Pay What You Can

REVIEW: Behind the scenes take center stage in Hub Theatre Company’s satire ‘The Understudy’

Posted on by The Sleepless Critic

The understudy has a gripe…and he has a point.

Sharply yet familiarly written by hit show Smash creator Theresa Rebeck and resourcefully directed by Paula Plum, Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts.  The action is not limited to the stage and contains adult language.  All tickets are on a pay-what-you can basis and the show runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

Kevin Paquette in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Angelica Houston portrayed Eileen Rand, a savvy Broadway producer jilted and betrayed by Jerry.  Katherine McPhee as Karen and Megan Hilty as Ivy are competing actresses for the role of Marilyn Monroe in Bombshell, a new Broadway musical where the real drama took place behind the scenes.  This is the plot of Smash, a musical TV drama that lasted two seasons, but developed a cult following.

Like Smash, some elements of The Understudy are not meant to be taken seriously.   Though some of the core plot points between Smash and The Understudy bears some resemblance, it expands its satirical focus into films, theatre and what makes real art through a newly discovered Broadway work by renowned absurdist writer Kafka.  It also contains insightful commentary about creating quality work with meaning and creating less than quality work for profit while infusing inside humor about the nature of theatre.  What do audiences actually want? 

Kevin Paquette and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

Symbolically wearing a Bad Brains punk t-shirt and flannel by costume designer Kara McGuinness, some of the play’s funniest and strongest moments come from Kevin Paquette as Harry who is a fed up and a bit of an embittered savant theatre actor performing exacting accents who just happens to be holding out for real art while Cristhian Mancinas-Garcia as Jake is a determined movie star reluctant to do theatre.  Both actors are charismatic and humorously egotistical as they realize their roles.  Paquette as Harry engages the audience with real gusto commenting on the state of art thinking outside the box while Lauren Elias as harried stage manager Roxanne and the picture of practicality, tries to keep the production rehearsal on track.  Paquette, Mancias-Garcia and Elias share rapid fire banter, physical comedy and a few surprises as the show unfolds.

Lauren Elias and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

It also acts as a love letter to the stage managers of the world and does it well.  The play may be called The Understudy, but rocking a legendary Kiss T-shirt, clever, skeptical and sympathetic Elias as Roxanne rises to the challenge attempting to avoid impending theatre disasters while keep it together personally and professionally.  No small feat as Emily Bearce’s haunting lighting and Justin Lahue’s impressively gothic projections seem to possess a mind of their own.  When these elements work with Gage Baker’s rich sound design, it is all quite the spectacle.

Cristhian Mancinas-Garcia, Kevin Paquette and Lauren Elias in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao

A day at the theatre with The Understudy unveils drama, secrets, romance, and takes its time with a twist ending you may not see coming.   A production may come together onstage, but the absurdity of how it gets there is the real story.  Thank a stage manager and an understudy today.

Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts.  The action is not limited to the stage and contains adult language.  All tickets are on a pay-what-you can basis and runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Hub Theatre Company of Boston explores secrets and hypocrisy in Molière’s witty ‘Tartuffe’

Posted on by The Sleepless Critic

Is Tartuffe a saint or sinner?

That is the main question broached by the cast of a mysterious character contemplated so often that it is a wonder if Tartuffe is less a person than legend.  However, when Tartuffe does appear, plenty of drama lay in his wake.

Directed comically by Bryn Boice and translated by Richard Wilbur, Hub Theatre Company of Boston presents Molière’s satirical comedy drama Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24.  This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis.  Click here for more information and for tickets.

June Kfoury, Lily Ayotte and Brendan O’Neill in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Though Molière ’s satirical comedy Tartuffe takes place during King Louis XIV’s reign in 1664, Hub Theatre Company of Boston mixes many aspects of the contemporary with the 17th Century French Common Era in costumes and nuanced dialogue.  Costume designer Marissa Wolf and Wig Maven Liv Curnen blend historical French high fashion including decorated coiffed wigs, silks, trendy lace up shoes, crinoline, and vivid patterns including paisley and tartan to match with jeans, sneakers, and racer striped pants which provides a bit of a contemporary edge.  Lily Ayotte as Mariane’s crinoline skirt cage however, felt gnawingly incomplete without a skirt over it even if it is in the name of high fashion.

Tartuffe, spoken in melodious coupling rhyme, is easy on the ears and adds lightheartedness to the production especially during its most serious moments.  June Kfoury as Madam Parnelle baits the hook on Tartuffe as she humorously lambastes everyone in the room including her family in a marvelously frank and offhanded manner except the one person absent and proclaims an unpopular opinion:  She considers Tartuffe a saint and praises his bold candidness.

Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Brooks Reeves as oblivious Orgon also thinks the sun rises and sets on Tartuffe and although Orgon comes off as a bit one dimensional, Reeves leans into the character’s absurdity and stubbornness to craft a character you end up rooting for. 

Lauren Elias in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Lily Ayotte as sweet and obedient Mariane is one of the best parts of the production.  Her engagement with the audience, reactions and physical comic timing is impeccable.  Ayotte and Robert Thorpe II as Valère share amusing chemistry and their scenes are full of charming banter.  Lauren Elias as maid Dorine is one of the few voices of reasons and a scene stealer in her own right navigating the plot through reason, good intentions, a good deal of sarcasm, and some popcorn (which acts as a fabulous gag during the show). 

Laura Rocklyn and Jeremy Beazlie in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Laura Rocklyn portrays cool and collected Elmire with finesse.  Elmire is a dynamic role and Rocklyn brings determination and confidence, especially to her more absurd scenes with Reeves and Jeremy Beazlie as Tartuffe, performing to great lengths for a laugh.

However, Jeremy Beazlie as Tartuffe, well, there is not much question how Tartuffe lives up to his legend which will not be revealed here.  Tartuffe explores hypocrisy and secrets while historically speaking to what was happening in France at the time and Beazlie depicts it to a fault stirring up a lot more than rumors by the time he takes the stage.

Jeremy Beazlie and Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Though Tartuffe may not be for everyone, it boasts a strong cast and witty moments that keeps one guessing how this unbridled string of events will end up right through the very end.

Hub Theatre Company of Boston presents Molière ’s satirical comedy Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24.  This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis.  Click here for more information and for tickets.

REVIEW:  Company One’s tech savvy ‘Morning Noon and Night’ makes room for what is important

Posted on by The Sleepless Critic

What has the world come to and what has come of us?

It is a prevalent and thought provoking theme as Company One continues Kirsten Greenidge’s tech savvy comedy Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25.  The show is approximately 1 hour and 35 minutes with no intermission and has some adult language.  Tickets are available on a pay what you can basis.  Click here for more information and for tickets.  

Schanaya Barrows, Sydney Jackson, Aislinn Brophy (Photography by Ken Yotsukura)

Innovatively directed by Summer L. Williams, Company One Kirsten Greenidge’s Morning Noon and Night with Boston University’s College of Fine Arts unveils a world where children are mesmerized by their phones and selfies and time is measured a bit differently referring to pre-Covid days as ‘from before’ and a long time ago is at least ‘two phones ago’.

Set in Post 2020 pandemic and 2020’s endemic  with a dose of virtual reality,  Morning, Noon and Night explores loss, grief, fear, frustration, uncertainty, and a journey toward healing from economic turmoil after the pandemic has turned the world upside down.  This production also delves into escalating technology and consumerism in daily life where phone addicted children believe most of what they read on the internet, have increased social anxiety and angst, and the dangers of allowing technology to run your life and solve your problems.

Sydney Jackson, Kaili Y. Turner (Photography by Ken Yotsukura)

If this sounds like a lot, Morning, Noon, and Night tries to do a lot and at times is a bit uneven in its storytelling getting weighed down by its own ambitions.  However, it is a touching and comedic piece that cuts through it all to reveal what is most important. It has a slick presentation blending Audrey Dube’s zippy sound design with Maria Servellón ‘s lustrous projections that  impressively portray the immaculate and too-good-to-be-true nature of the internet as well as beautiful memories.  It’s pristine, sparkling and deceptively perfect featuring colorful imagery likened to scrolling through a phone.  Amazon boxes, stacked CD’s and clothes strewn on the floor is part of Justin Lahue’s scattered and contemporary scenic design and the reality of Mia’s cluttered household.

Kaili Y. Turner, Eliza Fichter (Photography by Ken Yotsukura)

 Kaili Y. Turner delivers a memorable performance as overwhelmed and stern Mia who is planning a birthday party for her estranged daughter, Alex.  Sydney Jackson depicts Mia’s excitable, anxious, and somewhat bossy daughter, Dailyn and Alex’s sister who is alarmed by the state of the world depicted on the internet.  Turner and Jackson make a relatable and comical mother and daughter duo as Dailyn pushes all the boundaries.  Both want Alex’s party to be perfect in their own way, and when Alexandria King as upbeat, orderly and mysterious Miss Candace unexpectedly shows up at Mia’s doorstep, life as they know it is about to change.

Greenidge’s clever dialogue lets the tech lingo fly especially from Dailyn and supportive friends Schanaya Barrows as sunny perfectionist Chloe and Aislinn Brophy as Nat as they navigate their way through school and family issues.  Eliza Fichter as energetic and meticulous Heather delivers some candid moments of hesitancy that anyone can relate to in this 2020 endemic world.

Kaili Y. Turner, Alexandria King, Eliza Fichter, Sydney Jackson (Photography by Annielly Camargo)

However, Alexandria King is wonderful as impeccably dressed and never flummoxed Miss Candace, particularly sharing physical comedic prowess with Turner as Mia.  They share an interesting dynamic and their interactions are evenly fun and intense.  King’s bright eyes, clipped laugh and powerful presence is fascinating to watch and Miss Candace’s outlook on life is one we can all take a lesson from.

Innovatively directed by Summer L. Williams, Company One continues Kirsten Greenidge’s tech savvy comedy of Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25.  The show is approximately 1 hour and 35 minutes with no intermission and has some adult language.  Tickets are available on a pay what you can basis.  Click here for more information and for tickets.  

REVIEW:  Ambition and betrayal take center stage in Dream Role Players production of Shakespeare’s classic  ‘Othello’

Posted on by The Sleepless Critic

Alarming what whispers and rumors can create.

With moving direction by Alan White, Dream Role Players continues William Shakespeare’s classic production, Othello live and in person at Chelsea Theatre Works at the Black Box Theatre in Chelsea, Massachusetts through Saturday, March 30.  This show is general admission with pay-what-you-can options and is not suitable for children.  It is their first play performed in an indoor setting and runs two hours and 45 minutes including one 15 minute intermission.  Click here for more information and for tickets.

Dayenne CB Walters and Luis Negrón in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi 

Set in Venice in the 1570’s, Shakespeare’s Othello focuses on General Othello, in a searing depiction by Vincent Ernest Siders, who is madly in love and secretly marries Elisabet “Lisa” Ober as Desdemona to Eric Cheung as Desdemona’s father Brabantio’s fury and dismay that she married a Moor.  Othello also promotes Dom Carter as Cassio to be his lieutenant instead of Dayenne CB Walters as Iago and thus begins stealthy acts of treachery.

Elisabet “Lisa” Ober and Vincent Ernest Siders in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi 

From distinguished uniforms decorated with silver and gold adornments and dapper suits to colorful flowing dresses, costume designer Atlas Mendoza carefully illustrates each character’s distinctive traits.  It was particularly notable to see Iago’s bright red socks hidden just underneath Walters’s suit to indicate that things are not all that they seem.  Lighting designer Richie DeJesus not only creates mood-induced lighting that hints at the mood of each scene, but the simple staging which includes four multipurpose chairs and later an elaborate bed leaves plenty of room for this interactive cast to shine in performances that are not limited to the stage.

Dom Carter and Vincent Ernest Siders in Dream Role Players ‘Othello’ Photo credit to Sushmita Udoshi 

Dream Role Players provide opportunities for individuals to perform their dream roles and Othello boasts an enthusiastic cast who skillfully sinks their teeth into their performances.  With a sly smile, Luis Negrón offers a fervent portrayal of Rodrigo particularly in heated discussions with Dayenne CB Walters as conniving Iago.  Walters epitomizes Iago with shifting eyes while displaying disquieting and calculated practicality.  Walters brilliantly plots and schemes while displaying masked charm and manipulative glee. 

Dom Carter and Dayenne CB Walters in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi 

Dom Carter is amiable as sympathetic and gentlemanly Cassio as he shares some mystifying chemistry with Vidisha Agarwalla as Bianca while Candis Hilton is impressive as mysterious and independent-minded Amelia.  It is endearing to watch Elisabet “Lisa” Ober as strong willed, adoring, and gentle Desdemona who shares boisterous and captivating chemistry with Siders as Othello, but the most riveting encounters occur between Siders as Othello and Walters as Iago.  Siders is a towering and charismatic presence as Othello with rich and powerful vocals who is as suave and lovable as he is intimidating.  Matched by Walters as elusive Iago, the two enact a game of cat and mouse with a mounting intensity that left me at the edge of my seat. 

Dream Role Players ‘Othello’ Full Cast Photo credit Sushmita Udoshi 

With moving direction by Alan White, Dream Role Players continues William Shakespeare’s classic production, Othello live and in person at Chelsea Theatre Works at the Black Box Theatre in Chelsea, Massachusetts through Saturday, March 30.  This show is general admission with pay-what-you-can options and is not suitable for children.  It is their first play performed in an indoor setting and runs two hours and 45 minutes including one 15 minute intermission.   Click here for more information and for tickets.

REVIEW:  Exiled Theatre’s disquieting and fuzzy trilogy thriller ‘Hauntings I Have Lived Through’

Posted on by The Sleepless Critic

Three lost women.  One embraces it, one denies it, and one leans into it.

In their first show since the pandemic, Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19.  Written and directed by James Wilkinson, the show was 80 minutes without an intermission.  Click here for more information on future performances.

From L to R: Laura Crook Waxdal, Morganna Becker, and Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wikinson

The set, which included a water pitcher and empty glass on a wooden desk sitting on top of a colorful Egyptian rug, is simply staged but each character handles the set differently.  The harp-laden eerie music fits the ominous aura between scenes.

Hauntings I Have Lived Through may hint at a collection of ghost stories especially since it was delivered just after Halloween, but this is not entirely the case.  Three separate women recall enduring unique types of trauma.  However, coping with occasional moments of dark humor, their reactions are relatable even in the darkest of circumstances. 

In The Hanging Tree, an increasing anxious and somewhat disheveled woman approaches the desk.  She admits to coming off a tough breakup, though the breakup is mostly incidental to this woman’s real story. The real story develops from an offhanded remark about a mysterious Sycamore tree in her woodsy backyard of a house she is becoming increasingly uncomfortable residing in.  With darting eyes, increasingly shaking hands, and a pale and stricken expression as she utters the anxiety laden yet humorous remark, ‘Pause for effect’ is effective as a rare light in Alex Alexander’s character’s bleak testimony before veering into an unpredictable direction.

Alex Alexander in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

Morganna Becker’s character has been through a lot, but her frank, sarcastic and chatty tone hints of denial as she recalls a macabre event in the show’s second part, Nora (All Over).  This chapter is a bit muddled and at times difficult to follow, but there is no denying that this woman has also been through defining trauma.  As Becker recounts her story as if incidentally recalling the difficulties of a typically tough day, there is a fear behind her engaging yet guarded demeanor.  This story is particularly graphic and gory while Becker takes it in as if she is a spectator in her own life.  Her subtle fear keeps her sympathetic as if she will at any minute grasp the gravity of what she has experienced.

Morganna Becker in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

The finale, The Dark Lady Gospels, delves into experienced trauma, but does not seem to belong with the other parts of the trilogy.  Laura Crook Waxdal delivers a strong performance as a twisted evangelist, but this compassionate woman does not practice what she preaches.  This part seems more parlor trick and diatribe than what could have been a meaty exploration into this complicated and abandoned woman’s character.  Perhaps her practices are a veiled attempt to cope with trauma, but even so, what she preaches seems beside the point and bereft of hope.  As a woman with a considerable amount to live for, it does not fit squarely into the show’s premise and gradually strays too far from its focus hinging more on fear than exploration.

Laura Crook Waxdal in Exiled Theatre’s ‘Hauntings I Have Lived Through’ Photo credit to James Wilkinson

Exiled Theatre presented Hauntings I Have Lived Through, a trilogy thriller that took place live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, November 19.  Written and directed by James Wilkinson, the show was 80 minutes without an intermission.  Click here for more information on future performances.

REVIEW:  Hub Theatre Company of Boston’s ‘Book of Will’ is storytelling at its best

Posted on by The Sleepless Critic

‘Good stories make for good lives.’

Just one of the many insightful musings that Lauren Gunderson injects into The Book of Will which is a rollicking, meaty and glorious tribute to Shakespeare and storytelling.  Get thee to The Book of Will! 

Lauren Elias and the cast of Hub Theatre Company of Greater Boston’s ‘The Book of Will’ Photo by Hub Theatre Company of Boston

Directed exquisitely by Bryn Boice, Hub Theatre Company of Boston continues Lauren Gunderson’s The Book of Will live and in person at The Boston Center for the Arts through Sunday, November 12.  The show is approximately two hours with one intermission and always, a pay what you can production.  Not a bad seat in the house.  Click here for more information and for tickets.

The show begins with a comedic flourish and keeps its energetic pacing throughout the production.  It is three years after Shakespeare’s death and a group of men gather and contemplate Shakespeare’s genius as well as the butchery and liberties that some theatres have taken since to depict his work over a pint at a tap house next to the famous Globe Theatre in London.  How to keep Shakespeare’s work alive the way it should be remembered?

Jessica Golden and the cast of Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston

The Book of Will offers commentary on many aspects of Shakespeare’s work and delivers some Shakespeare references and quotes passionately, but it is not necessary to be a Shakespeare fan to enjoy the humor and sheer love of the written word and theatre.   

The famous skull and brethren in Hub Theatre Company of Boston’s ‘The Book of Will’ Photo credit to Hub Theatre Company of Boston

The cast has crackling chemistry with commanding as well as shrewd comedic timing.  No one is afraid to go too far for a laugh or to capture meaningful moments.  Some of the performers take on dual roles which will not be revealed here.

Jessica Golden and Cleveland Nicoll are an adorable young couple while Laura Rocklyn and Brendan O’Neill are powerful and wise as they deal with challenging aspects of their long term marriage.  Rocklyn and O’Neill evoke a different form of endearing relationship.  Rocklyn, Nicoll, and O’Neill later share a powerful and beautiful sequence, especially demonstrated by O’Neill, as Nicoll and O’Neil contemplate the meaning of love and life.  Rocklyn is just one of many wise and wonderful female characters in this production.

Cleveland Nicoll’s shows off sharp comedic timing through his scene stealing expressions, eye rolls, stubbornness and outrage while Dev Lutra delivers a commanding and charismatic performance as Burbridge, the head of the King’s Men.   John Blair also offers a fascinating performance as Poet Laureate and Shakespeare’s ‘frenemy’ Ben Johnson.

Hub Theatre Company of Boston’s ‘The Book of Will’ set Photo by Hub Theatre Company of Boston

Payton Tavares’s straightforward set design features a timely wooden half moon stage, two tables and surrounding stools with barrels in the background and enhanced by rope.  Ellie De Lucia’s authentic Elizabethan era costumes feature gold trimmed vests and buttons, silky grand gowns, Venetian breeches, wingtip shoes, spectacles, corsets, peasant blouses with some rich colors and patterns.

What else is there to say but see this wonderful production that shall bring as much joy as it will stir the soul.

Directed exquisitely by Bryn Boice, Hub Theatre Company of Boston continues Lauren Gunderson’s The Book of Will live and in person at The Boston Center for the Arts through Sunday, November 12.  The show is approximately two hours with one intermission and always, a pay what you can production.  Not a bad seat in the house.  Click here for more information and for tickets.