November | The Sleepless Critic

REVIEW: Rich harmonies and driving rhythms fuel the Man in Black’s powerful concert tribute in Merrimack’s Repertory Theatre’s ‘Ring of Fire: The Music of Johnny Cash’

Posted on December 21 by The Sleepless Critic

Lone static from an antique transistor radio symbolically rewind the clock to kick off this show and nothing but rich harmonies follow it.

Multi-instrumentalists Jenna Fawcett, Patrick Dinnsen, Nathan Yates Douglass, Andrew Frace and Celeste Vandermillen combine their marvelous music talents to deliver a Johnny Cash concert tribute that combines significant excerpts of Cash’s life, his activism, and his pearls of wisdom as a musician ahead of his time. No particular individual portrays Johnny Cash or other parts, but everyone offers their shared talents for an array of Cash’s dynamic and often storytelling hits including gospel, country and rock n roll that has made a legendary impact during his life and beyond.

Created by Richard Maltby, Jr. and conceived by William Meade, Merrimack Repertory Theatre presented concert tribute, Ring of Fire: The Music of Johnny Cash through December 14 at live and in person at Merrimack Repertory Theatre in Lowell, Massachusetts. The semi-interactive and occasionally sing-along production not limited to the stage ran approximately two hours including a 15 minute intermission. Click here for more information and for further details on Merrimack Repertory Theatre’s 47th season.

Andrew Frace, Jenna Fawcett, Nathan Yates Douglass, Patrick Dinnsen, and Celeste Vandermillen in MRT’s ‘Ring of Fire’ Photo by Meg Moore/megpix.com

Bronze, old-fashioned theatre lighting and a wood-infused down home, dual level, country barn stage complete with rocking chair and an array of leather strapped hanging guitars from banjo and electric to acoustic faithfully depict Nashville’s Grand Ole Opry and Cash’s country upbringing by set designer Shelley Barish.

Make no mistake though, Ring of Fire does not limit itself to just guitar, but washboard, harmonica, train whistle and amazing twirling bassist Nathan Yates Douglass also bring a genuine flavor to this style of music. Subtle nuances such as duck tape spread on an acoustic guitar also lend to the show’s faithful authenticity.

Andrew Frace, Jenna Fawcett, Celeste Vandermillen, Patrick Dinnsen, Nathan Yates Douglass in MRT’s ‘Ring of Fire’ Photo by Meg Moore/megpix.com

Sound designer David Remedios and lighting designer Brian J. Lilienthal dramatically combine to create tension in pounding thunderstorms and ominous lighting during the darker times of Cash’s life from his poverty-stricken upbringing, the tragedies, the triumphs, and meeting the love of his life.

Shades of country and western-tinged gray, black, blue and red dominate Amanda Gladu‘s coordinating costumes enhance the tone of this production. What I really enjoyed about the concert was its ability to slip seamlessly into this particular era in music from the 30’s to the 50s and beyond. Plain faced and natural, each skilled musician has a charismatic and warm quality that highlights how learned they are about this time frame. It truly made me feel like we were all back in time captured in its down home simplicity.

With slicked back hair, Andrew Frace depicts a few of Cash’s fresh faced hits and Patrick Dinnsen lends his deep baritone to songs such as for the insightful Man in Black. A fiddle-laden and guitar-tinged moving acapella lullaby captures The Sweet By and By. This group can jam and richly harmonize for the autobiographical and catchy Five Feet High and Rising and hymn-infused Daddy Sang Bass. Sunday Morning Comin’ Down captures a darker and pivotal period in Cash’s life, but the production also has its lighthearted and silly moments in Celeste Vandermillen as young June Carter on ukulele and her hilarious antics onstage. Songs that showcases Cash’s sillier side and skilled storytelling such as Dirty Old Egg Sucking Dog and the famous A Boy Named Sue are a lot of fun.

Andrew Frace, Nathan Yates Douglass, and Celeste Vandermillen in MRT’s ‘Ring of Fire’ Photo by Meg Moore/megpix.com

Of course, this talented quintet share great chemistry and narrated Cash’s significant and uplifting moments including some of his greatest hits such as Cry, Cry Cry, Get A Rhythm, Big River, I Walk the Line, its title track and Jenna Fawcett’s June Carter when Cash and Carter unite in marriage. Fawcett’s Far Side Banks of Jordan in its deep and acapella rhythms stood as one of the production’s most impactful moments.

Co-directed and musically directed by Karen Oster and co-directed and choreographed by Correy West, Merrimack Repertory Theatre delivered a powerful tribute to the Man in Black which was as moving as it was upbeat and humorous to remember a man who transcends generations and beyond.

Merrimack Repertory Theatre presented concert tribute, Ring of Fire: The Music of Johnny Cash through December 14 at live and in person at Merrimack Repertory Theatre in Lowell, Massachusetts. Click here for more information and for further details on Merrimack Repertory’s 47th season.

REVIEW: Unlocking memories inside The Huntington’s stirring and remarkable ‘Fun Home’

Posted on December 12 by The Sleepless Critic

It’s funny what you recall in life.

Memories can be tricky. As time goes by, perspective changes as a person grows, transforming a memory and gradually revealing details once never considered or understood before. Alison’s home seals in cartoonist Alison Bechdel’s intimate memories as she writes her memoirs through her work, ruminating on her childhood and upbringing to discover what makes her feel like she is stuck in life. Alison uses cartoons because drawing as a child, she recalls, ‘I need real things to draw from because I don’t trust memory.’

Five-time Tony award-winning musical Fun Home explores different perceptions of reality within the Bechdel household. They wrestle with it, deny it, but ultimately, must come to terms with it. Based on Alison Bechdel’s graphic novel memoir with complex direction by Logan Ellis, Taavon Gamble’s dynamic choreography and Jessie Rosso’s compelling music direction, The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. This poignant musical deals in some mature themes and runs 1 hour and 40 minutes with no intermission. Click here for more information and for tickets.

Lyla Randall and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin

The Huntington is known for its extraordinary sets and Fun Home is no exception. Beneath a delicately adorned chandelier, Fun Home takes an intimate look inside a family seemingly full of zeal and an antique house so tidy and flawless in all its finery flanked with towering bookshelves, a fireplace, grand piano, detailed wallpaper and richly placed stained glass, it neatly hides any cracks and crevices underneath. Tanya Orellana’s rolling sets meticulously combines Gothic Victorian-style details with Pennsylvania’s natural beauty in a portrait landscape of trees. While Fun Home unveils the Bechdel family’s complicated world piece by piece, it may also quite symbolically depict Alison’s increasing ability to see the forest for the trees.

Sarah Bockel in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Led by and musically directed by Jessie Rosso, this intimate, seven piece orchestra sits through an open piece of “sky” carved into the backdrop in a soothing, fiddle-laden soundtrack which blends light, airy, and melancholy. From its opening song, It All Comes Back to the Flying Away finale, Jeanine Tesori’s captivating musical numbers hold a spectrum of rich and multi-faceted meaning. The catchy, Partridge Family-inspired with a hint of Jackson 5 grand number, Rainbow of Love is a particular highlight, enhanced by matching reflective and fringed retro costumes, just a portion of Celeste Jennings’s colorful and era exacting costume design.

Sarah Bockel and Lyla Randall in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin

With its share of comedic and uplifting moments, Alison looks back on her relationship with her enigmatic and intellectual father Bruce and her traveling and ill at ease mother, Helen. Alison is the only individual that outwardly transforms in this piece, thanks to the exceptional work of Maren Phifer in for Lyla Randall as adorably precocious and impressionable Small Alison in braids and overalls who springs to life in an ingenious manner. Phifer performs an impeccable and chiming version of Ring of Keys and shines with Odin Vega as Christian and Caleb Levin as John in the darkly humorous title track, Fun Home in impressive harmony. Maya Jacobson aptly depicts naïve, anxious, excitable, yet awkward Medium Alison while Sushma Saha is walking confidence as cool and collected Joan.

Caleb Levin, Odin Vega, Lyla Randall in Fun Home; Directed by Logan Ellis; Photo by Marc J Franklin

With black rimmed glasses and short dark hair, Bockel slips into Alison’s wounded façade, a mature, jaded and intellectually-driven individual. With a dark sense of humor, Bockel is an omnipresent narrator on this emotional journey evoking confusion, warmth, sorrow, and frustration realizing every fine detail of Alison’s younger years while struggling to build strength into each new discovery.

Sushma Saha and Maya Jacobson in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Director Logan Ellis strives to examine the physical and intellectual similarities between Alison and Nick Dukart as Alison’s father and it is fascinating to witness their side by side similarities. Duckart allows Bruce’s flaws override what is often viewed as an overtly sympathetic performance. He skillfully lays bares the many sides of Bruce as a critical businessman and showman with a refined intellect, and perpetually occupied to become an expert on most everything. Seemingly a friendly, strict, and hardworking family man, Bruce is also secretive, unsettling, dazed and closed off. Duckart’s melodious and affecting baritenor vocals captures Bruce’s complex and unspoken feelings in each number, including the poignant song Pony Girl, but most notably in his harrowing rendition of Edges of the World.

Sarah Bockel and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Each Alison is earnest in portraying their wrought frustration in every moment they attempt to identify and make a genuine connection to him, but especially in the bittersweet song, Telephone Wire. Duckart depicts Bruce with a defensive irritability yet tempered with overpowering warmth for Alison which encapsulates some of the brighter moments in the musical.

Duckart and Jennifer Ellis as Alison’s conflicted musician mother Helen share tense and affective moments together and it is easy to see Helen’s teetering vulnerability within each argument and in all the weighted and lonely moments where Ellis imagines her life should be.

Unassuming, overwhelmed, and misunderstood surrounded by outward perfection, Ellis’s Helen lives her life distancing herself from reality putting others first reflected in the heartrending and beautiful number Days and Days, a number in which Ellis brought me to abrupt tears.

Jennifer Ellis in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Some things cannot be fixed. Painful and difficult times as well as those joyful moments might not have been as once imagined. The key is to learn from it and take the next step.

The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. Click here for more information and for tickets.

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

Posted on December 10 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

REVIEW: A thrilling race against time in wondrous ‘Harry Potter and the Cursed Child’

Posted on December 2 by The Sleepless Critic

This production boasts a great deal of elaborate presentation and what an amazing presentation it is!

John Tiffany’s innovative direction, Gareth Fry’s robust sound design and a gleaming set by Christine Jones paves the way for more than a little magic as Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20. This exciting production runs two hours and 50 minutes with one intermission and some dark imagery may not be appropriate for children. Click here for more information and for tickets.

David Fine, Adam Grant Morrison, and Maren Searle in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Set Designer Christine Jones’s sterling and multi-dimensional set boasts gleaming wood and fine detail with stars and moons etched into a dome trim. Featuring spinning clocks, animated books, vaulted ceilings and swerving grand staircases, this sliding set follows its own meticulous rhythm integrating shadows which brilliantly capture the essence of Hogwarts and the iconic events of the beloved series and films. Capes swing in succession to its own mesmerizing beat in sharp and sweeping choreography that enhances the swift pace of this production.

The cast of ‘Harry Potter and the Cursed Child’ Photo By Matthew Murphy

The spellbinding and pulsating special effects by Jamie Harrison as well as the nostalgic return of beloved places and characters are the essential reasons why anyone, but especially Harry Potter fans, will delight in this show. As an avid Harry Potter fan having read the all the books including this screenplay and witnessed all the films, Harry Potter and the Cursed Child’s Easter eggs and recognizable spells are all familiar and welcome territory. A wizard disappearing into a mailbox, characters drifting through walls, and haunting characters looming larger than life is just a glimpse into the stupendous magic that takes place live onstage.

‘Harry Potter and the Cursed Child’ national cast Photo By Matthew Murphy

Seeing magic during recorded films is one thing, but to witness this magic materialize onstage is more than exciting. It is a thrill each and every time.

Starting during Harry Potter and the Deathly Hallows epilogue, Harry, Ginny, Ron and Hermoine are at King’s Cross Station sending their children on the Hogwarts Express as new students to Hogwarts much like when Harry, Ron and Hermoine embarked on the Hogwarts Express for the first time years ago.

Much like J.K. Rowling’s beloved book series, this topsy turvy plot contains themes of family love, enduring friendship, and coming of age love that materializes between Adam Grant Morrison as Albus and David Fine as Scorpius. It also focuses on parenting, reputation and the consequences of one’s actions. Its winding plot is just intriguing enough to revel in the appearances of these characters and goes to great lengths to stretch the plot for the purpose of justifying revisiting all these iconic places through a time turner.

David Fine and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

The production brings together both generations as Juliana Nightingale remarkably portrays mysterious Delphi Diggory and Larry Yando as sympathetic Amos Diggory urges Nick Dillenberg as Harry Potter to bring back Amos’s son Cedric using a time turner. When Harry refuses, Albus and Scorpius see it as an opportunity to prove themselves as great wizards.

Nightingale, Fine, and Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

What I did feel like the production lacked is the amount of time given to other students at Hogwarts. So much time was dedicated to the OG characters that aside from acquaintances, Albus and Scorpius seem to be the only two people that truly connect in Hogwarts which is hard to believe at such a large university with numerous cast members. Perhaps this is due to the shortening of the production which was once divided into two parts and clocked in at over four hours.

Fine is exuberantly expressive, anxious and excitable as Scorpius Malfoy. Fine defines Scorpius with bursts of chatter and bravery infused with an occasional unhinged edge while Morrison as Albus Severus Potter is more introspective and resentful trying to live up to his father’s image.

David Fine in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Tom Felton may have returned in his OG role as Draco Malfoy on Broadway, but Ryan Hallahan is certainly up to the task in menacing and sarcastic ways punctuated by a delightfully upturned sneer and rich vocals as Draco. Hallahan’s Draco is an impressive adversary and protective father to David Fine as Scorpius while infusing traces of Draco’s own father, Lucius.

Dillenburg as Harry Potter is well suited for the role, though the character has become more egotistical and stubborn thinking he knows best which makes for fascinating scenes with Trish Lindstrom as softer spoken Ginny. Lindstrom amiably demonstrates Ginny’s maturity and bolder practicality, especially as she tempers Harry’s anxieties.

Matt Harrington amusingly captures quirky, outspoken, and underestimated Ron who provides more than a few playful moments. He also shares some sweet scenes with Rachel Leslie as shrewd and determined Hermoine.

David Fine, MacKenzie Lesser-Roy, and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Some actors in this large cast take on multiple roles with finesse. MacKenzie Lesser-Roy as giddy, giggling, bold and flirtatious Moaning Myrtle is an over the top scene stealer and unrecognizable in a dual turn as serene Lily Potter. Katherine Leask closely exacts Maggie Smith’s glorious timbre and cadence as firm, yet compassionate Professor McGonagall with winking good humor before stepping into the shoes of one of Harry Potter’s perilously disdainful villains not to be revealed here. Larry Yando impressively takes on the challenge of triple roles though some land better than others.

Wands abaze in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Twists, turns, rumors and revelations abound in this elaborate production tailor made for Harry Potter fans and for those who truly enjoy onstage wizardry! Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20. Click here for more information and for tickets.

REVIEW: Superstition, Marilyn Monroe, dancing and an inevitable bond in Theater Uncorked’s unconventional musical ‘Blood Brothers’

Posted on November 19 by The Sleepless Critic

For Mrs. Johnstone, life went awry as soon as the dancing stopped.

With ominous direction by Audrey Seraphin, sharply choreographed by Audrey Johnson with Gina Naggar’s musical direction, Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts. This poignant production is two hours and 50 minutes including one intermission. Click here for more information and for tickets.

Sehnaz Dirik Lauren Casey and Kate Funderburk and cast in ‘Blood Brothers’ Photo by Gary NG

Two households sit side by side. One adorned in floral stained glass and expensive trim while the other door stands weathered and chipped with a dated floral arrangement hung from the door by Leonard Chasse. However, these two households will connect through an inescapable bond that neither household can possibly shake.

Sehnaz Dirik in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Twins separated at birth is a story that has been told before, but this particular tale is introduced as the stuff of legend. Taking place in Liverpool, England from the 50s through the 80s, Blood Brothers is a musical about two households separated by social class. Sehnaz Dirik portrays fanciful and pregnant Mrs. Johnstone whose husband leaves her and their children. Now, a single mother trying to make ends meet, Mrs. Johnstone works for the wealthy Lyons family as their house keeper while Mrs. Lyons struggles to have children. When Janet Pohli as petty and unhappy Mrs. Lyons finds out Mrs. Johnstone is expecting twins, a manipulative plan slowly starts to take shape.

Blood Brothers doesn’t seem to fit squarely as a musical and would work just as well as a play. The show’s unconventional elements deliver a folk pop flair and the story is shared like a cautionary tale as characters sing at odd moments. Blood Brothers is a well cast production that depicts individuals of all ages with Janet Pohli as a particular standout in a commanding performance behind a meek smile as Mrs. Lyons, a woman who is not to be underestimated.

Janet Pohli and Zach Fuller in Theatre Uncorked ‘Blood Brothers’ Photo by Gary NG

James Honaker interestingly portrays her preoccupied workaholic husband Mr. Lyons who always seems half here and halfway back to work. It’s fascinating to watch them circle one another, interested in everything around them but each other.

Chris Edwards seamlessly steps into a number of roles which include some nefarious characters that haunt the production, but his main role is that of the mysterious narrator. Edwards pops up and lurks out of the shadows, especially when the production is about to take a dark turn. Edwards steps into each of these roles with ease infusing foreboding vocals and haunting reprises.

Dirik also aptly depicts tormented Mrs. Johnstone who is forced to make an impossible choice for the sake of her family and performs the lion’s share of the vocals aside from Edwards. Dirik expresses vulnerability and melancholy in her resonating vibrato without the malice she has exhibited in previous roles.

As for these legendary twins, Michael Mazzone as mischievous Mickey and Zack Fuller as shy and straight laced Eddie connect as carefree kids in a tale that spans decades. Seeming opposites, but share an instant connection like a missing link in impressionable Eddie’s life. The wide eyed gall in Mickey and his charming family seem to fill a void for this lonely and studious child.

Bold and fun loving, Lauren Casey shines as lovestruck Linda for Mickey. Casey’s gleaming smile and gentle demeanor with a bit of a tough streak is charismatic and charming. She also shows a great rapport with the rest of the cast and they run around the neighborhood on adventures.

Zach Fuller Michael Mazzone and Lauren Casey in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Blood Brothers covers a great deal of topics including social class inequality, recession, family, and heartbreak while tackling the sins that could come back to haunt you. The show spans decades and it at times seems long, but has its share of bright and moving moments of two families tied together by fate.

Michael Mazzone and cast in Theater Uncorked ‘Blood Brothers’ Photo credit Gary NG

Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Superpowers, grunge and dragons in SpeakEasy Stage’s zany indie-rock musical ‘Lizard Boy’

Posted on November 18 by The Sleepless Critic

In a musical world of grunge and dragons, Lizard Boy stands alone.

Unforeseen circumstances bring together a quirky trio of characters and onstage multi-instrumentalists when Keiji Ishiguri as introverted, anxious and well meaning Trevor leaves his apartment hideaway once a year. Longing for real connection and a possible love interest in Peter Dimaggio as goofy, friendly and squeamish Cary, Trevor reluctantly practices a little faith over faith. However, so much can happen just stepping out your front door.

From left: Chelsie Nectow, Keiji Ishiguri, Peter DiMaggio Photo by Benjamin Rose Photography

Blending dark humor, fantasy, mythology, sci-fi, action and horror with harmonious musical flair, Lizard Boy takes an earnest look at isolation, trauma, and loneliness. It is going to take a lot more than a simple song or even an apocalyptic event to unleash Trevor’s true reasons for staying home or the inexplicable sting in Trevor’s back.

With Book and Lyrics by Justin Huertas, rhythmically directed by Lyndsay Allyn Cox and creatively Musically Directed by Violet Wang, SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22. With Playwright Justin Huertas in the audience during the performance I attended, this edgy production contains adult content and humor and runs 100 minutes with no intermission. Click here for more information and for tickets.

Illustrated with comic book-inspired chalk drawings, colorful graffiti and band posters scattering the walls, Set Designer Qingan Zhang’s intriguing set provides a hint of the 90s though it takes place in the present day. Sean Doyle’s mighty sound design can be overpowering at times, but there is a zing to the show’s perpetual harmonious rhythms (including the banging of a guitar case, carefully timed lightning and instruments that double as weapons) in a world where dragons really do exist. After all, this Lizard Boy musical has scales…get it? Clever.

From left: Keiji Ishiguri, Peter DiMaggio, Chelsie Nectow Photo by Benjamin Rose Photography

Costume designer Zoë Sundra delivers a daring rock vibe which includes spandex, eye liner, furs, racer pants, flannels, graphic tees, and chained red booties. With a blend of satirical and upbeat indie-rock tunes in unconventional rhythms using various instruments including a kazoo and the ukulele, Lizard Boy’s soundtrack is delivered with zeal and humor as this skilled trio must contend with each other for the sake of their world.

From left: Chelsie Nectow, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

A portion of the tunes are delivered in a stream of consciousness fashion infused with pop culture references such as Ishiguri’s Trevor’s title track. Tambourine-tinged The Whoa Song boasts catchy and powerful harmonies you may be humming after the show is over. Clelsie Nectow depicts manipulative, relentless and occasionally unhinged Siren with raw prowess while delivering seething vocal rhythms faintly resembling Evanescence’s Amy Lee for A Terrible Ride. Peter DiMaggio and Keiji Ishiguri showcase their improvisation skills and vulnerability with Cary’s Song and Things I Worry About.

From left: Peter DiMaggio, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

Though the plot can veer a bit too outlandishly at times, Lizard Boy is a wild musical journey with action, comic book violence, a resounding message and a few revelations in a world where true superpowers can come from the unexpected of places.

SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22. Click here for more information and for tickets.

REVIEW: Creativity underway in ‘Tick, Tick…BOOM!’ at Umbrella Arts Center

Posted on November 12 by The Sleepless Critic

Jon feels he is nearing the end of an era…his 30^th birthday.

Creatively directed and choreographed by Ilyse Robbins with lively music direction by Jordan Oczkowski, Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM! Live and in person at Umbrella Arts in Concord, Massachusetts through Sunday, November 23. This introspective and humorous musical journey runs 90 minutes with no intermission. Click here for more information and for tickets.

Once a 2004 Off-Broadway musical, Tick, Tick…BOOM! was translated into a 2021 award-winning Netflix film adaptation directed by Lin-Manuel Miranda and scored an Academy award-nomination for Andrew Garfield before taking the stage at numerous theater companies worldwide. While creatively runs wild in the Netflix film, the Umbrella Arts musical is where you find the spark.

Anthony Pires Jr.* Vanessa Calantropo and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Set in January 1990, Tick, Tick…BOOM! Is a fascinating semi-autobiographical rock musical about Jonathan Larson, a struggling writer and composer living in New York City years before he created his hit rock musical, RENT. A writer writes about what one knows and so much of this story offers glimpses into Larson’s inspiration for that wildly-successful musical.

However, this is about the struggle and this musical is brimming with it. The painstaking work of creativity and all that could go wrong illuminates Tick, Tick…BOOM! as Larson struggles to keep it all together to achieve what at times seems impossible, especially in New York City. Tick, Tick…BOOM! is not only about Jonathan Larson’s frantic life, but it is also an ode to the artist and the struggle to live that extraordinarily competitive dream while just skirting out and skimming by trying to get a chance.

Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Erik Diaz’s barebones set symbolically offers a different approach to this production featuring dual level scaffolding (also featured in Rent) a weathered apartment balcony, staircase and a NYC skyline. It may symbolically stand as a work in progress much like this particular period in Jon’s life. However, Johnny Shea who delivers Jon’s detailed narration stretches the imagination to conjure up each setting such as a stainless steel kitchen, butcher block table, vast views and a luminous city skyline in a purple mist, part of Ben Rush’s warm and atmospheric lighting.

Anthony Pires Jr.* and Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

At its creative center is likable narrator and lead Johnny Shea who is instantly earnest, introspective and charming as the frenetic Larson on the eve of Larson’s 30^th birthday. The unconventional, imaginative, and quick-thinking Larson divides his time between writing, composing and working at the Moondance Diner. However, music and writing naturally pours out of Larson’s soul and he is often consumed by it at the expense of everything else.

For forward-thinking Larson, turning 30 is a looming chasm that soaks up every ounce of his time until that odious deadline demonstrated in the urgent and memorable number, 30/90. Shea as Larson considers turning thirty as the end of youth, but it is certainly not too old to accomplish remarkable things. Perhaps Larson always felt like he was running out of time.

This often lighthearted musical features a dynamic, infectious, and multi-dimensional soundtrack about living in your 20s in New York City and how life evolves. RENT’s influence is unmistakably evident in the catchy and humorous number featuring Anthony Pires Jr. as Michael and Shea in No More which also reflects the strong camaraderie between best friends Michael and Jon. It is also easy to recognize the roots that will develop Larson’s future work in Shea’s tender number Why.

Anthony Pires Jr.* and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Inside the Moondance Diner, Sunday features beautiful harmonies and clever quips. Vanessa Calantropo as Susan and Shea as Jon deliver a flirty duet with Green Green Dress. Therapy is a fantastic and humorous number about the miscommunication of love and the chipper and lighthearted Sugar is great fun. Johnny Can’t Decide harmoniously and pensively depicts the agonizing struggle living in the uncertainty of your dream or being practical which is a prevalent theme throughout the production.

With rich vocal arrangement and orchestrations by Stephen Oremus, this intimate onstage band can impressively jam and the musical’s small and mighty cast interacts with the band while delivering rich and powerful harmonies along this uninterrupted musical journey. With the exception of Shea as Jon, Anthony Pires Jr. as Michael and Vanessa Calantropo as Susan smoothly and humorously capture many other roles as Jon allows his story to unfold. Calantropo especially stands out for the soaring number, Come to Your Senses.

Anthony Pires Jr.* Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Tick, tick BOOM! explores the little victories, the larger victories, and the gut-wrenching defeats in Larson’s personal and professional world. However, what is genuinely important becomes poignantly clear and what truly inspires his work changes as the musical progresses.

Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM live and in person through Sunday, November 23 at Umbrella Arts Center in Concord, Massachusetts. 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: The Martha Graham Dance Company, presented by Celebrity Series of Boston, demonstrates its lasting impact

Posted on December 6, 2024 by The Sleepless Critic

Americana played a significant role in a number of meaningful dance performances as Celebrity Series of Boston presented Martha Graham Dance Company for two exclusive performances from Friday, November 22 to Saturday, November 23 live and in person at the Cutler Majestic Theatre in Boston, Massachusetts. The show ran 1 hour 40 minutes with one intermission. Click here for more information and where Martha Graham Dance Company will perform next nearing its centennial year and here for Celebrity Series of Boston’s upcoming events.

Martha Graham Dance Company in Graham’s “Dark Meadow Suite” PHOTO by Robert Torres for Celebrity Series of Boston

Exploring dance through various generations, The Martha Graham Dance Company delivered an intriguing mix of traditional and contemporary performances infusing an array of music genres including classical and tambourine-tinged Americana through storytelling and vivid and symbolic imagery. From comical to sensual to bold, this distinct selection of dance performances shared some common themes while making a rich and unique impression during each of the four performances.

A leader in the Modernist movement, Martha Graham Company’s Dark Meadow Suite explores a Mexican feel featuring a burnt orange landscape lit by Nick Hung and dancers are adorned in matching burnt orange, black and white layered gowns. Carlos Chávez’s oboe and fiddle-infused rhythms brings poignancy to the music’s powerful tempo. It is a sweeping and sensual piece boasted by sharp and sweeping movements as dancers entwine and lean on each other in an elegant trio of pas de deux.

Martha Graham Dance Company in Graham’s “Dark Meadow Suite” PHOTO by Robert Torres for Celebrity Series of Boston jpg

Lloyd Knight and Anne Souder’s pas de deux evokes a flourishing intensity hastening and pulsing in unison as the fiddle grinds and they both gazed upward. Lloyd’s solo is full of athletic charisma in sharp and carefully executed movements and occasionally dancing on his heels.

Agnes DeMille’s Rodeo combines bluegrass, tap and folk in an upbeat and exuberant piece by Cecil B. DeMille’s niece that first made its debut in 1942. A famed dancer and choreographer, De Mille demonstrates her multifaceted skills not only through this beautifully choreographed ballet, but through compelling storytelling that could have easily translated to film as it does onstage.

Martha Graham Dance Company in Agnes de Mille’s “Rodeo” PHOTO by Robert Torres for Celebrity Series of Boston

Set in various western settings including a prairie, Rodeo focuses on a cowgirl captivatingly portrayed by Laurel Dally Smith who bursts onto the scene galloping with lively authenticity and endearing comic charm marching to the beat of her own drum. Dressed as a cowboy and remarkably expressive, the cowgirl finds herself not quite fitting in anywhere. Smith’s confidence and rambunctiousness seems to come off awkwardly with the ladies and not quite acceptable to the cowboys. Smith’s self-assured individuality displays her earnestness and determination yet leads her to daydream in isolation.

Aaron Copland’s jubilant score and heart thumping rhythms with a country twang keeps this short tale lighthearted as Smith brings a sympathetic and fanciful nature to this role. Surrounded by happy couples, Smith is taken by the romance of it all and displays not an ounce of jealousy, but soaking in her surroundings as she craves to belong.

The complementary array of Oana Botez’s pastel colored western attire and period pieces embroidered in floral patterns with distinct hats beautifully stand out against each of Beowulf Boritt’s picturesque settings. Accented by clapping and jubilant dance, Lloyd Knight’s sporadic instructions to the beat lead the dance as Square Dance Caller. They are the only spoken words in the piece and lends to the carefree and romantic atmosphere prevalent in this performance. De Mille creates a dreamlike and fanciful world as the cowboys flirt and skirt chase in lively dance routines that include couples partnering in sweeping pas de deux.

Richard Villaverde and the Martha Graham Dance Company in Agnes de Mille’s “Rodeo” PHOTO by Robert Torres for Celebrity Series of Boston

Richard Villaverde as The Champion Roper not only delivers some sweet scenes with Smith, but an excellent tap dancing solo to heart thumping rhythms.

Rodeo’s conclusion is unexpected and somewhat indicative of the time the piece was performed. It is a comical, heartfelt and romantic piece sharing some similarities to De Mille’s artistry in Oklahoma while it explores discovering your place in the world.

Martha Graham’s Lamentation proves that a piece does not need to be long to have a lasting impact. Originally performed in 1930 and infused with fiddle-infused rhythms by Zoltán Kodály, So Young An depicts powerlessness and grief perfectly and poignantly barefoot and bogged down by her clothing in limiting dress and engulfed in its masses and yet reaching out.

So Young An in Martha Graham’s “Lamentation” PHOTO by Robert Torres for Celebrity Series of Boston

When one is speechless, say it through art. We the People, choreographed with a catchy country tinge by Jamar Roberts this year, makes powerful statements in various segments that kick off in dance before the music begins. At once playful, then winding, but consistently commanding the stage, We the People is a powerful array of tight, unified and symbolic chorography on a black backdrop. In Karen Young’s denim-inspired attire, the dancers seemingly get swept up in the music as they twist, stomp, and slice the air to infectious tambourine-tinged and fiddle-induced rhythms. Bold and tenacious, performers clap and spin to a driving beat creating vivid imagery and making a lasting impact about the modern world.

Martha Graham Dance Company in Jamar Roberts’ “We The People” PHOTO by Robert Torres for Celebrity Series of Boston

Celebrity Series of Boston presented Martha Graham Dance Company for two exclusive performances from Friday, November 22 to Saturday, November 23 live and in person at Cutler Majestic Theatre in Boston, Massachusetts. Click here for more information and where Martha Graham Dance Company will perform next nearing its centennial year and here for Celebrity Series of Boston’s upcoming events.

REVIEW: Love and family drive a moving and powerful world premiere of ‘Did You Eat? (밥 먹었니?)’ presented by Chuang Stage and Seoulful Productions

Posted on November 30, 2024 by The Sleepless Critic

Family can be complicated. Some ancestors have passed away and maybe you would give anything to speak to or enjoy a meal with them one more time. Others you endure and it can be so emotionally draining, it is a battle to stay connected.

Featuring a special opening act concert performance by Sarah Shin on Wednesday, November 27 prior to Did You Eat? (밥 먹었니?), this particular evening presentation manages to explore both types of relationships.

Zoë Kim in Did You Eat? (밥 먹었니?) Photo by Maggie Hall Photography

Written and performed affectively by Zoë Kim and perceptively directed by Chris Yejin, Did You Eat? (밥 먹었니?) , a world premiere production from Chuang Stage and Seoulful Productions, is a moving autobiographical recollection on love and family continuing live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, November 30. This bilingual one woman performance is 75 minutes with no intermission. The paper program not only offers details on the show, but also features a wonderful and fitting cookbook section on Korean comfort food. Click here for more information and for tickets which are limited.

Candid and engaging, Did You Eat‘s featured a special opening act performance by Sarah Shin. With a peach electric guitar, she paid tribute to her late grandfather who led a big life with a big family. With yearning vocals, she longs for conversations with him about her craft knowing what she knows now. Though the song might have been explored an octave lower, it is a lovely and personal number that resonates with anyone who discovers they have common ground with those who have come before them.

With rich accompaniment by Alison Yueming Qu, Shin also performed a raw and humorous song about the aftermath of a breakup enhanced by Shin’s soaring and unique vocals.

Accented by ethereal and shrouded pastel colored drapes and a multicolored painted floor, Did You Eat evokes a guileless innocence and Aegyo in Szu-Feng Chen’s cheerful and lively set design and costuming featuring braids and sunflowers, a bloom which symbolizes resilience. Katie Kuan-Yu Chen’s lingering and at times dreamy sound design with Michi Zaya’s distinctive projections and Ari Kim’s dynamic lighting illustrates a wide range of emotions from hyper vigilance to love at first sight.

A mother (Umma) who was not ready to become a mother but wanted to please her family and a father (Appa) who wanted to please his family and prove his manhood by having a son. Diving into the dysfunction and expectations set by a Korean family, Did you Eat is a multifaceted journey performed and recounted by Korean-American Zoë Kim in a stirring one woman performance. Her use of the second person perspective is part of what makes Kim’s story engulfing for the audience as she navigates the struggle she endured growing up and the repercussions it had on her psyche and well being.

A winding journey that is at times funny, haunting, harrowing, relatable and always powerful, Kim transitions each feeling with skill, physical prowess, and a natural fluidity as each scene intensely alters in tone. An earnest piece steeped in emotion, the production is enhanced by Christopher Shin’s striking chorography that varies from subtle to sharp and abrupt movements to interpretive dance. Kim army crawls, slices the air, and slides across the floor and yet also emits joy through childlike movements and a beaming smile.

The term Did You Eat? (밥 먹었니?) is inherently a phrase used in love language and how actions speak louder than words and yet words are significant and binding. Kim also longs to please her family and within its raw honesty through resentment, isolation, shame, guilt and seemingly impossible circumstances, shares a beautiful life lesson about identity, trust, self love and what it takes to shine.

Written and performed affectively by Zoë Kim and perceptively directed by Chris Yejin, Did You Eat? (밥 먹었니?) , a world premiere production from Chuang Stage and Seoulful Productions, is a moving autobiographical recollection on love and family continuing live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, November 30. This bilingual one woman performance is 75 minutes with no intermission. Click here for more information and for tickets which are limited.