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REVIEW: Not only the coat dazzles in North Shore Music Theatre’s inspiring ‘Joseph and the Amazing Technicolor Dreamcoat’

Posted on 18 Days Ago by The Sleepless Critic

The only thing more magnificent then Joseph’s dream coat is the tale behind it.

Joseph and the Amazing Technicolor Dreamcoat has been entertaining audiences for close to 60 years with its exuberant story fueled by Academy Award-winning duo Andrew Lloyd Webber and Tim Rice’s uplifting and versatile music. An interactive, endearing, and humorous production, Joseph and the Amazing Technicolor Dreamcoat offers a wide spectrum of music genres for any taste and all ages including calypso and rock and roll which accompanies this unique retelling of a sacred tale of treachery and unceasing hope.

Meticulously directed and dynamically choreographed by Gerry McIntyre with lively music direction by Robert L. Rucinski, Bill Hanney’s North Shore Music Theatre continues family-friendly musical, Joseph and the Amazing Technicolor Dreamcoat live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, July 19. This semi-interactive production is not limited to the stage and is exceptionally navigated within its theatre in the round staging. It runs 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

Olivia Valli (Narrator) and Youth Choir in “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Based on the Book of Genesis and set in the land of Canaan and Egypt, Joseph and the Amazing Technicolor Dreamcoat unconventionally explores the incredible journey of Joseph and his brothers as Joseph faces strife from the most unexpected places as he discovers his destiny. It is immensely a collaborative ensemble piece featuring an enthusiastic cast led by Olivia Valli as Narrator who not only shares Joseph’s tale with the audience, but the surrounding energetic youth choir gathered onstage.

Eric Jordan Young (Jacob) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Bursting with vibrantly designed costumes mixing the traditional with the contemporary, costumer Rebecca Glick not only rises to the occasion, but makes a distinct, daring, and memorable impression in each ensemble and most notably in Joseph’s striking coat. From glimmering headdresses to traditional Jewish and Egyptian garb to shimmering and brightly colored designs that recall another defining era, the costumes are consistently remarkable. Set designer Baron E. Pugh leans on Egyptian influence featuring the Egyptian Eye of Horus while José Santiago’s lighting design enhances the show’s kaleidoscopic vision in multi-colored lights and innovative sets which takes full advantage of the theatre in the round staging.

Olivia Valli (Narrator) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

With rich vocals and an unassuming demeanor, Nikita Burshteynr warmly portrays humble, naive and forthright Joseph. Burshteynr’s soothing, heartrending and sympathetic vocals master signature numbers such as Any Dream Will Do and Close Every Door.

Nikita Burshteyn as Joseph in “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Joseph may have a dazzling coat, but the narrator holds her own decked out in Rebecca Glick’s enviable wardrobe. Clever, cheerful and a charismatic silvery soprano, Valli is a compelling Narrator not separate from the plot and it is delightful to watch her relaxed charm provide amusing asides, offer advice and occasionally act as the production’s conscience while sweetly interacting with the beaming Youth Choir.

Carefully arranged as a coordinated rainbow in pinks, greens, purples, blues, yellows and reds, the Youth Choir’s angelic and lively voices bring exuberance while accompanying Joseph and the narrator to a heartwarming Any Dream Will Do and endearing harmony to a memorable candlelit rendition of Close Every Door.

Brent Thiessen (Pharaoh) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Charming and funny whether rejoicing or scheming, the united choreography between Joseph’s eleven brothers reflects their tight knit bond especially during a country themed tune with the wives, One More Angel in Heaven featuring Brady Miller who possesses great comic timing chewing the scenery as Reuben. Another lively number that highlights the brothers’ united front is Benjamin Calypso, a catchy rendition delivered energetically by Rendell DeBose as Judah who at one point takes part in a conga line.

The cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Rock n roll royalty takes a comedic turn in the show’s rollicking number, Song of the King, featuring Brent Thiessen as Pharaoh. Theissen convincingly captures the essence of a certain king not to be revealed here. Naomi Kakuk dazzles with sleek athleticism as Mrs. Potiphar in a racing rendition of Potiphar.

Naomi Kakuk (Mrs. Potiphar) with Eric Jordan Young (Potiphar), and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Unveiling a world in rich and glorious color, Joseph and the Amazing Technicolor Dreamcoat may be a tale of long ago, but stirs in contemporary touches such as disco balls, sunglasses and soft serve ice cream in amusing and unlikely places to appeal to a younger audience as well as an era-inspired tribute to the original Joseph. It contains valuable life lessons on faith, jealousy, suffering, betrayal, and resilience for dreamers that can be solemn at times, but with far more uplifting and whimsical moments, it’s difficult to feel down for long.

North Shore Music Theatre continues family-friendly musical, Joseph and the Amazing Technicolor Dreamcoat live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, July 19. Click here for more information and for tickets.

REVIEW: North Shore Music Theatre’s ‘The Cher Show’ turns back time radiating with empowering style

Posted on October 29 by The Sleepless Critic

This musical biopic seems by the numbers until three Chers materialize to infuse a clever and adventuresome twist.

Much like Cher herself, The Cher Show is a spotlight driven, bawdy, and spirited look at Cher’s upbringing and career and how Cherilyn Sarkisian overcame her shy demeanor to become what she proudly proclaims ‘a warrior goddess.’

Bathed in dazzling, spotlight-soaked flair and a marvelous rising and bejeweled spinning stage by Jack Mehler, Star, depicted with Cher’s absorbing dry humor and distinct husky contralto vocals by Sara Gettelfinger, emerges in sequined black donning signature high heels and risqué style, but she is definitely not alone. Turning back time is a thrill when two other Chers share the spotlight and help navigate her life based on all she knows now.

The cast of THE CHER SHOW in the Tony Award-Winning costumes designed by Bob Mackie playing at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

With Kevin P. Hill’s vibrant direction and an array of slinky and dynamic choreography by Sara Andreas, North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts. The theatre-in-the-round production runs 2 hours and 45 minutes with one twenty minute intermission, the action is not limited to the stage and contains some adult themes. Click here for more information and tickets.

Angie Schworer as (Georgia Holt) and Madeline Hudelson (Babe) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Cherilyn was not always one to bathe in the limelight and at nearly 80 years old, she has quite the story to tell. As chatty and anxious Babe, depicted with mellifluous vocals and fretful naiveté by Madeline Hudelson, Cherilyn often felt like an outsider due to her dyslexia, half-Armenian heritage and unconventional looks. Hudelson’s confidence appears only in bursts as self consciousness takes over. However, Angie Schworer, fabulous as Cher’s confident firecracker mother Georgia, is a constant source of strength, sage advice and beauty. Georgia advises, ‘The song will make you strong.’ To anyone who loves music, no truer words were ever spoken.

Charissa Hogeland (Lady) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden

In feathers and sequins, Schworer also makes a grand cameo as a legendary celebrity that will not be revealed here. Andrew Tufano also delivers a memorable performance as Rob Camilleti.

Cher fulfills most people’s two fondest wishes in this musical. Not only can Gettelfinger’s Star turn back time, but accompanied by Hudelson as Babe and Charissa Hogeland as Lady, Star can turn to her other selves to revisit her past. A trio of Chers who interact, are aware of each other, and support each other do not just provide a wealth of comedic and heartfelt moments, but breaks the pesky rules of a classic biopic in an inspired and spectacular way. Gettelfinger, Hogeland, and Hudelson share an admirable bond where anything can happen which comes in handy as Cher was required to grow up fast in this sink-or-swim industry.

Brenton Cosier (Gregg Allman) with Sheila Jones in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Mehler’s glitzy and sequin-fringed set displays an immersive array of projections which includes 60s petal-inspired illustrations, Vegas pizzazz, an opulent mansion, Broadway theatre, and western flair enhanced by chandeliers and authentic Sonny and Cher logos.

Starting out with her own sewing machine, Cher always set her own bold and risqué fashion standard before later joining forces with the legendary visionary and controversially-daring fashion designer Bob Mackie, who originates the Broadway and tour costumes seen in this musical. Dan Fenaughty, who depicts a trio of roles in this production, is memorable as Mackie complete with clever quips and a mischievous gleam, especially during Ain’t Nobody’s Business. Magnets are used to accommodate the numerous fashion styles and quick changes throughout the production. The Cher Show’s costume coordinator Rebecca Glick and wig and hair designer Rachel Padula-Shuflet presents these ostentatious costumes in all of its nostalgic, feathered, and sparkling runway glory.

Dan Fenaughty (Bob Mackie), Charissa Hogeland (Lady) and Ben Broughton (Sid the Censor) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Frankie Marasa 5^th is in on the joke as good humored Sonny Bono at first with self deprecating charm, a gradual magnetic charisma and a quirky sense of humor. Fast talking with shrewd business sense, Marasa 5th shares endearing yet complicated chemistry and half of an impressive deadpan comedic duo with each Cher. One of the best moments of the musical is with Hudelson’s Babe and their powerful rendition of I’ve Got You Babe which was met with a roar from the audience. He also shines in Little Man and later for All I Ever Need is You.

Frankie Marasa 5th (Sonny Bono) and Charissa Hogeland (Lady) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

The Cher Show’s quick pace features a wide array of nostalgic hits over six decades including the catchy harmony of Da Doo Ron Ron, Be My Baby, and The Shoop Shoop Song as well as It’s All or Nothing, a poignant Bang Bang (He Shot Me Down), Believe and Heart of Stone. Gettelfinger, Hogeland, and Hudelson form a powerhouse trio as they recall Song for the Lonely. However, Gettelfinger truly shines with soaring vocals for The Way of Love. The drum-infused and Fosse-inspired The Beat Goes On is also a sleek standout as well as the sultry and athletic chorography featuring Milena Comeau in The Dark Lady.

Madeline Hudelson (Babe) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

You don’t have to be a fan of Cher to appreciate her journey. The Cher Show lightheartedly celebrates her remarkable career and variety of hits, but is also an honest and frank depiction of her insecurities, challenges, and fears within her failures and triumphs. Through it all, Cher’s strength relentlessly shines through as the beat goes on.

North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts. Click here for more information and tickets.

REVIEW: Gloucester Stage Company’s ‘Ms. Holmes and Ms. Watson – Apt 2B’ a puzzling comedy

Posted on September 27 by The Sleepless Critic

Sherlock has always had its passing comical moments.

Though considered a mystery-crime drama, Sherlock Holmes has delved into quirky territory featuring an eccentric lead in Sherlock Homes and his various idiosyncrasies. Holmes is a deductive and egocentric genius who considers emotion irrelevant and crosses paths with Dr. Watson who is reasonable, but also carries emotional weight in various situations. They are both brilliant in their own way and together, a force to be reckoned with.

Gloucester Stage Company’s production of Ms. Holmes & Ms. Watson – Apt. 2B, by playwright Kate Hamill in Gloucester, MA. The production is directed by Rebecca Bradshaw, and stars Erin O’Sullivan and Ms. Sherlock Holmes; Breezy Leigh as Dr. Joan Watson; Stephen Shore as Inspector Lestrade, Elliot Monk, and Others; and Grace Experience as Irene Adler, Mrs. Hudson, and Others. © 2025 Shawn G. Henry • 978-590-4869 GSC-250903-Holmes+Watson_351

Directed by Rebecca Bradshaw, Gloucester Stage Company continues Kate Hamill’s comedic murder mystery spoof Ms. Holmes and Ms. Watson – Apt 2b live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, September 27. This wild production features adult humor and is a lengthy two hours and 15 minutes with a 15 minute intermission. Click here for more information and for tickets.

Based on numerous stories and four novels by Sir Author Conan Doyle, the legend of Sherlock Holmes has been adapted many times which includes satire and parodies, but this classic tale tends to be at its best through its thrilling, haunting and suspenseful moments as the mystery unfolds. That is when I think Ms. Holmes and Ms. Watson – Apt 2B is also at its best.

Set in London in the spring of 2021, Stephen Shore performs multiple roles including a chilling Narrator. As Shore’s face illuminates in an eerie glow while Shore’s charismatic and elegant vocals start to reveal the tale, I was excited for what was in store. Shore is a talented and charismatic presence standing out in this production.

However, even with its scattered suspenseful moments, this production is mostly a quirky pop cultured peppered comedy where freelance detective Sherlock meets Dr. Watson in the contemporary world to solve a mystery.

Kristin Loeffler’s sliding set boasts that classic Sherlock fireplace with twin bookcases, skeleton and wooden doors illuminated by Deb Sullivan’s evocative and ghastly red lighting as well as Julian Crocamo’s ticking and classical sound design.

I appreciated the dynamic between Breezy Leigh as excitable and frank New Yorker Ms. Watson who seems firmly planted in the contemporary world while aside from new age meditation and vaping, Eryn O’Sullivan’s Sherlock seems in every other way from the past rebuffing technology and relying solely on the mind and the written word for everything. O’Sullivan brings an over the top cryptically calm detachment, frequent disdain and pretension while Dr. Watson is so excitable and squeamish, it became difficult to believe that Ms. Watson was ever a level headed doctor.

The production delivers major characters from the classic Sherlock novels featuring some enviable costume selections by Chelsea Kerl, especially displayed in Grace Experience’s red velvet suit and fabulous bejeweled shoes. Portraying multiple roles, Grace Experience zings from a peculiar cockney-accented housekeeper to a bold and clever seductress while having a great time in each swift transformation.

However, I still longed for more thrills and less clutter. Ms. Holmes and Ms. Watson Apt. 2b feature a murder mystery, but comedy is king in this production and among so many comedic distractions, it became difficult to get invested in the mystery. While it has some self aware humor and creative silliness in a certain train scene, it seems to meander too often without striking a real balance between humor and suspense. As a fan of Kate Hamill’s great work most recently in The Odyssey and Austen’s Emma, I was just longing for something more.

Gloucester Stage Company continues Kate Hamill’s comedic murder mystery Ms. Holmes and Ms. Watson – Apt 2b live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, September 27. Click here for more information and for tickets.

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

Posted on August 20 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Vivid dreams of what could be in Gloucester Stage Company’s affecting ‘The Glass Menagerie’ by Tennessee Williams

Posted on June 18, 2025 by The Sleepless Critic

This is a memory play.

This description speaks volumes about legendary playwright Tennessee Williams’ autobiographical and deeply personal play, The Glass Menagerie. De’ Lon Grant serves as narrator, the protagonist Tom and perhaps Williams himself focusing on the dysfunctional Wingfield family, the delicate nature of life, and the hope of what the future holds. This memory play was the first of its kind and Tennessee dedicated it to his sister in real life.

De’Lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Exquisitely directed by Doug Lockwood, Gloucester Stage presents their 46^th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28. The show runs two hours and 25 minutes including one 10 minute intermission. Click here for more information and for tickets.

Adrienne Krstansky and Liza Giangrande in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

There is a certain magic in The Glass Menagerie, even as dreams and reality collide. Taking place during the Great Depression in the 1940s, hope and illusion inhabit a cramped apartment in Saint Louis, Missouri even as dusty dining room chairs are uncovered in a dank room. Thin, translucent curtains, dining room chairs and a square of iridescent light shine in this space as De’lon Grant as Tom, Liza Giangrande as Laura, and Adrienne Krstansky as Amanda make themselves at home. Jenna McFarland Lord’s amazing set design infused with Aubrey Dube’s rich and crucial sound design is a breath of fresh air and holds a surprise which will not be revealed here.

Nia Safaar Banks successfully rewinds the clock to this vintage era with floral tea length dresses, wide brimmed hats, suspenders, and page boy hats. Amanda Fallon blends inviting and haunting illumination to this production which is often moody, veering from the evocative red flash of dancehalls to soft and luminous candlelight casting vivid shadows in the background.

Patrick O’Konis and De’lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

In a long coat and brimmed hat, Grant weaves in and out of his dual role charismatically recalling Wingfield history and recollections while playing his part as Tom as the play unfolds. The Glass Menagerie’s small cast holds challenging and meaty characters steeped in deeply rooted flaws. Some of the family and societal issues that are brought up in Williams’ timeless work, The Glass Menagerie could have been written yesterday. Working as a workhouse shipping clerk, Tom has grander dreams and secretly struggles as the man of the house since his adored father left the family. Liza Giangrande portrays Tom’s helpful, quiet, anxious, sweet and imaginative sister Laura who has lived with a disability her entire life. Pretty and slight with delicately braided hair, Giangrande delivers a meaningful performance as Laura exuding quiet strength in this sympathetic character as she struggles between escaping the world and a longing to fit in.

Liza Giangrande and Patrick O’Konis in Gloucester Stage Company’s ‘The Glass Menagerie’ Photos by Shawn Henry

Patrick O’Konis is enchanting as Jim O’Connor who dreams of a life beyond working in a factory with Tom. Easygoing and ambitious, O’Konis makes quite an impression with Amanda and Tom while sharing some endearing moments with Laura.

At the center of the family is Adrianne Krstansky as Tom and Laura’s chatty, bubbly and yet anxious and controlling mother, Amanda Wingfield. Visibly shaking at times and fiddling with her clothes, Krstansky delivers a brilliant and unsettling performance as Amanda who veers from sing song excitement and fixation to alarm and paranoia handing out backhanded compliments. Dwelling on past charms and occasionally reminiscent of Blanche in A Streetcar Named Desire, Amanda fixates on her days of prosperity when she was the bell of the ball. Ruminating on symbolic jonquils, she nitpicks, fusses, plots, plans and worries over her children’s success and happiness hoping to find Laura a husband.

De’Lon Grant, Lia Giangrande and Adrienne Krstansky in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Boasting raw and compelling characters, The Glass Menagerie is an affecting drama that mixes relatable humor, cruelty, regret, and generational trauma, but also joy, sweetness and amazement. Strong are the ties that bind. It is poignant, hopeful and it unveils a certain beauty in this family’s unwavering strength in these hard times.

With exquisite direction by Doug Lockwood, Gloucester Stage presents their 46^th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28. Click here for more information and for tickets.

REVIEW: Featuring a solid cast, North Shore Music Theatre’s ‘Waitress’ freshly bakes humor and heart in and out of the kitchen

Posted on June 11, 2025 by The Sleepless Critic

North Shore Music Theatre’s heartwarming and meaningful musical Waitress shows life’s most important answers can be found in a pie.

Mixed with Kevin P. Hill’s innovative direction, Ashley Chasteen’s uplifting chorography, and Milton Granger’s mellifluous music direction, North Shore Music Theatre serves up musical dramedy Waitress live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 15. This immersive production runs 2 hours and 35 minutes with a 15 minute intermission and the action is not limited to the stage. Click here for more information and for tickets.

he cast of WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Since screenwriter Adrienne Shelly brought Waitress to the big screen in 2007 starring Keri Russell as Jenna, Waitress has enjoyed an enduring history. With book by Jessie Nelson, music and lyrics by Grammy award-winning and Tony award-nominated singer-songwriter Sara Bareilles, Waitress has since been adapted into a musical and debuted on Broadway in 2016 before going on a national tour and in 2023, hit theatres as a filmed stage musical starring Bareilles as Jenna.

Full of heart, Waitress strikes a delicate balance between the sweetness and sobering realism of life, delving into the lives of a group of colorful and comical individuals who dream of a better life. Baker and waitress Jenna, portrayed with humble and self deprecating charm by Christine Dwyer, expresses her moods and philosophies through the humorous titles she gives to Joe’s daily Diner Pie of the Day. When Jenna finds herself pregnant, she quickly realizes that it’s time for a change. Impressive songs range from catchy to reflective and numbers like Opening Up to the soft melodious whispers of What’s Inside are sure to stay with you long after the show is over.

Maggie Elizabeth May (Dawn) and the cast of WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

What makes North Shore Music Theatre unique is its theatre-in-the-round staging and director Kevin P. Hill makes the most of the aisles and multiple platforms to deliver an encompassing experience. The ensemble not only depicts diner customers, but often surrounds the stage lending musical accompiament and interacting with the action onstage. From a bright chrome neon sign, chalkboard easel listing pies, and linoleum flooring to worn recipes and a mouthwatering Diner menu, scenic and lighting designer Jack Mehler’s rising and sliding set pieces shift seamlessly to occasionally portray multiple scenes simultaneously from various locations around the theatre with the majority of Waitress set inside picturesque Joe’s Pie Diner. Glancing at the appetizing selections and hearing about Jenna’s incredibly creative and delectable pie ingredients made me long for lunch or dessert and inspiring me to bake my own pie.

Christine Dwyer (Jenna) and Brandon Kalm (Dr. Pomatter) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Christine Dwyer delivers an inspiring and relatable vulnerability as Jenna. Dwyer portrays Jenna’s complex web of emotions and generational trauma with a blend of dark humor and a note of optimism. Her voice is as rich as the pies she bakes and her intense rendition of She Used to Be Mine is one of the show’s greatest highlights. Her awkward exchanges, humorous misunderstandings, and beautiful harmony with handsome and geeky Brandon Kalm as Dr. Pomatter are prevalent in the playful It Only Takes a Taste which is one of three duets, flirtatious Bad Idea and a tender rendition of You Matter to Me.

Dressed in a plaid shirt, worn jeans, and work boots, Matt DeAngelis is a standout as gruff and manipulative Earl. With a guttural growl punctuating his rock n roll vocals for You will Still be Mine, DeAngelis seems to relish in the role through dark humor and creative in the character’s thoughtlessness.

Matt DeAngelis as Earl in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Brandi Chavonne Massey delivers a great deal of comic relief as outspoken and wise cracking waitress Becky, especially in Massey’s sharp exchanges with Arnold Harper II as Cal. Passionate, direct, and sympathetic, Massey shines in the soaring number, I Didn’t Plan It.

Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

In bright red glasses, Maggie Elizabeth May portrays waitress Dawn with her own magnetic and giddy comedic timing. Dreamy and shy, Dawn deems herself ‘a woman of many passions’ and is enchanting performing the yearning number, When He Sees Me as imaginary suitors line up to meet her. Alongside Courter Simons as scene stealing Ogie, they are a comedic force to be reckoned with. Dawn, Becky, and Jenny are a compelling trio making marvelous harmony together for A Soft Place to Land.

Maggie Elizabeth May (Dawn), Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Gleeful and goofy with a habit of over sharing, Courter Simmons is confident and awkwardly charming with a bungle of flawless, unsuppressed energy as Ogie, especially during the steadfast number, Never Getting Rid of Me.

Courter Simmons (Ogie) and Arnold Harper II (Cal) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

In a colorful suit and tie, Keith Lee Grant is curmudgeonly eloquent as difficult customer and diner owner, Joe. A complicated and perceptive storyteller, his conversations and rapport with Jenna are full of humor and openness, especially during a bright and spirited rendition of Take it from an Old Man. Speaking to the uplifting spirit of this engaging production, Joe proclaims, ‘Baking a pie is a magical experience.’

Christine Dwyer (Jenna) and Keith Lee Grant (Joe) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Life is a little sweeter with North Shore Music Theatre’s Waitress continuing live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 15. Click here for more information and for tickets.

REVIEW: Witnessing transformation in Gloucester Stage and Teatro Chelsea’s dramedy ‘The Hombres’

Posted on September 19, 2024 by The Sleepless Critic

Julián seems lonely and misunderstood, but not for long.

Ricardo “Ricky” Holguin delivers a moving performance as gay Latino yoga instructor Julián who has always been intimidated by macho men. When he realizes he has to deliver a message to a group of construction workers above the yoga studio, he must face his fear to unexpected results.

Directed affectingly by Armando Rivera with sweeping choreography by movement designer Nathaniel Justiniano, Gloucester Stage Company and Teatro Chelsea co-presents Tony Meneses’ dramedy The Hombres continuing at Gloucester Stage in Gloucester MA through September 22 before concluding at Chelsea Theatre Works from September 27 through September 29. The show runs 100 minutes with a 15 minute intermission. Click here for more information and for tickets.

Jaime José Hernández, Luis Negrón and Arthur Gomez in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

A group of Latino construction workers composed of Arthur Gomez as Héctor, Jaime José Hernández as Beto, and Luis Negrón as Pedro are working above a New Jersey yoga studio. This fascinating trio shares an easygoing and amusing rapport sharing dirty jokes, intriguing stories or fantasizing how good life must be for the gringos (people who are not Latino) working in the city. In impressive glowing neon hard hats and jackets by Chelsea Kerl with vivid lighting by John Holmes, they strut and occasionally goof off while on break looking down at the city and the yoga studio does not go unnoticed.

Ricardo “Ricky” Holguin and the cast of Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

Rivera cleverly overlaps the construction and yoga studio scenes depicting how vastly different these environments are until they inevitably collide. Scenic designer Kristin Loeffler makes the most of the stage as it highlights these contrasting worlds structurally connected featuring candles, incense, crystal and brass offering bowls, yoga blocks and mats while movable scaffolding and various pieces of equipment adorn the background. Julian Crocamo’s catchy sound design, highlighted by metal clanging infused rhythms and meaningful club and ruminating music, is a lively addition to this tale.

Ricardo “Ricky” Holguin and Patrick O’Konis in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

In a bandana and loose and flowing clothes, Julián seems tuned in and often empathetic towards others. An aspiring dancer, Julián is caring, funny, unassuming, sensitive, a bit of an over thinker and an amazing listener often finding himself engaging in other people’s problems and connecting to those around him more often by circumstance than by his own will. Patrick O’Konis portrays conflicted and friendly yoga member Miles who is also a bit of an enigma. Holguin is wonderful navigating the trepidation within Julián’s encounters with others with a mix of caution and relatable humor.

Ricardo “Ricky” Holguin and Arthur Gomez in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

Arthur Gomez as Héctor is earnest, vulnerable, and frustrated with his life and longs to make a change. Gomez’s Héctor thinks Julián may have the answers to his problems. The connections established in this show are stirring, heartwarming, and complex as it explores the lives and struggles of these Latino men. Julián often expresses himself through dance which leads a number of uplifting and humorous situations.

Ricardo “Ricky” Holguin and Luis Negrón in Gloucester Stage and Teatro Chelsea’s ‘The Hombres’ Photo by Jason Grow Photography

The Hombres is a well paced production with a captivating cast as each character undergoes some sort of mental, physical or spiritual transformation. Even in its unpredictable turn of events, it is a hopeful show that explores friendship, brotherhood, and what is truly means to be a real man.

Directed affectingly by Armando Rivera with sweeping choreography by movement designer Nathaniel Justiniano, Gloucester Stage and Teatro Chelsea co-presents Tony Meneses’ dramedy The Hombres continuing at Gloucester Stage in Gloucester MA through September 22 before concluding at Chelsea Theatre Works from September 27 through September 29. Click here for more information and for tickets.

REVIEW: Art in its luster in Boutcher Theatre’s multi-textured ‘Red’

Posted on September 5, 2024 by The Sleepless Critic

Prepare to explore art from all angles.

There’s a moment in Boutcher Theatre’s Red that brings to mind a scene in the popular film, The Devil Wears Prada where Miranda Priestly is teaching her assistant a harsh yet valuable lesson about fashion. Meryl Streep’s Priestly, who is loosely adapted from real life legendary and longstanding Vogue editor Anna Wintour, is tough and in some scenes intolerable, but her expert eye for fashion cannot be denied, even as she is hurling curt remarks and antagonistic slights. In the scene, Priestly describes Anne Hathaway’s Andi’s blue sweater as not just blue nor lapis or turquoise, but cerulean representing an artistic and particular style of fashion.

During an intense scene in Red which focuses on real life abstract impressionist and tough mentor Mark Rothko, Rothko, portrayed charismatically by Dan Kelly, is teaching his assistant, Chloe Olwell as Ken, about embracing art. After Ken describes Rothko’s painting as red, Rothko urges Ken to ‘think more’ after an impassioned speech in which he suggests infusing magenta, crimson, burgundy, maroon and scarlet! Rothko is rigid, arrogant, and mysterious, but knows art. He urges Ken not to just see a painting, but to feel it, love it, and have it wash over you.

Chloe Olwell and Dan Kelly in Boutcher Theatre’s ‘Red ‘ Photo by Bradley Boutcher

Directed insightfully by Bradley Boutcher, Boutcher Theatre presents John Logan’s Red live and in person continuing at the Peabody Black Box Theatre in Peabody, Massachusetts through September 8. The show delves into some adult themes including trauma. Click here for more information and for tickets.

Littered with open art supplies, splattered paint and half done canvases, Boutcher’s red hued scenic design with some pieces from Jessica Algard, creates an authentically sprawling and lived in studio including a cozy couch and a vintage record player playing mostly classical music and occasionally setting the mood within the scene especially notable when the studio is bathed in a haunting blue light. With a mix of formal and paint splotched casual attire, Boutcher’s symbolic costume design with some pieces from Maureen Festa, demonstrates each character’s unique style while also blending into Algard’s scattered and colorful setting.

Red is somewhat of an evolution as Rothko shares his artistic vision with his assistant who admires his work. Rothko candidly shares endless stories on art, literature, and his journey to becoming a successful artist occasionally breaking the fourth wall. He is currently working on an elaborate mural project for a hefty paycheck to be created for a ritzy New York City hotel. Olwell’s Ken is much more than meets the eye when at first attempting to make a good impression wearing professional attire that Rothko barely notices.

Smoking real cigarettes, drinking, and on little sleep in a windowless room, Dan Kelly engagingly infuses a mix of pessimism, rueful, and heady enthusiasm into Rothko and Olwell is a thoughtful, practical and a force not to be underestimated. They share a mentor and assistant relationship and at times worthy adversaries, but as subjects become more personal, there is almost a romantic spark to their increasingly incendiary exchanges as both begin to realize the complexity within each other’s artistic minds to unexpected results.

Logan’s script offers interesting, imaginative and relatable angles in which to appreciate and experience art. At one point, Kelly as Rothko muses, ‘Art is a risky act setting it out in the world.’ What does it really mean to be an artist and what is truly important setting your vision out into the world? The answer may bring new insight into your experience with art as well.

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

Posted on July 16, 2024 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 77^th 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 45^th 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.

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 45^th 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: Packed with emotional punch, Gloucester Stage Company stirs up a curious ‘Stew’

Posted on July 21, 2023 by The Sleepless Critic

What does it take to create a memorable stew?

Zora Howard seems to have perfected this particular recipe because Stew embodies in structure and storyline while enhanced with metaphorical seasoning and home style hospitality the unpredictability of cooking a stew and how it relates to the chaos and disarray of life.

Gloucester Stage Company’s ‘STEW’ Cheryl Singleton as Mama, Sadiyah Dyce Stephens as Lil Mama Breezy Leigh as Lillian and Janelle Grace as Nelly Photo Credit to Jason Grow Photography

Directed conscientiously by Rosalind Bevan, Gloucester Stage Company continues Zora Howard’s renowned drama Stew live and in person at Gloucester Stage in Gloucester, Massachusetts as well as a streaming option through Sunday, July 23. The show is 90 minutes without an intermission and discusses some adult themes. Click here for more information and for tickets.

Isn’t it a wonder that whenever guests or family visit, they usually end up in the kitchen? The kitchen represents more than just preparing a meal. It is a haven where people convene to share stories, gossip, and build camaraderie in a mutual place while also representing an opportunity to help each other.

Gloucester Stage Company’s ‘STEW’ Cheryl Singleton as Mama, Sadiyah Dyce Stephens as Lil Mama, Janelle Grace as Nelly Photo credit to Jason Grow Photography

Taking place entirely in Mama’s kitchen, Pulitzer Prize finalist Stew focuses on four generations of Tucker women who are all dealing with their own secrets as they mill around the kitchen. In many ways, these four women also ‘stew’ with worry over what they have hidden away. However, what is most intriguing about Stew is the liberating nature in which the cast interacts from the calling up or down the stairs, the bickering, the fast paced family dialogue that practically runs over the other’s sentences, and frank conversations to the loving manner in which these four women act toward one other. Some with respect and then in scenes where there should be far more respect. The pacing of events also parallels the progression of a stew. It begins at a mild pace, simmers, and as the tension escalates, the stew begins to boil.

Gloucester Stage Company’ ‘Stew’ cast Photo credit Jason Grow Photography

This tight knit cast creates tangible tension and yet also reflects a familiar family dynamic fueled in this inviting atmosphere. Cheryl D. Singleton portrays Mama, a God-fearing, wise, stern, stubborn yet generous woman who annually invites her family to prepare a big meal for her church group. Singleton is as capable in her joyous moments as she is in her stark silences. In one scene, Singleton could have leveled the room with her eyes and her silences speak much louder than her words. Mama is a reminder of any mother who is trying to bind the family together, but look out when a certain line is crossed.

Gloucester Stage Company’s ‘STEW’ Sadiyah Dyce Stephens as Lil Mama and Cheryl Singleton as Mama, Breezy Leigh as Lillian Photo credit to Jason Grow Photography

Breezy Leigh depicts Mama’s daughter Lillian and the mother of Janelle Grace as rebellious Nelly and Sadiyah Dyce Janai Stephens as Lil Mama. Leigh depicts outspoken, talkative, and restless Lillian with depth and complexity as she attempts to navigate life with headstrong and rambunctious daughters. Leigh has some intriguing and relatable moments with Janelle and Sadiyah who often try their mother’s patience. Sadiyah and Janelle share some humorous scenes as squabbling sisters and Sadiyah is compelling in Lil Mama’s precocious moments while Janelle impressively depicts any haughty teenager’s attitude on the brink of turning 18.

Gloucester Stage Company’s ‘Stew’ Breezy Leigh as Lillian and Cheryl Singleton as Mama Photo credit Jason Grow Photography

Elevating the intrigue of each scene is Aubrey Dube’s bluesy single bass guitar and soundtrack and Kat C. Zhou’s evocative and occasionally harrowing lighting that exude a troubling aura. Jenna McFarland Lord’s hospitable and functioning kitchen builds on the production’s realism as the stove comes alive and the counter is strewn with ingredients. In colorful head wraps and flowing, casual wear indicative of each generation’s personality, KJ Gilmer’s relaxed costume design completes this homespun feel as the daughters slide in socks and cotton pajamas.

Howard’s characters are richly developed, fleshing out their strengths as well as their flaws. The revelations in the production, once the stew thickens, are swift and astonishing. It is a memorable production delivered so cleverly, it urges conflicted contemplation long after the show is over.