is to visualize her charming playfulness during a dance contest to big band rhythms.  Virginia Belt’s loose and symbolic clothing helps to maintain a dreamlike atmosphere as Alvarez spins elegantly and then at once contorts in tight movements from stress and exhaustion.

Elenaluisa Alvarez in Graham Cole; “Origami Night”

Origami Night is a lot to take in and although printing the verses in the background might have been helpful, it might have also been distracting with the activity coinciding onstage.  The narrator is compelling with a balanced presentation where one does not get lost in the dance over the narration.  However, the captivating lighting may ensnare you in places that lead to its intriguing conclusion.

Graham Cole; “Origami Night”

Annas-Lee Design and Graham Cole continue ‘Origami Night:  a new choreopoem’ live and in person at the Plaza Blackbox Theatre at Boston Center for the Arts in Boston, Massachusetts through Sunday, August 4.  This swiftly paced production is approximately 50 minutes with no intermission and presented as an up close and personal theatre in the round.  Click here for more information and for tickets.

REVIEW:  Company’s One’s ‘Hoops’ take on greater meaning

Posted on by The Sleepless Critic

Not to be mistaken for basketball, Hoops are jewelry individuals wear as a fashion piece, display cultural or ancestral significance or to make a statement as Bronx-born Puerto Rican Jennifer Lopez once fiercely remarked during a comedy sketch on The Tonight Show, ‘Don’t make me take off my Hoops!’  It served as a warning to host Jimmy Fallon that Lopez was not to be messed with.

Hoops can add subtle and delicate elegance or stand out as its own remarkable, not-to-be-missed fashion statement.  I love my own hoops.  Whether formal or casual, they go with everything and fit in for every occasion.  Produced in all patterns, colors, and sizes, Hoops are unmistakable and certainly have a way of expressing themselves.

So it is no secret that this topic is right up my alley.

L to R Tiffany Santiago, Kaili Y. Turner, and Karimah Williams in Hoops Photo by Ken Yotsukura Photography

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA.  This semi-interactive production is free with pay-what-you-want options, contains some adult language and is a dense 90 minutes with no intermission.  Click here for more information and for tickets.

Brandie Blaze in Hoops Photo by KenYotsukura

Lively and pulsing rhythms greet the audience as multi-talented DJ Brandie Blaze spins tunes by local Boston artists as the production begins.  This is not the kind of show where one watches and remains silent.  The audience is encouraged to get up and dance, clap and show their enthusiasm as Blaze introduces this fervent cast who uniquely take the stage in their own style.

Part dance party, part testimonial and reflections, and part history lesson with a mix of comedic scenarios, the cast of Hoops share personal experiences, coming of age stories, and dig in deep into the idea that a piece of jewelry can make such an impact. Whether it is to feel closer to their family through an heirloom or to build confidence for an intimidating event, each individual has an original reflection on how their hoops made a difference in their lives.  Sometimes the production gives hoops a bit too much credit, but it is effective serving as a reminder that they had the courage and power to get through these challenges within themselves.

L to R Albamarina Nahar and Tiffany Santiago in Hoops Photo by Ken Yotsukura Photography

The cheerful, hoop-inspired set design by Payton Tavares with Grace Kroeger has a bit of a ‘90s feel featuring bursts of neon green, pink, yellow and blue with dripping paint decorated on blocks.  The DJ Booth is stylish and cozy featuring embellished shelves, vinyl, and flowers lining the walls.  Each character decked out in their own signature pair of hoops, Erica Schoenberg’s colorful, urban and summer-inspired costumes makes each individual stand out as they portray various roles.

Elijah Brown in Hoops Photo by Ken Yotsukura-Photography

In large and sparkling hoops, affable Brandie Blaze hypes up the audience by singing and rapping to Blaze’s original music.  Sharp and upbeat choreography by Jenny Oliver keeps the show exciting as  Elijah Brown, Albamarina Nahar, Tiffany Santiago, Kaili Y. Turner, Karimah Williams and Beyoncé Martinez not only break out into dance, but collaborate well together onstage sharing a spectrum of stories and anecdotes about sharing hoops, breaking hoops, status, generational wealth and their own individual journeys.

L to R Brandie Blaze Kaili Y. Turner Tiffany Santiago Karimah Williams and Albamarina Nahar in Hoops Photo by Ken Yotsukura Photography

Funny, upbeat, and poignant, Hoops is a meaty exploration about feeling good about oneself while taking on the weight of the world with flourish.

Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA.  This semi-interactive production is free with pay-what-you-want options and is a dense 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Embrace life and pursue the ultimate wave with Gloucester Stage’s summer soaked world premiere comedy ‘Wipeout’

Posted on by The Sleepless Critic

It is never too late to try something new.

Margaret nicknamed Gary, is ready to take risks.  Whether throwing caution to wind by neglecting to wear sunscreen or a seatbelt, Gary is finally embarking on a lifelong dream – to ride the ultimate wave for her 77th birthday in Santa Cruz, California…having never set foot in the water before.

Cheryl D. Singleton, Karen MacDonald and Noelle Player in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

With innovative and at times hilarious direction by Shana Gozansky as well as inviting lighting by Kat C Zhou, Gloucester Stage could not have chosen a more perfect time in its 45th season to unveil the world premiere of Aurora Real de Asua’s comedy Wipeout continuing live and in person at Gloucester Stage in Gloucester, Massachusetts through July 28.  The production contains a mix of important and needlessly explicit language, adult themes and runs approximately 100 minutes with no intermission.  Click here for more information and for tickets.

Noelle Player and Karen MacDonald in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

Surrounded by brightly colored beach balls on an aqua draped landscape, three women and one handsome teenage Santa Cruz Surf Skool instructor take to the waves depicted in a wooden pool like structure with sea turtles and various marine life painted on its perimeter.  The absence of water in Jenna McFarland Lorde’s immensely exuberant set design embellishes the humor and endearing moments in this production as rolling chairs carry surfboards.  Infuse Aubrey Dube’s immersive Pacific Ocean sounds and Wipeout transforms into one lively surfing safari.

Cheryl D Singleton, Karen MacDonald and Noelle Player in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

Wipeout’s excellent physical comedy is hysterical as the group carefully wades through the ‘water’ in scrupulous and urgent strokes while each character balances on their individual board. In water shoes and matching surf skool t-shirts by Jennifer Greeke, Gary, depicted with captivating depth and bawdy audacity by Karen MacDonald, is excitable, adventurous, and a playful prankster but there might be more to that than meets the eye.  MacDonald’s more serious moments are equally adept in a glassy-eyed grimace or squirming consternation.  Supportive, wise, cheerful and grounded school teacher Claudia portrayed beautifully by Cheryl D. Singleton, shares true companionship with Noelle Player as haughty and glamorous with a bit of a chip of her shoulder Wynn and Gary through the manner in which they share memories, meanderings, insecurities, inside jokes, gossip and bawdy references at times with Golden Girls flair. They embody a solid, longtime, and intimate friendship through thick and thin.  This engaging trio fumbles to find common ground with Thomas Bilotta who is instantly likable as their patient, enthusiastic, and compassionate teenage instructor Blaze which is met with intriguing results.  Wipeout is full of surprises as well as stirring and authentic life lessons as each character explores instinct, life’s unpredictability, mortality, and what is really means to embrace life to the fullest.

Noelle Player and Thomas Bilotta in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

With innovative and at times hilarious direction by Shana Gozansky and inviting lighting by Kat C Zhou, Gloucester Stage could not have chosen a more perfect time in its 45th season to unveil the world premiere of Aurora Real de Asua’s dramedy Wipeout continuing live and in person at Gloucester Stage Company in Gloucester, Massachusetts through July 28.  The production contains a mix of significant and needlessly explicit language, adult themes and runs approximately 100 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Chuang Stage’s visionary ‘Nüwa in Fairyland’ explores the nature of love and belonging

Posted on by The Sleepless Critic

Words matter.  Formalities matter.  Commitments matter.

Wise words firmly stated by Jen Alison Lewis as Maryanne in Brandon Zang’s Nüwa in Fairyland, an insightful coming of age tale that crosses imagination with a number of interweaving elements in order to bring consolation and understanding in the face of change.    

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage continues Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for the Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1.  This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission.  Pay-as-you-are tickets are available.  Click here for more information and for tickets.

Jen Alison Lewis and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Nüwa in Fairyland is primarily centered on the relationship between good natured, competitive, and playful Benji depicted by Trevyn Wong in an impressive and charismatic performance and Jen Alison Lewis as Maryanne, Benji’s protective and steadfast adopted mother.  Benji is starting to question his heritage beyond what he knows of his adopted life in America after seeing a documentary on China and Maryanne immediately feels anxious and uneasy.  Meanwhile, Bowen Huang movingly depicts a mystical creature frantically searching for a missing child.  There may be a connection here, but Nüwa in Fairyland explores a broader vision and branches out into fascinating territory and parallels that interweave imagination, reality and a certain Shakespearean play in order to cope with what is next.

Matt Goldstein, Trevyn Yong, and Jen Alison Lewis in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Navigating its various settings with precision while making the most of its theatrical space, Qingan Zhang’s ethereal and floral scenic design is highlighted by splendid translucent imagery and a sense of immersion due to Anna Drummond’s soothing and atmospheric sound design and Ashley Yung’s ambient lighting.  From feathers to crowns to capes to embroidered armor, Sandra Zhihan Jia’s costumes blend the fanciful with the contemporary while infusing a traditional Shakespearean influence. 

Jen Alison Lewis and Matt Goldstein in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

This capable cast has very good camaraderie and comedic timing as they find nuances not necessarily in the script which enhance certain sweet moments within the production.   A gleeful glance, an awkward gesture, and a delayed pause help to strengthen the bond within this small cast.  Henry Dolgoff as chatty and anxious Damian share several of these moments infatuated with Wong in an array of awkward and mixed signals.  Matt Goldstein as stern yet supportive Mr. Bailey and Lewis as Maryanne both share some soulful moments with Wong as Benji struggles with where he belongs.

Trevyn Wong and Henry Dolgoff in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

However, Bowen Huang shines as stunning Nüwa in an intense, sage and sympathetic performance.  Spoken in both Chinese and English, Huang is expressive, passionate, brave, and empowered with a wonderful charisma and zealousness convincingly drawing others to her plight in an unfamiliar place.   The cast collectively explores the bonds of love in a thought provoking and multi-layered journey while both Huang and Lewis uniquely and beautifully discover the unforeseen and unyielding expectations of motherhood.

Bowen Huang and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography

Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage presents Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1.  This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission.  Pay-as-you-are tickets are available.  Click here for more information and for tickets.

REVIEW:  Company One’s tech savvy ‘Morning Noon and Night’ makes room for what is important

Posted on by The Sleepless Critic

What has the world come to and what has come of us?

It is a prevalent and thought provoking theme as Company One continues Kirsten Greenidge’s tech savvy comedy Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25.  The show is approximately 1 hour and 35 minutes with no intermission and has some adult language.  Tickets are available on a pay what you can basis.  Click here for more information and for tickets.  

Schanaya Barrows, Sydney Jackson, Aislinn Brophy (Photography by Ken Yotsukura)

Innovatively directed by Summer L. Williams, Company One Kirsten Greenidge’s Morning Noon and Night with Boston University’s College of Fine Arts unveils a world where children are mesmerized by their phones and selfies and time is measured a bit differently referring to pre-Covid days as ‘from before’ and a long time ago is at least ‘two phones ago’.

Set in Post 2020 pandemic and 2020’s endemic  with a dose of virtual reality,  Morning, Noon and Night explores loss, grief, fear, frustration, uncertainty, and a journey toward healing from economic turmoil after the pandemic has turned the world upside down.  This production also delves into escalating technology and consumerism in daily life where phone addicted children believe most of what they read on the internet, have increased social anxiety and angst, and the dangers of allowing technology to run your life and solve your problems.

Sydney Jackson, Kaili Y. Turner (Photography by Ken Yotsukura)

If this sounds like a lot, Morning, Noon, and Night tries to do a lot and at times is a bit uneven in its storytelling getting weighed down by its own ambitions.  However, it is a touching and comedic piece that cuts through it all to reveal what is most important. It has a slick presentation blending Audrey Dube’s zippy sound design with Maria Servellón ‘s lustrous projections that  impressively portray the immaculate and too-good-to-be-true nature of the internet as well as beautiful memories.  It’s pristine, sparkling and deceptively perfect featuring colorful imagery likened to scrolling through a phone.  Amazon boxes, stacked CD’s and clothes strewn on the floor is part of Justin Lahue’s scattered and contemporary scenic design and the reality of Mia’s cluttered household.

Kaili Y. Turner, Eliza Fichter (Photography by Ken Yotsukura)

 Kaili Y. Turner delivers a memorable performance as overwhelmed and stern Mia who is planning a birthday party for her estranged daughter, Alex.  Sydney Jackson depicts Mia’s excitable, anxious, and somewhat bossy daughter, Dailyn and Alex’s sister who is alarmed by the state of the world depicted on the internet.  Turner and Jackson make a relatable and comical mother and daughter duo as Dailyn pushes all the boundaries.  Both want Alex’s party to be perfect in their own way, and when Alexandria King as upbeat, orderly and mysterious Miss Candace unexpectedly shows up at Mia’s doorstep, life as they know it is about to change.

Greenidge’s clever dialogue lets the tech lingo fly especially from Dailyn and supportive friends Schanaya Barrows as sunny perfectionist Chloe and Aislinn Brophy as Nat as they navigate their way through school and family issues.  Eliza Fichter as energetic and meticulous Heather delivers some candid moments of hesitancy that anyone can relate to in this 2020 endemic world.

Kaili Y. Turner, Alexandria King, Eliza Fichter, Sydney Jackson (Photography by Annielly Camargo)

However, Alexandria King is wonderful as impeccably dressed and never flummoxed Miss Candace, particularly sharing physical comedic prowess with Turner as Mia.  They share an interesting dynamic and their interactions are evenly fun and intense.  King’s bright eyes, clipped laugh and powerful presence is fascinating to watch and Miss Candace’s outlook on life is one we can all take a lesson from.

Innovatively directed by Summer L. Williams, Company One continues Kirsten Greenidge’s tech savvy comedy of Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25.  The show is approximately 1 hour and 35 minutes with no intermission and has some adult language.  Tickets are available on a pay what you can basis.  Click here for more information and for tickets.  

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

Posted on 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.

Photo credit to Karin Trachtenberg

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 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. 

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.

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.

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.

REVIEW:  Central Square Theater elegantly streamlines heart and innovation with ‘Machine Learning’

Posted on by The Sleepless Critic

Jorge is in distress.  Maybe Arnold can help.

Directed beautifully by Gabriel Vega Weissman, Central Square Theatre in partnership with Teatro Chelsea and a Catalyst Collaborative@MIT production continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, February 25.  The show is 100 minutes with no intermission and contains some Spanish dialogue.  Click here for more information and for tickets.

Armando Rivera in ‘Machine Learning’ Photo by Nile Scott Studios

Caring for a loved one is challenging in itself, but a loved one with a terrible illness battling addiction is that much more daunting.  Frustrated yet determined computer scientist Jorge, empathetically portrayed by Armando Rivera, shares a complex history and relationship with his proud, stubborn, and sympathetic Columbian father Gabriel, depicted with machismo yet stalwart likability by Alberto Rubio.  Rubio as Gabriel hones an authentic depiction of the nature of addiction in an ailing man.   In order to care for his ailing father who is battling liver cancer, Jorge establishes an AI digital application and nurse named ‘Arnold’, voiced brilliantly by Matthew Zahnzinger, which might not only possibly make both their lives easier, but an entity that stubborn Gabriel just might listen to.

Jorge Alberto Rubio as Gabriel Photo by Nile Scott Studios

Each of these lovable characters is virtuous in their own way and their desire to seek the best in the other is what truly makes them remarkable.  Young Jorge, depicted precociously and humorously by Xavier Rosario, is a scene stealer in his sweet and difficult moments with his father particularly demonstrated in an escalating battle over a game.  Rosario tries his father’s patience with unflinching honesty and their experiences shape the relationship later demonstrated by Rivera as Jorge and Rubio as Gabriel.  Zahnzinger as Arnold is an inquisitive and unintentionally funny logical entity that develops a seemingly caring and convincing rapport with Rivera and Rubio that can affectively blur the lines between AI and humanity, but Mendoza’s insightful script cleverly navigates this line of thinking through Arnold’s programming and deduction.

Xavier Rosario and Jorge Alberto Rubio Photo by Nile Scott Studios

Sugandha Gopal portrays sensible and focused Anita, Jorge’s encouraging and astute professor and mentor.  Anita and Jorge share an admirable mutual respect and Gopal shines when she perceptively challenges Jorge on the most difficult things that Jorge needs to face about himself.  Gopal as Anita has confidence in Jorge, but knows the best thing for Jorge is compassionate yet constructive criticism for Jorge’s difficult mission to help his father and to become a better computer scientist.

Sugandha Gopal and Armando Rivera Photo by Nile Scott Studios

What makes Machine Learning fascinating is not only the terrific state of the art sound design by David Remedios with sound engineer Kai Bohlman,  Amanda Fallon’s animated lighting, and Janie E Howland’s innovative fold out and compartmentalized set boasting rich graphics and impressive coding by Projection Designer SeifAllah Salotto-Cristobal, but the care instilled in Arnold’s every calculation in an attempt to deliver Gabriel better care than Jorge believes he could ever possibly deliver on his own.  It is the compassion and resolve put into every detail despite the fraught history Jorge has with Gabriel and their inherent and relatable flaws.  Through all of this seeming perfection is the delicate imperfection that truly resonates. 

Jorge Alberto Rubio and Xavier Rosario Photo by Nile Scott Studios

Though the production delves into the science of AI and the characters are encompassed by calculations and functionality, not for one moment does this production ever feel robotic.  If anything, Machine Learning is a moving production that brings out the ties that bind between a father and son in all of its illuminating calculations.

Central Square Theatre in partnership with Teatro Chelsea and MIT continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theatre in Cambridge, Massachusetts through Sunday, February 25.  The show is 100 minutes with no intermission and contains some Spanish dialogue.  Click here for more information and for tickets.

REVIEW: Image Theater’s ‘Lost Cellphone Weekend’ puts an amusing noir spin on a familiar addiction

Posted on by The Sleepless Critic

Existing without a cell phone is a tricky business.  However, unplugging for a weekend shouldn’t be impossible.

However, it is for many people.  There are those who have their whole lives tied up on their phone from bank accounts to personal history while others have an unshakable habit of constantly finding comfort in that tiny screen.  A cellular phone is the scientific term, but is it really such a stretch that is referred to as a cell phone?  People can be confined to its gaze.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Steve Gilbane’s Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10.  The show is 100 minutes with no intermission.  Click here for more information and for tickets.

Ken Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Projections operator John Cipolaro provides the clean and modern set which includes a busy office, bedroom and street while implementing a few carefully placed set pieces such a multitasking bar cabinet, tables, and chairs.  Sound operator Mike Flynn sets the tone with a lively and suspenseful score while Music Director Ian Chin directs an intimate onstage orchestra for the dynamic soundtrack.

Ken Meehan, Casey Moore, and Diane Milesky Meehan in ‘Lost Cellphone Weekend’ Photo by Britton Boughner

Based loosely on The Lost Weekend starring Ray Milland and part metadrama, Lost Cell Phone Weekend takes on a vintage noir vibe, but also stands as a light and humorous cautionary tale that focuses on ad executive Don and his girlfriend Helen who embark on a weekend away to a Vermont Bed and Breakfast.  Unbeknownst to Don, Helen intends to have a wireless weekend without a cell phone in sight.  You bet antics ensue and discoveries are made about this little weekend that no one could have expected.

Ken Meehan as Don Birnham, who may resemble the famous other Don from Mad Men, delivers a charismatic blend of old school charm and quick comedic timing embellished by Gilbane’s quip-laden script.  Meehan’s fast talking sentimentality over a cell phone is over the top and yet curiously relatable.  Wild eyes in a suit, Meehan prowls about the area under a suave façade zeroed in on the one thing that will keep him Connected, which is a particularly catchy number.   Diane Milesky Meehan as Don’s romantic and sensible fiancée hopes this little getaway will rekindle their relationship.  They share some fun chemistry, especially knowing that Ken and Diane are married to each other in real life.  Diane goes wonderfully rogue as she articulates her feelings with the playful ballad, Look at Me.

Phil Thompson and David Hansen in ‘Lost Cell Phone Weekend’ Photo by Britton Boughner

Phil Thompson is a natural as tough and candid bartender Nat.  Tall and lanky with a mix of subtle intimidation and mischievousness bearing a passing resemblance to Clint Eastwood, Thompson as Nat creates a doomed path for the haunting number, The Downfall of Man.

Casey Moore and David Hansen take on a few roles, but Moore is noteworthy as phone whiz Gloria in a red dress and Hansen as a mysterious and silly stranger claiming to be a very busy person.  The cast later puts things into skewed perspective on this resonating topic with the striking number, A Little Poison.

The cast of ‘Lost Cellphone Weekend’ Photo by Christian De Rezendes

Lost Cellphone Weekend is an amusing and light musical comedy experience with vintage flair that comments on that pesky little cell phone habit but beware!  It may challenge you to discover this big beautiful world and those dear to you more often.

Contemplatively directed by Jerry Bisantz with lighthearted music direction by Ian Chin, Image Theater presents Lost Cell Phone Weekend, a satirical new musical that continues live and in person at the Richard and Nancy Donahue Family Academic Art Center at Middlesex Community College in Lowell, Massachusetts through Saturday, February 10.  The show is 100 minutes with no intermission.  Click here for more information and for tickets.