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REVIEW: Humility and humanity shine in Company Theatre’s moving ‘The Hunchback of Notre Dame’

Posted on August 7 by The Sleepless Critic

Two brothers on different paths are connected in a transformative tale exploring the nature of faith, virtue, honesty and what truly matters. From Victor Hugo, author of the classic novel, Les Miserables, The Hunchback of Notre Dame certainly knows how to tug at the heartstrings while delivering an epic and compelling tale.

Insightfully co-directed by Zoe Bradford and Sally Ashton Forrest with resonating musical direction by Robert McDonough, The Company Theatre Center for the Arts presents gothic musical classic, The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday August 17. The action is not limited to the stage and runs a lengthy but well paced two hours and 50 minutes with one intermission. Click here for more information and for tickets.

Salvatore Guillermo Garcia, Peter S. Adams and the cast of Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Jacob French as Young Claude Frollo is determined to join the priesthood while his brother Jehan, depicted by Charlie Solari, would rather lead a hard partying lifestyle with the local gypsies. It’s a tale that bears some resemblance to The Prodigal Son parable. Young Frollo, who considers himself holy and righteous, is appalled by his brother’s actions and the results are destined to change both their lives.

Jacob French, Dru Daniels, and Charlie Solari in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Disney’s The Hunchback of Notre Dame was released shortly after The Lion King and Pocahontas in 1996 and is considered part of the Disney Film Renaissance spanning from 1989 to 1999. Having recently re-watched Disney’s The Hunchback of Notre Dame, do not go into the Company Theatre thinking it is strictly a staging of the Disney musical. Faithful to elements of the 1996 Disney adaptation with Alan Menken and Stephen Schwartz’s amazing and unforgettable music soundtrack and Victor Hugo’s 1831 classic gothic novel sporadically revealed through multiple narrators, The Company Theatre assembles a powerful and inspirational tale of virtue and humility in the face of cruelty and obsession.

Salvatore Guillermo Garcia, Peter S. Adams and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Set in 1492 Paris, Salvatore Guillermo Garcia leads the cast in riveting form as quiet and gentle hearted Quasimodo who acts as Notre Dame Cathedral’s bell ringer and is kept in the bell tower visited solely by Peter S. Adams as manipulative Dom Claude Frollo. Starved for company and overjoyed by any shred of attention, Quasimodo anticipates The Feast of Fools, an exciting France feast day celebrated by the clergy during the Middle Ages and perhaps an opportunity to be accepted for a day.

Set designer Ryan Barrow replicates the regal stone pillars and the gold signature Notre Dame Cathedral bells brought to life by its harmonious chiming. However, the jewel in this detailed set is a multicolored stained glass cathedral dome above the wooden balcony which lighting designer Dean Palmer Jr. brilliantly enhances and bathes the set in an array of colors rooted in the stain glass during the production.

Company Theatre’s ‘The Hunchback of Notre Dame’ set Photo by Zoe Bradford

So much of The Hunchback of Notre Dame hinges on its ability to capture this complex production’s powerful hymnal ambiance and The Company Theatre does that in spades not only through its strong lead vocals, but through twenty-two additional choir members consistently enhancing the action onstage. It is at times “blow your hair back” powerful and expressive, the production’s thunderous and harmonious voices exhilarating right from its magnificent opening number, The Bells of Notre Dame. I was visibly moved many times.

Peter S. Adams in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Peter S. Adams as Dom Claude Frollo and Dru Daniels as Florika are both lauded operatic talents who collaborated in Company Theatre’s wonderful The Secret Garden. Adams delivers a more measured performance as Don Claude Frollo, a manipulative and righteous priest. Firm and commanding, Adams brings additional dimension to the role and his exchanges with Garcia as Quasimodo are as fascinating as they are bittersweet. His rich rendition of Hellfire and Esmeralda is bold yet tormented, exposing momentary glimpses into his shielded angst. Dru Daniels also embellishes every moment she has onstage with her magnificent vocals as Florika.

Salvatore Guillermo Garcia with Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Costume Designer Kiera O’Connor has assembled an assortment of vibrant and multi-colored costumes as well as traditional vestments similar to the Disney adaptation and its time period, but adorned in Parisian masquerade masks, the shimmering and imaginative gargoyles are the ones that truly shine. Sally Ashton Forrest’s unique, playful, ballet-inspired and symbolic choreography impressively drive Anne Martland as Hugo the Playful, Mel Carubia as Victor the Reasonable, and Gilbert Dabady as Laverne the Nurturing Gargoyle as they advise and keep Salvatore Guillermo Garcia as lonely Quasimodo company. Paired with these intricate and sparkling ensembles, they provide not only comic relief, but work together to articulate distress, comfort, amusement and more while acting as a respite and community sanctuary for Quasimodo in the bell tower.

David J. Kim and cast in The Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

With a knowing smile, David J. Kim portrays stealthy showman and deemed King of the Gypsies, Clopin Trouillefou. Kim’s smooth delivery and complicated demeanor makes him a charming enigma. Kim leads the revelers in an animated rendition of Topsy Turvy and with Lopes, Roussell, Adams and Garcia in a spellbinding Rhythm of the Tambourine.

Celena Lopez and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Celena Lopes gives a mesmerizing performance as frank, saucy, compassionate, resourceful and headstrong Esmeralda, a role voiced for the Disney adaptation by a charismatic actress known for spirited female characters, Demi Moore. Lopes performs an incredible rendition of the hopeful ballad, Someday with Jack Roussell as seemingly bombastic, egotistical and regal Phoebus de Martin and shares charming chemistry with Garcia. However, Top of the World and stirring God Help the Outcasts is where Lopes is at her best.

Jack Roussell and cast in the Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

Salvatore Guillermo Garcia offers a paramount performance as Quasimodo, a role in which he dedicates to his late mother. The sheer physicality and understated performance boasted by sterling vocals he delivered as Jean Val Jean in Academy of the Company Theatre’s previous production of Les Miserables make him the perfect choice for this role. Garcia embodies Quasimodo’s humble naiveté, trepidation, loneliness and yearning as well as the soft glow that passes over Garcia’s shy and meek features. From the wondrous ache of Out There and tender Heaven’s Light to the soaring Made of Stone, Garcia caps off this meaning musical experience worth witnessing for yourself.

Celena Lopes, Salvatore Guillermo Garcia, Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford

The Company Theatre Center for the Arts presents The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday, August 17. Click here for more information and for tickets.

REVIEW: Love takes a spectacular turn in Reagle Music Theatre of Greater Boston’s picturesque ‘An American in Paris’

Posted on August 15, 2024 by The Sleepless Critic

Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo. An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.

With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55^th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts. This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission. Click here for more information and for tickets.

Adam Hochberg (Jared Troilo) and Lise (Samantha Barnes) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo Credit Robert Pascucci

By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world. Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.

A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance. In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable. Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm. It’s simple and yet absolutely extraordinary.

Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance. Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background. Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals. From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron. However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill. Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.

Pictured Lise Dassin (Samantha Barnes) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother. They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck. Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.

Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives. It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me.

Pictured l to r Milo Davenport (Rebekah Rae Robles) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Credit Robert Pascucci

With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance. Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up. It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad. Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.

Pictured_ l to r- Jerry Mulligan (Jack Mullen), Adam Hochberg (Jared Troilo), and Henri Baurel (Christopher Lewis) in Reagle Music Theatre ‘An American in Paris’ Photo credit Robert Pascucci

Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight! Get swept up in this beautiful musical as soon as you can.

With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55^th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts. This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission. Click here for more information and for tickets.

REVIEW: Lexus Broadway in Boston presents sizzling and spectacular ‘Moulin Rouge the Musical’

Posted on February 4, 2024 by The Sleepless Critic

Moulin Rouge is sizzling, romantic and grand scale entertainment perfect just before Valentine’s Day.

Boasting Derek McLane’s lavish and sophisticated heart-shaped sets fueled by Justin Townsend’s vivid lighting so vibrant that could be its own character and Catherine Zuber’s edgy, timely and shimmering costumes, Moulin Rouge the Musical is a glorious spectacle right from the start blending its unique delivery of a multi-generational jukebox musical soundtrack as well as lively and athletic choreography that makes an immediate impact.

The cast of the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Nothing less could be expected from director Baz Luhrmann, who is not only behind the 1997 frenetic film of the same name in which the musical is based on starring Nicole Kidman and Ewan McGregor, but has a creative hand in the musical’s signature style. Filled with popular songs of its time, Moulin Rouge has always been a lavish and wild celebration of desire, the rigid social class divide and first love, but somehow Moulin Rouge the Musical harnesses these rich themes on a considerably larger scale and it is nothing short of a feast for the eyes.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4. The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children. Click here for more information and for tickets. Click here for Moulin Rouge’s national tour schedule.

Not only does Moulin Rouge The Musical contain a wide range of sharp and slinky choreography by Sonya Tayah, but features distinct characters with powerful vocals that make lasting impressions. Robert Petkoff brings enthusiasm, poetic and flamboyant charisma to Moulin Rouge’s nightclub master of ceremonies Harold Zidler starting with an incredible first appearance in Welcome to the Moulin Rouge further embellished by a fierce foursome who sang Christina Aguilera, Pink, Lil Kim, and Mya’s Lady Marmalade first made famous combined with an even catchier and colorful Can Can Can.

Adéa Michelle-Sessoms and Jennifer Wolfe in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Sarah Bowden as Nini is a sensational dancer and alongside Danny Burgos as Santiago sure know how to turn up the heat. Burgos and Bowden make a sultry and flirtatious pair especially in the catchy and cathartic Backstage Romance with the cast featuring music from Lady Gaga, Britney Spears, and the Eurthymics.

Gabe MartInez as Santiago and Libby-Lloyd as Nini in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

In a top hat and thick mustache, Andrew Brewer is cunning as distinguished and wealthy businessman The Duke of Monroth. He seems good to be true and has an agenda all his own. Nick Rashad Borroughs as Toulouse-Lautrec performs a wonderful and moving rendition of Nature Boy and shares warm and humorous camaraderie with Christian Douglas as Christian and Danny Burgos as they advise Christian about life at the Moulin Rouge.

David Harris as The Duke of Monroth in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Christian Douglas is captivating as naïve, charming, and idealistic Christian. Christian is a promising American artist and songwriter longing for his big break. At the Moulin Rouge in Paris, he sets eyes on Moulin Rouge’s confident, complex, and ambitious main attraction Satine, portrayed splendidly by Gabrielle McClinton. McClinton, decked out in a black and diamond ensemble, proves herself a versatile showstopper in The Sparkling Diamond singing snippets from Beyonce, Madonna, Marilyn Monroe and Rihanna with over the top dramatic flair, sensuality, and commanding vocals. Douglas and McClinton bring gorgeous harmony together for Elephant Love Medley featuring Come What May and Silly Love Songs. Christian also performs a haunting and fiery rendition of El Tango de Roxanne.

Courtney Reed as Satine in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Moulin Rouge the Musical offers many exciting surprises that will not all be revealed here. The swift and complex orchestration by Music Director Andrew Graham and sound designer Peter Hylenski uniquely integrates a selection of hit songs with unpredictable humor and drama. It is a fast paced firecracker of a love story that is as edgy as it is moving. Don’t miss the chance to see Moulin Rouge The Musical.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4^th. The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children. Click here for more information and for tickets. Click here for Moulin Rouge the Musical’s national tour schedule.

REVIEW: The Huntington’s ‘Prayer for the French Republic’ a contemplative family drama

Posted on September 30, 2023 by The Sleepless Critic

How does one live in fear?

Two linked tales unfold at times simultaneously onstage. Having recently presented the epic multi-generational play, The Lehman’s Trilogy, The Huntington explores the world of the Salomon family whose stock in trade is selling pianos in Joshua Harmon’s Prayer for the French Republic. Though a piano sits center stage, it is less about the family business, but about this French Jewish family’s experiences over the years residing in Paris at a pivotal time in 1944 and 2016. The Salomon Family has resided in Paris for five generations. Fear may change its face over the years, but somehow remains the same.

With shrewd direction by Loretta Greco, The Huntington presents Joshua Harmon’s Prayer for the French Republic continuing through October 8. The show is two hours and 50 minutes with one ten minute intermission and contains adult content. Click here for more information and for tickets.

Left to right: The cast of Prayer for the French Republic; photo by T Charles Erickson

Andrew Boyce’s chic and moving turntable scenic design complete with crown molding, distinctive gold framed paintings, cozy fireplace, and canapé sets a signature Parisian tone as a vintage piano sits center stage. After two starting revelations, Prayer for the French Republic unravels two tales delving into loneliness, family, fear, love, grief, and the hardships and persecution the Jewish face, questioning the meaning behind ‘Republic for all.’

Left to right: (foreground) Tony Estrella; (background) Peter Van Wagner, Phyllis Kay; photo by T Charles Erickson PRAYER FOR THE FRENCH REPUBLIC By Joshua Harmon The Huntington Theatre 09/06/23 Directed by Huntington Artistic Director Loretta Greco Lighting Design: Christopher Akerlind Costume Design: Alex Jaeger Scenic Design: Andrew Boyce PRAYER FOR THE FRENCH REPUBLIC is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. http://www.concordtheatricals.com T Charles Erickson Photography Photograph © T Charles Erickson tcharleserickson.photoshelter.com

The show has an enigmatic air tied together by Tony Estrella who acts a narrator and family member. As Estrella sets up the audience for what is next and weaving in and out of the narrative, his semi-interactive and complex role as Patrick paints him as antagonist, thoughtful narrator, and brother with a frank and natural delivery.

Left to right: Amy Resnick, Tony Estrella; photo by T Charles Erickson PRAYER FOR THE FRENCH REPUBLIC By Joshua Harmon The Huntington Theatre 09/06/23 Directed by Huntington Artistic Director Loretta Greco Lighting Design: Christopher Akerlind Costume Design: Alex Jaeger Scenic Design: Andrew Boyce PRAYER FOR THE FRENCH REPUBLIC is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. http://www.concordtheatricals.com T Charles Erickson Photography Photograph © T Charles Erickson tcharleserickson.photoshelter.com

The show explores some traditional Jewish customs and is a study in ancestry as Amy Resnick as Marcelle takes a moment to explain this strong willed family tree. Carly Zien is a bit of a scene stealer and delivers a crackling performance as witty, moody and seemingly unstable Elodie, Marcelle and Charles’s daughter. Zien’s fast talking and frank delivery as Elodie offers equal amounts horror and humor as she explains the frustrating state of the world to Talia Sulla as bright eyed, lively, well meaning but increasingly outspoken Molly. Molly’s cheery disposition is refreshing to orderly and increasingly tense psychiatrist Marcelle depicted keenly by Amy Resnick and the mother and daughter dynamic is thrust into overdrive as Resnick and Zien butt heads on almost every issue. Nael Nacer steps in as fair minded Charles for this performance and Joshua Chessin-Yudin depicts headstrong, sympathetic and unassuming Daniel, Elodie’s brother. Chessin-Yudin and Sulla share some endearing scenes as they wrestle with the other’s point of view.

Left to right: Talia Sulla, Joshua Chessin-Yudin; photo by T Charles Erickson

Contentions within the family and the future are laid out in a piece of clever staging as their dining room table steadily shifts. Another noteworthy incident builds prickling tension and silent trauma as Molly overhears an argument in the next room with only Sulla’s face visible in the shadows. Phillis Kay as Irma and Peter Van Wagner as Adolphe make a disquieting yet charming couple, but it is Jared Troilo as Lucian with Jesse Kodama/Will Lyman as Pierre Solomon who makes the greatest impact with a startling revelation that presses for more questions than answers.

Left to right: Phyllis Kay, Jesse Kodama, Jared Troilo; photo by T Charles Erickson

Prayer for the French Republic is contemplative and direct with its share of lighter moments as both tales converge to beg the question: How do we move forward? How to move forward in the face of fear?

REVIEW: Vocals soar as Academy of the Company Theatre presents Andrew Lloyd Webber’s ‘Phantom of the Opera’

Posted on February 16, 2023 by The Sleepless Critic

It may seem like a small detail, but The Phantom of the Opera’s iconic chandelier plays a pivotal role in Andrew Lloyd Webber’s The Phantom of the Opera. It opens the show in its sheer majesty and the Phantom is actually found hiding in the glittering and monstrous powerhouse of a special effect at one point during the Broadway production. In fact, it is what fascinates the audience at the beginning of the musical in glorious rhythm with the thunderous and foreboding sound of a pipe organ blaring in the distance and what later crashes to makes the cast run in terror.

Directed insightfully by Sally Ashton Forrest with powerful music directed by Melissa Carubia, Academy of the Company Theatre’s Phantom of the Opera gets so many things right from Vickie Gerard-Culligan’s ornate costumes, the pitch perfect casting, its sinister lighting by Dean Palmer Jr., and its smaller scale replications of Phantom’s famous sets by Ryan Barrow, but the production’s chandelier may not quite meet some lofty expectations.

Academy of the Company Theatre (A.C.T.) presents Andrew Lloyd Webber’s The Phantom of the Opera live and in person at The Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts through February 19. The musical is sold out. Click here for more information on the Company Theatre and its upcoming events.

Alexa Cohen as Madame Giry (right) with cast in ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Set in the 1700’s, Andrew Lloyd Webber’s Phantom of the Opera focuses on a mysterious presence that haunts the famous Palais Garnier Opera House in Paris, France. New opera house co-owners Ben Cavallo-Smith as Monsieur Richard Firmin and Weston Hammond as Monsieur Giles Andre make a distinguished and at times humorous pair in vintage suits with tails as they start to realize things are not what they seem.

‘Masquerade’ ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Phantom of the Opera boasts some enduring yet challenging music numbers and the cast may feature students up to 18 years of age, but their vocals are well beyond their years. Jillian Pongonis as Christine and Catrina Riker as Carlotta hit some extraordinary notes for being so young and it was a joy to hear Riker’s Think of Me and Prima Donna as she prances around the stage in signature diva fashion, bold and comical as she shouts her demands. Carlotta’s sophisticated gowns become more extravagant as the musical progresses and the cast hits its outrageous stylish stride for Masquerade. Salvator Guillermo Garcia, whose past performances with ACT include Jean Val Jean in Les Miserables, has a supporting and memorable role as Ubaldo Piangi. Garcia not only does a wonderful job vocally in Hannibal and Notes with the cast, but his occasional tenuous smirks and smiles enhance the musical’s humorous moments.

Gilbert Dabady as The Phantom and Jillian Pongonis as Christine Daae Photo courtesy of Zoe Bradford/Company Theatre

Pongonis may be slight in stature, but her powerful vocals exceed her years as does Gilbert Dabady as The Phantom. Dabady and Pongonis’s duet of The Point of No Return may seem a bit mature for their ages, but Angel of Music and Music of the Night are beautifully performed and Pongonis’s stirring rendition of Wishing You Were Somehow Here Again is a must see. Dabady is mysterious and threatening as the Phantom, his deep and resounding vocals all the more menacing offstage. Dabady and Pongonis are a complex and charismatic pair while Charlie Flaherty is well suited for the daring and charming Raoul. Amid a pale blue rooftop, Christine and Raoul perform a sweet rendition of All I Ask of You.

Charlie Flaherty as Raoul and Jillian Pongonis as Christine Daae in ACT’s ‘Phantom of the Opera’ Photo courtesy of Zoe Bradford/Company Theatre

Clever blocking and reigned in sets aptly accommodate the Company Theatre stage. Tints of haunting purple, vintage marble columns, nostalgic lighting, eerie skulls, an angelic stone statue, onstage gold lined opera box seats, a brass organ, monkey music box, and a candelabra lit lair on a misty lake help recreate iconic scenes and special effects that bring this somewhat opera within an opera to life. As a big Phantom of the Opera fan, Academy of the Company Theatre’s Phantom of the Opera captures this moving and mystical musical best known for Andrew Lloyd Webber’s classic soundtrack and makes the magic of the longest running show on Broadway last a little longer in Norwell.

Academy of the Company Theatre (A.C.T) presents Andrew Lloyd Webber’s The Phantom of the Opera live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts through February 19. The musical is sold out. Click here for more information on the Company Theatre and its upcoming events.

Boston Camerata’s Artistic Director Anne Azema talks Fortune and greed in classic satire ‘The Tale of Fauvel: A Political Fable from Medieval France’

Posted on October 26, 2018 by The Sleepless Critic

With a dose of comedy and memorable music, The Boston Camerata kicks off its 64^th season with an enduring satire on hypocrisy, abuse, and greed called The Tale of Fauvel: A Political Fable from Medieval France on Sunday, October 28 at the First Church of Boston at 4 p.m. Based on a 14^th century poem the Roman de Fauvel, this compelling piece focuses on corrupt rulers and the effect they have on society. Click here for more information and for tickets.

The Boston Camerata’s Artistic Director Anne Azema portrays Fortune in this political fable. She describes her pivotal role, the show’s contemporary significance, and plans for the future.

Sleepless Critic: You took on the role of Fortune in Tale of Fauvel: A Political Fable from Medieval France. No doubt Fortune must play a powerful role in this piece.

Anne Azema: Fortune or Lady Luck, a kind of pagan Goddess surviving into the Christian Middle Ages, is a powerful presence and presented as a female in medieval literature. According to the Carmina Burana text, she holds the world in her hands, sits on her wheel, will raise some and crush others – and will leave you shirtless, with a bare back. Fauvel, the Orange-Maned Horse, has put in his mind to conquer the entire world by wooing and then marrying Fortune. Little does he know Fortune’s answer to his courtship is a severe put-down.

SC: This show is a satire, but it carries a contemporary significance ahead of the midterm elections.

AA: Fauvel began Camerata’s long series of story-telling programs, an effort that continues to this day. I think Fauvel’s truculent criticism of hypocrisy, abuse, and greed in public life continues to be as relevant as the headlines in today’s newspapers. Some of the lines from 1310 seem so relevant, it will give you shivers.

Anne Azema and Shira Kammen Courtesy of The Boston Camerata

Director Emeritus and narrator Joel Cohen Photo courtesy of the Boston Camerata

Timothy Leigh Evans as Fauvel Photo courtesy of the Boston Camerata

Michael Barrett, voices Photo courtesy of the Boston Camerata

Steve Lundahl, winds Photo courtesy of the Boston Camerata

Shira Kammen on vielle, harp Photo courtesy of the Boston Camerata

Steve Lundahl, winds Photo courtesy of the Boston Camerata

Shira Kammen on vielle, harp Photo courtesy of the Boston Camerata

Michael Barrett, voices Photo courtesy of the Boston Camerata

Timothy Leigh Evans as Fauvel Photo courtesy of the Boston Camerata

Director Emeritus and narrator Joel Cohen Photo courtesy of the Boston Camerata

Anne Azema and Shira Kammen Courtesy of The Boston Camerata

SC: What was it like working with the cast?

AA: A complete joy! Our core team has performed this piece in various configurations before. Aside from our three singers, we will have two instrumentalists and a narrator, who will share, in irreverent English verse, the adventure of our Horse, Fauvel.

We are also happy to include Longy School of Music of Bard College students and Brandeis students. They will all take part in the revels of Fauvel’s Wedding Night!

SC: What inspired you to bring it to the Boston Camerata stage this season?

AA: Its manuscript source is interesting on many levels so it is well known both to musicians and literary types who have an interest in early repertoires. It’s a vehement diatribe in verse against the abuse of power in Paris of 1310, but there is a visual aspect to the book which includes beautiful illuminated miniatures. The music, an anthology so to speak, of varied genre and style of pieces, were songs that were circulating in Paris at the time. They were either recycled from other sources to fit the narrative or composed to illustrate the purpose.

Camerata developed a first version of Fauvel in the 90s as a commission for Warner/Erato. Within the Boston Camerata’s repertoire are programs both recently created and ‘classic’. Our Fauvel falls into this latter category. We are delighted this production continues to be in demand both here and in Europe.

SC: What sort of music will this show offer?

AA: Written many centuries ago but very accessible, the music is direct and acoustical. It’s a mixture of voice(s) and instruments in a small setting. The public is close to the performers and has an ‘organic’ access to them. The trademark to our performances is a blend of spontaneity, energy, and emotional commitment with careful research and scholarship.

SC: Though this show has its moments of humor, this piece is message-driven. What is the best reason you think people should see this show?

In the end, I believe what is important is spending an entertaining hour or more together. Although the music is seven centuries old, it is totally enjoyable. Its beauty and energy will bring you to another powerful place and frankly, speaking of humour and satire, we all need to blow off a little steam in this highly fraught moment.

The cast in action. Photo courtesy of the Boston Camerata

SC: Boston Camerata’s 64th season boasts a wonderful lineup including Christmas performances Puer Natus Est: A Medieval Christmas and Gloria! An Italian Christmas in December. How do you select each season’s performances?

AA: My choices are driven by my personal interests, the teams we have, the repertory book we want to keep alive, and by our mission to create new programs combined with touring and recording demands. The idea is to keep us and our audiences alert, perky, and open to new experiences.

SC: I understand you are also a soloist, often writing your own pieces, touring, or recording. Please tell me about that.

I just returned from touring Canada with a One Woman Show, a show which presents music of the 12th and 13^th century. These recitals, alone or with colleagues, offer a different way of connecting with the public and demand a deeper relationship with the music.

SC: What work you are currently working on?

AA: I will continue to look at narratives/storytelling and prepare several recording and media projects in the coming seasons. Besides our medieval shows, we’ve been involved in early American music. We are also working on the release of our Naxos CD recorded last season in the context of a Canadian, American, and Dutch project. We recorded The Harmonia Mundi CD in September and that will contain some powerful, motivating American songs of resistance and rebellion!

For one day only, The Boston Camerata presents The Tale of Fauvel: A Political Fable from Medieval France on Sunday, October 28 at the First Church of Boston at 4 p.m. Click here for more information and tickets and be sure to follow The Boston Camerata on Facebook for all their latest news.