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REVIEW: Rejoice in Lyric Stage Company’s ‘Sister Act’

Posted on April 26, 2023 by The Sleepless Critic

Let the choirs sing! This Sister Act is one heavenly show stopper.

A lot of films have been cut, shaped and squeezed into the genre of musical, but Sister Act, based on the hit 1992 comedy film starring Whoopi Goldberg, has always been a natural fit. Featuring a variety of songs re-imagined by a group of amateur nuns, Sister Act is a thriller, musical, and comedy rolled up into one exciting and uproarious package.

Directed warmly by Leigh Barrett and judiciously choreographed by Dan Sullivan, Lyric Stage Company presents Sister Act live and in person at Lyric Stage Company in Boston, Massachusetts through May 14. This show is two and a half hours with one 15 minute intermission. Click here for more information and for tickets.

The Cast of ‘Sister Act’ Photo by Mark S. Howard

What makes Sister Act an ideal fit for a musical is not only does the musical deliver all the hijinks, danger, and the inherent message of the film, but it also expands on its characters through some welcome additional songs. The music, by Alan Menken, is well suited with the terrain of this already entertaining tale and numbers like It’s Good to Be a Nun, Lady in the Long Black Dress, and I Could Be that Guy particularly enhance the hilarity of each of its extraordinary characters. The original film inspired Sister Act 2: Back in the Habit before becoming a musical and there is even talk of a possible Sister Act 3 coming soon to Disney Plus.

Set in 1978 Philadelphia, Deloris Van Cartier, a sparkling depiction by Yewande Odetoyinbo, thinks it is only a matter of time until she is a star. However, after she witnesses a murder, the police decide the convent is the only place she will be safe. With blunt and practical Mother Superior at the helm, Deloris has a long road ahead of her.

Cast of Sister Act Photo by Mark S. Howard

Sister Act does a wonderful job rewinding the clock to that era with choreographer Dan Sullivan and Music Director David F. Coleman’s seamless infusion of classic 60s and 70s inspired dance moves to funky, smooth, and uplifting rhythms. Sparkling body suits, tiger prints, velvet pants, and knee high purple boots are just some of the era trends captured by Kelly Baker. Jenna McFarland Lord creatively handled Sister Act’s somewhat tricky staging making the most of the space with a versatile two floor set including glimmering disco ball and stained glass columns, though at times the blocking seemed a bit tight.

This dynamite cast matches and even excels over the original cast. It is difficult not to compare if one has seen the original film, but not only does Yewande Odetoyimbo’s bright smile resemble Goldberg’s, but the fun-loving and vibrant Fabulous Baby, Raise Your Voice, and Take Me to Heaven depict Deloris’s surefire attitude and superior vocals in this fish out of water story. The stunning surprise and angst Deloris endures over the course of the musical is a highlight of the show as Cheryl McMahon as Mother Superior looks on.

Cheryl McMahon and Yewande Odetoyinbo in ‘Sister Act.’ Photo by Mark S. Howard

Stepping into actress Maggie Smith’s role as Mother Superior is Cheryl McMahon. Smith portrayed Mrs. McGonagall in the Harry Potter film series which is one character among many of her stern and practical roles. Filling Smith’s shoes is no small feat, but McMahon’s comic wit has been proven in various past roles such as in Admissions, Miss Holmes Returns, Steel Magnolias and Grease, and is fabulous herself as wise and unyielding Mother Superior.

McMahon’s Here Within These Walls is a solemn call for tradition, discipline and sensibility which proves Mother Superior will not be easily swayed, but her stellar comic timing is best in I Haven’t Got a Prayer. Her dour expressions to Yewande’s carefree and aberrant nature are some of the show’s funniest moments.

Kathy St. George and the cast of ‘Sister Act’ Photo by Mark S. Howard

Led by Joelle Lurie as impressive Sister Mary Patrick who oozes the excitement of gleeful Kathy Najimy, the nuns showcase their immediate solidarity and camaraderie with the welcome and borderline sarcastic (even for nuns) It’s Good to Be a Nun. It’s a hilarious number that brings to light the dynamic and spirited group including Kathy St. George as scene stealing and sarcastic Sister Mary Lazarus and Kira Troilo as young and introverted Sister Mary Robert. Troilo particularly shines in the soaring and reflective number, The Life I Never Led. The group’s collective and sweet chemistry is the heart of the show and they bring it in spades.

Kara Troilo and Carolyn Saxon, Amie Lytle, Kathy St. George, Yewande Odetoyinbo, Beth Gotha, Meghan Rose, Kara Chu Nelson, and Joelle Lurie Photo by Mark S. Howard

Davron S. Monroe is amazing as Eddie, delivering a suave, charming and incredible rendition including a mix of 70s inspired choreography and a few surprises for I Could Be That Guy.

Meghan Rose, Carolyn Saxon, Davron S. Monroe and Todd Yard. Photo by Mark S. Howard

Balancing both solemnity and heartwarming charm is Todd Yard as Monsignor O’Hara. He and the nuns let loose for Sunday Morning Fever. Yard has handled some serious roles in the past, and it is great to see his wonderful talents as a heartwarming figure.

Beth Gotha, Kathy St. George, Amie Lytle, Meghan Rose, Todd Yard, Kara Chu Nelson, Yewande Odetoyinbo, Carolyn Saxon, Kira Troilo, Joelle Lurie, and Cheryl McMahon Photo by Mark S. Howard

Damon Singletary slays as commanding and menacing Curtis as he stealthily moves across the stage. With wild hair and mischievous smirk, Jackson Jirard has proven his charm and sleek dance moves in shows like Aint Misbehavin is also a bit of a scene stealer as TJ among the bumbling mobsters which include Cristhian Mancinas-Garcia as Pablo and James Turner as Joey. Mancinas-Garcia, Turner, and Jirard show off their spot on comic timing, game, and vocals for Lady in the Long Black Dress with each member having their chance in the spotlight.

Cristhian Mancinas-Garcia,Jackson Jirard, Damon Singletary, and James Turner Photo by Mark S. Howard

Lyric Stage Company presents Sister Act live and in person at Lyric Stage Company in Boston, Massachusetts through May 14. Click here for more information and for tickets.

REVIEW: Fueled by a tight knit cast, August Wilson’s ‘Seven Guitars’ by Actors’ Shakespeare Project strums a spiritual and resonating tune

Posted on February 25, 2023 by The Sleepless Critic

A shadow lingers over Pittsburgh, Pennsylvania.

In the aftermath of World War II, grief and death lingered like a shadow over the world’s existence. In the late 40s in the Pittsburgh Hill District of Pennsylvania, that shadow hovers over a close knit group of friends in August Wilson’s gripping mystery, Seven Guitars. Love, loneliness, grief, friendship, and the blues strike a chord as each character in Seven Guitars search for their share of happiness in an area nicknamed ‘The Crossroads of the World.’

Directed conscientiously by Maurice Emmanuel Parent, Actors’ Shakespeare Project presents August Wilson’s Seven Guitars through March 5 live and in person at Hibernian Hall in Boston, Massachusetts. Hibernian Hall provides an intimate theatre setting without a bad set in the house. Seven Guitars is intended for mature audiences and runs for two hours and 45 minutes with one 15 min intermission. Click here for more information and tickets.

Vera at the Funeral (0034).jpg: Maya Carter (front) with Johnnie Mack, Dereks Thomas, Regine Vital, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Written after August Wilson’s Fences, it is easy to see a few of the earmarks of Wilson’s lauded work including Wilson’s rich and cadenced dialogue. Fences and Seven Guitars are set in Pittsburgh in a neighborhood backyard, and some of the characters in Seven Guitars and Fences share some loose similarities including the ill-advised, but unwavering loyalty from Rose Maxson in Fences and Vera Dotson in Seven Guitars.

Jon Savage’s inviting backyard scenic design features a multi-tiered set, colorful garden plot, mood setting hanging string lights, and an inhabited patio dining set. From lively to tense and shocking moments, Amanda E. Fallon’s affective lighting combined with Abe Joyner- Meyers’s mood induced sound design and Dewey Dellay’s haunting and carefully crafted music composition impressively maneuver this evolving and multi-layered production. Costume Designer Nia Safarr Banks utilizes classic colors and retro patterns to enhance each character’s distinct personality including vintage flowing dresses and plumed bowler hats.

Red at the Funeral (0042).jpg: Johnnie Mack, Dereks Thomas, Maya Carter, Omar Robinson, and Regine Vital in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

However, one of greatest strengths of this particular production is Parent’s great care in the cast’s tight bond. Whether pondering their own mortality, listening to the radio, shooting the breeze or gripped by a suspenseful moment, the cast easily draws in the audience by their natural and captivating chemistry.

Schoolboy with Bandmates (2793).jpg: Anthony T Goss, Dereks Thomas, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Following the funeral of Floyd ‘Schoolboy’ Barton (Anthony T Goss), Seven Guitars follows a group of friends that gather to honor a complicated man. Goss skillfully depicts Barton’s sass, swagger and charm, but also his admirable determination and dream to be among the haves than the have-nots. His resolution for success makes him sympathetic despite his egotistically justifiable wrongdoings. He has compelling chemistry with Maya Carter who delivers a moving performance as devoted, spiritual, and skeptical Vera. Carter’s intense opening monologue is relatable and heartrending and Carter only gets better from there. On a lighter note, Regina Vital’s fiercely independent, loyal, and charismatic Louise provides a wealth of humor and fun, especially when she goes toe to toe with Omar Robinson as Canewell, Dereks Thomas as Red Carter, or Valyn Lyric Turner as Louise’s seemingly impressionable niece Ruby. Robinson as talkative and good natured Canewell, Thomas as ladies man Red, Mack as Hedley and Goss as Floyd share some engrossing camaraderie whether it is for a spontaneous dance with makeshift instruments, playing pranks on each other, or sharing their riveting musings about the future. However, when they are enjoying themselves, it is a relaxed vibe that is a joy to watch.

Hedley Plays Along (1671).jpg: Johnnie Mack, Dereks Thomas, Anthony T Goss, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Johnnie Mack delivers a searing and multi-dimensional performance as peculiar, lonely and hardworking dreamer Hedley. In overalls and an apron, Hedley has lofty dreams and supportive friends, but lives in a sad reality. Mack seamlessly navigates Hedley’s intermittent moods with rising tension weaved into some compassionate moments.

Visions of grandeur, ambition, and destiny play more than a medley in August Wilson’s Seven Guitars on a landscape that has experienced harsh realities. For August Wilson’s richly drawn and dynamic characters, one cannot help but share their hopes for a brighter future.

Actors’ Shakespeare Project presents August Wilson’s Seven Guitars through March 5 live and in person at Hibernian Hall in Boston, Massachusetts. Click here for more information and tickets.

REVIEW: Fueled by sardonic wit and intense humor, The Huntington’s ‘The Art of Burning’ crackles

Posted on February 4, 2023 by The Sleepless Critic

Cutting sarcasm, sardonic wit, and a feigned smile does little to contain Patricia’s smoldering rage lurking just beneath the surface. No question Patricia has every reason to harbor resentment considering what she is going through affects her entire family. As a painter, it is important for Patricia to express her mounting feelings through art, but what if the pain is so deep that not even a canvas can exorcise that anger?

Directed methodically by Melia Bensussan, The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. The show is 85 minutes with no intermission, contains adult themes, and is not appropriate for children. Click here for more information and tickets.

Adrianne Krstansky, Michael Kaye, and Rob Barkhordar in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning takes an unconventional look at love and all of its side steps, misunderstandings, and complications. It also delves into betrayal, divorce, survival, and all of the lingering emotions simmering just below the surface. With dark humor that can be disquieting at times, The Art of Burning explores the complexity of human relations including a few of its vast repercussions.

Rom Barkhordar and Vivia Font in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Jane Shaw’s haunting score and Aja M. Jackson’s vivid lighting enriches scenic designer Luciana Stecconi’s paradoxical, gleaming, and seemingly modest scenery set against a striking and evocative frame. Jackson’s lighting is crucial for each inventive scene change while the foreboding score keeps the tension rising throughout the production. Kara Harmon’s bold costume design not only reflects each character’s distinct personality, but plays a pivotal role in the show’s mounting tension.

The Art of Burning is also fueled by a powerful cast highlighted by Adrianne Krstansky’s captivating portrayal of Patricia and Clio Contogenis, who makes an impactful impression as conflicted Beth. Krstansky achieves a delicate balance between a strong and sympathetic woman who, for the most part, is holding her own in spite of her circumstances when she is not taking takes things a bit too far. The complexity of that balance still makes her likable even at her lowest points. Patricia’s sardonic wit and realism is nearly bereft of any boundaries. She seems to have lost her inhibitions long ago somewhere in the turmoil of her discoveries.

Michael Kaye and Laura Latreille in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Contogenis weaves in some of Krstansky’s biting humor and pensiveness as Patricia’s daughter as she faces her own unique challenges along the way. These issues are handled delicately and with vulnerability. Rom Barkhordar portrays Jason, a character with some misplaced optimism and a certain lack of empathy and yet Barkhordar weaves in a subtle obliviousness that Jason can almost be forgiven for. He has some meaty scenes with Krstansky and Contogenis that would be concerning if they were not so humorous. Mark, portrayed by Michael Kaye, seems to depict the onlooker and voice of reason, but things are much more complicated than they appear. Some sobering aspects of Mark and Charlene’s marriage are incredibly relatable and humorous. Kaye and Laura Latreille as capricious Charlene have a fascinating dynamic onstage. Vivia Font takes a memorable turn as Katya as she wrestles with the weight of her decisions.

Snodgrass’s witty, poignant, and intermittently humorous dialogue makes a strong statement about the state of our contemporary world and exposes some hard realities. The truth is people are all a little lost but even at its bleakest times, love may still find a way through it all.

Clio Contogenis and Adrianne Krstansky in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. Click here for more information and tickets.

REVIEW: Go see Academy of the Company Theatre’s heartwarming, moving, and family-friendly ‘Joseph and the Amazing Technicolor Dreamcoat’

Posted on April 29, 2022 by The Sleepless Critic

The one thing more magnificent then Joseph’s dream coat is the tale behind it. An interactive, endearing, and humorous production, Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat has been entertaining audiences for over 50 years with its exuberant story and its versatile and brilliant music by the Academy Award-winning team of Andrew Lloyd Webber and Tim Rice. Joseph’s music offers a wide spectrum of music genres for any taste from calypso to rock and roll which accompanies the unique retelling of a sacred tale of treachery and unceasing hope.

Photo courtesy of Zoe Bradford/Company Theatre

A tale so wonderful that it needs three narrators, Academy of the Company Theatre (ACT) presents Andrew Lloyd Webber’s wondrous and family-friendly musical comedy Joseph and the Amazing Technicolor Dreamcoat continuing at the Company Theatre in Norwell, MA through Sunday, May 1. The production is almost sold out. Click here for more information, tickets, and for classes that ACT has to offer.

Based on the Book of Genesis and set in the land of Canaan and Egypt, Joseph and the Amazing Technicolor Dreamcoat explores the incredible journey of Joseph and his brothers as Joseph struggles to discover his destiny. It is very much a collaborative, ensemble piece featuring three engaging narrators portrayed by Gilbert Dabady last seen in ACT’s Les Miserables, Cate Healey, and Elizabeth Nunnery as they share Joseph’s tale not only with the audience, but with the surrounding and energetic young cast gathered onstage. Dabady, Healey, and Nunnery all have powerful and very different voices that complement each other throughout the performance.

Brothers – Corin O’Neill – Abington, Jay Feeney- Hansen, Henry Jacobs – Norwell, Colin SanGiacomo – Norwood, Roland Schulze – Hingham, Matthew Porro – Hanover, Tim Bevens (Joseph) – Hingham, Ben Cavallo Smith-Hingham and cast Photo courtesy of Zoe Bradford/Company Theatre

With a sweet smile and unassuming demeanor, Tim Bevens portrays humble, yet forthright dreamer Joseph with instant likability from his first opening number, a warm and melodious rendition of Any Dream Will Do. Bevens delivers a compelling performance as a naïve outsider, his versatile vocal range effortless for the soothing Any Dream Will Do to stirring Close Every Door, his tone heart rendering and sympathetic.

Wearing a white beard, Jacob Yates takes on the mostly silent role of Jacob, Joseph’s devoted father. Yates makes the most out of this role with an amusing walk and some physical humor. Led by Charlie Flaherty’s standout portrayal as Joseph’s smirking and sneaky brother Reuben, One More Angel in Heaven depicts the united camaraderie not only by Joseph’s eleven brothers, but from the cast, all in on a little secret. Another excellent number that depicts the brothers’ united front is delivered by Ben Cavallo-Smith as Judah and his brothers for Roland Schulz as Benjamin, a catchy, amusing song called Benjamin Calypso.

Combining blue, glitter, and gold into dazzling Egyptian attire, Sal Garcia, who was last seen as Jean Val Jean in ACT’s Les Miserables, makes a grand entrance in suave sunglasses and a bouffant hairstyle as Pharaoh, complete with shimmering gold sneakers. Garcia shows off his comedic talent and charisma in the show stopping number Song of the King, combining the essence and high energy of a certain king not to be revealed here and Jack Black. It is fun to watch Garcia in a role where he can let loose.

Sal Garcia as Pharaoh Photo courtesy of Zoe Bradford/Company Theatre

The transformative lighting by Dean Palmer Jr. ranges from a lone spotlight to doubling for the hot, desert sun to flashing, multicolored spotlights for Go Go Go Joseph to the warm candlelight and modest staging of Close Every Door. Though most of the sets are colorful and fun, there is something special about the translucent, simple staging for Close every Door by candlelight, letting Tim Bevens’s poignant rendition speak for itself without distractions.

Elsa Hancock-Happ – Rockland, Calvin Jacobs – Norwell, Reese Warshaw – Hingham, Izzie Donnelly – Hingham, Nora Joyce – Weymouth, Silvia Thompson – Hingham, Tim Bevens – Joseph – Hingham, Laird Lacoste and cast Photo courtesy of Zoe Bradford/Company Theatre

Among the vibrant and bold costumes by John Crampton and Alison Gordon is the famous coat in yellow and green and ochre… Joseph’s magnificent, flowing, and sparkling coat is a head turner decked out in multi-colored stars on the back. The cast wearing sunglasses, an unusual camel, and cute Egyptian “beetles” among the crowd on a unconventional journey to Egypt are just a few of the subtle, cheerful touches added to this lighthearted production that certainly has its share of stirring and difficult moments, but with far more uplifting and spirited ones, it’s difficult to feel down for long.

Tim Bevens (Joseph) and cast Photo courtesy of Zoe Bradford/Company Theatre

Directed by Zoe Bradford with lively choreography by Sally Ashton Forrest and musically directed by Melissa Carubia, Academy of the Company Theatre (ACT) presents Andrew Lloyd Webber’s wondrous and family-friendly musical comedy Joseph and the Amazing Technicolor Dreamcoat continuing at the Company Theatre in Norwell, MA through Sunday, May 1. The production is almost sold out. Click here for more information and for tickets.

REVIEW: Lexus Broadway in Boston’s ‘Ain’t too Proud: The Life and Times of the Temptations’ powerhouse vocals as compelling as their back story

Posted on April 29, 2022 by The Sleepless Critic

Get ready for a whirlwind concert experience fueled by vocal powerhouses. Having been familiar with the award-winning 1998 The Temptations miniseries produced by Temptations founder Otis Williams and based on the book featuring a special appearance by Smokey Robinson, it is no secret just how much material this musical had to cover and does so with finesse and upbeat pacing.

The Temptations Marcus Paul James as Otis Williams, James T. Lane as Paul Williams, Jalen Harris as Eddie Kendricks, Harrell Holmes Jr as Melvin Franklin and Elijah Ahmed Lewis as David Ruffin Photo credit to Lexus Broadway in Boston

Directed slickly by Des McAnuff and produced by Otis Williams and Shelly Berger, Lexus Broadway in Boston presents Tony award-winning jukebox musical Ain’t Too Proud: The Life and Times of the Temptations at Citizens Bank Opera House in Boston, MA through Sunday, May 1. The show is 2 hours and 30 minutes including an intermission. Click here for more information and for tickets.

Behind every monumental group is a colossal tale. The story behind the Temptations spans decades encapsulating wild drama (some of which seems too incredible to be true) while members of the Temptations changed like a revolving door. Some of these legendary performers haunted by the past wrestled with inner turmoil and demons that indelibly impacted their own lives and with timeless and groundbreaking music comes sacrifice.

Marcus Paul James as Otis Williams (center) Photo credit to Lexus Broadway in Boston

Based on the Otis Williams and Patricia Romanowski’s The Temptations autobiography, the journey began in Detroit. Marcus Paul James is part preacher, part storyteller, and all heart as Temptations founder Otis Williams recalls admiring groups like The Cadillacs in his hometown when he wasn’t getting into trouble. Finding his calling to sing was like ‘the heavens opening up.’ Immediately engaging, James guides the audience through decades of the Temptations musical journey through the losses, the humor, dedication, arrogance, passion, tragedy, and fleeting success to the Rock & Roll Hall of Fame.

Most importantly though, it is a rich voyage through the classic Motown tunes that have stood the test of time not just by The Temptations, but the Supremes and other famous Motown classics of that time.

Jalen Harris as Eddie Kendricks with the Temptations and The Supremes together. Photo credit to Lexus Broadway in Boston

Decked out in suave matching gray suits and ties and launching into The Way You Do the Things You Do featuring the five original members composed of James T. Lane as Paul Williams, Harrell Holmes Jr as Melvin Franklin, Elijah Ahmad Lewis as David Ruffin, Jalen Harris as Eddie Kendricks, and Marcus Paul James as Otis Williams, Ain’t too Proud is an interactive, energetic, concert-driven locomotive as sliding vintage black and white photos and film depict the fans, the touring, the injustices, and the milestones through the years. The frequently moving, multilayered set by Robert Brill combined with Howell Binkley’s impressive lighting gives the slick illusion of the quick pace of their lives and the audience riding along for each transforming scene.

The Supremes – Traci Elaine Lee as Mary Wilson Deri’Andra Tucker as Diana Ross and Shayla Brielle G. as Florence Ballard Photo credit to Lexus Broadway in Boston

Not only does Ain’t too Proud feature Tony award-winning choreography, but some dynamite vocals from start to finish. Traci Elaine Lee delivers a dual role first with brief, but memorable impromptu vocals as fast-talking Johnnie Mae in a spectacular onstage Cadillac as as Mary Wilson of The Supremes. The Supremes, adorned in dazzling gowns by costume designer Paul Tazewell, make brief but memorable appearances with seamless vocals for classic numbers such as You Can’t Hurry Love and I’m Gonna Make You Love Me led by Deri’Andra Tucker as the luminous Diana Ross.

Though each member of the Temptations have good chemistry, baritone Marcus Paul James as Otis and Harrell Holmes Jr as dedicated and forthright bass singer Melvin, have an exceptional brotherly connection. Jalen Harris as falsetto Eddie Kendricks performed a memorable Just My Imagination to an enthusiastic crowd. Elijah Ahmad Lewis portrays complex and sensational tenor David Ruffin with charisma, arrogance, and affliction from the sweet first notes of My Girl to I Wish it Would Rain. The stirring I Wish it Would Rain symbolizes much more than love lost in this particular production.

Harris Matthew as Dennis Edwards (center) Marcus Paul James as Otis Williams, James T. Lane as Paul Williams, Harrell Holmes Jr as Melvin Franklin, and Jalen Harris as Eddie Kendricks Photo credit to Lexus Broadway in Boston

Ain’t too Proud delves into the lives of the Temptations, the classic tunes, what tears them apart, and what ultimately makes them the greatest Rhythm and Blues group in music history. With a total of 24 Temptations over the years, it is quite the tale to tell.

Lexus Broadway in Boston presents jukebox musical Ain’t too Proud: The Life and Times of the Temptations at Citizens Bank Opera House in Boston, MA through Sunday, May 1. Click here for more information and for tickets.