Paula Plum

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

Posted on 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.

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

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.

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

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?”

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

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.

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

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

Posted on by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW:  Sisterhood is the new black in Hub Theatre Company of Boston’s vivacious ‘Love, Loss, and What I Wore’

Posted on by The Sleepless Critic

Call this cast a girl squad and a sisterhood.

With potent direction by Paula Plum and based on the bestselling memoir by Ilene Beckerman, Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5.  This show is 90 minutes with no intermission and pay-what-you-can tickets are available.  It occasionally contains adult and unfiltered language.  Purchase a drink during this show and Club Café also offers a full menu.  Click here for more information and for tickets.

Lauren Elisa, June Kfoury, Barbara Douglass, Evelyn Holley, and Nettie Chickering in Hub Theatre’s ‘Love, Loss, and ‘What I Wore’ Photo credit to Tim Gurczak

The name Nora Ephron must ring a bell.  She was a famous award-winning rom-com journalist, writer, and filmmaker best known for 1983’s Silkwood, 1989’s When Harry Met Sally as well as 90s rom com classics Sleepless and Seattle and You’ve Got Mail before co-writing the screenplay for Julie and Julia in 2009.  Ephron’s signature style tackled the seriousness of life with a lighthearted demeanor and always found some relatable humor along the way.  With her sister Delia, Nora lends that empowering humor and charm to Love, Loss, and What I Wore.

June Kfoury, Evelyn Holley, Nettie Chickering, Lauren Elias, and Barbara Douglass in ‘Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

One of the greatest strengths of Love, Loss and What I Wore is the ensemble’s beautiful camaraderie.  Love Loss and What I Wore has a gift for eloquently associating fashion with life’s bittersweet challenges.  Portraying several ages while sharing that walk down memory lane is Nettie Chickering, Barbara Douglass, Lauren Elias, Evelyn Holley, and June Kfoury.  Dressed in chic black by Kat Lawrence, they allow their vibrant experiences to take center stage.  From fashion faux pas to that eternally favorite garment, five women lay bare their fondest memories and insecurities.  It is a love letter to growing up and growing older in all of its wonder and complications. 

Nettie Chickering in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

To an array of lighthearted club hits between scenes, this dynamic group share silly, sad, courageous and important stories with collaborative flair and wistfulness.  They dance, grieve, conspire, tease, support and relate to each other all while discussing everything from relationships to family to roommates to the trials and tribulations of being a woman in a fun loving and deeply personal manner.  A few lighter moments include witnessing Lauren Elias and her hilarious and empathetic comments about carrying a purse, Douglass’s wise and humorous motherly advice, and the sheer joy and supportive manner in which these women appreciate each other’s company.   However, what stirs the production the most is contained in this group’s most significant challenges.  The stories they share are raw, honest, at times rueful, and may seem familiar as well.

June Kfoury in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

With Talia Elise’s dazzling lighting powering a bright and cheerful set which includes glowing string lights, a luminous neon hanger, shimmering disco ball, multicolor boas, and an illustrated clothing rack by Justin Lahue and Maggie Shivers plus a wonderful dose of nostalgia, Love Loss and What I Wore is a captivating experience into life’s surprises and how to discover what is truly important.

Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5.  This show is 90 minutes with no intermission and pay-what-you-can tickets are available.  It occasionally contains adult and unfiltered language.  Click here for more information and for tickets.

REVIEW: GBH’s inviting virtual ‘A Christmas Celtic Sojourn’ maintains warmth and tradition in 2020

Posted on by The Sleepless Critic

2020 has been many things, but traditional is not one of them.  However, this year’s virtual A Christmas Celtic Sojourn brought back holiday traditions, beautiful performances, reflections, stirring carols, and dare I say a bit of normalcy to 2020.

With a selection of live performances and an option to watch on-demand, GBH’s A Christmas Celtic Sojourn was brought into your home in a warm, inviting, and spirited atmosphere.  From a majestic, candlelit cathedral in Ireland to a festive outdoor step dance in Ottawa, Canada, it unconventionally included all the elements of what is beloved about this annual New England show and somehow broadened its possibilities worldwide. 

Host Brian O’Donovan and fiddle player Jenna Moynihan at Rockport Music Photo credit to Dan Jentzen

Brilliantly directed by Jenna Worden, A Christmas Celtic Sojourn offered seven live streaming opportunities to watch virtually from your home Tuesday, December 15 at THE VETS in Providence, RI, Wednesday, December 15 at Hanover Theatre in Worcester, MA, Thursday, December 17 at The Zeiterion Performing Arts Center in New Bedford, MA, Friday, December 18 at Shalin Liu Performance Center in Rockport, MA, Saturday, December 19 at The Cutler Majestic Theatre in Boston, MA, and Sunday, December 20 in GBH Studios in Boston, MA  These locations are usually where A Christmas Celtic Sojourn tours annually.  A bonus encore presentation also occurred on Christmas Eve. 

GBH’s virtual A Christmas Celtic Sojourn is still available.  Click here for more information and to enjoy the show on-demand through January 2, 2021.  A Christmas Celtic Sojourn would also like to hear what you thought of the program by visiting their Facebook page.

Celtic harpist, pianist, and Assistant Music Director Maeve Gilchrist Photo credit to Dan Jentzen

Though a portion of the performers were at home, audiences were treated to harmonies created from multiple locations nationally and internationally while enjoying festive, international scenery.  For a person who has lacked the chance to travel the world this year, it was a more than welcome opportunity to take a glimpse and to share in some international traditions. 

From the stirring, candlelit opening of beloved carol, O Come Emmanuel sung in Latin by Cathy Jordan from gorgeous Sligo Cathedral in Ireland, A Christmas Celtic Sojourn transported audiences to Ireland and to other places around the world as they were unable to bring Ireland to the stage.  The show also boasted dueling harmonies simultaneously sung from Vermont, Scotland, and various parts of Massachusetts. 

Host Brian O’Donovan brought a mix of humor, melancholy, and wistful reflections toward this difficult year, engaging storytelling, and fond tidings.  Though this year has presented its challenges, A Christmas Celtic Sojourn still managed to keep the rituals and long-awaited music right at your fingertips delivering jubilant, soulful moments while still embracing winter’s dark and sacred stillness.

Music Director and multi-instrumentalist Seamus Egan with fiddlers Jenna Moynihan and Maura Shawn Scanlin Photo credit to Dan Jentzen

Thanks to Rockport Music, multi-instrumentalist and Music Director Seamus Egan, Assistant Music Director, Celtic harpist, and pianist Maeve Gilchrist, Bouzouki and Harmonium player Owen Marshall, guitarist Conor Hearn, and fiddle players Jenna Moynihan and Maura Shawn Scanlin returned to perform cheerful medleys and energetic jam sessions filmed in Rockport Music at Shalin Liu Performance Center in Rockport, Massachusetts.  Seamus Egan’s brilliance shone through as he reached for multiple instruments for separate songs and at one point reaching for a banjo for a joyful freestyle. 

Fiddle players Jenna Moynihan and Maura Shawn Scanlin with Bouzouki and Harmonium musician Owen Marshall Photo credit to Dan Jentzen

A traditional wassail in Edinburgh, Scotland, rollicking sing-along carols and dance from A Christmas Celtic Sojourn’s past, a peerless lullaby carol involving a newborn, original song and stirring new renditions of classic carols, a lighthearted percussive dance from Michigan by Nic Gareiss, and returning step dancer and choreographer Cara Butler reveling in her backyard to a jubilant tune in Ottawa, Canada are just some of the highlights of this carefully-executed, moving production.  There were plenty of welcome surprises not to be revealed here.

Spending an awful lot of time at home and not in the car, music is less of a tradition in my house.  GBH’s  A Christmas Celtic Sojourn created a haven of holiday comfort in song that though we are far apart, some rituals and traditions can still stay the same.

GBH’s virtual A Christmas Celtic Sojourn is still available.  Click here for more information and to enjoy the show on-demand through January 2, 2021.