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REVIEW: Searing and stunning, Central Square Theater’s ‘The Moderate’ makes a lasting impact

Posted on February 25 by The Sleepless Critic

To say it is riveting is an understatement.

The Moderate is sure to alter your perspective on the digital world as much as it impacts each member of this small and likable cast. Be sure to see The Moderate as much for its engulfing state of the art technology as for its stunning emotional core.

Innovatively designed and directed by Jared Mezzocchi, Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1. This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission. Click here for more information and for tickets.

Nael Nacer in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

The Moderate is not shared chronologically which helps to make this production a mesmerizing digital journey from its very first frame. Rewinding the clock to March 2020, a humble yet determined Frank Bonner, powerfully and evocatively portrayed by Nael Nacer, interviews for a job as an internet moderate while the world is in COVID isolation.

The Moderate packs a lot into its brief and swiftly moving timeframe. It delves into a wide spectrum of themes including loneliness, isolation, family strife, trauma, the gravity of internet addiction, abuse, the dark web, racism, social media, the raw and exhibitionist side of human nature and the lengths one would endure to provide for family.

Nael Nacer and Jules Talbot in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

We live in an encompassing digital world and it is not likely to change any time soon and this technology is depicted in brilliant and meticulous ways. The show is wisely served up with no intermission which elevates this production’s immersive and gripping style of storytelling. Captivatingly set up and directed, Christian Frederickson’s robust sound design, Mezzocchi’s Multimedia design, and Sibyl Wickersheimer’s distinctive set design invites the audience into not only into what Nael Nacer as Frank sees, but how each character is experiencing one another digitally and in real time. You are not just an observer, but experiencing each frame navigating right along with the cast between the digital world and reality.

Nael Nacer and Celeste Oliva in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

This amazing show boasts an impressive cast. Celeste Oliva is intense and relatable as Frank’s estranged and levelheaded wife, Edyth. Nacer and Oliva fall into difficult and various misunderstandings and both still manage to remain sympathetic under their strained circumstances. Nacer’s Frank is darkly humorous, naïve and charming in his frustrations over technology. Jules Talbot brings a mix of lighthearted and dark humor as Rayne, a young maverick union fellow moderate who offers Nacer’s Frank valuable insight into the digital world. Greg Maraio portrays Frank’s level headed manager Martin who is all too aware of the difficulty and dangers of their positions and the impact it is sure to have on their lives and Sean Wendelken makes a stunning impression as Gus.

Sean Wendelken in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

However amazing the show’s technology is delivered, what truly sets this show apart is its humanity. It does have genuine lighthearted and humorous moments while remaining unflinching of its emotional toll and remarkably and honestly lays bare the cast’s individual vulnerability and urge to make a difference. Through this shared experience, you may empathize with what they are going through as well and have a better understanding of our real and unpredictable digital landscape.

Jules Talbot and Nael Nacer in Central Square Theatre’s ‘The Moderate’ Photo by Nile Scott Studios

Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1. This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Discovery enriches two short films: A frenetic ‘Subway Crush’ and sophisticated ‘Waltz for Three’

Posted on January 25 by The Sleepless Critic

A simple crush becomes something more.

In a matter of three minutes on a New York City subway, Subway Crush makes a statement about ideas of perception and interpretation that continually resonates in our digital culture. It is a slice of digital life that escalates quickly and stands as a peek into a bigger picture ominously, candidly, and realistically captured by more than one person behind a phone. What is the truth behind what you are seeing and explores one of many ways information can be dangerously misinterpreted.

Still from ‘Subway Crush’ with cast composed of Mehdi Hadim, Bella Kouds, Danny Salvato, Satya Crasneanscki, Natalia Yi

Both written and directed by Oriana NG, Subway Crush and French short film Waltz for Three are two profoundly different films. Crush exhibits escalation while a subtle revelation emerges in Waltz for Three. Increasingly feverish and frenetic Crush is candidly captured as it makes a significant statement about our contemporary culture while Waltz for Three is timeless and sophisticated with a stirring emotional core. Yet both films are built in misunderstandings that long to be resolved.

With impactful direction and written by Oriana NG, Subway Crush and Waltz for Three continue to make the film festival circuit and were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.

A quiet encounter has a profound effect on two people.

Surrounded by distinctive finery in a gorgeous castle in France, Agnès feels isolated. Ophélie Lehmann portrays reserved, soft spoken and unassuming Agnès who is quite certain what she wants when she invites Mikaël Mittelstadt as handsome Jean home. However, it is not for the reasons one might expect.

In many ways, French short film Les Trois Valseurs (Waltz for Three) explores two worlds. This multilayered and unpredictable tale has a meaty emotional core for two likable people who have experienced a great deal in very different ways. The film takes its time, but does not drag as these two make discoveries about each other. The costuming and props, includes a distinguished victrola, an ethereal clock and a golden lighter, are delicate, detailed and gleaming and the way the two carry themselves evokes almost a dreamlike ambiance. With hair swept up and adorned in an elegant dress, stately and enigmatic Agnès is mature beyond her years while Mikaël Mittelstadt’s Jean is charming and uncertain with his whole life ahead of him. They share compelling chemistry and perceive each other in a new light as the film unfolds.

Not all the film’s questions are answered and in many ways, the answers aren’t necessary. The genuine moments that gently unfold are encapsulated in their gradual understanding of one another.

Mikaël Mittelstadt and
Ophélie Lehmann in ‘Waltz for Three’

Subway Crush and Waltz for Three were recently screened at the 2026 Dances With Films New York Edition on January 15-18. Click here for more information on the writer and director as well as future screenings.

REVIEW: Boston Ballet’s elegant and edgy ‘DREAMstate’ a fascinating departure from reality

Posted on March 26, 2022 by The Sleepless Critic

From classically fanciful to electrifying to distinctive, unconventional artistry, the Boston Ballet’s DREAMstate is an astute exploration of the delicate nature of dreams and a fascinating escape from reality. Aside from Boston Ballet’s traditional Nutcracker in December, Mikko Nissinen’s DREAMstate is the first live and in person return to Boston Ballet’s regular season since the pandemic. Excitement was in the air and the Boston Opera House was full.

Boston Ballet in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Balle

Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Opera House in Boston, MA. The show is approximately two hours with two intermissions and the final piece contains partial nudity. Click here for more information and tickets.

Rolling Stones tribute DEVIL’s/eye Photo credit to Boston Ballet

Though all three Boston Ballet pieces had its highlights, the stellar world premiere of Boston Ballet’s tribute to the Rolling Stones, DEVIL’S/eye was the most uniquely compelling. Weaving in live concert elements and classic hits such as Can’t You Hear Me Knocking, Paint it Black and much more, dancers take the stage in shadow bathed in purple, red, yellow, pink, and blue glimmering from an incredible, multi-functional sound system lit by Brandon Stirling Baker. With exhilarating choreography and edgy and exotic costume design both by Stephen Galloway, lively dancers in silk, sequins, fishnets and windswept hair complete the full glamour of a rock and roll concert showing off thrilling, contemporary freestyle moves. The entire performance is an electrifying spectacle as dancers let loose to the Stones concert footage with epic alicicone spins, but a brief pause in the guitar-tinged, horn-infused rhythms showing off each dancer’s glowing silhouette cannot be properly conveyed here and those sensational moments are best witnessed in person.

George Balanchine’s Chaconne brings to life a regal and fanciful daydream to the heavenly sounds of the Christoph Willibald von Gluck opera, Orfeo ed Euridice. Elegantly adorned in a flowing and ethereal skirt and crown by Barbara Karinska in front of tranquil green blue backdrop, the always fresh-faced and charming Viktorina Kapitonova performed a beautiful and romantic pas de deux with Lasha Khozashvili, dressed in white. Khozashvili lifts and leads Kapitonova delicately as they sporadically intertwine. The piece is primarily playful as dancers bow and sway in gleaming, royal costumes as they float along this lighthearted daydream, the flutter of slippers sweeping across the stage.

Misa Kuranaga and Patrick Yocum in George Balanchine’s Chaconne © The George Balanchine Trust; photo by Liza Voll; courtesy of Boston Ballet

The final piece is probably one of the most unconventional performances the Sleepless Critic has ever witnessed with the Boston Ballet because after a brief intermission, the piece begins before the music starts and dancers are already in motion as the rehearsal blurs into the performance.

Altan Dugaraa, Sarah Wroth, Yury Yanowsky in Jiří Kylián’s Bella Figura; photo by Gene Schiavone, courtesy of Boston Ballet

Jiri Kylian’s Bella Figura, a fan favorite, often departs from reality and the structure of how a performance would normally flow. In many ways, it bucks tradition as the dancers float and slide between closing curtains as Seo Hye Han, topless, wraps herself in only a black stage curtain. Bella Figura has some captivating choreographed indignation and intensity as Ji Young Chae struggles not to be held or controlled by Paul Craig, shaking Craig away. Bella Figura seems an abstract piece with haunting and mysterious elements as female dancers are manipulated in sharp, robotic movements. It seems Bella Figura represents the vision of a perfect female specimen as women bend under the intensity and pressure to be perfect. In gathering rich red skirts, men and women, all topless and all looking the same, glide along the stage. It is a memorable, distinctive performance as the piece continues even as the music concludes.

Boston Ballet’s DREAMstate continues through Sunday, March 27 at live and in person at the Citizen’s Bank Boston Opera House. Click here for more information and tickets.