no intermission

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’

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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

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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.

REVIEW:  Fueled by a mesmerizing soundtrack, witness The Huntington and SpeakEasy Stage Company’s quietly stirring ‘The Band’s Visit’

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Imagine longing for a phone call from a loved one or the act of just mustering up enough courage to speak to a girl.  Imagine welcoming a group of strangers to your table and into your private home for the night because they are in need of a place to stay.  Think about that kind of selflessness and hospitality freely given without a second thought.  These seemingly small acts of kindness make a big impact in The Band’s Visit.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage Company presents The Band’s Visit by Itamar Moses through December 17.  The show is 90 minutes with no intermission.  Click here for more information and for tickets.

The Band’s Visit made its Broadway debut in 2017 with Tony Shaloub as Tewfiq and went on to win multiple Tony Awards.  Much of this acclaimed show hinges on its eclectic and spellbinding music soundtrack which ties the band and the locals together, particularly essential when they are feeling misunderstood.  This multi-talented onstage band certainly can jam especially for the numbers Soraya and Haj-Butras and receives some additional hidden accompaniment which is delightedly revealed in an unexpected way.

Cast of The Band’s Visit; Photo by T Charles Erickson

Set in 1996 in a small Israeli town located in the middle of the Negrev Desert where nothing unusual ever seems to happen, the townsfolk are dazzled by a traveling and stranded Egyptian band wearing distinguished powder blue uniforms by Miranda Kau Giurleu.  The Band’s Visit is an unconventional and unassuming musical that quietly and most assuredly will open hearts and minds to the little things in life that are sometimes overlooked.

The Band’s Visit unveils heartache and hope in such a remote land that the locals may sometimes feel forgotten.  Many aspects of Jimmy Stubbs and Wilson Chin’s nostalgic scenic design fondly rewinds the clock using iconic pieces of nostalgia while also evoking the isolated nature of the town which includes a towering lamp post, a phone booth richly and authentically detailed with fingerprints and grime on its plastic cover, and a deserted blue street with yellow stripes.  One of the most memorable scenes recreates a retro roller skating rink equipped with multicolored lights, disco ball and DJ. 

Jennifer Apple, Brian Thomas Abraham; Photo by T Charles Erickson

This production delivers many surprises and this intriguing cast is no exception.  Brian Thomas Abraham wonderfully portrays modest orchestra leader Tewfiq.  Abraham’s reserved Tewfiq expresses his art with charisma, but offstage, he is a man of few words.  Guarded and mysterious, Abraham shares fascinating chemistry with Jennifer Apple, a natural as feisty divorcee Dina especially for the beguiling numbers Omar Sharif and Something Different.  Stunning in a gorgeous red flowing burgundy frock, Apple captures Dina’s resilience and yearning for happiness beyond what this small town can offer but something is holding her back.  Apple’s bright smile and intensity is particularly notable in a scene stealing incident slicing watermelon in It is What it Is.

Marianna Bassham, Andrew Mayer, Robert Saoud, James Rana, Jared Troilo; Photo by T Charles Erickson

Mariana Bassham, who has a history of impactful roles including a starring role in SpeakEasy Stage’s People Places and Things from 2022, is impressive alongside Jared Troilo as Iris, Itzik’s long suffering and resentful wife.  Even in an uplifting scene involving household instruments, Bassham’s vacant expression and fatigue is the picture of indifference and discontented heartache as she stares into the abyss of a life unfulfilled.  Troilo’s Itzik is warm and helplessly optimistic despite his family’s circumstances.  Troilo has a powerful voice which is understated for this particular performance for a quietly tender Itzik’s Lullaby. 

Noah Kieserman, Mac Ritchey, Jared Troilo; Photo by T Charles Erickson

The Band’s Visit also offers a mix of lighthearted comedic moments.   Jesse Garlick shines as awkward and bewildered Papi for the zany number Papi Hears the Ocean as Josephine Moshiri Elwood as self effacing Julia looks on.  Kareem Elsamadicy is much more than meets the eye as Haled in the smooth and lovely rendition of Haled’s Song about Love.  Emily Qualmann as Anna and Fady Demian as Zelgar make an entertaining pair of partiers and Noah Kieserman delivers gorgeous vocals with the cast for the enthralling number, Answer Me.

Cast of The Band’s Visit; Photo by T Charles Erickson

Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage presents The Band’s Visit by Itamar Moses through December 17.  The show is 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Exiled Theatre’s disquieting and fuzzy trilogy thriller ‘Hauntings I Have Lived Through’

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Three lost women.  One embraces it, one denies it, and one leans into it.

In their first show since the pandemic, Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19.  Written and directed by James Wilkinson, the show was 80 minutes without an intermission.  Click here for more information on future performances.

From L to R: Laura Crook Waxdal, Morganna Becker, and Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wikinson

The set, which included a water pitcher and empty glass on a wooden desk sitting on top of a colorful Egyptian rug, is simply staged but each character handles the set differently.  The harp-laden eerie music fits the ominous aura between scenes.

Hauntings I Have Lived Through may hint at a collection of ghost stories especially since it was delivered just after Halloween, but this is not entirely the case.  Three separate women recall enduring unique types of trauma.  However, coping with occasional moments of dark humor, their reactions are relatable even in the darkest of circumstances. 

In The Hanging Tree, an increasing anxious and somewhat disheveled woman approaches the desk.  She admits to coming off a tough breakup, though the breakup is mostly incidental to this woman’s real story. The real story develops from an offhanded remark about a mysterious Sycamore tree in her woodsy backyard of a house she is becoming increasingly uncomfortable residing in.  With darting eyes, increasingly shaking hands, and a pale and stricken expression as she utters the anxiety laden yet humorous remark, ‘Pause for effect’ is effective as a rare light in Alex Alexander’s character’s bleak testimony before veering into an unpredictable direction.

Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

Morganna Becker’s character has been through a lot, but her frank, sarcastic and chatty tone hints of denial as she recalls a macabre event in the show’s second part, Nora (All Over).  This chapter is a bit muddled and at times difficult to follow, but there is no denying that this woman has also been through defining trauma.  As Becker recounts her story as if incidentally recalling the difficulties of a typically tough day, there is a fear behind her engaging yet guarded demeanor.  This story is particularly graphic and gory while Becker takes it in as if she is a spectator in her own life.  Her subtle fear keeps her sympathetic as if she will at any minute grasp the gravity of what she has experienced.

Morganna Becker in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

The finale, The Dark Lady Gospels, delves into experienced trauma, but does not seem to belong with the other parts of the trilogy.  Laura Crook Waxdal delivers a strong performance as a twisted evangelist, but this compassionate woman does not practice what she preaches.  This part seems more parlor trick and diatribe than what could have been a meaty exploration into this complicated and abandoned woman’s character.  Perhaps her practices are a veiled attempt to cope with trauma, but even so, what she preaches seems beside the point and bereft of hope.  As a woman with a considerable amount to live for, it does not fit squarely into the show’s premise and gradually strays too far from its focus hinging more on fear than exploration.

Laura Crook Waxdal in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19.  Written and directed by James Wilkinson, the show was 80 minutes without an intermission.  Click here for more information on future performances.

REVIEW:  The Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

Posted on by The Sleepless Critic

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3.  With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house.  Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton.  Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history.  Very likely taking place at the historic Old South Meeting House which is also celebrating its 300th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard. 

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis,  Phillis in Boston offers a unique and heartfelt perspective of this courageous woman.  In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries.  Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it.  Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae.  S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream.  Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley.  Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest.  With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3.  With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house.  Click here for more information and for tickets.

REVIEW:  Between laughter and rage, the Huntington Theatre, Alliance Theatre, and Front Porch Arts Collective’s leaves food for thought with ‘Fat Ham’

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Whether in a kingdom or a small town, rumors still fly.

However, at this small town barbeque and with the audience as small town witnesses, Juicy has to overcome more than a Fat Ham to make things right within his wild and dysfunctional family.

Based partially on Shakespeare’s classic production Hamlet and conscientiously directed by Stevie Walker-Webb, the Huntington Theatre in association with Alliance Theatre and Front Porch Arts Collective presents James IJames’s semi-interactive dramedy Fat Ham through Sunday, October 29 live and in person at Calderwood Pavilion in Boston, MA.  This Pulitzer prize-winning show is 90 minutes with no intermission and contains mature themes and strong language.  Click here for more information and tickets.

Marshall W. Mabry IV, Lau’rie Roach. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

What is refreshing about this contemporary iteration of Hamlet is not only is it much more of a comedy than a tragedy, but it also roots itself far more into the family dynamic than even Shakespeare portrayed.  Watching Hamlet, one assumes that the king and his son had a traditional and loving father-son relationship.  What if it everything was far more complicated?  What if the father is not the model dad that a child grows to admire?  Fat Ham bears a resemblance to the classic production in key plot points, but then flips the script and transitions into its own entity that delves into the cycle of intergenerational trauma swinging from ruthless, creepy and suspenseful to not taking itself too seriously. 

Rather than Hamlet standing for Juicy, the metaphorical star of this production is just what one roasts during a barbecue, a fat pig as a grill takes center stage.  However, there is a struggle of who is king of this house as Juicy’s father has just died and Juicy’s uncle suspiciously soon after marries Juicy’s mom, Tedra. 

Victoria Omoregie, Thomika Marie Bridwell, Lau’rie Roach, Amar Atkins, Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

Fat Ham is humorously set in ‘Virginia or Maryland or Tennessee’ and in a small town where gossip travels fast.  Luciana Stecconi’s working class set design boasts tiny, multi-functional and mood setting white lights that adorn a large tree on a dilapidated back porch strewn with arbitrary clothes hanging on a disheveled clothesline.  Baby shower balloons, a tire swing, grill and a fire pit surround a half decorated picnic table and chairs.  Costume designer Celeste Jennings leans on frenetic colors and patterns to accentuate the essence of each character.  Aubrey Dube’s rich sound design, Xiangfu Xiao’s sharp lighting, and Evan Northrup’s amazing illusion design all team up to illustrate some startling, eerie, foreboding, and pivotal revelations. 

Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

In some key ways, Fat Ham’s cast improves on the Shakespeare’s classic play and Ijames diligently exposes the hypocrisy of each character.  The casting is also particularly astute as Juicy, depicted with timid and burdened inquisitiveness by Marshall W. Mabry IV and Lau’rie Roach portrays lively and wisecracking cousin Tio who buries insightfulness in raunchy humor.  Ebony Marshall-Oliver as self centered Tedra still shares a nurturing and sympathetic rapport with Mabry while flaunting spicy swagger with Vincent Ernest Siders as Rev/Pap.  A particular scene in which Marshall-Oliver and Mabry both shine is a dynamic musical interlude that shows off their individual charisma and prowess. 

James T. Alfred, Ebony Marshall-Oliver, Victoria Omoregie, Thomika Marie Bridwell. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

Vincent Ernest Siders stepped in as Rev/Pap and punctuates his performance with a domineering sneer as well as savage and manipulative taunting.  Victoria Omoregie as Opal and Thomika Marie Bridwell as Rabby deliver a relatable and hilarious mother-daughter relationship while Amar Atkins bears his own burdens as Opal’s seemingly straight laced brother Larry.

Victoria Omoregie, Thomika Marie Bridwell, Lau’rie Roach, Amar Atkins, Marshall W. Mabry IV. The Huntington’s Fat Ham by James Ijames. Directed by Stevie Walker-Webb. Photo by T Charles Erickson.

Sometimes it takes something big for life to change.  Fat Ham explores overcoming betrayal and one’s supposed lot in life against all odds to forge a new path in a crazy world.

Based partially on Shakespeare’s classic production Hamlet and conscientiously directed by Stevie Walker-Webb, the Huntington Theatre in association with Alliance Theatre and Front Porch Arts Collective presents James IJames’s semi-interactive dramedy Fat Ham through Sunday, October 29 live and in person at Calderwood Pavilion in Boston, MA.  This Pulitzer prize-winning show is 90 minutes with no intermission and contains mature themes and strong language.  Click here for more information and tickets.

REVIEW:  In partnership with the city of Chelsea and Teatro Chelsea, Apollinaire Theatre staged a street fighting and adventurous summer ‘Hamlet’

Posted on by The Sleepless Critic

Ser o no ser esa es la cuestion (To Be or not to Be)

This was the classic question posed by Apollinaire Theatre Company in partnership with Teatro Chelsea and the City of Chelsea in a bilingual production of Shakespeare’s classic play, Hamlet which took place on Fridays and Saturdays only from August 4-19 live and in person at various locations in Chelsea, Massachusetts.  Though it was not necessary to understand both Spanish and English to enjoy this show and does not take away the gravitas of Shakespeare’s eloquent text, those who understood the dialogue in Spanish may have been at an advantage.  The free production was 90 minutes with no intermission. 

Armando Rivera as Hamlet in ‘Hamlet’

Each performance featured a pre-show that offered take out or delivery dinner, live entertainment, and a pop up Beer Garden by BearMoose Brewing Company at 6:30 pm prior to the performance at 8 pm.  Click here to see what is next for Apollinaire Theatre Company and Teatro Chelsea this fall.

Alan Kuang ‘Hamlet’ rap Photo credit to Danielle Fauteux Jacques

Every summer for the past 20 years with donor support, the Apollinaire Theatre Company has been presenting outdoor theatre productions free to the public in partnership with the city of Chelsea.  This year’s production of the Shakespearean classic, Hamlet mixed the traditional with the contemporary while keeping the audience on its feet.  Intricately directed and cleverly staged by Danielle Fauteaux Jacques with lighthearted chorography by Audrey Johnson, the show is an immersive experience as the production expands beyond the stage and cast members can enter from anywhere.

Armando Rivera as Hamlet in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Though the roads were blocked off, there was still plenty that might have distracted this focused cast.  However disruptive, outdoor disturbances such as traffic, noises or foot traffic did not distract them from their performances for an instant.  Armed with microphones, it was fascinating to watch each scene unfold complete with transportable lighting, sound, ominous sound effects with Diana Mediola and Juhi Nagpal‘s elaborate sets and props. How complicated it must have been to stage something like this while gathering an increasing and surrounding crowd led to each destination by a single notebook.

Shakespeare’s Hamlet is about the Prince of Denmark who discovers his mother has married his uncle after his father has been murdered.  An urgent message inspires Hamlet to believe ‘something is rotten in the state of Denmark.’

Armando Rivera as Hamlet and Paul Benford-Bruce in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Hamlet is a compelling drama that boasts some iridescent and noteworthy special effects such as blue smoke drifting above Paul Benford-Bruce’s haunting figure on a distinctive blue tinged city fountain lit by Joe Morales.  Resolute, firm, and eerie, Benford-Bruce delivers a memorable performance as Hamlet’s father.  David Reiffel’s ominous and echoing sound design and composition lent to the foreboding mystique of the production.

Anna Riggins as Ophelia, Alan Kuang as Laertes, Paola Ferrer as Gertrude and Brooks Reeves as Polonius in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Nodding to the Elsinore, Denmark setting during the late middle ages while boasting a sleek and contemporary flair, Hamlet blended the contemporary with the historical through its colorful, stately, and elegant costumes in furs, leathers, and glittering crowns by Elizabeth Rocha.

Armando Rivera as Hamlet, the Prince of Denmark, led this impressive cast.   Rivera exacted the alarming rage expected of Hamlet in the face of betrayal.  Rivera excelled at Hamlet’s darkly playful, determined, and off kilter demeanor, especially in a powerful scene alone with Ophelia and with Brooks Reeves as Claudius. 

Anna Riggins delivered an absorbing performance as Ophelia with a wide smile, bright eyed virtue, and a complete infatuation and intriguing chemistry with Rivera.  Clinging to any sign of affection, Riggins offered a vulnerable and sympathetic performance.  Riggins also shared a sweet chemistry with her brother, Laertes and Ron Lacey who portrays their proud and concerned father, Polonius.  Alan Kuang is naturally charismatic in the role of valiant and forthright Laertes, especially during an all out and literal street fight with Rivera.

Play-Within-A-Play in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Brooks Reeves as Claudius achieved a suave poker face, but with just enough of a devious smirk to embellish this role with Paolo Ferrer as mysterious Gertrude, they are a beguiling pair.  Claudius is a calculating character and left little room for sympathy.  Reeves particularly shined during the play-within-a-play scene as Reeves exclaimed, ‘Get me some light!’  With skillful feigned concern and sarcasm, Reeves was well suited for the role as some of that demeanor is also on display in the Old North Church’s production of Revolution’s Edge through September.

Armando RIvera as Hamlet and Brooks Reeves as Claudius Photo credit to Danielle Fauteux Jacques

Hamlet was not complete without the appearance of Rosencrantz and Guildenstern, portrayed with jovial humor by Aloe Domizio and Paul St. Cyr respectively.  Wheeling in on lit bicycles, they made a seeming pair of silly and dimwitted bookends as Hamlet’s childhood friends.  However, like each character in this Shakespearean classic, they are more than meets the eye. 

Apollinaire Theatre Company, in partnership with Teatro Chelsea and the City of Chelsea, presented an outdoor bilingual production of Shakespeare’s classic play, Hamlet which took place on Fridays and Saturdays only from August 4-19 live and in person at various locations in Chelsea, Massachusetts.  Click here to see what is next for Apollinaire Theatre Company and Teatro Chelsea this fall.

REVIEW:  Sisterhood is the new black in Hub Theatre Company of Boston’s vivacious ‘Love, Loss, and What I Wore’

Posted on by The Sleepless Critic

Call this cast a girl squad and a sisterhood.

With potent direction by Paula Plum and based on the bestselling memoir by Ilene Beckerman, Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5.  This show is 90 minutes with no intermission and pay-what-you-can tickets are available.  It occasionally contains adult and unfiltered language.  Purchase a drink during this show and Club Café also offers a full menu.  Click here for more information and for tickets.

Lauren Elisa, June Kfoury, Barbara Douglass, Evelyn Holley, and Nettie Chickering in Hub Theatre’s ‘Love, Loss, and ‘What I Wore’ Photo credit to Tim Gurczak

The name Nora Ephron must ring a bell.  She was a famous award-winning rom-com journalist, writer, and filmmaker best known for 1983’s Silkwood, 1989’s When Harry Met Sally as well as 90s rom com classics Sleepless and Seattle and You’ve Got Mail before co-writing the screenplay for Julie and Julia in 2009.  Ephron’s signature style tackled the seriousness of life with a lighthearted demeanor and always found some relatable humor along the way.  With her sister Delia, Nora lends that empowering humor and charm to Love, Loss, and What I Wore.

June Kfoury, Evelyn Holley, Nettie Chickering, Lauren Elias, and Barbara Douglass in ‘Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

One of the greatest strengths of Love, Loss and What I Wore is the ensemble’s beautiful camaraderie.  Love Loss and What I Wore has a gift for eloquently associating fashion with life’s bittersweet challenges.  Portraying several ages while sharing that walk down memory lane is Nettie Chickering, Barbara Douglass, Lauren Elias, Evelyn Holley, and June Kfoury.  Dressed in chic black by Kat Lawrence, they allow their vibrant experiences to take center stage.  From fashion faux pas to that eternally favorite garment, five women lay bare their fondest memories and insecurities.  It is a love letter to growing up and growing older in all of its wonder and complications. 

Nettie Chickering in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

To an array of lighthearted club hits between scenes, this dynamic group share silly, sad, courageous and important stories with collaborative flair and wistfulness.  They dance, grieve, conspire, tease, support and relate to each other all while discussing everything from relationships to family to roommates to the trials and tribulations of being a woman in a fun loving and deeply personal manner.  A few lighter moments include witnessing Lauren Elias and her hilarious and empathetic comments about carrying a purse, Douglass’s wise and humorous motherly advice, and the sheer joy and supportive manner in which these women appreciate each other’s company.   However, what stirs the production the most is contained in this group’s most significant challenges.  The stories they share are raw, honest, at times rueful, and may seem familiar as well.

June Kfoury in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

With Talia Elise’s dazzling lighting powering a bright and cheerful set which includes glowing string lights, a luminous neon hanger, shimmering disco ball, multicolor boas, and an illustrated clothing rack by Justin Lahue and Maggie Shivers plus a wonderful dose of nostalgia, Love Loss and What I Wore is a captivating experience into life’s surprises and how to discover what is truly important.

Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5.  This show is 90 minutes with no intermission and pay-what-you-can tickets are available.  It occasionally contains adult and unfiltered language.  Click here for more information and for tickets.