Samantha Jane Williams and Stewart Evan Smith in Greater Boston Stage Company’s ‘Boulevard of Bold Dreams’ Photo credit to Nile Scott Studios
Directed warmly by Taavon Gamble, Greater Boston Stage Company delivers a perfectly timed, heartfelt tribute to one of the greats with the east coast premiere of Boulevard of Bold Dreams by LaDarrion Williams live and in person at Greater Boston Stage Company in Stoneham, Massachusetts and streaming through Sunday, March 19. The show is 90 minutes with no intermission. Click here for more information and for tickets.
This year’s 95th annual Academy Awards marked a revolutionary year as Everything Everywhere All at Once not only dominated the night winning Best Picture, Best Direction, and Best Screenplay but also delivered a historic win for Michelle Yeoh as the first Asian actress to win an Oscar for Best Actress in a Leading Role. One of the actresses that presented Yeoh’s Oscar was none other than Halle Berry who was the first African American to win an Oscar for Best Actress in a Leading Role. When Berry won in 2002 she declared, “This moment is so much bigger than me.”
Michelle Fenelon, Stewart Evan Smith and Samantha Jane Williams in Greater Boston Stage Company’s ‘Boulevard of Bold Dreams’ Photo credit to Nile Scott Studios
Hattie McDaniel’s groundbreaking Oscar win as Mammy in Gone with the Wind garnered acclaim and ongoing recognition for the barriers she broke as well as controversy while she paved the way for Halle and many other actresses including Viola Davis, Whoopi Goldberg, Diahann Carroll, Jennifer Hudson, Regina King, Octavia Spencer, Lupita Nyong’o, and Ariana DeBose. Those actresses were able to write their own acceptance speeches, sit with their cast, and although some aspects of Boulevard of Bold Dreams is fictionalized, the show delivers some eye-opening facts about McDaniel within segregated Hollywood. Facing a tough road, McDaniel had had the foresight and tenacity to make sure her name was on that Oscar ballot.
Michelle Fenelon and Stewart Evan Smith in Greater Boston Stage Company’s ‘Boulevard of Bold Dreams’ Photo credit to Nile Scott Studios
Boulevard of Bold Dreams also boasts a memorable and tenacious cast. Bartender Arthur Brooks, an imaginative and aspiring director in a standout performance by Stewart Evan Smith, has big dreams well beyond his current occupation. Smith’s candor, charisma, and enthusiasm brighten each scene and his unflappable vision for his future makes it easy to root for his success in the face of any obstacle. Maid Dottie Hudson, a cynical, yet aspiring singer portrayed with wit and humor by Michelle Fenelon, has her feet planted closer to the ground. Smith and Fenelon strike a delicate balance of resourcefulness, wishful thinking and persistence when they arrived in Hollywood with little money and big ambitions. However, things are more complicated than they appear. In a distinctive and glittery blue gown, Samantha Jane Williams gracefully captures Hattie McDaniel’s humble and frank demeanor with an underlying anxiousness as she faces a potentially life changing night. Fenelon and Williams have quick and complex camaraderie as their strong vocals combine for a playful and impromptu duet.
Boulevard of Bold Dreams Samantha Jane Williams Michelle Fenelon and Stewart Evan Smith in Greater Boston Stage Company’s ‘Boulevard of Bold Dreams Photo credit to Nile Scott Studios
Kiara Escalera’s meticulous costume design recreates McDaniel’s look with precision as well as the vintage sophistication of the 1940s. Enhanced by red and gold jacquard curtains and distinguished black and gold doors, scenic designer Rachel Rose Burke elegantly recreates a section of the Ambassador’s Coconut Grove Night Club in Los Angeles.
Boulevard of Bold Dreams not only depicts life’s possibilities through McDaniel, but the extent of the segregation and racism of that time and the struggle to make their dreams come true. Whether or not a fan of the Academy Awards or Hollywood, Boulevard of Bold Dreams tells an inspiring story for all the dreamers of how one person can create lasting change one step at a time.
Greater Boston Stage Company’s Boulevard of Bold Dreams by LaDarrion Williams live and in person at Greater Boston Stage Company in Stoneham, Massachusetts and streaming through Sunday, March 19. Click here for more information and for tickets.
The OBIE-Award winning New Ohio ICE Factory is celebrating its 29th year and has been presenting a number of innovative works each summer that continue through August 20 live and in person at New Ohio Theatre, 154 Christopher Street in New York City. Virtual shows are available through August 27. Isla, Acheron: The River of Tragedy, and Body Through Which the Dream Flows are just a few of works presented during this annual festival. Click here for further details, how to stream, and for tickets.
Photo courtesy of New Ohio Theatre
Bikes fly, a plane takes off, and cars zoom as a world unfolds in interactive shadows. Produced by Hit the Lights Theatre, Isla is a documentary experience which combines shadow puppets, photos, animation, and live action to depict the warmth of Samantha Blaine’s homeland and the realities of the Cuban invasion she grew up in. Her unique and personal journey with her mother and two free spirited sisters integrates nature and song to demonstrate the realities of invasion, family, and how everything is connected. Featuring strong vocals as well as heartwarming and wistful performances by Samantha Blain, Marlena Mack, Tiffany Ortiz, Kristopher Dean, Mikayla Stanley, Claron Hayden, and Casey Scott Leach, Isla is a fascinating production that explores heartache, division, political turmoil, pollution, and how Blaine’s world was shaken by communism.
‘Isla’ Photo by Claron Haydon
A car crash and a tense, mysterious encounter lead to much more than either of these characters bargained for at a river at the Mexican-US border. Directed by Martin Balmaceda, Spanish language production Acheron: The River of Tragedy serves up a wealth of twists and turns in this sordid and at times clever tale. This production has mature themes and is not for children.
A secretive and menacing presence, portrayed by Cinthia Perez Navarro, has entered the life of Leonardo, portrayed with strained intensity by Aline Lemus Bernal, a nattering, impulsive, and yet perpetual optimist who dreams of freedom as soon as that tumultuous river is crossed. However, there is a heavy price for that dream and neither are savory characters. Navarro’s searing intensity and cryptic glances make for some skittish moments while Bernal’s jaunty moves and brisk chatter never quite distract from Navarro’s distressing wrath. Cinthia Perez Navarro and Aline Lemus Bernal are also behind the show’s sharp choreography. Acheron: The River of Tragedy is a gritty tale about the darker side of humanity in the pursuit of happiness.
Body Through Which the Dreams Flows also explores what it takes to achieve a dream. In this case, it is achieving the Olympic dream as past footage of Olympic champions kick off the production. Part documentary and part stage performance, creator Soomi Kim and company takes a look at the incredible world of gymnastics and the corruption and tragedy that has seeped into the sport and the lives of young girls in training. What does it take to be a champion? Sometimes the price is too steep.
What is really compelling about Body Through Which Dreams Flow are the reenactments of some real life footage as well as Soomi Kim and Alexandra Beller’s beautiful choreography, the sheer athleticism, and interpretation from athletes Lucy Meola, Olivia Caraballoso, Madison Rodriguez, Shayna Wilson, Nora Avci, and Ai Clancy. Enhanced by Amanda Ringger’s haunting lighting, Body Through Which the Dream Flows is a stirring and eye opening production addressing the pressures and what seems like the impossible expectations from coaches while focusing on what past athletes have endured. It also delivers a powerful message on the importance of a child having the chance to be a child.
New Ohio BTWtheDF Full cast_ Ai Clancy, Soomi Kim, Madison Rodriguez, Nora Avci, Shayna Wilson, Lucy Meola, Olivia Caraballoso
The New Ohio ICE Factory 2022 continues live and in person at the New Ohio Theatre through August 20 with virtual availability through August 27. Click here for more information and tickets.
Before cell phones, the internet, and alternate forms of digital communication invited people to text and talk on a computer screen as an alternative to seeing someone in person, Hair highlights the value of in person camaraderie, especially when things seem to be falling apart. Set in war torn 1968 and focusing on a tribe of hippies that could possibly be drafted, emotionally and physically holding onto each other helps them cope in a world gone mad.
Company Theatre’s ‘Hair’ Shane Cunniff-of Quincy and Gilbert Dabaddy of Rockland Photo courtesy of Zoe Bradford/Company Theatre
Directed astutely by Zoe Bradford with bold musical direction by Robert McDonough, Company Theatre continues the 1960’s rock musical Hair through August 21 live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts. This show has mature themes and not appropriate for children. Click here for more information and for tickets.
What is so prevalent in Company Theatre’s production of Hair is the natural camaraderie between cast members tackling a work that requires the cast to engage so closely and without reservations. Hair is at times an immersive experience with some interaction with the audience and cast members occasionally marching down the aisles. An entire cast warmly together onstage is uplifting albeit still a tad bit strange to witness. It provides an escape from the world today with social distancing still not quite a thing of the past.
Company Theatre’s ‘Hair’ Julia Violet of Hanover Janaysia Gethers of Weymouth Elizabeth Nunnery of Hanover Shane Cunniff of Quincy and Tim Bevens of Hingham Photo courtesy of Zoe Bradford/Company Theatre.jpeg
Though the musical took place almost 55 years ago, there are clearly some parallels with contemporary society. In a world with increasing protests, questions on gender, environmental concerns, women’s lib, the realities of war, racism, social injustice and societal division, Hair addresses many of these issues through song, humor, activism, and somberness. It also features some silly and sometimes unnecessary content, but the intrinsic nature of its most popular songs give it a poignancy and relevance that the musical isn’t always given enough credit for.
Hair takes place, as the famous song proclaims, in the Age of Aquarius where one is destined for either greatness or madness. With all the turmoil in the world, Hair seems to be embracing a bit of both. From Aquariusto Easy to Be Hard to Good Morning Starshine to Let the Sunshine In to its memorable title track, Hair delivers an energetic and steady stream of versatile music almost from beginning to end.
Company-Theatre-Hair-Peter-Kirby-of-Norwell portrays Claude and Julia Violet of Norwell as Sheila the protest leader Photo courtesy of Zoe Bradford/Company Theatre
Not only does this young cast have strong vocals, but they also fit naturally into this era having done meticulous research with Bradford on the time period. Some historical footage is sporadically shared during the production. Charismatic Nolan Donato as Berger, the Tribe’s outspoken leader, is an engaging storyteller for the catchy song Donna. Fun-loving Peter Kirby as mysterious Claude delivers a humorous rendition of Manchester, England, but Claude’s inner turmoil is what truly brings out Kirby’s dynamic performance. Kirby also shines with the Tribe for I’ve Got Life. Julia Violet is wonderful as the free spirited Sheila and offers a moving rendition of Easy to Be Hard. Wearing slick 60s sunglasses, Jeff John-Phillipe as Hud candidly leads the Tribe in an affecting Colored Spade and later alone for Abie, Baby. Shawn Verrier gets a lot of laughs as historical and controversial Margaret Mead.
The-Company-Theatre’s ‘Hair’ Jeff Jean Phillipe as Hud Peter Kirby as Claude and Shawn Verrier as Margaret Mead Photo courtesy of Zoe Bradford/Company Theatre
Love triangles are rampant and depicted quite humorously featuring Julia Violet as Sheila, Olivia Valianti, Emma Bergman, Amelia Kirshon, and Cate Healey in I Believe Love. He’s in love with her and she’s in love with him and he’s in love with someone else. Sally Aston Forrest’s funky and flowing choreography is at its best for the psychedelic Walking in Space enhanced by Dean Palmer Jr’s florescent lighting.
From beads to fringe to bell bottoms to slick 60s sunglasses to multi-pattered and flowing garments, costume designer Hannah Schuurman with set designer Ryan Barrow creates that groovy 60’s vibe featuring an embellished 60s theme truck, beaded passageways, and oriental rugs lining the stage.
Company Theatre’s rock musical Hair shows an era where people are anxious about the future and wondering where their destiny lies. It does not stray too far from today’s struggles, but peace, love, and happiness are not a thing of the past. Depicted by this young cast in a powerful, emotionally-charged rendition of Let the Sunshine In, perhaps the most important thing is holding onto each other.
Company Theatre’s ‘Hair’ Berger leader of the Tribe portrayed by Nolan Donato of Scituate and Sheila the protest leader portrayed by Julia Violet of Norwell Photo courtesy of Zoe Bradford/Company Theatre.jpeg
Company Theatre continues the 1960’s rock musical Hair through August 21 live and in person at the Company Theatre, 130 Accord Park Drive in Norwell, Massachusetts. This show has mature themes and not appropriate for children. Click here for more information and for tickets.
When I first witnessed the hit film Hidden Figures, I was absolutely amazed for a couple of reasons. In the early 60’s, a team of phenomenal NASA mathematicians were so talented that some astronauts including Neil Armstrong refused to board the space shuttle without their astute calculations. The other amazing and frustrating detail is that for all that these African-American women accomplished, I had never heard of them or worse, was never taught about them at school. Hidden Figures stayed with me. These genius mathematicians made such an indelible impact in the world and yet, I was learning about them for the first time in this film.
‘Young Nerds of Color’ cast and creative team Photo credit to Nile Scott Studios
The night before reviewing Young Nerds of Color, I attended an astronomy group meeting that featured a documentary about a rarely predictable phenomenon. A professor claimed he knew when the next supernova would occur. A supernova is when a star explodes and disperses its matter into the galaxy. It turns out the professor made a tragic miscalculation and the supernova never occurred in the documentary. However, Young Nerds of Color depicts two beautiful ones thanks to Andrea Sofia Sala’s innovative lighting while also symbolically illuminating some big and impactful ideas such as the discovery that matter from a supernova is directly connected to eyesight.
Lindsey McWhorter as Portia Long, Daniel Rios Jr as Reinaldo Herrera and DJ Lopez, and Alison Yueming Qu As Chloe Chen Photo credit to Nile Scott Studios
An educational and unconventional play full of discoveries, Young Nerds of Color translates like a flowing and collaborative academic dialogue among geniuses with performances so subtle and convincing that I had to glance back at the program to make sure they were actors and not the actual professionals they are depicting. A show gathered from 60 interviews with real life scientists, cast members deliver their point of view in their own unique style as they discuss the journey to make their ambitions come to life.
Ricardo Engermann as Jim Gates, DJ Thomas, Reinaldo Herrera and DJ Lopez Photo credit to Nile Scott Studios
Sponsored in part by MIT, Young Nerds of Color examines the lives of renowned scientists and engineers from diverse backgrounds whose career dreams were more difficult to achieve than they ever expected even before they discovered that dream. Living in pre-segregated Boston, racism and economic struggles was just a portion of the challenges they faced for being “young nerds of color.” They all collaboratively take on the role of scientist and educator as they share with the audience and usher in the next generation to proceed toward their dreams with cautious optimism.
Lindsey McWhorter as Portia Long and Karina Beleno Carney as Dr Maria Hernandez Photo credit to Nile Scott Studios
Shelley Barish’s straightforward and illuminated set features two double helixes that might also symbolize that long career ladder and periodic table while Nona Hendryx creates memorable compositions with catchy and cosmic-sounding rhythms and original music.
Some of the cast depicts multiple roles and have engaging chemistry as they portray the journey from childhood experiments fueled by curiosity to those dangerous discoveries that can change the world all while presenting themselves in a way that society might accept so they too might thrive. I should have learned about this astounding group before now.
Hidden Figures stayed with me and Young Nerds of Color sure does too.
Underground Railway at Central Square Theater presents Young Nerds of Color arranged by Melinda Lopez live in person through March 20 at Central Square Theater in Cambridge, MA and virtually through April 3. The show is approximately 75 minutes with no intermission. Click here for more information, tickets, and COVID-19 guidelines.
It’s hard to miss the message behind TJ Loves Sally 4 Ever, a bold, semi-interactive satire that takes a deep dive into prominent social issues such as racism and sexual harassment by putting a contemporary spin into troubling pieces of history. Taking cues from Dear White People, TJ and Sally 4 Ever is anything but a love story and highlights the frustration evident within each of its characters as they attempt to convey their own point of view.
Directed by Pascale Florestal, SpeakEasy Stage Company presents TJ Loves Sally 4 Ever virtually through Thursday, May 13. The show run 1 hour and 35 minutes without an intermission and is not suitable for children. Viewer discretion is advised. Click here for more information and tickets. Resources for this production can also be found on speakeasystage.com and a panel discussion is available here after seeing the production.
Jared Troilo and Tah-Janay Shayone in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company
Speakeasy Stage Company’s TJ Loves Sally 4 Ever heeds social distancing guidelines through some careful blocking and innovative technology. Though a couple of frames look a little awkward, the majority of the show flows naturally.
Sally, portrayed with levelheaded wit by Tah-Janay Shayone, portrays a college student who is starting a job under obnoxious, egotistical, controlling (and much more) Dean Jefferson. Flailing about with a subversive glint in his eye, Jared Troilo delivers an unabashed, grimly humorous performance as Dean Jefferson. Dru Sky Berrian as Pam and Sadiyah Dyce Stephens portray Sally’s caring, protective, and partying sorority sisters and Jordan Pearson as blunt and tenacious Harold will do just about anything for change.
Jared Troilo and Jordan Pearson in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company
Though this satire at times misses its mark, TJ Loves Sally 4 Ever’s unconventional premise and delivery distinctively portrays Sally and the cast’s exasperation as they bring to light the hypocrisies and arrogance within our society as each try to forge a path toward a brighter future.Choreographed cleverly by Kira Cowan Troilo, a particular highlight involves a dance sequence between Pearson and Troilo that quite literally drives home the scene’s inherent message. Rachel Padula-Shufelt’s colorful and detailed costume design from Sally’s symbolic outfit to a scene featuring colonial gowns enhances the production’s strong and serious subject matter.
Left to Right: Dru Sky Berrian, Tah-Janay Shayone and Sadiyah Dyce Stevens in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company
The show effectively takes a hard, long look tying in the past, present, and is ultimately optimistic for a compassionate future. Speakeasy Stage Company’s TJ Loves Sally 4 Ever continues virtually through Thursday, May 13. Click here for more information, tickets, and how to support the SpeakEasy Stage Company.
Until the Flood begs the question, “How do you want to be remembered?”
Director Timothy Douglas frames a poignant, moving portrait of a community in pain with Merrimack Repertory Theatre’s virtual docu-drama Until the Flood continuing through Wednesday, May 5. The content of this program is not recommended for youth under age 16. This program was originally commissioned by The Repertory Theatre of Saint Louis. Click here for more information on Merrimack Repertory Theatre and how to stream the show.
Based on real life accounts gathered in 2014 by Pulitzer prize-winning finalist Dael Orlandersmith, Until the Flood delves deep into the emotional and complicated perspectives and recollections of this community and how it affected each person following the shooting of Michael Brown in Ferguson, Missouri.
Maiesha McQueen in one person show ‘Until the Flood’ Photo courtesy of Kathy Wittman/MRT
A colorful, makeshift memorial is strewn on a chain link fence shrouded in a blue, haunting darkness. Sirens ring out in the distance amid tingling and powerful music. Merrimack Repertory Theatre’s Until the Flood sets a foreboding undertone through Lindsay Jones’s chilling sound design and Bill Clarke’s haunting and true-to-life set pieces.
Encapsulating all the anguish, uncertainty, doubt, fears, and hope is Maiesha McQueen in a tour-de-force performance onstage as she takes on eight individual composites drawn from real life interviews in this one person show. From a 17 year-old teenager to a 75 year-old retired police officer, McQueen digs into the heart of each individual and delivers the kind of multi-layered performance that flows with each individual. From a subtle head tilt and a tumult of emotion brewing in her eyes to the careful movements and creaking in her bones as she takes on the persona of an ailing senior to the confident swagger of a teenager that feels like he can take on the world, McQueen writhes and broods with each character. Dressed in colorful and consistent street clothes by Yao Chen, each perspective and recollection made by each individual is fleshed out and brought together by McQueen as she pours herself into each character and makes each stand on their own. Her pliability transforms her stature, stance, rage, compassion, sadness, and anger “like the flood” over the state of the world.
Until the Flood provides not only each individual account of what they heard, saw, or experienced of the Michael Brown shooting, but a deeper look into how each person lived their life before and after this harrowing incident within this community. It is a raw, gripping look at how ugly and how beautiful a society can be and how easily friendships can change when people do not see eye-to-eye. It delves into anger that can be unleashed too easily, anguish, sadness, harrowing fear, and unbridled hope in fellow human beings in spite of life’s sorrowful circumstances. Most of all, it presents a fairly even handed, but complex account of what truly motivates human nature and how fear and hope takes shape.
Merrimack Repertory Theatre, located in Lowell, Massachusetts continues streaming Until the Flood through Wednesday, May 5. Click here for more information and tickets.
The setting could be anywhere. However, that feeling of impending doom cannot be shaken as SpeakEasy Stage Company and Front Porch Arts Collective presents the twist-filled, semi-interactive, and award-winning Pass Over by Antoinette Nwandu continuing through Sunday, February 2 at the Calderwood Pavilion in Boston, Massachusetts. This show is not appropriate for young children for explicit language and adult themes. Pass Over is an hour and a half with no intermission. Click here for more information and tickets.
Directed cleverly by Monica White Ndounou, Pass Over is part absurdist drama that tackles a number of social issues including racism and police brutality and weaves them together into a culturally meaningful narrative. Its theatre-in-the-round and semi-interactive setting helps pull the audience into the drama and never lets go.
Hubens “Bobby” Cius and Kadahj Bennett in SpeakEasy Stage’s production of ‘Pass Over’ Photo by Nile Scott Studios
Alternating swiftly from humorous to harrowing, Pass Over mixes the real with the seemingly imagined, often leaving you wondering whether what you are seeing onstage is actually happening. Kathy A. Perkins’s lighting and pulsing sound by Anna Drummond seamlessly navigates the distinct, intense mood of this piece.
This suspenseful tale comes with simple staging by Baron E. Pugh and Wooden Kiwi Productions with only a nondescript lamp post and chain link fencing. Anything more than that would be distracting. Costume designer Chelsea Kerl keeps Kitch and Moses local with Red Sox caps and Celtics gear.
Hubens “Bobby” Cius and Kadahj Bennett in SpeakEasy Stage’s production of ‘Pass Over’ Photo by Nile Scott Studios
The joint charisma of the two main characters is what hinges on the show’s credibility and they have that in spades. The magnetic camaraderie, natural rhythm, and gift for physical humor between pensive Moses, portrayed by Kadahj Bennett, and funny, fast-talking Kitch, portrayed by Hubens “Bobby” Cius, gives this show its intriguing vibe as they joke, dream, plot, and wait on a deserted street corner. They keep each other strong as they dream of rising up to their full potential and escape what is holding them back. “Pass Over” means freedom.
Lewis D. Wheeler’s over-the-top performance enhances the palpable tension in this production. As Mister, he plays an intricate part and takes on more than one role in this thought provoking tale. In a beige suit and panama hat while carrying a wicker basket, Mister’s back story faintly resembles little red riding hood as he creates an impossible situation.
Lewis D. Wheeler in SpeakEasy Stage’s ‘Pass Over’ Photo by Nile Scott Studios
Without being preachy, Pass Over delivers a powerful message while exploring some of the darker, hypocritical sides of human nature and treats its serious themes with sensitivity.
SpeakEasy Stage Company and the Front Porch Arts Collective present Pass Overthrough Sunday, February 2 at the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in the South End of Boston, Massachusetts. Click here for more information and tickets and here to learn more about the Front Porch Arts Collective. The Children and Bright Star still coming up as part of SpeakEasy Stage Company’s 2020 season.
From exploring live theatre and music to nature to science to space as well as taking on racism, climate change, and many more important topics all involving a vast array of community members, organizations, and performers, Boston Landmarks Orchestra is so much more than a beautiful free Wednesday night concert outing at the Esplanade. Boston Landmarks Orchestra Gala will celebrate 90 years of free concerts on the Esplanade in October.
WCRB is a media partner for the Boston Landmarks free concert series. Click here for Boston Landmarks Orchestra’s complete summer schedule at Boston’s renowned Hatch Shell and here for further details on the upcoming Gala.
It was an honor to speak with Christopher Wilkins, Boston Landmarks Orchestra’s conductor and Music Director, who took time out of his busy schedule to discuss the highlights of the Boston Landmarks Orchestra’s summer season and what is coming up.
The Sleepless Critic: The season kicked off on July 10 with the second annual “Season Tune-Up” party. What was that like?
Christopher Wilkins: It was a gorgeous night with a great turn out. Lots of children attended and we introduced our audience to many of our partner organizations which include musical organizations, music educational schools, and partners like the New England Aquarium and the Museum of Science. The “Season Tune-Up” Party featured fun games, a performance from the Everett High School band, and our Maestro Zone where kids can step up at the podium, wave the baton, look at a score, and get a conducting lesson. We offer Maestro Zone at our regular concerts as well.
The Maestro Zone with Maestro Zone Assistant Conductor Shuang Fan
SC: We’ve been blessed with some beautiful nights this summer. You have been the Music Director and conductor for the Boston Landmarks Orchestra since 2011. What has it been like for you collaborating with different theatres and new works each year?
CW: Our mission is to engage as many Bostonians as possible from all walks of life and one of our strategies is to develop partnerships. They feature an array of organizations to get their fans, their folks, and their constituency excited to come to a concert and work with us.
One of our best strategies is to create composer residencies in different neighborhoods around Boston so people who might not ever encounter an orchestra can develop some way of making music or dancing or some other performing art that they can bring to our stage and perform with the orchestra. We have a lot of inexperienced young performers throughout the summer and some who have never been onstage before. We do all that along with an eclectic lineup of Dvorak, Broadway, symphonies, and a great choral repertoire.
SC: It must be an incredible experience to see how everybody interacts with each other and how it turns out onstage.
CW: It’s wonderful to perform it in the Hatch Shell because it is an iconic venue, people associate it with orchestral music, and it is in the heart of the city. The Hatch Shell is also quite enormous. We can fit 5,000 people or more at our concerts and that is typically what we draw when the weather is nice.
SC: Such depth in a free event.
CW: It’s important to many people that can’t afford to come otherwise. It’s also a powerful emblem of the idea of universal access. Everybody is welcome.
We just think about access barriers, which are not only economic. Cultural assumptions in a community can cause people to stay away. At Landmarks, we think deeply about what those barriers are and do what we can to get rid of them.
SC: Yes, and you have held many events so far this season. For example, you recently celebrated the 50th anniversary of the Moon Landing with Symphonic Space Odyssey. How did you pay tribute to this historic event?
CW: We performed that in Jordan Hall because it was a stormy night. Jordan Hall is one of the most beautiful venues in America and the sound indoors just rattles your bones. We didn’t have to change the program at all, just the venue.
The Moon Landing is one of the most amazing achievements in the history of mankind. It was an awesome night and we celebrated it with the Museum of Science which was perfect because they have had an exhibition ever since the moon landing occurred. The Museum of Science prepared fabulous video footage relating to the moon landing, space travel, rockets, and deep space taken from materials produced in house at the Hayden Planetarium for their full dome experience.
SC: What are you most looking forward to this season?
CW: Each week is so over the top that it’s hard to pick a favorite. We have a wonderful collaboration on August 14 with the New England Aquarium featuring some remarkable video material that will be synchronized live to the orchestra.
Boston Landmarks Orchestra partners with the New England Aquarium for a free concert on August 14 Photo courtesy of Boston Landmarks Orchestra/New England Aquarium
The subject is climate change and we’re performing Vaughan Williams Symphonia Antarctica which is originally a film score, but now set to a more recent film made by Natural History New Zealand featuring all shots from Antarctica.
Then we have a beautiful photographic sequence put together by Boston Globe writer David Arnold called “Above and Below.” He’s taken Brad Washburn’s iconic aerial photographs of glaciers and coral reefs mostly from the 1930’s and then taking the same shots today. Of course what you see is a devastating record of loss set to Adagio for Strings. The program also includes optimistic shots from Boston Harbor and other places from then and now which shows tremendous improvement environmentally and send the message that we can do something about climate change.
We did an extremely interesting panel discussion recently which has some caused useful and in depth panel conversation called “Who Should Sing Ol’ Man River?” around race and the portrayal of racial themes at WBUR CitySpace. Our moderator was Emmett G Price III, a celebrity in Boston and a wonderful musician, historian, pastor, and radio personality. It was a wonderfully experienced and informed panel who weighed in on a lot of these questions and shaped how we put together the following week’s concert.
Bass Bariton Alvy Powell Photo courtesy of Boston Landmarks Orchestra
SC:Ol’ Man River from Rodgers and Hammerstein’s “Showboat” is such an amazing song and I’ve seen it done is so many different ways.
CW: It’s a showstopper. Our base Alvy Powell has sung Ol’ Man River in the White House for the last six sitting Presidents in a row. He sang it at George H.W. Bush’s funeral at President Bush and his wife Barbara’s request. He also sang it at Gerald Ford’s funeral. If anyone should sing Ol’ Man River, it’s Alvy Powell and he performed it that night.
SC: What kind of conversation sprung from that panel?
CW: That’s a good question. We got into questions of language, dialect, the history of black music, and cultural appropriation. Quite an interesting segment was when we were looking at where we go from here. One of our panelists was Ashleigh Gordon, founder of an organization that has attracted a lot of praise and attention called Castle of Our Skins. It celebrates African American composers and performers. She’s done an amazing job furthering the discussion and coming up with creative ways of producing eye catching programming.
Christopher Wilkins with Jennifer Ellis Matthew DiBattista, Maesto Wilkins, and One City Choir Photo courtesy of Boston Landmarks Orchestra
It’s often our best vehicle for showcasing the diversity of traditions and types of cultural expression. I grew up here, but the city is infinitely more diverse now than it was when I grew up.
SC: Absolutely. What have you liked most over your time with the Boston Landmarks Orchestra?
The musicians learn something they know so well and are able to put it into the context of the play while the actors now can play off a symphony. Now how often does that happen? It is amazing for the performers and the audience.
SC: You’ve performed all over the United States. What do you like best about your time with the Boston Landmarks Orchestra?
CW: I love our mission. It’s readily understandable to most people in the community which I think is why we are receiving increasing levels of support from all quarters from individuals and foundations and from political reps because we are using great music with its level of complexity, depth, and emotional appeal and a first class professional orchestra as a means to gather community together.
I don’t know another orchestra that has a mission defined in this way. I learn a lot and meet all kinds of interesting people doing interesting work. We get to come together in a musical setting and it’s almost guaranteed everybody has a wonderful time.
Sit back and enjoy the Boston Landmarks Orchestra free every Wednesday night. Click here for the full schedule and how to support future concerts.
“Eat vegetables. Fiber is your best friend. Potassium combats blood pressure.” This sage, conventional advice was delivered in a humorous moment by Pops in an earnest attempt to be an average, conventional dad. Though wise in his own way, Walter “Pops” Washington is anything but conventional as an alcoholic widow, father, and head of a wildly dysfunctional household in the Pulitzer Prize-winning drama Between Riverside and Crazy that recently completed its run at the SpeakEasy stage at the Calderwood Pavilion in Boston, Massachusetts. This production is not meant for children. Click here for more information on the SpeakEasy Stage, winner of the 2018 Boston’s Best by the Improper Bostonian, and its upcoming productions.
Directed by Tiffany Nichole Greene and written by Stephen Adly Guirgis, Between Riverside and Crazy takes an edgy, at times controversial look at a struggling family who is losing their connection to each other while trying to survive by any means necessary. With darkly humorous moments that delve into issues of racism, privilege, and deception, this message-driven production grows every bit as crazy as the title suggests. However, things are certainly not all that they seem and the show is all the better for it. The Washington family has a great deal of underlying heart and blunt honesty, but it takes some digging to get there.
Lewis D. Wheeler, Maureen Keiller, Stewart Evan Smith, Tyrees Allen, and Octavia Chavez-Richmond in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.
The real strength in Between Riverside and Crazy is in its energetic, complex performances. With a gravelly voice, more than his fair share of obstinacy, and traces of Red Foxx from Sanford and Son, Tyrees Allen slips smoothly into Walter’s tough skin with an inner turmoil that is always brimming to the surface, at the brink of revealing itself. Every snarl, agitation, and sorrow flows eloquently, delivering a powerful punch to a performance that should not be missed. It is easy to spot his outspokenness brashness in his son Junior, portrayed with a tough exterior, but with charm and secretiveness by Stewart Evan Smith. Their exchanges, like most of the show, are quick paced and snappy, and if it wasn’t for the darker nature of this show, shows earmarks of any relatable American family.
Completing this family is Alejandro Simoes who delivers a quiet and sympathetic performance as Walter’s adopted son Oswaldo. A bit naïve and with a secret of his own, Simoes delivers a clever and at times shocking performance of a troubled individual who is not all that he seems.
Octavia Chavez-Richmond and Stewart Evan Smith in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.
With over-sized gold earrings, a tiny outfit and a Puerto Rican accent, Octavia Chavez-Richmond portrays the mysterious and often humorous Lulu. Chavez-Richmond delves into this juicy, darkly comical role with gusto every time she takes the stage. She is particularly funny during an exchange with Junior about their future and during a subtle, fascinating scene with Oswaldo and Junior discussing Ring Dings, bologna, and grape soda.
Octavia Chavez-Richmond, Tyrees Allen, Lewis D. Wheeler, and Maureen Keiller in SpeakEasy Stage’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.
Maureen Keiller as warm, but complicated Detective O’Connor and Lewis D. Wheeler as brown nosing Lieutenant Caro are outspoken New York police officers who have a history with Walter. Some of the most memorable scenes of the show are between Keiller, Allen, and Wheeler, each exchange between them like a fascinating game of poker. Although brief, Celeste Oliva offers a bold, pivotal, and controversial performance as Church lady.
Celeste Oliva and Tyrees Allen in SpeakEasy’s production of BETWEEN RIVERSIDE AND CRAZY. Photo by Nile Scott Studios.
As a lit Christmas tree sits in the corner and what looks like a functioning kitchen, Eric D. Diaz and Wooden Kiwi do a wonderful job to portray a warm and inviting apartment equipped with a built in brick terrace, a set that is consistent throughout the entire show. The staging is also strong as simultaneous scenes play out throughout the household, not a moment of it distracting.
Though it is not a show for everyone, its underlying themes, powerful performances, and meaty, twist-filled story delivers its award-winning appeal. Between Riverside and Crazy kicked off Speakeasy Stage’s 28th season. Next for the SpeakEasy Stage is the contemporary, Tony award-winning musical Fun Home, continuing through November 24. Click here for more information of their current season which includes the the Tony award-winning musical Onceand The View Upstairs.
Oh, how that music rolls along. Much like the show’s polished Ford Model T, Company Theatre’s Ragtime the Musical hums like a well oiled machine, driven by its marvelous music, veering into life’s complicated pursuit of happiness.
Composed of an energetic, 15 piece live orchestra led by Music Director Steve Bass, this bustling, message-driven musical portrays America through many different sets of eyes, an America full of expectations, hope, and disappointment. Many looked to America for answers and some discovered it was not quite what they expected. Some realized the answers were there all along, and some took their comfortable world for granted. As each impressive note swells, another day dawns to face fears, work harder, and support your neighbor. You might even find yourself singing a new song.
Company Theatre kicked off their 40th season with Ragtime the Musical on Friday, July 27 and continuing Sunday, August 19 at the Company Theatre in Norwell, Massachusetts. Click here for more information and for tickets.
Courtesy of Company Theatre for the Arts
Ragtime the Musical explores America from many different perspectives from Eastern European immigrants, people of Harlem led by a successful jazz musician, and the upper-class residents of New Rochelle, New York. Much of Ragtime is a historical story told. Narrated with gravitas in part by Jeffrey Sewell as Younger Brother, the catchy, rich, and stirring vocals combined with the complex, interweaving tale is the real magic of this piece. With a cast brimming with sensational voices, Ragtime delivers one spine-tingling song after another.
With the bulk of the cast frequently onstage, costume designer Brianna Plummer carefully orchestrates a bold statement into each costume, painting her own distinct portrait from white lace and pearls to bowler hats and colorful suits faithful to the era. Behind a white parasol and a string of pearls, Paula Markowitz portrays privileged, yet compassionate New Rochelle resident, Mother. Markowitz’s silvery soprano vocals soar with the heartfelt numbers, Goodbye, My Love and Back to Before. It is a privilege to see Markowitz depict her character on a transformative journey, torn between her pensive pauses and her impulsiveness.
With a firm, bearded frown, Peter S. Adams portrays seemingly controlling Father as unyieldingly practical, astute, and always driven by what he thinks are good intentions. Adams and Markowitz have a familiar chemistry that takes on the earmarks of an old married couple. They move together with a comforting predictability. Adams’s melodious, rich vocals are especially poignant during the number, New Music.
Peter S. Adams as Father and Owen Veith as The Little Boy with cast in the number, ‘What a Game’ Photo courtesy of Company Theatre for the Arts
Owen Veith portrays their chatty, wise, and precocious Little Boy. Not only is he an adorable addition to the cast, but Veith has some real comic timing as he innocently spouts out truth at the most inconvenient times.
Michael Hammond delivers warmth and enthusiasm as Jewish immigrant, Tateh. He is a seemingly jubilant hard worker, often hiding his pain. He has a sweet compatibility with Hannah Dwyer as The Little Girl as they discover a new world and is especially charming during the imaginative number, Gliding.
(L to R) Barbara Baumgarten, Cristian Sack, Hilary Goodnow, Brenna Kenney, Finn Clougherty, Jillian Griffin, with Hannah Dwyer as Little Girl and Michael Hammond as Tateh Photo courtesy of Zoe Bradford
Introduced fittingly by the infectious tune Henry Ford, The Ford Model T is something to behold and is its own character. With working headlights, the Ford Model T is suburb, much like the character driving it. Last seen as the Wizard in Lyric Stage Company’s The Wiz, Davron S. Monroe as Model T owner and successful Harlem jazz musician Colehouse Walker Jr. embodies the role with charisma, dignity, and sympathetic earnestness. One could also listen to his velvety vocals all day. Arielle Rogers delivers a moving performance as Sarah, punctuated by her pained, heart rendering version of Daddy’s Son. Together, they perform a magnificent version of Wheels of a Dream. Get in the car, park it at Company Theatre, and witness that magic.
Devron S. Monroe as Colehouse Walker Jr. in ‘Ragtime’ with cast Photo courtesy of Company Theatre for the Arts
The show is not without its moments of satirical humor delivered by over the top, flirtatious showgirl, model, and actress Evelyn Nesbit, portrayed with a wink and a smile by Sarah Kelly. Along with James Fernandez as spectacular Hungarian immigrant illusionist Harry Houdini, these two historical figures shine the light on what the world aspires to.
Company Theatre’s Ragtime the Musical continues through Sunday, August 19 at Company Theatre for the Arts, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information, tickets, and how to support Company Theatre’s future. Also follow Company Theatre on Facebook, Instagram and Twitter to learn all about their milestone 40th season.
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