October | The Sleepless Critic

REVIEW: Manual Cinema cleverly performed vibrant and layered children’s production ‘Leonardo! A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre

Posted on November 12 by The Sleepless Critic

Recently, Wheelock Family Theatre and Manual Cinema presented a vibrant tale about terrible monsters and the true meaning of kindness.

Based on books by Mo Willems and playfully choreographed by Sarah Fornace, Wheelock Family Theatre and Manual Cinema highlighted the inner workings of puppetry, voiceover and much more wrapped in two inspiring tales with Leonardo! A Wonderful Show about a Terrible Monster which continued through October 19. This lively, semi-interactive and captioned production ran 50 minutes with no intermission. Click here for further information and here to learn more about Wheelock Family Theatre’s upcoming productions including the classic musical Annie kicking off this month.

Kevin Michael Wesson and Kary Gesine Bergman in Manual Cinema’s ‘Leonardo! A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre Photo credit Manual Cinema

It was easy to sense the buzz from the audience and the building excitement from the children as everyone settled into one of Leonardo!’s final performances. Accompanied by multi-talented guitarist, narrator, character voices and vocalist Lily Emerson, Leonardo! Focuses on a monster named Leonardo, portrayed with bold yet self-effacing charm by Kevin Michael Wesson, who seems incapable of scaring anyone, so Leonardo sets out to become the monster everyone thinks he should be.

Leonardo! Is an engaging and sweet production, but what truly sets it apart is the amazing and transparent nature in which this show is put together. Taking place inside an onstage studio, witnessing everything being created live piece-by-piece with lighting, live action, illustrated projections and video makes it a remarkable behind-the-scenes learning experience. It was also refreshing to see innovative puppetry leaning away from CGI and strictly computerized methods and more towards book-influenced illustration.

The cast of ‘Leonardo! A Wonderful Show about a Terrible Monster’ Photo credit to Manual Cinema

Mieka Van der Ploeg’s textured costumes and chunky wigs are illustrations come to life as the audience has the option to focus on the projections of the finished product and/or the behind the scenes aspect of the production.

Fueled by a blend of light pop, inquisitive, echoing and effervescent music by Ben Kauffman and Kyle Vegter and spirited lighting by Trey Brazeal and Nick Chamernik, Lily Emerson is a marvel delivering this clever tale in all its swift transitions and voices alongside Karly Gesine Bergmann as pensive Sam, Sharaina Latrice Turnage as unexpected Kerry, and Wesson as Leonardo. It was also easy to see the enthusiasm from everyone involved.

Lily Emerson and cast and crew of ‘Leonardo! A Wonderful Show about a Terrible Monster’ Photo credit Manual Cinema

Leonardo! A Wonderful Show about a Terrible Monster was authentic, amusing, boisterous and brief enough to keep the young audience captivated while teaching them about life and making friends. I particularly appreciated a section of the story about the library and its various ‘suses’ and the expression, ‘Scare the tuna salad out of him.’

At just 50 minutes, both tales link seamlessly together building on themes such as bullying, social anxiety, sibling rivalry and appreciating one another’s differences. Leonardo! boasts a fascinating and layered universal message valuable to anyone from toddler to elder.

Sharaina Latrice Turage in Manual Cinema’s ‘Leonardo! A Wonderful Show about a Terrible Monster’ at Wheelock Family Theatre Photo credit Manual Cinema

Wheelock Family Theatre with Manual Cinema highlighted the inner workings of puppetry, voiceover and much more wrapped in two inspiring tales with Leonardo! A Wonderful Show about a Terrible Monster which continued through October 19. This lively, semi-interactive and captioned production ran 50 minutes with no intermission. Click here for further information and here to learn more about Wheelock Family Theatre’s upcoming events including the classic musical Annie kicking off this month.

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: Shadow Play in Actors’ Shakespeare Project’s ‘Macbeth’

Posted on October 26 by The Sleepless Critic

The white coats are not to be trusted.

Ominously directed by Christopher V. Edwards and boasting MacKenzie Adamick’s searing sound design, Actors’ Shakespeare Project continues William Shakespeare’s Macbeth live and in person at the Dorothy and Charles Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, October 26. This classic production is not limited to the stage, is semi-interactive, and runs approximately two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Omar Robinson and Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth.’ Photo by @benjaminrosephotography

Set during the dire 1960s Cold War, this is a production built in shadows playing on the walls, materializing from hidden corners and creeping along the stage. With an alarming array of red glare and sparks, Elmer Martinez’s eerie lighting design not only enhances Adamick’s affecting sound design, but embellishes Macbeth’s menacing plot focusing on a Scottish general named Macbeth, portrayed with charismatic cunning by Omar Robinson, who is enticed by power when he is told he is destined to be king. Alongside Brooke Hardman who impressively depicts traumatized, bitter and ruthless Lady Macbeth with a fiery vengeance, this dangerously ambitious duo set out to fulfill their seeming destiny. What make Robinson and Hardman’s joint performances stand out is in the love and the inner turmoil Robinson as Macbeth and Hardman as Lady Macbeth share in the soft and crumbling moments that manages to elicit a consistent element of sympathy during their mounting struggles.

Claire Mitchell, Amanda Esmie Reynolds, and Jade Guerra in Actors’ Shakespeare Project’s ‘Macbeth’ Photo Photo by @benjaminrosephotography

In Marissa Wolf’s mix of elegant and edgy retro-style uniforms, costumes and wigs, Jade Guerra, Amanda Esmie Reynolds, and Claire Mitchell form a diabolical trio who administer various forms of agony rather than casting spells. They participate in their own form of dark treachery in collective actions that manipulate various characters. They are gleeful and petty as psychedelic and harrowing projections by Sue Rees emphasize their psychological and hallucinogenic hold on others. Bold, darkly funny, and chilling, the weird sisters are unsettling whether they are quietly observing, swarming a character or plotting their next move.

Many cast members aptly depict dual roles and Mitchell and Reynolds alongside Chingwe Padraig Sullivan also make a dangerous impact during the production.

Jesse Hinson, Omar Robinson, and Dennis Trainor Jr. in Actors’ Shakespeare Project’s ‘Macbeth’ Photo by @benjaminrosephotography

Jesse Hinson portrays a dual role warmly as Macbeth’s right hand man Banquo and as an enigmatic doctor sporadically appearing during the production. It is easy to see the easy camaraderie between Hinson and Robinson as they consult and confide in each other.

Actors’ Shakespeare Project always had a talent for articulating Shakespeare’s dialogue with precise authenticity and a contemporary edge. With Actors’ Shakespeare Project’s Romeo and Juliet, the expressive nature and the contemporary veil over the dialogue worked well and had a natural flow.

However, this Macbeth doesn’t land as well leaving little to interpretation during a brief tangent that spells out and struggles to connect an array of cultural references during a distracting Porter scene. In the middle of the Cold War, this tangent yanks me out of the illusion and breaks the fourth wall which made it difficult to reconnect to the action after this contemporary detour.

Shakespeare’s Macbeth is an incredibly powerful tale and stands as a classic for a reason. It has stood the test of time with a gripping plot, resonating lessons and impactful moments potent enough to allow its content and rising shadows speak for themselves.

Jesse Hinson and Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth’ Photo by @benjaminrosephotography

Actors’ Shakespeare Project continues William Shakespeare’s Macbeth live and in person at the Dorothy and Charles Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, October 26. Click here for more information and for tickets.

REVIEW: Thinking outside the box in American Repertory Theater’s artistic autobiographical comedy, ‘300 Paintings’

Posted on October 24 by The Sleepless Critic

What happens after a dream doesn’t go quite as planned? For Sam Kissajukian, it’s finding another one.

Created and skillfully performed by dynamic Australian talent Sam Kissajukian, American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25. This cleverly executed production runs 90 minutes with no intermission. Click here for more information and for tickets.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings carefully balances insight and humor in a zig zag autobiographical and educational journey about making a new start when your initial dream goes awry. Allowing the audience into his captivating methodology and thought patterns, Sam intimately reflects on this time with a step-by-step skewed and spontaneous comic logic that might be farfetched if it wasn’t for his unwavering confidence. Warmly yet dryly tracing out his often outlandish and complex ideas, you will marvel at his resourcefulness as Sam reflects upon his choices in the aftermath of his decisions. For example, Sam takes apart the art of doing business through the Museum of Modernia in such an interesting and unpredictable manner that one might wonder why no one has ever thought of that before. As Sam reflects, ‘A manic person will never do something the way you expect them to do it.’

Part comedy and part fascinating art exhibition, this personal portrait has a sense of urgency as it tackles art, comedy, business, and mental health with sincerity and self deprecation while keeping the majority of his zany storytelling lighthearted and humorous.

300 Paintings also contains a sense of adventure, gusto and discovery as the story unfolds behind these 300 Paintings. As Sam states, ‘No one would ever expect’ and I do think that is a deft description of this entire journey. With a mix of humor and surprise, Sam shows that discovering what you are meant to do is as significant as the journey toward it.

American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25. Click here for more information and for tickets.

REVIEW: Lyric Stage’s understated ‘Our Town’ makes the everyday extraordinary

Posted on October 15 by The Sleepless Critic

The one constant is change.

Though in a sleepy town like Grover’s Corners, change may not be frequent, but with time, it is inevitable.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s 1938 Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. This classic three-act production is not limited to the stage and runs two hours and ten minutes including an intermission. Click here for more information and for tickets.

Thomika Marie Bridwell* and Amanda Collins* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Our Town is one of the great American masterpieces of our time and holds a special place in my heart. Its subtle yet gripping messages about the circle of life universally resonate and can speak to any generation. I’ve seen Our Town several times before, and yet, every production is its own fresh and unique experience.

An astute play, I believe your perception of Our Town changes as you grow and change. Watching it as a teenager in a school play hits differently than seeing it as an adult and will transform again watching it as an elder. In its simplicity, it carefully unveils life’s profound and fleeting journey while staying relevant for each generation.

Scenic designer Shelley Barish and costumer Rachel Padula-Shufelt embrace its timeless quality by creating a modest yet classic tone in each element of the production. An impressive multipurpose wooden circular structure is the symbolic centerpiece of Grover’s Corners as Deb Sullivan’s rich and stirring lighting comes to life during affective and pivotal moments, especially in a vibrant purple moonlit sky bathed in puffy clouds. Instead of using early 19^th century period costumes, Rachel Padula-Shufelt shrewdly showcases classic Americana attire which includes suspenders, button down shirts, cardigans, stately three piece suits, understated dresses, and baseball and newsboy caps.

WIll McGarrahan* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Using very few physical props, much of the production is traditionally imagined through Will McGarrahan‘s skilled and interactive narration as Stage Manager. His engaging, mirthful and intimate delivery acts as part educator, omniscient narrator, occasional sage commentator, and at times, stepping into the action.

Kathy St. George* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

As much as the show may focus on the residents of Grover’s Corners, New Hampshire, they are second fiddle to the town itself and its unfolding features. Within the town’s examination and analysis starting in 1901, something lies deeper within its quiet beauty and unlocked doors. It also contains a wealth of local references that is not too far from its Boston staging.

Darren Paul, Thomika Marie Bridwell,* Jacob Thomas Less, Kathy St. George,* Amanda Collins,* Jessie Garlick and John Kuntz* in Lyric Stage’s Our Town Photo by Nile Hawver

Whether it’s Josephine Moshiri Elwood as forthright and wondrous Emily or Thomika Marie Bridwell as fanciful Mrs. Gibb, delightful Kathy St. George as inquisitive and precocious Rebecca or Amanda Collins as staunch traditionalist Mrs. Webb or John Kuntz as frank and disheartened Simon Stimson, this wonderful and well cast company authentically explore the small joys, hardships and realities of life with humor, humility and grace. Elwood as Emily and Dan Garcia as George Gibbs particularly share a sweet sincerity and idealistic charm as they discuss their bright futures.

Dan Garcia and Josephine Moshiri Elwood* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Some productions don’t need all the bells and whistles in order to be genuine and Our Town fits the bill through its strong sense of community. In this age where life is becoming more and more digitized, this small town unpacks life’s perplex meaning through connection in an impactful production season by season.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. Click here for more information and for tickets.

REVIEW: Lavishly dancing through France in Sullivan Rep’s ‘Can-Can’

Posted on October 11 by The Sleepless Critic

Freedom through dance is only part of the story in Cole Porter’s Can-Can.

Considered one of Cole Porter’s later musicals, Can-Can debuted in 1953 before being adapted into a 1960 film starring Frank Sinatra and Shirley MacLaine and some of its ideas make it identifiable to its 60s timeframe. It’s Alright by Me, I Love Paris, and C’est Magnifique are a few of the Cole Porter American Standard songs that are part of the Great American Songbook.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11. The action is not limited to the stage and set up like a dance hall. It runs approximately three hours with an intermission. Click here for more information and for tickets.

Carly Evans and Can-Can dancers in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Taking place in Montmartre, France, Carly Evans aptly portrays shrewd and stealthy businesswoman Pistache who knows just how to live under the radar until her girls are caught by the French authorities for lascivious dancing. The lively dancers coyly perform the satirical number, Maidens Typical of France.

Can-Can features two powerful leads in Carly Evans and Anthony Rinaldi and Dan Sullivan’s flowing, unbridled and meticulous chorography certainly make a great impression. Anthony Rinaldi is conflicted as Judge Aristide, torn between justice and his growing affection for saucy Pistache. Rinaldi and Evans make some beautiful music together and are certainly capable of mastering these individuals on the opposite sides of the law. Evans as Pistache shows off her hardnosed business sense impressively for Never Give Anything Away and Rinaldi soars in the catchy number, It’s Alright with Me.

Anthony Rinaldi and Carly Evans in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Dan Sullivan’s often lavish and splashy 1890s French forward fashion costumes by Judi Olson include bowler hats, lace, velvet, ruffles, saloon-style gowns, bustles, three piece suits, detailed parasols and top hats with Pistache’s elegant emerald green peacock gown as a particular highlight shown later in the production.

The cast of Sullivan Rep’s ‘Can-Can’ Photo credit to Sullivan Rep

This musical features grand dance numbers that are often flirty and playful even occasionally including a French accordionist. Can-Can explores love, the nature of dance, societal expectations, censorship, skewed media, the law and the art of being an artist. A.J. Lyman as Bulgarian sculptor Boris, Andy Ross as Theophile, Ryan Pereira as Hericule, Dom Pappagallo as Etienne, Hannah Shihdanian as Model and Rinaldi as Aristide have a good natured camaraderie and perform a standout number that takes humorous and lighthearted jabs at the nature of being an artist is Never Never Be An Artist.

Sullivan Rep Can Can Anthony Rinaldi and cast Photo credit Sulivan Rep

Dream Ballet has been popular in grand musicals such as Broadway Melody in Singin’ in the Rain, Louise’s Ballet in Carousel, and The Prologue in West Side Story which usually enhances or advances the plot of the musical. Though performed with ballet-inspired athletic zeal, Garden of Eden Ballet didn’t seem to advance the plot in a meaningful way other than being controversial during that time.

Sullivan Rep boasts powerful leads, vivacious dance numbers and features elegant attire, yet the musical itself has its setbacks. Clocking in at approximately three hours, some of the musical’s plot points seem filler and unnecessary to the progression of the story and some of the love connections and satirical outcomes didn’t quite make sense such as in If You Loved Me Truly.

Garden of Eden Ballet in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

With that in mind, Sullivan Rep vibrantly brings Cole Porter’s Can-Can to life with an enthusiastic cast and memorable music.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can-Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11. Click here for more information and for tickets.

REVIEW: Kindness and the little things in SpeakEasy Stage’s dramedy ‘Primary Trust’

Posted on October 8 by The Sleepless Critic

Kenneth’s visits to Wally’s Tiki Bar mean much more to him than just the two-for-one Mai Tais.

Quietly profound and inviting, Primary Trust is a unconventional journey about a lonely townie named Kenneth, performed with humble charm and simmering yearning by David J. Castillo, whose outlook on life is about to be shaken.

Arthur Gomez and David Castillo in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

With multilayered direction by Dawn M. Simmons, SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11. This intriguing production runs approximately 100 minutes with no intermission. Click here for more information and for tickets.

What I love most about Eboni Booth’s sharp and rapid fire script is that it is upbeat and funny while evoking a wide spectrum of emotions within its snappy dialogue. Anna Drummond’s urgent sound design keeps the pace of Booth’s charged and lively script as it veers from one quick witted scenario to the next. This small cast is more than up for the challenge enhancing the unique and often changing essence of this production.

David Castillo Luis Negrón and Arthur Gomez in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

A show without set changes, Shelley’s Barish’s compelling scenic design holds small town charm divided into sections including an island-inspired Tiki Bar with colorful leis and hale illuminated by Christmas lights as part of Karen Perlow’s soft atmospheric lighting, a stack of oversized books with bookcases, a large bank sign with a large wad of cash and a cozy park bench with lamppost.

Set in the cheery small town of Cranberry, New York (with a population of 15,000) and a hint of Our Town familiarity, Castillo as Kenneth lives a life of simplicity and certainty spending his days with Arthur Gomez as Kenneth’s encouraging and supportive only friend Bert. In glasses, jeans and a cardigan, Gomez delivers unassuming charisma and infuses warmth, optimism and enthusiasm into Bert’s candid and charming demeanor. However, there is a lot more to wise Bert than keeping Kenneth company. Sharing an endearing camaraderie and insightful dialogue, Gomez’s Bert is a source of security for Kenneth who is carrying a lot more than a lonely life on his shoulders.

One would think connection might come naturally in a small town, but not for Kenneth. With a nervous laugh, at times jittery demeanor, and a vast imagination, Castillo is excellent as Kenneth who confides in the audience and you can’t help but feel protective and a friend to him as he shares his setbacks and challenges while shyly appreciating the little things in life.

David Castillo and Janelle Grace in SpeakEasy Stage’s ‘Primary Trust’ Phot by Benjamin Rose Photography

Janelle Grace and Luis Negrón nimbly capture multiple roles during the production ranging from local townie to significant figures driving Kenneth’s story. Luis Negrón transforms into each role so impressively, it may take a moment to catch on while Grace demonstrates amazing and occasionally frenzied comic timing stepping into each role.

Whether Kenneth is sharing a moment of understanding with Negrón or a joyful chance moment with Grace, Primary Trust demonstrates humanity and compassion in each authentic moment.

Primary Trust holds a few important twists and turns best experienced as the story unfolds. Boasting an inherent depth, it has delightfully amusing moments that help smooth over the heavier elements and dark humor in Booth’s perceptive script without diminishing their significance. Make no mistake Primary Trust will make you laugh as often as you might be moved.

David Castillo as Kenneth in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11. Click here for more information and for tickets.

REVIEW: Domestic bliss takes a spooky turn in Sullivan Rep’s immersive ‘Blithe Spirit’

Posted on October 30, 2024 by The Sleepless Critic

It is much more interesting to feel part of the dinner party.

Surrounded by a glowing fireplace and mantel, a grandfather clock, a vintage piano, stained glass doors and a Victrola inside a cozy living room, Sullivan Rep truly sets the stage for an immersive experience. As house guests, audience members are strategically placed without a bad seat in the house to become an intimate observer in this enclosed space.

In light of the 125^th anniversary of Noel Coward’s plays directed by Dan Sullivan, Sullivan Rep performed Noel Coward’s haunting comedy Blithe Spirit live and in person from October 16 through October 26 live and in person at the Women’s Club of Newton Highlands in Newton, Massachusetts. The three act production was 2 hours and 40 minutes with an 20 minute intermission. Click here for more information and for more on Sullivan Rep’s future events.

of Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

Though Blithe Spirit is partially an otherworldly experience, it is also a comedy on marriage and much more. Set in the early 1940’s, Robert Orzalli as novelist Charles and Melissa Paz as Ruth are a well to do married couple who decide to hold a dinner party with guests Brian Higgins as dubious Dr. Bradman and Carly Evans as distinctively merry Mrs. Bradman and a séance featuring Catherine Lee Christie as medium Madame Acarti. The two couples are skeptical and consider it entertainment until something goes eerily awry.

Brian Higgins, Melissa Paz, Catherine Lee, Robert Orzalli and Carly Evans in Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

Blithe Spirit is helmed by a supremely capable cast. With an eccentric and enthusiastic delivery selectively rolling her R’s in a singsong lilt, Catherine Lee is a captivating scene stealer as Madame Acarti. In bright purple stockings and distinct boots, Lee humorously and masterfully encapsulates Madame Acarti infusing her subtle and unique idiosyncrasies into her daily mannerisms. A particularly fascinating highlight is Lee’s kicks and peculiar dances as she attempts to tap into the spirit world.

Catherine Lee as Madame Acardi in Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

Robert Orzalli as sophisticated intellectual Charles shares an elusive tension with his new wife Ruth portrayed by Melissa Paz. They seem a happy couple and supremely cordial at first, but the mood becomes strained when Ruth asks Charles about his late wife. Logical, matter of fact and persistent, Paz also depicts Ruth with an underlying anxiety in her demure mannerisms as Charles evaluates his late wife mostly on her flaws.

Robert Orzalli in Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

In silver from head to toe in Bridget Sullivan’s amazing hair and makeup design, Janis Hudson portrays youthful, spontaneous, and confident Elvira, Charles’s late first wife. Noel Coward’s dialogue can be complicated to pull off because it often contains overlapping and parallel conversations. To see these separate relationships and snappy conversations so distinctly articulated with sharp comedic timing especially between Orzalli, Paz, and Hudson is quite a feat. Ozalli’s Charles is refined, a bit narcissistic and is quite enjoying the attention while comically navigating these conversations. Blithe Spirit is about domestic bliss and dysfunction simultaneously and it is both fascinating and amusing to see how this trio pushes each other’s buttons and sparks fly in such an intimate setting.

Silk gowns and gloves, tuxedos, pearls, and diamonds are just a part of the Dan Sullivan’s primarily elegant costume design. Paul Roach’s sound design features popular music of the time and a key component in some of the production’s clever special effects with Eric Fox’s mood infused lighting.

Melissa Paz and Robert Orzalli in Sullivan Rep’s ‘Blithe Spirit’ Photo credit to Sullivan Rep

Blithe Spirit is a bit lengthy, but the suspense certainly builds in a darkly comical way and contains a few powerful twists and lasting observations about love and marriage before it brings this production to its wild conclusion.

Sullivan Rep performed Noel Coward’s haunting comedy Blithe Spirit live and in person from October 16 through October 26 live and in person at the Women’s Club of Newton Highlands in Newton, Massachusetts. Click here for more information and for more on Sullivan Rep’s future events.

REVIEW: Friendship, camaraderie and mischief take center field in Imaginary Beasts’ engaging ‘Casey at the Bat: An All American Panto’

Posted on October 29, 2024 by The Sleepless Critic

How far would you go for your dream?

For Cameron Hinkle as ambitious entrepreneur Homer Humdinger and many characters in Mudville, baseball is king and some are willing to do almost anything for it. Exploring integrity, celebrity, ambition, the true nature of friendship and the spirit of the game, a lot is at stake in Imaginary Beasts’ production of Casey at the Bat: An All American Panto.

Directed wistfully by Matthew Woods, Imaginary Beasts presented Evan Turissini, Kiki Samko and Matthew Woods’s Casey at the Bat: An All-American Panto from October 18 through October 26 live and in person at Topsfield Town Hall in Topsfield, Massachusetts. The show was approximately two hours with one intermission. Click here for more information.

Hot popcorn and baseball-themed concessions were sold prior to the show and intermission as a lively audience arrived for an interactive Panto. A panto is a form of wintertime family entertainment in the UK that weaves in puns, wordplay, jokes, and more. Boasting a friendly drawl and wicker hat, Molly Kimmerling warmly portrayed guardian angel, wise narrator and townie Pop Fly who shared the wild tale of Casey at the Bat partially based on the classic poem by Ernest Lawrence Thayer. It delved into a mysterious deal with the devil in order to bring baseball to a town like Mudville. However, things quickly get complicated as events unfold.

Julia Hertsberg, Hampton Richards, Cameron Hinkle, Laura Ditwiler, and Tommy Vines in ‘Casey at the Bat’ Photo credit to Imaginary Beasts

The continual audience engagement fueled this exaggerated tale that meandered and veered off course on occasion while humorously weaving in fitting contemporary pop and winking adult references. Billie Eilish, Ebay, Marilyn Monroe, Mae West and various musical and baseball film references are just a few examples.

With so many productions that rely on the zip and zing of digital effects, CGI, and AI, it is exciting to again see director Matthew Woods solely rely on homespun creativity and audience interaction to bring to life this patriotic and unpredictable spin on a classic poem.

Imaginary Beasts has been excelling at creating vivid costumes and mesmerizing settings as if walking into a storybook. Mudville is a cheerful and optimistic world and the imaginative and layered set folded out in a wonderful way standing as a portrait of vintage baseball nostalgia which included inflatable bats, fields, a locker room and as baseball is America’s pastime, American flags and patriotic ribbons wrapped around the set.

Kiki Samko and Matthew Woods in ‘Casey at the Bat’ Photo credit to Imaginary Beasts

Casey at the Bat poem was published in 1888 and the uniforms reflect that colorful retro quality which included the old time milkmen and barbershop as part of this vintage landscape. Cotton-Talbot-Minkin’s captivating costumes reflect baseball nostalgia with a dash of steam punk. As the look is inspired by silent films, distinctive patterns combined with bow ties, top hats, sporty converse sneakers, bodices, velvet, vintage baseball uniforms, pearls, and boots. This panto also delivered a dynamic assortment of tunes including calliope music, characters breaking out into baseball themed song, a pop tune a tap dance or Camille Chartier as eternally Shakespearean and mischievous accordion playing Sox the Cat.

With swagger and a winning smile, Evan Turissini charismatically portrayed the Mighty Casey with a dose of gruff and ego seemingly striding through life.

In a velvet red coat and top hat and scowling eyes, mustachioed Matthew Woods schemed and plotted as Silverado Quick who will stop at nothing to win over a soul, even if it means tricking everyone in his path. However, the person assigned for the actual dirty work was the multi-tasking Miss Slump portrayed with versatile comic timing by Kiki Samko. Slump did what she must and she was great.

Cameron Hinkle, Tommy Vines, Laura Detwiler and Camille Chartier in ‘Casey at the Bat’ Photo credit to Imaginary Beasts

Fresh faced Tommy Vines was earnest as idealistic and wide eyed Dewey who dreams of becoming a star baseball player. Vines’s enthusiasm shone through the production boosted by some endearing scenes with Julia Hertsberg as shrewd yet sweet Katie, baseball’s biggest fan especially in a rendition of Frank Sinatra’s High Hopes.

Casey at the Bat is a love letter to the sport in many ways. Although it had its corny moments, these animated characters delivered a quirky tale with high jinks, scheming and sleuthing through memorable and poetic dialogue including vintage expressions such as ‘flimflam’ and ‘hop to’ to deliver a meaningful message about inspiration, friendship, and doing what is right.

Evan Turissini, Tommy Vines, Molly Kimmerling, Julia Hertzberg, Cameron Hinkle and Colin McIntire in ‘Casey at the Bat’ Photo courtesy of Imaginary Beasts

Directed wistfully by Matthew Woods, Imaginary Beasts presented Evan Turissini, Kiki Samko and Matthew Woods’s Casey at the Bat: An All-American Panto from October 18 through October 26 live and in person at Topsfield Town Hall in Topsfield, Massachusetts. Click here for more information and upcoming events by Imaginary Beasts.

REVIEW: Umbrella Stage Company gets up close and personal with ‘Network’

Posted on October 29, 2024 by The Sleepless Critic

How far will anyone go for ratings?

It’s a mad world and UBS is here for it.

With compelling direction by Ashley Kelly Tata, adapted for the stage by Lee Hall and based on Paddy Chayefsky’s Academy Award-winning screenplay, The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3. This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes. Click here for more information and for tickets.

Set in September of 1975, UBS is a struggling television station drowning in the ratings. Tensions are sky high as executives scramble to save it. As a result, world weary veteran newsman and widower Howard Beale, a metamorphic portrayal by Bill Mootos, has been forced to retire after 25 years dedicating his whole life to his work. In an act of desperation, Beale makes a shocking decision that impacts everyone around him.

Bill Mootos stars as Howard Beale in ‘Network’ Photo by Jim Sabitus

Steeped in nostalgic glory, Network seamlessly rewinds the clock to a time where television was the world’s primary source for news, information, and entertainment. From three piece suits to wrap dresses to Barrymore collars, costume designer Nancy Leary captures the essence of the 70s while Afsoon Pajoufar’s duel level retro studio set features vintage studio equipment, a line of wall clocks keeping track of various time zones all over the world and a multitasking wooden desk.

The cast of ‘Network’ Photo by Jim Sabitus

The towering UBS logo printed across SeifAllah Salotto-Cristobal’s projection screen can be distracting at times, but symbolically portrays the media’s monstrous influence on the world over anything else. Not only does it provide a window into nostalgic television but an intimate account into the characters’ reactions as if the camera is always rolling. Featuring flashes of famous 70s commercials to searing headlines to classic TV shows like Laverne and Shirley, Salotto-Cristobal’s montages are overwhelming, rapid and impactful. Even the television test signal can be unsettling. Aubrey Dube’s audio design bring to life some particularly intense moments as well as satirical humor demonstrated in David Bowie’s meticulously placed Fame during a pivotal scene in the production.

Blythe de Oliveira Foster as Diane and Bill Mootos as Howard Beale in ‘Network’ Photo by Jim Sabitus

Having worked through the Golden Age of Television, Howard Beale has seen the trends change into a darker tomorrow. Mootos craftily transforms as alcoholic newsman turned influencer Howard Beale. From a professional newsman straightening his tie, Mootos captures the derailment methodically from weary to anguish and everything in between struggling to learn what is really important.

Workaholic Diane, ferociously portrayed by Blythe de Oliveira Foster, is a laser focused executive voracious for success and ratings that she flagrantly talks of immorality like she is ordering a drink at a bar. Justifying unimaginable things hungry to accomplish her goals, Foster as Diane brings gall, gumption and a dark humor to her greediness that make her fascinating in her audacity. Foster delivers some thought provoking scenes with Barlow Adamson who is impressive as tough yet rational Max and one of the few sympathetic voices of reason in this production. Will McGarrahan also makes a lasting impression as menacing Arthur Jensen.

Jennifer Bubriski as Sheila and Blythe de Oliveira Foster as Diane in ‘Network’ Photo by Jim

Network is a cleverly executed and gripping production that becomes so immersive that it may encourage you to contemplate whether anything has changed today or worsened especially in this digital age. Network’s lighting is almost glaringly bright during show time and shadows take over behind the scenes depicting a darker reality. Tata’s direction is invasive and revealingly up close and personal to expose the nature of many of the production’s themes including corporate greed, corruption, sensationalism, consumerism, scandal, violence and fame. It is a barrage of ideas that are peeled away bit by bit and what is unveiled is both fascinating, alarming and not so unfamiliar before it reaches its shocking conclusion. When has it all gone too far?

Bill Mootos is “Mad as hell” and he’s “not going to take it anymore” as Howard Beale in a new stage adaptation of the 1976 classic film, ‘Network’ Photo by Jim Sabitus

The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3. This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes. Click here for more information and for tickets.