October | The Sleepless Critic

REVIEW: Secrets and transformation in The Huntington’s funny and meditative ‘Purpose’

Posted on 3 Days Ago by The Sleepless Critic

A famous preacher father, an overstepping mother, a son earnestly and blindly searching for approval while the other son and narrator just wants to be left alone while a dinner is veering off the rails.

A photo may be worth a thousand words but this family portrait doesn’t nearly tell half the story in Branden Jacobs-Jenkins’ Purpose.

Directed insightfully by Josiah Davis, The Huntington continues Branden Jacobs-Jenkins’s Pulitzer prize-winning dramedy Purpose live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, October 11. This elaborately-staged and multifaceted production contains some adult themes and runs approximately 2 hours and 50 minutes with one intermission. Click here for more information and for tickets.

The cast of Purpose; directed by Josiah Davis; photo by Marc J Franklin
Purpose
September 10 – October 11, 2026

A glowing red light, reminiscent of a theatre ghost light, stands alone center stage as a crucial safelight in a photographer’s dark room. Here we meet Omari K. Chancellor as narrator and introspective Nazareth “Scootie” Jasper, a talented nature photographer who reflects on a tumultuous weekend visit with his famous and dysfunctional family in Chicago. Nazareth is most at home in his dark room and utilizes a wide array of photographs to share this increasingly eye opening story.

Omari K. Chancellor in Purpose; directed by Josiah Davis; photo by Marc J Franklin
Purpose
September 10 – October 11, 2026

Enhanced by Marika Kent’s rippling lighting, scenic designer Se Hyun Oh unveils the inside of the Jasper family’s functional modern luxury dual level home boasting high ceilings and a variety of textures and surfaces including finely-detailed bronze, wood, and stained glass door trim. It is so impressive that a collective gasp can be heard in the audience at first glance. Framed photos of impactful leaders such as Martin Luther King, Jr. hang on the wall and the finer details such as fingerprints on the door give the house a genuine authenticity.

Omari K. Chancellor, MarHadoo Effeh in Purpose; directed by Josiah Davis; photo by Marc J Franklin
Purpose
September 10 – October 11, 2026

Chancellor proves to be an engaging and humorous storyteller as Naz who believes his peace lies in nature and his family can be a sensory overload. However, Ugo Chukwu as Naz’s troubled brother, Solomon Jr. has been released from prison and Naz is joining his family to welcome his brother home.

Ugo Chukwu, Omari K. Chancellor in Purpose; directed by Josiah Davis; photo by Marc J Franklin
Purpose
September 10 – October 11, 2026

Shy and contemplative, Naz became close with Kalyne Ashley Coleman as lively and outspoken Aziza Houston during the pandemic and share an easygoing rapport. When Naz arrives at his family home and Aziza stops by, everyone has questions, especially from Phyllis Yvonne Stickney as Naz’s strong and inquisitive mother, Claudine…and this evening has not even gotten started yet.

A hint…the tinkling silverware is deafening at dinner.

Omari K. Chancellor, Kalyne Ashley Coleman in Purpose; directed by Josiah Davis; photo by Marc J Franklin
Purpose
September 10 – October 11, 2026

Ezra Knight brings gravitas and charisma as famous orator and preacher Solomon Jasper displaying a complicated dynamic with Ugo Chukwu as earnest Solomon Jr. Chuckwu depicts a distinct sensitivity behind the outlandish ideas of yearning Solomon Jr., a man stumbling with a quiet desperation for approval any way he can find it. Knight MarHadoo Effeh stings as Solomon Jr.’s wife Morgan who is pretty much at the end of her rapidly fraying rope and Stickney’s Claudine is trying to make dinner a joyous occasion any way she knows how.

Ezra Knight in Purpose; directed by Josiah Davis; photo by Marc J Franklin
Purpose
September 10 – October 11, 2026

The cast boasts sharp and fluent comic timing, especially from Coleman as New Yorker Aziza. She is an amusing scene stealer brimming with charm and a lively personality while drawing keen observations. Not only standing out as the sole outside observer at the Jasper family home, but Coleman’s Aziza dazzles with multicolor hair and rambunctious clothing embellished by bright neon accents, just a glimpse of Celeste Jennings’s vibrant costume design.

This production is best enjoyed as each new plot development unfolds and the plot thickens many times over during the production. While it has its humorous moments, it also meditates and philosophizes about life, faith, humanity and why things happen the way they do and what might have been explored in a memorable scene between Chancellor and Knight.

Ezra Knight, Omari K. Chancellor in Purpose; directed by Josiah Davis; photo by Marc J Franklin
Purpose
September 10 – October 11, 2026

Purpose tackles many issues while unraveling family secrets but it is mainly about a transforming family and the ways they are all losing direction in their lives…and how beekeeping fits in with its own story to tell.

The Huntington continues Branden Jacobs-Jenkins’s Pulitzer Prize-winning Purpose live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, October 11. Click here for more information and for tickets.

REVIEW: Fueled by powerhouse performances, Lyric Stage’s ‘All My Sons’ a riveting and indelible tale

Posted on 7 Days Ago by The Sleepless Critic

Come closer.

A little bit closer.

Now you have some idea how close I was leaning forward in my seat, entangled in the rising and palpable tension in Lyric Stage’s All My Sons.

Having never witnessed any iteration of All My Sons before watching Lyric Stage’s gripping production, it was immediately clear why Arthur Miller’s multilayered Post World War II tale is a classic brimming with universal truths. Having recently witnessed the dated 1948 film of the same name, it also became clear to me that Lyric Stage’s All My Sons is so jaw droppingly good, I would gladly see it again.

Directed meticulously by Scott Edminston, Lyric Stage Boston has extended Arthur Miller’s drama All My Sons live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 25. This excellent production runs two hours and 20 minutes with a 15-minute intermission. Click here for more information and for tickets.

Julian Hirshfield and Bill Moots in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

At one time in history, everyone knew their neighbors. They stopped by unannounced. They watched over each other’s children. They bonded like family. They shared their stories, dreams, and hardships…even if relationships became strained.

Scenic designer Janie E. Howland produces an ideal and picturesque 1940s suburban setting at the Keller household with a wraparound porch and white picket fence, surrounding terrace, window garden and cushioned porch swing. Fallen leaves surround the house and the finer details in Karen Perlow’s moody and suspenseful lighting offers glimpses of a tree’s reflection off the second floor window. Taffeta, chiffon, silks, and floral patterns accented with a string of pearls, plaids and distinct 40s patterns shape Chelsea Kerl’s nostalgic costumes. Oleg Smirnov delivers a contemplative and soothing guitar-tinged sound design as secrets and revelations gradually come to light.

Bill Mootos and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Taking place approximately over a 24-hour period in 1947, Mark Sousa as Chris Keller approaches Bill Mootos as his father Joe, to reveal Chris is hopelessly in love with Josephine Moshiri Elwood as Annie. Annie is not only a childhood neighbor Chris grew up with, but his brother, Larry’s girlfriend who has been reportedly missing in action for three years. As Chris attempts to convince his father to let Larry go, Larry’s memorial tree had fallen the night before and Laura Marie Duncan as Chris’s mother Kate insists that it is a sure sign that Larry is still alive.

Laura Marie Duncan and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Not only does this entire cast exude a natural and familial rapport, but each character leaves a lasting impression. Neighbors come by unannounced and visit with a natural affinity for one another. Mootos delivers a remarkable and multilayered performance as Joe who seamlessly fluctuates between charming and a seemingly easygoing neighbor and family patriarch torn between the happiness of one son and the hope that the other will return and a cagey and ambitious businessman recently exonerated for a crime he may or may not have committed.

Sousa is remarkably well cast not only in his tenacious performance as Chris, but his resemblance to Mootos. Their tense familial chemistry makes it easy to see them as father and son.

Josephine Moshiri Elwood and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Elwood’s Annie is warm, pleasant and cheerful, but Elwood genuinely shines evoking Annie’s lurking anguish caught in the middle of a family she grew up with. She shares some particularly memorable scenes with Laura Marie Duncan as complicated Kate and Allison Beauregard makes a lasting impression as Sue in a brief yet pivotal scene with Elwood.

Allison Beauregard and Josephine Moshiri Elwood in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Laura Marie Duncan is enthralling as Chris’s mother and gifted homemaker Kate Keller who is incredibly skilled at taking characters under her wing and charismatically making them feel at home. Warm, energetic yet distraught over her missing son, she fusses, but yet there is something more. Duncan is exquisite, especially in a pivotal scene with Quinton Kappel who makes an impact as a seething and determined George. Nurturing and influential, Duncan as Kate expertly disarms George with careful words and an easy embrace. It is a wonder to witness.

Josephine Moshiri Elwood, Bill Mootos, Laura Marie Duncan and Quinton Kappel in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

All My Sons is a multilayered and mysterious tale that contains timeless and complex reflections in a post World War II world, the longing for normalcy, grief and complicated relationships and family conflict. It also boasts humor, an amazing cast, rich characters, gripping scenes and mounting tension that rise to an unpredictable conclusion. It is a show that stayed with me long after the production was over.

Mark Sousa, Laura Marie Duncan, Bill Mootos, and Josephine Moshiri Elwood in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Lyric Stage Boston has extended Arthur Miller’s All My Sons live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 25. Click here for more information and for tickets.

REVIEW: Path of a trailblazing woman in Central Square Theater’s fascinating ‘Eleanor’

Posted on 18 Days Ago by The Sleepless Critic

Many stories start with love but this one opens with betrayal.

Mark St. Germain’s Eleanor plants one foot inside the past and the other experiencing today’s world from the Rose Garden’s lush greenery in Hyde Park, New York where President Franklin Delano Roosevelt and Eleanor Roosevelt are buried. Donning a classic stylish blue gown, hat and pearls by costumer Rachel Padula-Shufelt, Paula Plum delightfully embodies Eleanor Roosevelt who is more than ready to share her side of the story many years later.

Thoughtfully directed by Bryn Boice, Central Square Theater continues Mark St. Germain’s Eleanor live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, October 11. This enlightening one-woman production boasts valuable captions and runs approximately 90 minutes with no intermission. Click here for more information and for tickets.

Paula Plum in Central Square Theater’s ‘Eleanor’ Photo by Nile Scott Studios

Enhanced by Mackenzie Adamick’s serene sound design and light designer Karen Perlow’s warm and inviting tones, set and projection designer Justin LaHue recreates Hyde Park’s stately and peaceful Rose Garden on a tiered set which includes a birdbath and park bench utilized during the production. Dynamic projections enliven tall green hedges from sweatshops to vintage New York to ocean waves to a comprehensive and illuminated family tree.

The role of a First Lady is undoubtedly an uphill battle, especially a traveling one. Hub Theatre Company explored the distinctive plight of America’s First Ladies in their short play 46 Plays for America’s First Ladies. Eleanor Roosevelt was both a traveling and trailblazing First Lady who faced a wealth of challenges and stood up for her beliefs in the face of many forms of adversity.

Exuding determination, humility, humor and insecurity, Paula Plum remarkably engages the audience exacting Eleanor’s distinct mannerisms as well as her wisdom, quips, insights, anecdotes and recollections while tying in observations of today. Plum’s Eleanor is endearing, charismatic and funny while candidly sharing minor details such as her favorite song to stirring revelations about her past. It is a detailed and deeply personal account diving into her hardships growing up, criticisms throughout her life and her lack of self esteem and loneliness suspecting Franklin Roosevelt may not be what she expected.

Delving into domestic and political squabbles, the issues of the day, family dynamics, revelations, love, motherhood and much more, Plum seamlessly navigates Eleanor as well as other roles Eleanor recalls along the way including frank and cigar smoking Roosevelt secretary and New Yorker Louie Howe and Franklin Roosevelt’s opinionated mother with finesse and without distraction. For example, never flummoxed and ever the professional, Plum, upon encountering boisterous rhythms just outside the theatre during the performance and without missing a cue, cleverly adlibbed whimsically as Eleanor, “Don’t you love the beat?”

Without being preachy or overtly political, Eleanor is a fascinating, educational, inspiring and enriching biographical memory play helmed by Paula Plum’s tremendous performance as Eleanor. While Eleanor knows she has passed away, Plum breathes new life into Eleanor’s indomitable spirit and somehow this First Lady is here again.

Central Square Theater continues Mark St. Germain’s Eleanor live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, October 11. Click here for more information and for tickets.

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, 2025 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, 2025 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.