Somewhere in Minnesota, two best friends with a complex history each wish on what is deemed a soft star in the sky. What develops over time will test the limits of their friendship and much more.
Contemplatively directed by Bridget Kathleen O’Leary, Boston Playwrights Theatre presents Tina Esper’s supernatural drama Soft Star through Sunday, November 24 part of the Boston Playwrights Theatre’s Fall Rep Festival. This absorbing production runs 85 minutes with no intermission. Click here for more information and for tickets.
The cast of Tina Esper’s ‘Soft Star’ Photo by Amelia Cordischi
Boston Playwrights Theatre’s Fall Rep Festival features two new productions from living authors taking place on one stage and scenic designer Maggie Shivers continues to make distinctive use of the space for these two vastly different productions. With fold out compartments that pose as couches, a barbecue grill and shelves, cast members transform the set and props between scenes from a beachside setting to a completely new landscape. Zachary Connell’s starlit and warm lighting adds an ethereal quality to the production featuring lanterns and luminous creatures boosted by Kai Bolman’s mystical sound design. Set within the span of the 70’s and 80s, E. Rosser’s colorful costumes depicts fashion trends of the time such as baby doll dresses, keds sneakers, and Henley shirts.
Annika Bolton and Mairéad O’Neill in Tina Esper’s ‘Soft Star’ Photo by Amelia Cordischi
A complex drama of jealousy, isolation, insecurity, secrets and longing, Soft Star is poignant and wistful as Jane and Belle search for a sense of belonging as they contemplate about the direction their lives have taken. There is a real sense of uncertainty from these individuals as the show progresses. Annika Bolton as Jane, Jesse Kodama as Dick, Mairéad O’Neill as Belle and Kamran Bina as Mitch make up a tightly woven group that also share building tension and passive aggressiveness, especially among Dick and Mitch who are best friends working together as well as a palpable chemistry between Mitch and Jane.
What is wonderfully fascinating about Soft Star is how best friends Annika Bolton as Jane and Mairéad O’Neill as Belle’s connection and priorities mature and evolve over time. From two coming of age girls to established women, Esper’s script explores the transforming interests of these individuals and at the same time, depicts how some reflections on their lives never change.
Annika Bolton in Tina Esper’s ‘Soft Star’ Photo by Amelia Cordischi
With an elements of magic and mysticism, Soft Star is an intriguing and imaginative drama fueled by Esper’s layered script which unfolds from a straightforward narrative to how life becomes immensely complicated through circumstances and when other emotions take hold. Emotions that linger and ripen even as people mature exasperated by a wish.
Boston Playwrights Theatre presents Tina Esper’s supernatural drama Soft Star through Sunday, November 24 part of the Boston Playwrights Theatre’s Fall Rep Festival. The show runs 85 minutes with no intermission. Click here for more information and for tickets.
That is the main question broached by the cast of a mysterious character contemplated so often that it is a wonder if Tartuffe is less a person than legend. However, when Tartuffe does appear, plenty of drama lay in his wake.
Directed comically by Bryn Boice and translated by Richard Wilbur, Hub Theatre Company of Boston presents Molière’s satirical comedy drama Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24. This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis. Click here for more information and for tickets.
June Kfoury, Lily Ayotte and Brendan O’Neill in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Though Molière ’s satirical comedy Tartuffe takes place during King Louis XIV’s reign in 1664, Hub Theatre Company of Boston mixes many aspects of the contemporary with the 17th Century French Common Era in costumes and nuanced dialogue. Costume designer Marissa Wolf and Wig Maven Liv Curnen blend historical French high fashion including decorated coiffed wigs, silks, trendy lace up shoes, crinoline, and vivid patterns including paisley and tartan to match with jeans, sneakers, and racer striped pants which provides a bit of a contemporary edge. Lily Ayotte as Mariane’s crinoline skirt cage however, felt gnawingly incomplete without a skirt over it even if it is in the name of high fashion.
Tartuffe, spoken in melodious coupling rhyme, is easy on the ears and adds lightheartedness to the production especially during its most serious moments. June Kfoury as Madam Parnelle baits the hook on Tartuffe as she humorously lambastes everyone in the room including her family in a marvelously frank and offhanded manner except the one person absent and proclaims an unpopular opinion: She considers Tartuffe a saint and praises his bold candidness.
Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Brooks Reeves as oblivious Orgon also thinks the sun rises and sets on Tartuffe and although Orgon comes off as a bit one dimensional, Reeves leans into the character’s absurdity and stubbornness to craft a character you end up rooting for.
Lauren Elias in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Lily Ayotte as sweet and obedient Mariane is one of the best parts of the production. Her engagement with the audience, reactions and physical comic timing is impeccable. Ayotte and Robert Thorpe II as Valère share amusing chemistry and their scenes are full of charming banter. Lauren Elias as maid Dorine is one of the few voices of reasons and a scene stealer in her own right navigating the plot through reason, good intentions, a good deal of sarcasm, and some popcorn (which acts as a fabulous gag during the show).
Laura Rocklyn and Jeremy Beazlie in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Laura Rocklyn portrays cool and collected Elmire with finesse. Elmire is a dynamic role and Rocklyn brings determination and confidence, especially to her more absurd scenes with Reeves and Jeremy Beazlie as Tartuffe, performing to great lengths for a laugh.
However, Jeremy Beazlie as Tartuffe, well, there is not much question how Tartuffe lives up to his legend which will not be revealed here. Tartuffe explores hypocrisy and secrets while historically speaking to what was happening in France at the time and Beazlie depicts it to a fault stirring up a lot more than rumors by the time he takes the stage.
Jeremy Beazlie and Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Though Tartuffe may not be for everyone, it boasts a strong cast and witty moments that keeps one guessing how this unbridled string of events will end up right through the very end.
Hub Theatre Company of Boston presents Molière ’s satirical comedy Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24. This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis. Click here for more information and for tickets.
For one night only, a revered love story caught between impossible choices took shape set in a war-torn country.
With over 200 artists involved including the Back Bay Chorale as well as Boston Lyric Opera Orchestra and Chorus, Boston Lyric Opera (BLO) presented Verdi and Ghislanzoni’s stunning Italian opera, Aida for one gala benefit performance during Veteran’s Day weekend on Sunday, November 10 at 3PM at the Emerson Colonial Theatre in Boston, Massachusetts. All funds raised benefited Boston Lyric Opera’s education, youth and community programs. Part of BLO’s You’ll Never Walk Alone themed season, this epic production ran 2 hours and 50 minutes including one 20-minute intermission. Click here for more information.
David Angus conducts the BLO Orchestra and BLO Chorus (Brett Hodgdon, Chorus Director) including members of Back Bay Chorale) Photo by Nile Scott Studios
Prior to the start of the production, the Boston Lyric Opera celebrated a milestone for renowned bass-baritone opera singer Morris Robinson. Twenty-five years ago to the day on November 10, 1999, Robinson debuted onstage in the role of the King for Boston Lyric Opera’s Aida. Not only was he named the 2024 Artistic Honoree, but Mayor Wu named November 10th Morris Robinson Day. The honor was presented to him by his mentor Sharon Daniels. Once a Boston University college football player, a clearly moved Robinson delivered an inspiring and relatable speech about career pivoting and the stellar chance he received from Boston Lyric Opera.
Morris Robinson as Ramfis in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios
Robinson’s charismatic presence as well as his rich, deep and commanding vocals as Ramfis in the following production depicts why Morris has had a lasting presence with Boston Lyric Opera.
Having never seen Aida performed as an opera but twice before as the Elton John and Tim Rice’s musical, it was amazing to see Verdi’s version which is the foundation in which this story was told. With the Boston Lyric Opera orchestra center stage and the chorus situated behind them, Aida was treated as a gala event enlivened by Aja M. Jackson’s atmospheric lighting in pinks, reds, blues, and gold backdrop weaving in images and symbols from the Egyptian Book of the Dead. Jackson’s lighting had an encompassing effect creating a semi-panoramic view of images of multicolored Egyptian animals moving along the back of the theatre.
BLO Music Director David Angus leads the BLO Orchestra in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios
With trumpet accompaniment from the balconies, BLO conductor David Angus with Annie Rabbat, Brett Hodgdon, and Back Bay Chorale Music Director Stephen Spinelli navigates this complex orchestration of music to enrich this bold and compelling love story. Even with a brief pause during the production, Boston Lyric Opera handled the situation efficiently.
A fictional tale surrounding historical events, Aida explores a number of conflicted characters deliberating on love and loyalty during the Egyptian and Ethiopian war. Tenor Diego Torre delivers an impassioned performance as Radamès, an Egyptian commander in love with soprano Michelle Johnson as Ethiopian slave Aida while Aida’s father Amonasro, portrayed by baritone Brian Major, is a war prisoner. Mezzo-soprano Alice Chung delivers a multifaceted performance as resourceful Egyptian princess Amneris who wonders what it will take to win the love of Radamès .
Diego Torre as Radamès in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios
Adorned in gala attire rather than costumes, the cast’s powerhouse vocals exude despair, passion and desperation into characters facing impossible choices. Decked out in coat and tails, Torres evokes sympathy through his torment and soaring vocals as commander Radamès torn between his love for Aida and loyalty to his people. In a distinctive multicolored gown, Michelle Johnson illustrates the gravity of Aida’s rage, passion and despair over her decisions, torn between her secret love for Radamès and her own people. Johnson as Aida is bold, charming, and audacious while always carrying a heavy heart.
Michelle Johnson (l.) as Aida and Alice Chung as Amneris in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios
However, Alice Chung as shrewd and privileged Amneris has plans of her own and strategizes how to get what she wants. With dynamic range in a jeweled accented gown, Chung brings her own psychological warfare in a stunning duet with Johnson. Their intense and melodic vocals deliver gravitas in a suspenseful stand off as romantic rivals. Chung is confident and manipulative catching Aida at her most vulnerable, but also brings sympathy to her character in the looming fear of losing what she holds most dear.
(L.-r.) Stefan Egerstrom (King of Egypt), Brian Major (Amonasro) and Morris Robinson (Ramfis) in Boston Lyric Opera’s AID
Johnson’s Aida also shares a powerful scene with Major as Amonasro. Major is eloquent and stealthily convincing in a pivotal scene in which Aida is faced with the consequences of her decisions. This weighty exchange is filled with raw emotion and distress as she is backed into a corner.
The riveting harmonies, the fervent declarations, and the deeply romantic lyrical context of this production demonstrate why Boston Lyric Opera has returned to this memorable show over the years since first performing Aida at the Hatch Shell in 1981. Its rich exploration of passion, torment, war, and loss always has something new to say in a classic tale where love transcends everything.
Cast members and BLO Chorus (with members of Back Bay Chorale) in Boston Lyric Opera’s AIDA – Photo by Nile Scott Studios
Boston Lyric Opera (BLO) presented Verdi and Ghislanzoni’s stunning Italian opera, Aida for one gala benefit performance during Veteran’s Day weekend on Sunday, November 10 at 3PM at the Emerson Colonial Theatre in Boston, Massachusetts. All funds raised benefited Boston Lyric Opera’s education, youth and community programs. Click here for more information.
This is not lost on James who is earnestly willing to bend over backwards to make Miss Sophie happy on her birthday. Dinner for One is not sentimental or sappy, but demonstrates a lovely bond between valet James and elegant aristocrat Miss Sophie in her twilight years.
Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios
Directed endearingly by Weylin Symes, Greater Boston Stage Company continues Dinner for One live and in person at the newly-renovated Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, November 17. This remarkable and semi-interactive production runs 70 minutes with no intermission. Each production is slightly different due to the audience’s initial participation. Click here for more information and for tickets.
Greater Boston Stage Company recently unveiled a classic theatrical makeover which includes stylish new light fixtures, carpeting and seats. The classic vintage quality and celebratory nature of Dinner for One seems a perfect match for the theatre’s new look to open Greater Boston Stage Company’s 25th season.
Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios
Red velvet streamers draped alongside crystal chandeliers is just part of Katy Monthei’s festive set design which includes matching detailed wooden furniture, a grand staircase, fireplace, nostalgic photographs and a lively phonograph in anticipation of Miss Sophie’s annual birthday dinner gathering. With Jeff Adelberg’s atmospheric and symbolic lighting and David Remedios’s piano-infused soundtrack, Dinner for One depicts the elusive passage of time through a clock without hands hanging overhead.
In tux and tails by costumer Deidre Gerrard, Paul Melendy as dapper James demonstrates his sharp comic wit through his cordial and self aware engagement with the audience considering them honored dinner guests, his meticulously detailed manner in planning Miss Sophie’s festivities, and in what ensues when best laid plans sometimes go awry. This production has some surprises and a great deal of physical humor in which Melendy handles with aplomb moving skillfully around the house. From a mumbling Jerry Lewis-style imitation to an amorous suitor to a boisterous Sir Toby, Melendy as James exacts accents and distinct mannerisms seamlessly to Miss Sophie’s delight.
Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios
In a sophisticated lace floral and taffeta gown, Debra Wise as proper Miss Sophie is as game and dazzled with every charming and rollicking gesture delivered by Melendy, but with a sneaking and relatable awareness of life’s fragility. With head high and chin cocked, Wise’s Miss Sophie is used to a certain way of doing things, but is at her best when she lets her guard down.
Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios
As funny as this production becomes, the quiet fondness between Debra Wise as Miss Sophie and Paul Melendy as James is the real enchantment of this production. More than dedication, there is a genuine admiration between them. In its simplicity and big heart, Dinner for One is a unique experience with as much humor and beauty demonstrated in what is said as what is left unsaid.
Paul Melendy and Debra Wise in Greater Boston Stage Company’s ‘Dinner for One’ Photo by Nile Scott Studios
Greater Boston Stage Company continues Dinner for One live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, November 17. This remarkable and semi-interactive production runs 70 minutes with no intermission. Each production is slightly different due to the audience’s initial participation. Click here for more information and for tickets.
With compelling direction by Ashley Kelly Tata, adapted for the stage by Lee Hall and based on Paddy Chayefsky’s Academy Award-winning screenplay, The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3. This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes. Click here for more information and for tickets.
Set in September of 1975, UBS is a struggling television station drowning in the ratings. Tensions are sky high as executives scramble to save it. As a result, world weary veteran newsman and widower Howard Beale, a metamorphic portrayal by Bill Mootos, has been forced to retire after 25 years dedicating his whole life to his work. In an act of desperation, Beale makes a shocking decision that impacts everyone around him.
Bill Mootos stars as Howard Beale in ‘Network’ Photo by Jim Sabitus
Steeped in nostalgic glory, Network seamlessly rewinds the clock to a time where television was the world’s primary source for news, information, and entertainment. From three piece suits to wrap dresses to Barrymore collars, costume designer Nancy Leary captures the essence of the 70s while Afsoon Pajoufar’s duel level retro studio set features vintage studio equipment, a line of wall clocks keeping track of various time zones all over the world and a multitasking wooden desk.
The cast of ‘Network’ Photo by Jim Sabitus
The towering UBS logo printed across SeifAllah Salotto-Cristobal’s projection screen can be distracting at times, but symbolically portrays the media’s monstrous influence on the world over anything else. Not only does it provide a window into nostalgic television but an intimate account into the characters’ reactions as if the camera is always rolling. Featuring flashes of famous 70s commercials to searing headlines to classic TV shows like Laverne and Shirley, Salotto-Cristobal’s montages are overwhelming, rapid and impactful. Even the television test signal can be unsettling. Aubrey Dube’s audio design bring to life some particularly intense moments as well as satirical humor demonstrated in David Bowie’s meticulously placed Fame during a pivotal scene in the production.
Blythe de Oliveira Foster as Diane and Bill Mootos as Howard Beale in ‘Network’ Photo by Jim Sabitus
Having worked through the Golden Age of Television, Howard Beale has seen the trends change into a darker tomorrow. Mootos craftily transforms as alcoholic newsman turned influencer Howard Beale. From a professional newsman straightening his tie, Mootos captures the derailment methodically from weary to anguish and everything in between struggling to learn what is really important.
Workaholic Diane, ferociously portrayed by Blythe de Oliveira Foster, is a laser focused executive voracious for success and ratings that she flagrantly talks of immorality like she is ordering a drink at a bar. Justifying unimaginable things hungry to accomplish her goals, Foster as Diane brings gall, gumption and a dark humor to her greediness that make her fascinating in her audacity. Foster delivers some thought provoking scenes with Barlow Adamson who is impressive as tough yet rational Max and one of the few sympathetic voices of reason in this production. Will McGarrahan also makes a lasting impression as menacing Arthur Jensen.
Jennifer Bubriski as Sheila and Blythe de Oliveira Foster as Diane in ‘Network’ Photo by Jim
Network is a cleverly executed and gripping production that becomes so immersive that it may encourage you to contemplate whether anything has changed today or worsened especially in this digital age. Network’s lighting is almost glaringly bright during show time and shadows take over behind the scenes depicting a darker reality. Tata’s direction is invasive and revealingly up close and personal to expose the nature of many of the production’s themes including corporate greed, corruption, sensationalism, consumerism, scandal, violence and fame. It is a barrage of ideas that are peeled away bit by bit and what is unveiled is both fascinating, alarming and not so unfamiliar before it reaches its shocking conclusion. When has it all gone too far?
Bill Mootos is “Mad as hell” and he’s “not going to take it anymore” as Howard Beale in a new stage adaptation of the 1976 classic film, ‘Network’ Photo by Jim Sabitus
The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3. This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes. Click here for more information and for tickets.
For some, the holidays can be the most wonderful time of the year and for others, the loneliest. What good fortune to find someone to make the holidays brighter.
Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’sThe Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.
Judy Song, Jenna Agbayani; photo by T Charles Erickson
It seems like destiny that Luna and Jane should meet. On Thanksgiving Day 1973, imaginative Korean chatterbox Luna, exuberantly portrayed with an infectious smile by Jenna Agbayani, invites quiet Filipino Jane, depicted with reserved and humorous wit by Judy Song, to her apartment shortly after meeting that day. Not only do they happen to be wearing the same colorful coat from Kmart, but they also see a familiarity in each other that they cannot quite place.
Agbayani as Luna warmly exclaims, ‘We have nothing so it is not a mess!’ Scenic and costume designer Junghyun Georgia Lee’s modest one bedroom studio apartment impressively rewinds the clock to the 70s featuring wood paneling, a burnt orange couch, retro wallpaper and dated appliances. The apartment has quite a realistic and detailed appearance right down to the dingy surface on the sliding glass doors. Lee’s retro costumes add cheerful splashes of color to the setting.
Jenna Agbayani, Judy Song; photo by T Charles Erickson
This dynamite duo has crackling and good humored chemistry that make the show a treat. It is not only in what they say, but the way they communicate without words. Agbayani and Song exhibit sharp physical comic timing in an overwhelmed glance, awkward mannerisms, and relatable reactions to the other’s way of life. Song as Jane is exceedingly polite and timid, but her expressions often give away what she really thinks.
Judy Song, Jenna Agbayani; photo by T Charles Erickson
Both are immigrant housewives who have never heard of Thanksgiving before and it is endearing to watch them share a genuine interest in each other’s stories, dreams, memories, how they are adjusting to life away from home, and in their fervent attempts to celebrate together.
With more than a generous helping of heart and humor, The Heart Sellers also comes with a great deal of realizations and reflections questioning where these two women belong in their new world during a pivotal time. They are important questions still addressed today.
Judy Song, Jenna Agbayani; photo by T Charles Erickson
The Heartsellers stands as a lively, wonderful and worthy visit centered on friendship. Bring a friend, a date, or a loved one because this is one story meant to be shared.
Heartwarmingly and wistfully directed by May Adrales with Jenny S. Lee, The Huntington presents Lloyd Suh’s The Heart Sellers live and in person at the Calderwood Pavilion in Boston, Massachusetts through December 23. This charming show is 85 minutes with no intermission. Click here for more information and for tickets.
Imagine longing for a phone call from a loved one or the act of just mustering up enough courage to speak to a girl. Imagine welcoming a group of strangers to your table and into your private home for the night because they are in need of a place to stay. Think about that kind of selflessness and hospitality freely given without a second thought. These seemingly small acts of kindness make a big impact in The Band’s Visit.
Cast of The Band’s Visit; Photo by T Charles Erickson
The Band’s Visit made its Broadway debut in 2017 with Tony Shaloub as Tewfiq and went on to win multiple Tony Awards. Much of this acclaimed show hinges on its eclectic and spellbinding music soundtrack which ties the band and the locals together, particularly essential when they are feeling misunderstood. This multi-talented onstage band certainly can jam especially for the numbers Soraya and Haj-Butras and receives some additional hidden accompaniment which is delightedly revealed in an unexpected way.
Cast of The Band’s Visit; Photo by T Charles Erickson
Set in 1996 in a small Israeli town located in the middle of the Negrev Desert where nothing unusual ever seems to happen, the townsfolk are dazzled by a traveling and stranded Egyptian band wearing distinguished powder blue uniforms by Miranda Kau Giurleu. The Band’s Visit is an unconventional and unassuming musical that quietly and most assuredly will open hearts and minds to the little things in life that are sometimes overlooked.
The Band’s Visit unveils heartache and hope in such a remote land that the locals may sometimes feel forgotten. Many aspects of Jimmy Stubbs and Wilson Chin’s nostalgic scenic design fondly rewinds the clock using iconic pieces of nostalgia while also evoking the isolated nature of the town which includes a towering lamp post, a phone booth richly and authentically detailed with fingerprints and grime on its plastic cover, and a deserted blue street with yellow stripes. One of the most memorable scenes recreates a retro roller skating rink equipped with multicolored lights, disco ball and DJ.
Jennifer Apple, Brian Thomas Abraham; Photo by T Charles Erickson
This production delivers many surprises and this intriguing cast is no exception. Brian Thomas Abraham wonderfully portrays modest orchestra leader Tewfiq. Abraham’s reserved Tewfiq expresses his art with charisma, but offstage, he is a man of few words. Guarded and mysterious, Abraham shares fascinating chemistry with Jennifer Apple, a natural as feisty divorcee Dina especially for the beguiling numbers Omar Sharif and Something Different. Stunning in a gorgeous red flowing burgundy frock, Apple captures Dina’s resilience and yearning for happiness beyond what this small town can offer but something is holding her back. Apple’s bright smile and intensity is particularly notable in a scene stealing incident slicing watermelon in It is What it Is.
Marianna Bassham, Andrew Mayer, Robert Saoud, James Rana, Jared Troilo; Photo by T Charles Erickson
Mariana Bassham, who has a history of impactful roles including a starring role in SpeakEasy Stage’s People Places and Thingsfrom 2022, is impressive alongside Jared Troilo as Iris, Itzik’s long suffering and resentful wife. Even in an uplifting scene involving household instruments, Bassham’s vacant expression and fatigue is the picture of indifference and discontented heartache as she stares into the abyss of a life unfulfilled. Troilo’s Itzik is warm and helplessly optimistic despite his family’s circumstances. Troilo has a powerful voice which is understated for this particular performance for a quietly tender Itzik’s Lullaby.
Noah Kieserman, Mac Ritchey, Jared Troilo; Photo by T Charles Erickson
The Band’s Visit also offers a mix of lighthearted comedic moments. Jesse Garlick shines as awkward and bewildered Papi for the zany number Papi Hears the Ocean as Josephine Moshiri Elwood as self effacing Julia looks on. Kareem Elsamadicy is much more than meets the eye as Haled in the smooth and lovely rendition of Haled’s Song about Love. Emily Qualmann as Anna and Fady Demian as Zelgar make an entertaining pair of partiers and Noah Kieserman delivers gorgeous vocals with the cast for the enthralling number, Answer Me.
Cast of The Band’s Visit; Photo by T Charles Erickson
Directed warmly by Paul Daigneault with mesmerizing music direction by Jose Delgado, The Huntington with SpeakEasy Stage presents The Band’s Visit by Itamar Moses through December 17. The show is 90 minutes with no intermission. Click here for more information and for tickets.
Three lost women. One embraces it, one denies it, and one leans into it.
In their first show since the pandemic, Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19. Written and directed by James Wilkinson, the show was 80 minutes without an intermission. Click here for more information on future performances.
From L to R: Laura Crook Waxdal, Morganna Becker, and Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wikinson
The set, which included a water pitcher and empty glass on a wooden desk sitting on top of a colorful Egyptian rug, is simply staged but each character handles the set differently. The harp-laden eerie music fits the ominous aura between scenes.
Hauntings I Have Lived Through may hint at a collection of ghost stories especially since it was delivered just after Halloween, but this is not entirely the case. Three separate women recall enduring unique types of trauma. However, coping with occasional moments of dark humor, their reactions are relatable even in the darkest of circumstances.
In The Hanging Tree, an increasing anxious and somewhat disheveled woman approaches the desk. She admits to coming off a tough breakup, though the breakup is mostly incidental to this woman’s real story. The real story develops from an offhanded remark about a mysterious Sycamore tree in her woodsy backyard of a house she is becoming increasingly uncomfortable residing in. With darting eyes, increasingly shaking hands, and a pale and stricken expression as she utters the anxiety laden yet humorous remark, ‘Pause for effect’ is effective as a rare light in Alex Alexander’s character’s bleak testimony before veering into an unpredictable direction.
Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson
Morganna Becker’s character has been through a lot, but her frank, sarcastic and chatty tone hints of denial as she recalls a macabre event in the show’s second part, Nora (All Over). This chapter is a bit muddled and at times difficult to follow, but there is no denying that this woman has also been through defining trauma. As Becker recounts her story as if incidentally recalling the difficulties of a typically tough day, there is a fear behind her engaging yet guarded demeanor. This story is particularly graphic and gory while Becker takes it in as if she is a spectator in her own life. Her subtle fear keeps her sympathetic as if she will at any minute grasp the gravity of what she has experienced.
Morganna Becker in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson
The finale, The Dark Lady Gospels, delves into experienced trauma, but does not seem to belong with the other parts of the trilogy. Laura Crook Waxdal delivers a strong performance as a twisted evangelist, but this compassionate woman does not practice what she preaches. This part seems more parlor trick and diatribe than what could have been a meaty exploration into this complicated and abandoned woman’s character. Perhaps her practices are a veiled attempt to cope with trauma, but even so, what she preaches seems beside the point and bereft of hope. As a woman with a considerable amount to live for, it does not fit squarely into the show’s premise and gradually strays too far from its focus hinging more on fear than exploration.
Laura Crook Waxdal in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson
Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19. Written and directed by James Wilkinson, the show was 80 minutes without an intermission. Click here for more information on future performances.
What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?
Anything she can and beyond.
Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.
Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.
The world should know more about visionary, promising poet and slave Phillis Wheatley.
Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton. Phillis’s colorful and distinctive gown is a particular highlight.
Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces
Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history. Very likely taking place at the historic Old South Meeting House which is also celebrating its 300th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard.
Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces
Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis, Phillis in Boston offers a unique and heartfelt perspective of this courageous woman. In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries. Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it. Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae. S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream. Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.
Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces
While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley. Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest. With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.
Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces
Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.
This Cinderella keeps it local and conjures a bit more practical magic.
Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola(Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12. Click here for more information and for a closer look at Boston Lyric Opera’s new season.
Move over glass slipper and fairy godmother and hello fashionistas and Amazon drivers. Cinderella is getting the city treatment with a few contemporary twists, but keeping its sparkling delivery and timeless moral message from a modern penthouse apartment overlooking the city of Boston.
ANGELINA (CECELIA HALL) MAKES HER ENTRANCE TO THE ROYAL BALL IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA)
Photo by Nile Scott Studios
The Emerson Cutler Majestic Theatre’s ornate theatrical setting is so fitting for Jenna McFarland Lord’s sophisticated and elaborate set design featuring two towering lit lamp posts. From a pristine, lightly furnished penthouse apartment to a starlit, fantasy masquerade garden party embellished with vines chasing the walls, a wrought iron staircase, and twinkling lights, Lord builds up the fanciful spirit of this modern fairy tale.
La Cenerentola, spoken in Italian with English subtitles, is a spin of the traditional fairytale Cinderella and centers around an imaginative woman who lives with the Baron and his two daughters and must cater to their every whim. When Don Ramiro shows up at the Baron’s doorstep, change just might be in the air.
DON MAGNIFICO, (BRANDON CEDEL, L.) IS THE WICKED STEPFATHER TO TISBE (ALEXIS PEART, C.) AND DANA LYNNE VARGA IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA)
Photo by Nile Scott Studios
However, some things haven’t changed in soprano Dana Lynne Varga as Clorinda and mezzo soprano Alexis Peart as Tisbe, Cinderella’s self-absorbed, scornful, and gold digging wicked stepsisters who can barely see beyond their mirrors (or in this case, their phones and selfie rings). The duo possesses certain regality in their bookend statures, if it was not for their disdain for others. Feathers, diamond encrusted bowties, crushed velvet, lace, and floral embroidery is just a portion of Trevor Bowen’s glittering, extravagant and fanciful costume design. Cecelia Hall as Angelina seems to simply float in her idyllic emerald gown. Don Magnifico, otherwise known as The Baron depicted with scene stealing glee by bass baritone Brandon Cedel, shares his daughters’ conceitedness decked out in rings, an earring, and carefully coiffed hair. Cedel waltzes around the apartment in self congratulatory bliss unless something or someone ruffles his flawless feathers. Though Cedel’s Baron does have a threatening side, Cedel spends much more time as a humorous ham as he flirts and shows off fun loving comic charm.
ANGELINA (CECELIA HALL) DREAMS OF A NEW LIFE FAR FROM WHERE SHE LIVES IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA (CINDERELLA)
Photo by Nile Scott Studios
In suspenders and doo rag cap, mezzo soprano Cecelia Hall gracefully portrays modest, tactful, and compassionate Angelina with agile vocals, shining especially in the production’s quieter moments. A sidelong glance, demure blush, and a barely concealed impish smile and gaiety escape her while she tends to her endless household duties, especially in the charismatic presence of tenor Levy Sekgapane as Don Ramiro. Sekgapone’s dazzling vocals and captivating rapport with Hall make for some of the production’s most delightful moments and Ferretti’s libretto wisely delves further into Ramiro’s persona than other Cinderella productions.
CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA
Hall also shares a sweet camaraderie with bass baritone James Demler through a good deed as humble and quick witted Amazon driver and part narrator Alidoro. Both Demler and Levi Hernandez as Dandini are immediately likable from the start. Demler’s gravitas and commanding vocals deliver some wondrous surprises while baritone Hernandez’s soaring vocals as Dandini show they are much more than meet the eye.
CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA
Gioanchino Rossini’s urgent rhythms, quick pacing, and playful, melodic dialogues enchant while the lightning speed of some of the libretto demonstrate the collective and extraordinary skill of this engaging cast. With a few more refreshing twists and turns than in Cinderella’s traditional tale, Boston Lyric Opera’s La Cenerentola(Cinderella) embarks on a humorous and jovial journey while emphasizing the power of love and grace in all circumstances.
CLORINDA AND TISBE (DANA LYNNE VARGA, LEFT AND ALEXIS PEART, RIGHT) ARE CHARMED BY DANDINI (LEVI HERNANDEZ), WHILE DON RAMIRO (LEVY SEKGAPANE, R) LOOKS ON IN BOSTON LYRIC OPERA’S PRODUCTION OF LA CENERENTOLA
Stage directed with charm and finesse by Dawn M. Simmons and infused with Gioachino Rossini’s lively and whimsical music, Boston Lyric Opera presented Jacopo Ferretti’s Italian libretto La Cenerentola(Cinderella) live and in person at Emerson Cutler Majestic Theatre in Boston, MA for one weekend only through Sunday, November 12. Click here for more information and for a closer look at Boston Lyric Opera’s new season.
