no intermission

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.

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.