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REVIEW: North Shore Music Theatre’s ‘Rock of Ages’ packs big dreams and spectacle into daring wry rock nostalgia

Posted on 30 Days Ago by The Sleepless Critic

Break out the crimped hair, fishnets, rhinestones, pleather, mullets, mutton chops and more. Rock of Ages rewinds the clock to the electric and hair-centric 80s.

Back when Rock of Ages was celebrating the tenth anniversary of its Broadway premiere in 2019, the Bourbon Room opened as a real bar and nightclub inspired by the legendary fictional bar and nightclub in jukebox musical Rock of Ages. Though it recently closed down, if it contained half the wild antics of this edgy musical, it would have been quite the trip.

With lively direction by Kevin P. Hill, hair-raising music direction by Peter Leigh-Nilsen, and rambunctiously choreographed by Sara Andreas, North Shore Music Theatre continues Rock of Ages live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 23. Unbridled and untamed, this suggestive and semi-interactive theatre in the round musical contains mature humor and content and the action is not limited to the stage. Click here for more information and for tickets.

We’ve come a long way since the 80s and Rock of Ages serves as a reminder of how things have changed, especially for women. A jukebox rock musical, Rock of Ages is best enjoyed as an extended MTV music video at a time back when music videos were mainly performed on the popular platform. The rock medleys have cheek, sass, abandon and air guitar. While the real world oozes with serious drama, Rock of Ages is meant as pure entertainment and the cast really sinks their teeth into each over the top character representing a freer and bolder time.

Packed with colorful characters doused with a mix of rock raunchiness and self aware humor, Rock of Ages holds a mirror up to the era of excess and distinct self expression. Steering this club is Matt DaSilva who is impressive as Lonny, the Bourbon’s impulsive no-holds-barred manager, resident storyteller, and sometimes lewd yet fun loving narrator. DaSilva’s strong vocals and penchant for dark, self-aware humor, pop culture references and musical commentary work well in a script that never takes itself too seriously. In a blond beard and sunglasses which seem right out of 38 Special, Evan Harrington excellently delivers relaxed charm and dry humor as lovable Dennis Dupre, owner of the Bourbon Room. DaSilva and Harrington share an easy rapport and an unabashed loyalty toward the Bourbon Room and rock and roll.

Evan Harrington (Dennis) and Matt DaSilva (Lonny) in “Rock of Ages” at Bill Hanney’s North Shore Music Theatre from August 12 – August 23, 2026. Photo © Paul Lyden

Part love story, part rebellion, and mostly power rock musical, Rock of Ages is set in 1987 on California’s Sunset Strip where idealistic small town girl Sherrie (Chelsea Williams) and guitar strumming dreamer Drew (EJ Dohring) long for stardom and are not sure where to start. They set their sights inside the fledgling Bourbon Room, an aging nightclub and bar in danger of being shut down unless someone takes action.

Under neon and gleaming spotlights by José Santiago, Jeffrey D. Kmiec’s glitzy set design showcases a number of locations on the Sunset Strip lined with guitars on a jungle patterned rotating stage which includes the legendary Tower Records, seedy Venus Strip Club, Dupre’s Bourbon Room and a certain graffiti nightclub bathroom stall in the distance where you can almost feel the grime. Rebecca Glick’s nostalgic costumes rise to the challenge, running the gamut from bold rock T-shirts to scantily clad to jazzercise and everywhere in between.

The cast of “Rock of Ages” at Bill Hanney’s North Shore Music Theatre from August 12 – August 23, 2026. Photo © Paul Lyden

Performed by costumed musicians ready to rock led by Peter Leigh-Nilson, Rock of Ages is fueled by a wide array of 80’s hits that are clearly a trip down memory lane for some including Journey, Bon Jovi, REO Speedwagon, and Foreigner driven by athletic, slick and over the top moves including pole choreography by Meadow Nguy.

Chelsea Williams is a soaring soprano as wide-eyed yet determined Sherrie and does a terrific job teaming up with Toneisha Harris as complex yet confident Justice in a powerful medley of Quarterflash’s Harden My Heart and Pat Benatar’s Shadows of the Night. Harris boasts powerhouse vocals and would have liked to have heard more from her. Williams also shines in a sweet yet intense rendition with Dohring for Extreme’s More than Words, Bad English’s To Be with You, and Warrant’s Heaven medley which includes a surprise chorus as well as powerful harmony for Damn Yankees’ High Enough.

Chelsea Williams (Sherrie) and EJ Dohring (Drew) in “Rock of Ages” at Bill Hanney’s North Shore Music Theatre from August 12 – August 23, 2026. Photo © Paul Lyden

In cherry red glasses, Lily Kauffman gives off Cheri OTeri comedic vibes as spunky and resourceful renegade Regina. In hippie fringe, she’s all spirit, heart and hilarity for Twisted Sister’s We’re Not Gonna Take it, an amusing rendition of Starship’s We Built this City and Styx’s Too Much Time on My Hands with Tom Galantich as Hertz and Michael Schimmele as Franz and the cast. Schimmele offers some refreshing and sometimes goofy comic relief as naïve Franz and Galantich is of a sterner variety but they both play well off each other, especially featuring a certain wrecking ball in Europe’s The Final Countdown.

With strong vocals and a large ego, Nathaniel Hackman makes a grand entrance as mysterious and charismatic Stacy Jaxx in chaps, cowboy hat and female entourage (in a nod to another famous 80s rocker) to Bon Jovi’s Dead or Alive.

That is just a taste of the wide range of rock numbers in store. The musical is not for everyone, but you may find yourself bobbing your head, singing along, or perhaps a bit stunned at the performances and the catchy tunes you may or may not have lived through, but nonetheless have stood the test of time in their own way. What is great about music is you might change, but the song remains the same.

North Shore Music Theatre continues Rock of Ages live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 23. Click here for more information and for tickets.

REVIEW: Company Theatre delivers a radical ‘Jagged Little Pill’

Posted on August 11 by The Sleepless Critic

Beware that seemingly perfect little Christmas card and newsletter in the mail. There is often so much more to the story.

One musician with a gift for reading between the lines is Grammy award-winning alternative rock singer-songwriter Alanis Morissette who teams up with like minded Academy and Tony award-winning writer Diablo Cody for Jagged Little Pill the Musical in which Cody went on to win a Tony Award for Best Book of a Musical.

Don’t expect to see an Alanis autobiography in Jagged Little Pill, but this ruminating musical rather integrates themes from her songs into a cautionary tale about a family rife with secrets and resentment unavoidably brimming to the surface.

Bobby Atkinson, Dana Sullivan, Todd Merritt and Nikita DaRosa in Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Under Zoe Bradford and Sally Ashton Forrest’s keen co-direction, Jasmine Dillon’s pulsating and interconnected choreography as well as Robert McDonough’s agile music direction, Company Theatre continues their 46^th season with Alanis Morissette’s Jagged Little Pill the Musical live and in person through Sunday, August 16 at The Company Theatre in Norwell, Massachusetts. It runs approximately two hours and 40 minutes with one intermission and has some mature themes. Click here for more information, for tickets and here for more information on how you can support the Company Theatre’s Project Stage Restoration.

With music by Alanis Morissette and Glen Ballard, an intimate eight piece orchestra delivers synthetic ballads and searing rhythms led by music director Robert McDonough. The setting is as lively and urgent as the musical’s pacing. Dean Palmer Jr. rhapsodically illuminates Ryan Barrow’s rolling and fold out house-inspired set while projection designer Jack Gruman artistically brings to life a gritty, skewed and occasionally kaleidoscopic view of a Connecticut suburb. Gruman enhances a variety of locations including a coffee house, office space, a tumultuous storm window, an array of family photos and fireworks.

The cast and orchestra of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Jagged Little Pill is an intriguing exploration that addresses something that runs rampant in our society. It is the desire and pressure to be perfect or at least looking that way to others. The idea did not originate with social media, but it has intensified that desire often to a crippling degree.

Mary Jane Healy, richly depicted by Dana Sullivan, hides those imperfections in a smug holiday letter alongside the Healy Christmas card, but not ironically, the façade quickly fades in getting to know her seemingly successful family over a one year period. ‘The truth is too hard,’ MJ reflects.

Dana Sullivan and the cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Many of the ensemble cast members demonstrate a modern Greek chorus observing and occasionally contributing to the plot skillfully taking on multiple roles or acting as the musical’s conscience. Some of their messages are unmistakable while others are left to interpretation. Though the musical is set in present day, it boasts a bit of a 90s flair. From The Who to Talking Heads to AC/DC to Green Day, Kiera O’Connor sets the musical’s edgy tone dressing the young cast in rock-n roll-inspired 90s grunge costumes including black starred stockings, tied flannel shirts and converse sneakers while the adults are adorned in classic and casual chic attire.

The cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Jagged Little Pill dials into a number of social issues including addictions, isolation, coming of age, LGBTQ, rape, marital strife and more while exploring significant and complex relationships. Sullivan brings savvy and intensity to Mary Jane who is easier to grow frustrated with than a source of sympathy, but Sullivan manages to accomplish both as the plot thickens. Her exceptional expectations are rooted in trauma, exposing her vulnerability in a stirring version of Smiling and later in a chilling rendition of Uninvited boosted by Claudia McMahon as a spiraling lead dancer among other roles. Bobby Atkinson skillfully depicts Mary Jane’s son, Nick Healy, making it easy to feel the gravity, mounting pressure and clashing intentions with Sullivan’s Mary Jane.

Nikita DaRosa (center0 and the cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Nikita DeRosa as Frankie Healy and Emma Keane as Jo Taylor are both powerful vocalists delivering a playful duet of Hand in My Pocket. With tenacity and soaring vocals, Nikita DaRosa as Frankie has no interest in being perfect, but rather longing to be heard. A passionate activist who was adopted by the Healy family, DaRosa’s Frankie candidly contributes to her family’s reflections in a curt and frank rendition of All I Really Want and an affecting rendition of That I Would be Good with Emma Keane as Jo Taylor and Charlie Solari as mysterious Phoenix.

Emma Keane and the cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Though a few of Morissette’s tunes lose some of its bite in musical translation, Morissette’s You Oughta Know never loses its ferocity, especially within Emma Keane’s steely and stellar rendition.

Though Jagged Little Pill tackles its share of somber topics, it also boasts lighthearted humor in an unexpected version of Ironic, an effervescent So Pure and a sweet and mellifluous duet of Head Over Feet.

Dana Sullivan, Natalie Spear Claudia McMahon and the cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

As a massive Alanis Morissette fan dating back when she was a child actor in Canada, Morissette has been open about her battles with anxiety and depression. Her struggles infuse a unique depth into her resonating rock anthems which expose hidden truths that can make you angry, bring you to tears or both. Though I do not have the anger I did when I first heard Morissette’s music, she still presents emerging and ongoing reasons to be frustrated with the world. Some of the musical’s messages can be a little heavy handed because it tackles so much, but her hopeful takeaway always ring true. Be bold, authentic and speak up for what is right even if it is uncomfortable or less than perfect.

Bobby Atkinson and the cast of Company Theatre’s ‘Jagged Little Pill’

The Company Theatre continues their 46^th season with Alanis Morissette’s Jagged Little Pill the Musical live and in person through Sunday, August 16 at the Company Theatre in Norwell, Massachusetts. Click here for more information, for tickets and here for more information on how you can support the Company Theatre’s Project Stage Restoration.

REVIEW: SpeakEasy Stage’s ‘Swept Away’ creates light and haunting shadow in impactful rhythms

Posted on May 14 by The Sleepless Critic

Paralyzed by the past, one man must share his life-altering recollections of the high seas.

Directed by Jeremy Johnson with pulsating musical direction by Paul S. Katz, music and lyrics by the Avett Brothers and astutely choreographed by Ilyse Robbins, SpeakEasy Stage continues the New England premiere of musical drama, Swept Away live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, May 23. Based on a true story set in New Bedford, Massachusetts, Swept Away has adult themes and runs approximately 90 minutes with no intermission. Click here for more information and for tickets.

Peter DiMaggio & ensemble. Photo: Nile Scott Studios

Sailing the high seas can hold as much danger as adventure. A dynamic group of veteran and inexperienced whalers set sail from New Bedford, Massachusetts on a wooden yacht called The Mignonette. The yacht’s name is based on a real life yacht bound from Southampton, England to Sydney, Australia in 1884 and inspired an album by the Avett Brothers.

Having seen In the Heart of the Sea, a film with some similar themes based on the Essex Maritime Disaster and inspired Herman Melville’s Moby Dick, Swept Away has a lot of jubilant and hopeful moments while it is also based on a horrific true story about survival. While the sweeping harmonies and beautiful lyrics drew me in, the darker themes kept me at bay which left me wondering whether every tale needs to be told.

Max Connor (dark hair) and Bishop Levesque. Photo: Nile Scott Studios

It is joyful and moving, but also chilling and grim. You should be ready for all of these to witness this musical.

Opposing ideas are at war during this surprising musical drama and includes a number of meaty themes such as duty, faith, trauma, sacrifice, grief, morality, sin, desperation and redemption dwelling within these often jaded whalers. These themes are not just touched upon, but are the very basis for what happens next.

Janie E. Howland’s maritime-inspired set includes wooden chests, masts tied in thick rope, ladders and wooden barrels framed by a translucent sail illuminated by kerosene lanterns. Karen Perlow’s vibrant lighting depicts days passing in shades of greens, purples, and blues on the horizon. Perlow also creates creeping shadows as James Cannon’s haunting sound design demonstrates the rollicking and foreboding sounds of the sea.

Foreground Max Connor (left) and Peter DiMaggio with ensemble. Photo: Nile Scott Studios

It’s natural to wonder what is beyond your backyard and what kind of adventures lies just beyond your reach. Led by Peter DiMaggio who delivers a charismatic, sympathetic, and sinister performance, this enthusiastic cast initially shares a warm camaraderie as they get to know each other. Little Brother, amiably portrayed with naiveté, wide-eyed tenacity by Max Connor, is determined to become a whaler believing it might be his only chance to see the world. However, Bishop Levesque as Max’s protective older brother, a pillar of faith and sacrifice, hopes to convince him to come home.

From left: Christopher Chew, Peter DiMaggio, Bishop Levesque, Max Connor. Photo: Nile Scott Studios

Levesque’s Big Brother beliefs clash with Peter DiMaggio as rebellious Mate who has seen and swallowed more than he can bear and wants to wash his hands of responsibility. They impressively standoff with the cast in a cappella and piano-infused harmony for gospel hymn Lord Lay Your Hand On My Shoulder against the catchy and stomping rhythms of Ain’t No Man.

Christopher Chew as The Captain with ensemble. Photo: Nile Scott Studios

Swept Away boasts stunning harmonies in this folk-rock musical articulated through Robbins’s swift, energetic and organic choreography in every sliding, stomping and clapping rhythm led by skilled aerialist Ezra Quinlan who gracefully glides from what seems to be a main sail. They leap and sway to the upbeat and guitar-tinged Hard Worker which describes the life of a whaler and Christopher Chew eloquently shares his proud yet weary life as Captain in May it Last.

Bishop Levesque as Big Brother. Photo: Nile Scott Studios

The Avett Brothers deliver a number of poetic and memorable lyrics such as What more is a rainbow than colors out of reach? and With Your Heart my soul is bound and their riveting rhythms is the pulse of this nautical journey.

Peter DiMaggio as Mate. Photo: Nile Scott Studios

SpeakEasy Stage continues the New England premiere of musical drama, Swept Away live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, May 23. Click here for more information and for tickets.

REVIEW: ‘The Outsiders’ musical sure does shine

Posted on April 8 by The Sleepless Critic

Tulsa, Oklahoma is divided by the-haves and have-nots in 1967 and that divide is capable of causing a confrontation at the drop of a hat.

The drive-in and literature provide a means of escape for Pony Boy, a 14 year-old Greaser often surrounded by teenage gang violence. As young as he is, he may be the only one who is asking why.

The cast of ‘The Outsiders’ musical national tour Photo by Matthew Murphy of MurphyMade

Directed meaningfully by Dayna Taymor with Justin Levine’s powerful music direction and Rick and Jeff Kuperman’s slick and athletic choreography, Lexus Broadway in Boston continues the national tour of The Outsiders musical at Citizens Opera House through Sunday, April 12. This coming of age musical’s action is not limited to the stage and runs 2 hours and 30 minutes with one intermission. Click here for more information and for tickets and here for the next stop on The Outsiders Musical national tour.

The Outsiders was originally a 1967 novel by S.E. Hinton. The author oversaw every aspect of the popular 1983 Francis Ford Coppola film adaptation of the same name featuring what was then a promising group of actors that went on to make their own iconic mark in the world. The film became a popular cult classic with a dynamite cast starring Thomas C. Howell as Pony Boy, Patrick Swayze as Darrell, Ralph Macchio as Johnny, Matt Dillon as Dallas, Rob Lowe as Soda Pop, Emilio Estevez as Two-Bit, Leif Garrett as Bob and Diane Lane as Sherri “Cheri” Valance. It also first premiered as a stage play in 1990.

The Greasers Photo by Matthew Murphy of MurphyMade

From its building opening folk-rock number Tulsa ’67, The Outsiders musical hits the ground running and it is as thrilling as it is introspective. Nolan White is an immediately compelling narrator as poetic, sensitive, naïve and bookish Pony Boy. Pony Boy spends his days escaping the chaos and Tulsa’s gang violence through 60s film icons such as James Dean and Paul Newman, but it is only a matter of time before the violence around him catches up to him.

The national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of Matthew Murphy of MurphyMade

Smoke rises over Projection designer Hana S. Kim’s and Sceneographer Tatiana Kehvehgian’s weathered and strategically placed multi-level industrial set. Peppered with vintage props that effectively rewind the clock such as a teal antenna television, functional Cadillacs that growl to life and a vintage metal-framed wooden table, the surrounding set pieces are brilliantly navigated by the cast into alternating positions, especially grease, wooden planks and cinderblocks which take part in the Kupermans’ slick and athletic choreography. Grainy film montages creatively and impressively illustrate the stage in unexpected places combined with Brian MacDevitt’s lighting heightening the show’s innate intensity through windswept shadows, flashlights, headlights and a dazzling sunrise.

The Socs of the national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of MurphyMade

Outstanding harmonies within Great Expectations, I Could Talk to You All Night, Grease Got a Hold, Run Run Brother and Throwing in the Towel, and Stay Gold is just a few of the mellifluous numbers in this guitar-tinged folk and roots rock score. The Outsiders tackle privilege, bullying, gang and domestic violence, grief and loss. It also delves into brotherhood, family, friendship and more prevalently, yearning to be understood and the dream of a better life.

The captivating cast share natural camaraderie amongst the two gangs punctuated by the performances of Tyler Jordan Wesley as wildly unpredictable Dallas and Travis Roy Rogers as reliable Darrell. Wesley hits all the right notes with Little Brother while Darrell’s resentment, self righteousness, worries and distress are encapsulated in the numbers Runs in the Family and Soda’s Letter.

The national touring cast of ‘The Outsiders’ musical Photo by Matthew Murphy of MurphyMade

Life can change on a dime and the mesmerizing manner in which they are presented are one of the greatest aspects of this amazing musical as well as how beautifully this musical brings out Hinson’s work about innocence and struggle in a remarkably new, unique and fitting manner.

This musical sure does shine.

Lexus Broadway in Boston continues the national tour of The Outsiders musical at Citizens Opera House in Boston, Massachusetts through Sunday, April 12. Click here for more information and for tickets and here for the next stop on The Outsiders Musical national tour.

REVIEW: Creativity underway in ‘Tick, Tick…BOOM!’ at Umbrella Arts Center

Posted on November 12 by The Sleepless Critic

Jon feels he is nearing the end of an era…his 30^th birthday.

Creatively directed and choreographed by Ilyse Robbins with lively music direction by Jordan Oczkowski, Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM! Live and in person at Umbrella Arts in Concord, Massachusetts through Sunday, November 23. This introspective and humorous musical journey runs 90 minutes with no intermission. Click here for more information and for tickets.

Once a 2004 Off-Broadway musical, Tick, Tick…BOOM! was translated into a 2021 award-winning Netflix film adaptation directed by Lin-Manuel Miranda and scored an Academy award-nomination for Andrew Garfield before taking the stage at numerous theater companies worldwide. While creatively runs wild in the Netflix film, the Umbrella Arts musical is where you find the spark.

Anthony Pires Jr.* Vanessa Calantropo and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Set in January 1990, Tick, Tick…BOOM! Is a fascinating semi-autobiographical rock musical about Jonathan Larson, a struggling writer and composer living in New York City years before he created his hit rock musical, RENT. A writer writes about what one knows and so much of this story offers glimpses into Larson’s inspiration for that wildly-successful musical.

However, this is about the struggle and this musical is brimming with it. The painstaking work of creativity and all that could go wrong illuminates Tick, Tick…BOOM! as Larson struggles to keep it all together to achieve what at times seems impossible, especially in New York City. Tick, Tick…BOOM! is not only about Jonathan Larson’s frantic life, but it is also an ode to the artist and the struggle to live that extraordinarily competitive dream while just skirting out and skimming by trying to get a chance.

Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Erik Diaz’s barebones set symbolically offers a different approach to this production featuring dual level scaffolding (also featured in Rent) a weathered apartment balcony, staircase and a NYC skyline. It may symbolically stand as a work in progress much like this particular period in Jon’s life. However, Johnny Shea who delivers Jon’s detailed narration stretches the imagination to conjure up each setting such as a stainless steel kitchen, butcher block table, vast views and a luminous city skyline in a purple mist, part of Ben Rush’s warm and atmospheric lighting.

Anthony Pires Jr.* and Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

At its creative center is likable narrator and lead Johnny Shea who is instantly earnest, introspective and charming as the frenetic Larson on the eve of Larson’s 30^th birthday. The unconventional, imaginative, and quick-thinking Larson divides his time between writing, composing and working at the Moondance Diner. However, music and writing naturally pours out of Larson’s soul and he is often consumed by it at the expense of everything else.

For forward-thinking Larson, turning 30 is a looming chasm that soaks up every ounce of his time until that odious deadline demonstrated in the urgent and memorable number, 30/90. Shea as Larson considers turning thirty as the end of youth, but it is certainly not too old to accomplish remarkable things. Perhaps Larson always felt like he was running out of time.

This often lighthearted musical features a dynamic, infectious, and multi-dimensional soundtrack about living in your 20s in New York City and how life evolves. RENT’s influence is unmistakably evident in the catchy and humorous number featuring Anthony Pires Jr. as Michael and Shea in No More which also reflects the strong camaraderie between best friends Michael and Jon. It is also easy to recognize the roots that will develop Larson’s future work in Shea’s tender number Why.

Anthony Pires Jr.* and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Inside the Moondance Diner, Sunday features beautiful harmonies and clever quips. Vanessa Calantropo as Susan and Shea as Jon deliver a flirty duet with Green Green Dress. Therapy is a fantastic and humorous number about the miscommunication of love and the chipper and lighthearted Sugar is great fun. Johnny Can’t Decide harmoniously and pensively depicts the agonizing struggle living in the uncertainty of your dream or being practical which is a prevalent theme throughout the production.

With rich vocal arrangement and orchestrations by Stephen Oremus, this intimate onstage band can impressively jam and the musical’s small and mighty cast interacts with the band while delivering rich and powerful harmonies along this uninterrupted musical journey. With the exception of Shea as Jon, Anthony Pires Jr. as Michael and Vanessa Calantropo as Susan smoothly and humorously capture many other roles as Jon allows his story to unfold. Calantropo especially stands out for the soaring number, Come to Your Senses.

Anthony Pires Jr.* Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Tick, tick BOOM! explores the little victories, the larger victories, and the gut-wrenching defeats in Larson’s personal and professional world. However, what is genuinely important becomes poignantly clear and what truly inspires his work changes as the musical progresses.

Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM live and in person through Sunday, November 23 at Umbrella Arts Center in Concord, Massachusetts. Click here for more information and for tickets.

REVIEW: Featuring a stellar cast, a riveting and indelible ‘Parade’

Posted on March 18, 2025 by The Sleepless Critic

A blanket and balloon have never held greater meaning under Georgia’s magnolia trees and endless sunshine.

Taking place nearly 50 years after the Civil War in 1913, Max Chernin depicts Leo Frank, a quiet and disciplined Jewish Brooklynite who is working hard to build a life in Georgia with his Southern wife Lucille, portrayed by Talia Suskauer, when one harrowing night changes everything. Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime.

When truth is set aside, where is there to turn?

Winner of two 2023 Tony Awards for Best Revival of a Musical and Best Direction of a Musical by Michael Arden with evocative choreography by Lauren Yalango-Grant and Christopher Cree Grant, the national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23. Based on a true story, this riveting production runs 2 hours and 30 minutes including one intermission. Click here for more information and for tickets.

Max Chernin (center) and company in the National Tour of PARADE, photo by Joan Marcus

It is particularly significant that Parade is on tour in Boston due to Massachusetts’ foundational roots including its Cradle of Liberty nickname, but also timely because Parade’s Boston run occurs through Purim, a Jewish festival rooted in the Book of Esther celebrating a historic Jewish triumph over oppression.

This captivating musical is based on a gripping true story and evokes a wide range of emotions. Like a parade, it spectacularly unfolds with an opening drum roll of The Red Hills of Home boasting gorgeous harmonies, splendor and Michael Arden’s acclaimed and seamless direction as well as Dane Laffrey’s moving and sweeping scenic design.

Adorned in vivid bunting as lights descend from the ceiling, Dane Laffrey’s elaborate and rolling set transforms from a wide open field into a wooden courtroom blending Sven Ortel’s descriptive projection design of dramatic and documentary-style elements revealing historical photos of the real people, places and newspaper headlines as crucial dates trace the events of the story. Billowing clouds and colorful landscapes stand out vividly between the black and white footage. Susan Hilferty and Mark Koss impressively capture the essence of the era in pastels, frills, smocks, three piece suits, newsboy caps, parasols, and brimmed hats.

The National Touring Company of PARADE, photo by Joan Marcus

Having seen Jason Robert Brown’s The Last Five Years, Brown has a gift for articulating a vast range of complex emotions and glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and from rueful to optimistic. The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought provoking.

Max Chernin and company in the National Tour of PARADE, photo by Joan Marcus

Featuring a large and stellar cast of approximately 30 people with many of them portraying more than one role, I was blown away hearing the depth and resonance of this particular array of amazing and occasionally a cappella vocals under Charlie Alterman’s magnificent music direction. Chernin’s vocals have a unique beauty as he embodies Leo’s stark loneliness and deft humor in How Can I Call this Home. With gravitas and sincerity, Chernin is excellent as Leo as he shares his thoughts in melodious vocals and quiet candor especially during his remarkable ballad, It’s Hard to Speak my Heart. He has elevating chemistry with Talia Suskauer as spirited and resourceful Lucille and they create powerful harmony for the lively and optimistic duet It’s Not Over Yet and a stunning rendition of All the Wasted Time.

Talia Suskauer and Max Chernin in the National Tour of PARADE, photo by Joan Marcus

Jack Roden is mesmerizing as Frankie Epps, especially during a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmonies to foreboding of a boy maturing in an instant. Roden and Olivia Goosman as exuberant Mary Phagan share some endearing scenes for the catchy The Picture Show.

Olivia Goosman, Jack Roden and company in the National Tour of PARADE, photo by Joan Marcus

Griffin Binnicker shines as charismatic yet contentious Tom Watson as he leads the urgent Hammer of Justice and Michael Tacconi is notable as scandal thirsty reporter Brett Craig desperate to revive his career in the darkly playful hymnal Real Big News.

Parade’s layered and stirring choreography is demonstrated in the hypnotic turn and parallels of The Factory Girls to the mischievous spring of Pretty Music with impressive Chris Shyer as slick Governor Slaton jubilantly spinning ladies across the dance floor. Another highlight is the clanking rhythms and chilling choreography of Feel the Rain Fall with Ramone Nelson’s commanding vocals as mysterious Jim Conley and the telling and satirical number Where will you Stand when the Flood Comes.

Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE, photo by Joan Marcus

Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking. A haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of storytelling that is sure to stay with you long after the production is over.

Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus

The national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23. Click here for more information and for tickets.

REVIEW: The Arlekin Players powerful and interactive ‘The Gaaga’ (The Hague) brings war under the microscope

Posted on June 23, 2023 by The Sleepless Critic

What if during the pain and strife of war, leaders were rounded up and required to stand trial for war crimes? What if during that trial, the very nature of war is peeled away to only exact more questions?

The Arlekin Players are known for daring and original productions fueled with a strong and universal message and this time, the audience had a say in this interactive trial through the eyes of a child.

Taisiia Fedorenco as Taya in Arlekin Players ‘The Gaaga’ Photo by Irina Danilova

Innovatively written and directed by Sasha Denisova, Arlekin Players Theatre and the Zero-G Virtual Theatre Lab presented The Gaaga (The Hague) live and in person at Beat Brew Hall in Harvard Square in Cambridge, MA as well as a virtual option from June 2 through June 18. This show contained some adult themes and is 2 hours and 40 including one 10 minute intermission. Click here for more information.

The cast of Arlekin Players ‘The Gaaga’ Photos by Irina Danilova

The Gaaga delves into some heavy and heady content, but also has its share of satiric humor and spectacle told in an interactive manner through a child’s game delivered through a dark and intriguing performance by Taisiia Fedorenco as Taya in a bomb shelter in Mariupol, Ukraine. Taya’s “game” is a trial that Putin, portrayed with striking resemblance by hair and makeup designer Anna Furman and depicted somewhat superficially as a child would see Putin by Paulina Dubovikova, and his network of operatives is on trial for their crimes in the Ukraine. The audience is privy to the trial and then some as each operative parade out for aiding Putin in crimes against humanity.

It is a powerful, gritty, harrowing, tense, and deeply personal production that leaves many more questions that it does answers about war, its consequences, and the dilemma of who is truly responsible for its uprising. Though the cast is a dynamic group made of mostly conniving and power hungry adversaries all looking for a scapegoat, The Gaaga adds unexpected dimension to this almost assuredly doomed bunch, but things are never quite as cut and dry.

Taya is not just any girl. She wants the audience (who can choose to be part of the online jury) to not just see her as narrator and orchestrator of the game, but to get to know her by revealing her favorite soup and what she loves as evidenced by tell tale surroundings including a rocking horse, tea set, and pink doll house. It’s such a purposefully ironic and metaphorical setting by Environmental Designer Irina Kruzhilina which perhaps symbolizes the loss of innocence as war talk overpowers a child’s playthings. Lighting designer Kevin Fulton enhances the crucial, mood setting atmosphere from a drab and dismal Dutch prison to the satirical buoyancy of a theatrical performance. Sound designer Brendan F Doyle and composers Szymon Orfin and Jacek Jedrasik add spectacle and with a cryptic, but at times humorous soundtrack that includes classic rock and original score.

Ilya Volok as Patruschev Photos by Irina Danilova

The originality of The Gaaga varies from treacherous individuals dancing exuberantly in strange garb to being interrogated in a bathtub through the unique lens of security cameras and other means of revelation including a bleary and bombed window. Quite a few of the cast members make powerful impressions especially handling dual or multiple roles such as Garrett Sands as a malicious soldier, Robert Walsh as Surovikin, Joe Biden and others, but Ilya Volok as conspiracy theorist Patruschev gives a mesmerizing performance, especially in a particularly commanding, absorbing, and unsettling monologue which combines comedy and cruel irony.

Not only is the audience asked show questions as trivia during pivotal points in the production, but invites others to share their thoughts. Some questions are tongue in cheek, but others are sure to be considered long after the production is over.

Arlekin Players Theatre and the Zero-G Virtual Theatre Lab presented The Gaaga (The Hague) live and in person at Beat Brew Hall in Cambridge, MA as well as a virtual option from June 2 through June 18. Click here for more information.

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.

REVIEW: Boasting a strong cast, Company Theatre’s ‘Something Rotten’ a fresh and clever musical comedy

Posted on March 26, 2022 by The Sleepless Critic

Amid set designer Ryan Barrow’s quaint, warmly-lit, Tudor-inspired cottages of 1595 London is a Renaissance rock star…and the ones he left behind. Company Theatre’s Something Rotten has something new to say about something olde and what it truly takes to be remembered.

Slickly directed by Zoe Bradford with zealous musical direction by Steve Bass, Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show is not recommended for young children and runs approximately two hours with a brief intermission. Click here for more information and tickets.

Director Zoe Bradford and the cast of ‘Something Rotten’ Photo courtesy of Zoe Bradford/Company Theatre

The phrase, Something Rotten, calls to mind a number of references, but primarily this alludes to the one and only William Shakespeare, London’s resident celebrity. While music was prevalent in 1595, writers were the real stars of their time and Shakespeare, charismatically portrayed with plenty of ego, prowess, and smirking, flamboyant charm by Brad Reinking, was a legend. Surrounded by Shakespeare’s Bard Boys (watch their expressions as he speaks), Reinking’s stage presence is an eclectic cross between Prince and Elvis.

Christopher Spencer as Nigel Bottom, Brad Reinking as Shakespeare, and Donny Norton as Nick Bottom Photo courtesy of Zoe Bradford/Company Theatre

In the glow of stardom, there must be a few naysayers and no one does it better than Donnie Norton as cynical and struggling writer Nick Bottom who once worked with that famous Bard. Nick’s level of griping is prevalent in the catchy number, God, I Hate Shakespeare, but what makes the song particularly interesting it is also embodies relevant reasons some people do not care for Shakespeare’s writing. Norton as Nick Bottom is so good at the role that payoff is big when he finally shows a trace of optimism. Christopher Spencer also shines as idealistic, impressionable, and head-in-the-clouds Nigel, Nick’s little brother and fellow writer. Spencer’s best moments as Nigel is when he shows reason and aptitude, though his giddy chemistry with Emily Lambert as wide-eyed yet steadfast Portia is also wonderful to watch.

Emily Lambert as Portia and Christopher Spencer as Nigel Bottom Photo courtesy of Zoe Bradford/Company Theatre

Something Rotten is often self aware and its irreverent brand of humor brought to mind the classic comedy of Mel Brooks in musicals such as in the Tony award-winning The Producers or Young Frankenstein. Sally Ashton Forrest’s notable choreography boasts some splashy and humorous dance sequences including tap dancing and even a glorious kick line.

Elizabeth Cole Sheehan’s gleaming, colorful, and historically-faithful costumes cross the pond between regal classical to edgy contemporary adorned in gold-embroidered velvet, puffed sleeves, and leather.

Welcome to the Renaissance Photo courtesy of Zoe Bradford/Company Theatre

Something Rotten features some powerhouse vocals, especially from these forward-thinking leading ladies in jolly ol’ England. Emily Lambert as Portia lifted her soaring soprano vocals for the gospel-inspired, We See the Light and the sweet and cheeky duet, I Love the Way with Spencer’s Nigel. Melissa Carubia as spunky, confident, and loyal to a fault Bea is also ahead of her time, her dynamic vocal range on display for the groundbreaking number, Right Hand Man. With quirky comedic charms fueled by a mix of Catherine Tate and Jennifer Saunders, Janis Hudson is perfectly smashing as royally-dressed Lady Clapham.

Janis Hudson as Lady Clapham Photo courtesy of Zoe Bradford/Company Theatre

With bright, inquisitive eyes and a mischievous and knowing grin, Christopher Hagberg is a scene stealer as Thomas Nostradamus who leads with Norton in the funniest and most brilliant number of the show, A Musical tailor-made for literary and musical lovers everywhere.

Donnie Norton as Nick Bottom and Christopher Hagberg as Thomas Nostradamas Photo courtesy of Zoe Bradford/Company Theatre

Company Theatre presents lighthearted musical comedy Something Rotten through April 3 live and in person at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. The show runs approximately two hours with a brief intermission. Click here for more information and tickets.

Company Theatre’s Michael Hammond reveals his favorite part of theatre, a secret project, and ‘Fun Home’

Posted on September 15, 2021 by The Sleepless Critic

Just prior to the pandemic, an award-winning, intriguing production not only made its debut but closed in one night on the Company Theatre stage in Norwell, Massachusetts over a year ago. Onstage as the meaty role of Bruce, Company Theatre’s Director of Development Michael Hammond experienced that incredible and bittersweet night and what it meant to the cast of the musical memoir Fun Home. Click here for our full podcast conversation.

Aimee Doherty as Alison, Michael Hammond as Bruce, and Riley Crockett as Small Alison Photo courtesy of Zoe Bradford/Company Theatre

The Company Theatre is offering a chance to see Fun Home for the full run they had originally intended in October. Michael talks about his experience as Bruce, his favorite part of theatre, and a secret upcoming project.

Click here for Sleepless Critic’s Fun Home review and here for tickets and further information about the Company Theatre.

Sleepless Critic: So you’ve been in theatre since you were a kid and now that we have had the pandemic, what was your favorite part of the theatre before and was there a change in your favorite or what you miss the most when we had a break?

Michael Hammond: I think we take a lot for granted in life. We forget how much fun it is to sing with an orchestra or to perform on a beautiful set someone built. Ryan Barrow does amazing sets at Company Theatre and it’s thrilling to perform on one of his sets. It’s thrilling to perform with Steve Bass conducting an orchestra and thrilling to perform Sally Forrest’s choreography under Zoe Bradford’s direction.

I think we take that for granted in some ways and as much as I enjoy it and maybe as I got from show to show to show, I think I just liked performing specific roles for the experience of getting to know a new cast. I did a Christmas show at Company Theatre and just recharged my energy to be around such beautiful people and exciting kids and talent. You’re in a flow and you are doing shows and enjoying it.

The cast of Company Theatre’s ‘A Christmas Carol’ Photo courtesy of Zoe Bradford/Company Theatre

You get what you get out of it, but when the pandemic was coming, I was doing Fun Home with an extremely talented cast. Riley Crockett was playing the youngest Alison. I was re-experiencing theatre through her eyes and she had never been on a big stage or performed with an orchestra which is shocking because she is so talented. She would ask me, ‘Are you nervous for your solo tonight?’ I would say, ‘I am a little.’ She would say, ‘Good, now you know how I feel.’ Ok, she needs a little more support and encouragement in that moment.

Then we were standing on top of a staircase and we were about to walk down for our first entrance and she said, ‘Michael, I’ve never performed on a set like this. This is a big deal.’ I said, ‘Yes, it is a big deal. You are right. This is a beautiful experience and you’re about to sing live with an orchestra for the first time in a big theatre on a beautiful set.’ It made me look at what we are doing and not take it for granted.

So we were fortunate to open and close Fun Home on the exact same night because the pandemic had really hit. That day everyone was cancelling their performances but we went on because we had a feeling this would be it. I’m so glad we did because it was one of the most exciting and electric experiences of my life. People were rebellious and excited. They knew this might be the last time they ever saw this show and Fun Home is not a super positive and happy experience.

Riley Crockett as Small Alison and Michael Hammond as Bruce Photo courtesy of Zoe Bradford/Company Theatre

SC: It is melancholy.

MH: Right, but the audience treated it like it was a rock concert!

SC: Yes, I was there to review your first and final performance. I felt so comfortable and wonderful and I had saw this show in Boston before. What I liked about watching this particular show is that you can make it so different every time you perform it. The parts can be portrayed very differently and you can do so much with the show. In a way, if you had to say goodbye to theatre for awhile, I felt like that was such a poignant thing to do in that moment.

MH: It was. It was one of the most beautiful experiences I think I ever had and it was just so bittersweet because it was the last show with Jordie. How thrilled and grateful am I that I got to have Jordie’s final show be Fun Home and I got to be a part of it. It was just such a fantastic experience and she loved the show. It was such a joy to go through that process with her.

SC: It is one of those shows that sneak up on you unexpectedly. You’re experiencing the show and you enjoy it, but once it’s over, it is really thought-provoking.

MH: I saw it on Broadway and loved it. I thought that I don’t necessarily need to see it again. It was beautiful and moving and I think of it like a beautiful film. You watch it and then you watch another film. When this opportunity came around to work on the show, I have such a great appreciation for it. I think it’s just one of the greatest things ever written where you’re dissecting and it personally and really in the trenches on it. It’s so much more brilliant than I realized.

SC: It has such multi-layered performances as well.

MH: I was thinking today that there were so many things about Bruce, I almost feel like I just left my body. I personally couldn’t be any part of this character because it just wasn’t anything like me. Sometimes I think about it and it feels really difficult to do it again because I remember it as ‘What did I even do?’ I feel like something else took over and performed the role for me.

SC: I don’t often see you play parts like that. Not to reveal anything, but your character is very complicated.

MH: Then to hear compliments like you should do roles like that more often is such a compliment because people think of me as a song, dance, and musical theatre man. Not that I shy away from roles like that, but it was very gratifying to play that part especially opposite such a talented cast. It’s unbelievable.

SC: I know you’ve written a few works with Jordie and Zoe over the years. Please tell us how that came about.

MH: I co-wrote Paragon Park the Musical with Zoe, Jordie, Sally, and Michael Joseph for the first production and Steve Bass for the second who worked on the music. I love amusement parks and I loved Paragon Park. I went there so many times in my life.

When I heard that Zoe and Jordie were thinking of writing a musical about Paragon Park, I selfishly just wanted to see it. I had no inkling that I would be involved or that they would want me involved. I just wanted to see that production so it got mentioned many times over the years and one summer I designed a poster Paragon Park the Musical coming summer of whatever year it was. It was a long time ago.

Zoe Bradford – Director, co-writer, and Company Theatre co-founder Photo courtesy of Company Theatre

One day Zoe decided years after the poster even to start doing some research. She said, ‘Why don’t you come with me? We’ll get lunch.’ We went to the Hull Library which was incredible. They put us in a private room and provided us with access to microfiche, boxes of memorabilia, and photographs. They were so generous. It just snowballed from there. We just couldn’t stop. We were researching and loved what we found. It did not end up being the musical we thought we were going to write because the ideas we had in mind turned out to be completely not true. It all got shifted.

We thought maybe there was this seedy underbelly to the park and that once the park was closed, things happened at night. It was going to be dark and mysterious and then we find out from the park owners that ‘Oh no, we locked that place, sealed it like a drum at 11 pm, and went out for Chinese food.’ Nothing happened at the Park after hours. So much for that, but the Stone Family provided us with so much information that we were able to write a really interesting and factual musical. It was 80% true except for the love story we incorporated.

SC: Not only did you write it the first time around, but when it came back around, you got to star in it too.

MH: I did and it was a thrill! The nicest feeling about that show and being in it is to be putting on a costume and as I’m by myself getting dressed, I would hear people walk down the hallway singing the songs or they would say that they get to do that scene they love now. There was so much positivity and to realize we wrote a show that was really fun to perform. Some of the kids were in Ragtime and we used to make these funny backstage videos. So I said, ‘Why don’t we make videos during Paragon Park?’ They said, ‘Michael, you and Zoe wrote a show where there is no time to make videos. When would we do that?’ It was nice to know we had a hand in creating this really fun experience. It was quite thrilling to be able to perform something that I helped write.

Michael Hammond in Company Theatre’s ‘Paragon Park the Musical’ Photo courtesy of Zoe Bradford/Company Theatre

SC: Please tell me about the projects you are working on now and upcoming projects.

MH: I’m devoting all my time to Company Theatre and Zoe and I thought, ‘Why not write another musical?’ It’s a completely different project from Paragon Park and we can’t quite announce yet what it is, but Zoe is incredibly inspired by this project.

Watching her, it’s almost like she is channeling something like I’ve never seen. She’s a beautiful artist and I’m obsessed with the way she draws and paints. So she just took out a magic marker and a gigantic pad of paper and drew what she saw in her head for the plot of this show and it was quite impressive to watch. Her ideas are flowing through her. It is unbelievable so we’re hoping that will probably be the summer of 2023.

A celebration of life for Company Theatre co-founder Jordie Saucerman. Visit companytheatre.com to learn how to be part of this tribute. Photo courtesy of The Company Theatre

Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts, is presenting Fun Home in October as well as devoting a night to their late co-founder, Jordie Saucerman, in November. Click here for more information and check back to find out about Company Theatre’s mystery original production.