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REVIEW: SpeakEasy Stage produces imaginative and meaningful ‘Wild Goose Dreams’

Posted on April 4 by The Sleepless Critic

The internet adds zing to an already imaginative tale.

Hansol Jung’s multi-dimensional Wild Goose Dreams fits into a few genres including romantic comedy, family drama, and a technological cautionary tale while also touching upon the political climate of North and South Korea. A show like this might have ended up fragmented, but Jung delves into these elements with finesse, candor, and a wealth of unpredictability. It is a unique production that manages the weight of some of its heavier topics with meaningful comedy and insightfulness helmed by a vibrant and charismatic cast.

Eunji Lim as Yoo and Ciara D’Hondt in ‘Wild Goose Dreams’ Photo by Nile Scott Studios

Directed skillfully by Seonjae Kim, SpeakEasy Stage Company continues Hansol Jung’s Wild Goose Dreams live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, April 8. The show is one hour 40 minutes with no intermission and contains adult themes. Click here for more information and for tickets.

Wild Goose Dreams is a bit of an emotional rollercoaster though the life of Yoo Nanhee, a North Korean defector living in South Korea. Weighed down by guilt, anxiety, and loneliness that cause her absurd, harrowing, and graphic dreams, Yoo happens upon a website that could change her life. Eunji Lim as Yoo Nanhee depicts introspective Yoo with quiet charm and vulnerability as she navigates her life to fulfill her parents’ absent expectations. John D. Haggerty has a mysterious, warm, and affable presence in Yoo’s life. Haggerty and Yoo’s benevolence toward each other is engaging and entertaining as Haggerty occasionally goes out on a limb for a laugh.

John D. Haggerty as Penguin in ‘Wild Goose Dreams’ Photo by Nile Scott Studios

Jeffrey Song portrays sympathetic Guk Minsung with humbleness, loneliness, self deprecating charm and seeming optimism. He is what is termed a “goose man” working outside the country where his family lives and sends money to support them. Minsung’s wife and daughter are seldom seen in their roles, but Elaine Hom and Amanda Centeno make their selective scenes memorable.

The Internet in ‘Wild Goose Dreams’ Photo by Nile Scott Studios

With the internet playing a greater role in the majority of people’s everyday lives, it has developed a unique way of becoming its own character. Not a blatant or obvious one, but many times, it is a tool to distract from various levels of loneliness and an unlikely companion for some even if it isn’t real. Wild Goose Dreams takes that premise and packs some zing with an assortment of vivid characters represented by Amanda Centeno, Fady Demian, Elaine Hom, Ciaran D’Hondt, John D. Haggerty and Ryan Mardesich who collaboratively bring to life the noisy, cloying, obnoxious, intricate, detailed and not so reliable internet. The wildly inventive and outrageous costuming and accessories by Machel Ross enhances that silly, eye popping, strange, tempting yet resourceful world in a whirlwind of colors of avatars, emojis, pop up windows, and even hypertext coding. It must have been great fun putting it all together and fascinating to witness just how well the internet not only adds some lightness to this fervid tale, but blends so well with the plot. Crystal Tiala’s colorful, multipurpose, and multilevel set design leaves room for the cast’s zaniness while including some of Korea’s lighthearted landmarks like KFC. The zippy, hollow, and rattling web sounds from sound designer George Cooke along with other vocal stylings verbalized by the cast themselves heightened each aspect of this madcap and moving ride.

Eunji Lim as Yoo Nanhee and Jeffrey Song as Guk Minsung in ‘Wild Goose Dreams’ Photo by Nile Scott Studios

SpeakEasy Stage Company continues Hansol Jung’s Wild Goose Dreams live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, April 8. Click here for more information and for tickets.

REVIEW: Boston Ballet delivers lighthearted and triumphant ‘Don Quixote’

Posted on March 24 by The Sleepless Critic

Armed with oversized artillery and a makeshift helmet, Don Quixote is a chivalrous and enchanting hero like none other.

Boasting a wealth of delightful physical humor, resplendent costumes, and exuberant choreography, the Boston Ballet presents Rudolf Nureyev’s uplifting and family friendly romantic comedy Don Quixote through Sunday, March 26 at Citizens Bank Opera House in Boston, Massachusetts. This production is approximately two hours 48 minutes including two intermissions. Click here for more information and for tickets.

Daniel Rubin as Don Quixote, Isaac Akiba as Sancho Panza and John Lam as Gamache Photo by Rosalie O’Connor Photography

A crowd toss, a tense and impressive knife dance, formidable puppetry, and every one of Don Quixote’s grand entrances are just a few of Don Quixote’s indelible moments when the company is not thrilling audiences with daring and athletic lifts and dives.

Isaac Akiba as Sancho Panza Photo by Rosalie O’Connor Photography

Delving into the wise words of Don Quixote author Cervantes, ‘The most perceptive character is the fool because the man who wishes to seem simple cannot possibly be a simpleton.’ Whether in love or in battle, My’kal Stromile’s charismatic and natural assurance as Don Quixote stands out amid his occasionally wild and rowdy surroundings. Chivalrous to a fault and a sympathetic admirer, Don Quixote, accompanied by his trusty and comedic sidekick Sancho Panza portrayed winningly by Angel Garcia Molinero, set out on a quest through Spain to find his ideal Dolcinea.

Ji Young Chae as Kitri and Jeffrey Cirio as Basilio Photo by Rosalie O’Connor Photography

Don Quixote encounters a vast array of dynamic characters from dryads to gypsies to matadors in distinct and exceptional garb in this consistently upbeat and lighthearted production. Viktorina Kapitonova dazzled audiences when she portrayed Cinderella in Boston Ballet’s 2019 Cinderella and that exuberance, determination and confidence shine through as Kitri. A red rose in her hair, Kapitonova’s bright smile lights for Basilio, portrayed impressively by Lasha Khozashvili. Kapitonova and Khozashvili are marvelous together as they perform a playful pas de deux, their captivating chemistry sweet and jubilant. Kapitonova also has some amusing moments with Rasmus Ahlgren as Lorenzo. Chyrstyn Fentroy’s spitfire Mercedes has spicier chemistry with Paul Craig as equally charming Matador Espada. Fentroy and Craig’s sharp and sweeping pas de deux is enthralling in daring lifts and leaps. One of the highlights of the performance is Fentroy’s thrilling knife dance. The matadors are elegant and gallant in bolero jackets in black and gold. Later, Jon Lam delivers a complex and powerful solo dance as a rowdy lead traveler .

The company demonstrates a plethora of visually impressive comedy ranging from absurd to mischievous to self deprecating. Lawrence Rines Munro as wealthy and foppish nobleman is an amusing scene stealer through his over the top expressions and comedic stances. On another notes, Addie Tapp is wonderful as Queen of the dryads delivering sweet chemistry with an enamored Stromile as Quioxote in a fanciful display as her dryads glide along the stage. Kaitlyn Casey intrigues as a mysterious bride.

Viktorina Kapitonova as Queen of the Dryads Photo by Rosalie O’Connor Photography

Boston Ballet’s Don Quixote’s resplendent visions of beauty vary from muted colors to floral pastels to bold and exotic creations inspired by Spain’s reformation era. In silks, lace, flowing capes and skirts, bolero jackets as well as ethereal, glittering and majestic attire, costume designer Nicholas Georgiadis effectively captures Quixote’s distinctive journey with finesse. The multi-functional fans frequently used by the company are characters in themselves for flirtation and comedy. From giant windmills to rustic wagons to towers and cannons, Georgiadis also helmed the production’s distinctive set design. Brandon Stirling Baker’s emotive lighting is especially prevalent for Don Quixote’s vivid and haunting visions.

Boston Ballet in Rudolf Nureyev’s Don Quixote, photo by Rosalie O’Connor, courtesy of Boston Ballet

Skillfully conducted by Mischa Santora, Ludwig Minkus’s brilliant score varies from fanciful to powerfully epic to mischievous, setting the perfect tone for this unique and amazing classic tale.

Boston Ballet presents Rudolf Nureyev’s uplifting and family friendly romantic comedy Don Quixote through Sunday, March 26 at Citizens Bank Opera House in Boston, Massachusetts. Boston Ballet’s upcoming lineup includes Our Journey and Sleeping Beauty. Click here for more information and for tickets.

REVIEW: Lexus Broadway in Boston’s glitzy ‘Pretty Woman the Musical’ fluffy but fun

Posted on January 28, 2022 by The Sleepless Critic

Sure, it’s escapism, but isn’t that what Pretty Woman is all about?

Based on the hit film adaptation starring breakout star Julia Roberts and then megastar Richard Gere, Pretty Woman put a fairy tale spin on a story about a clever prostitute who charms a rich guy. The film is produced by Disney no less and solidly directed by the esteemed Gar r y Marshall. With natural elegance, pitch perfect comic timing, and tangible chemistry with Gere who she went on to star with in other film projects due to their thriving and bankable chemistry, Julia Roberts instantly became America’s Sweetheart at just 21 years old.

Adam Pascal as Edward and Olivia Valli as Vivian Photo credit to Lexus Broadway in Boston

A lot of big box office movies become musicals, so Pretty Woman was inevitable.

Directed and choreographed by Jerry Mitchell with music by award-winning singer-songwriters Bryan Adams and Jim Vallance, Lexus Broadway in Boston’s Pretty Woman the Musical continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, January 30. Click here for more information and for tickets.

While the musical lacks Roberts and Gere’s tangible chemistry, Pretty Woman the Musical is still a fun adaptation with a few memorable musical numbers and includes the beloved and iconic moments that charged the 90s rom com classic. However, I do wish the show took its time a little more. The scenes and dialogue at times seem rushed, but with a show already two plus hours, that can be understandable. There is a great deal to cover from the music to the wealth of the film’s signature moments, but perhaps subtracting the more forgettable reprises might make up for the patches of rushed pacing.

Olivia Valli and Saleswomen on Rodeo Drive Photo credit to Lexus Broadway in Boston

From colorful street clothes to flowing, runway fashion to majestic gowns that include Vivian’s iconic red dress, costume designer Gregg Barnes exacts the splashy nature and 80s/90s vibe of this fantasy fairy tale. Fashion bursts onto the scene in the flashy number, Rodeo Drive oozing in the elegance of many shoppers’ fondest dreams and can’t help but notice Jessica Crouch as Kit’s amazing and glittery red and gold heels.

Kyle Taylor Parker as Happy Man Photo credit to Lexus Broadway in Boston

One performer who does more of the heavy lifting in this version is Kyle Taylor Parker as Happy Man. He not only carries his excellent and fun-loving charisma to the neon glow of Hollywood Boulevard for What’s Your Dream, a catchy opening number with a tropic tinge, but keep an eye out for Parker to pop up unexpectedly and delightedly in various sequences throughout the production boasting sharp comic wit and dynamic spontaneity.

Olivia Valli, the granddaughter of Frankie Valli, has a lot to live up to and does not do a Julia Roberts impression even through those signature red curls, but she makes the part her own as a goofier free spirit and an even faster-talking Vivian than in Roberts’s memorable performance. Julia Roberts had more of an established elegance in her role, even when she is trying to look tough. Valli has her own unique and bubbly comic timing. She performs a charming rendition of This is My Life, created from one of Vivian’s monologues to Edward. She also delivers a heightened and powerful solo for I Can’t Go Back.

An iconic Rodeo Drive moment in Pretty Woman Photo credit to Lexus Broadway in Boston

Adam Pascal as quiet, powerful, and observant Edward lacks Richard Gere’s subtle charm though he sounds a lot like Gere. His character is developed further than in the film, especially during his insightful solo, Freedom which is a nice addition drawn from Edward’s monologue in the film to Vivian.

Jessica Crouch’s vocal gymnastics with a rock edge as Kit uplifted Luckiest Girl in the World alongside Olivia Valli as Vivian and in the bright and catchy number, Never Give Up on a Dream. Kit’s spitfire persona and shoot-from-the hip attitude is a heightened version of Laura San Giocomo’s benchmark performance, but here Kit is a more established character and given a larger arc than in the film. She and Olivia Valli have a warm camaraderie evident from Kit’s first scene.

Jessica Crouch as Kit and Olivia Valli as Vivian Photo credit to Lexus Broadway in Boston

Jason Alexander has said that his opportunity for George from Seinfeld came from Pretty Woman and it was a hard fought battle for him to play the role of Edward’s lawyer and friend, Phillip Stuckey. However, in this version, Brent Thiessen filling for Matthew Stocke, is more of what director Garry Marshall originally had in mind for Stuckey’s intimidating, slimy, and snarky persona (imagine if Bradley Cooper took this role) and Olivia Valli as Vivian’s updated interactions with him are a little different this time around and more welcoming.

Amma Osei as Violetta and cast Photo credit to Lexus Broadway in Boston

Whether it’s the astounding vocals from Amma Osei as Violetta or the scene’s up close and personal delivery or even Pascal’s beautiful rendition of You and I, which has an unmistakable Bryan Adams influence, the iconic opera scene between Vivian and Edward stands out as is one of the best scenes in the musical.

Lexus Broadway in Boston’s Pretty Woman the Musical continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, January 30. Click here for more information and for tickets.

REVIEW: ‘Love, Repeat’ gets love right

Posted on January 21, 2021 by The Sleepless Critic

Viewing Warwick Film’s unconventional and heartwarming romantic comedy Love, Repeat makes this city lover long to return to New York City. Steeped in New York City’s pinnacle, snow-covered beauty and featuring some of the city’s most iconic landmarks in muted enchantment brings on a wistful feeling. New York City not only provides this film’s idyllic ambiance, but is portrayed as its own active character in James, an auspicious person who feels like he lucked out in love to his wife Barbara until they suddenly divorce. James feels much like Manhattan, a lonely island.

Bill Connington as James in idyllic New York City in ‘Love, Repeat’ Photo courtesy of DARR Publicity/Love, Repeat

Whether you are still feeling the holiday spirit as any Hallmark movie fan would be or looking for a lighthearted tale of love and loss, Love, Repeat delivers. January is also nestled between the close of the holiday season and the anticipation of Valentine’s Day. Warwick Film’s Love, Repeat is available to stream and on DVD. Click here for more information on the film and how to watch Love, Repeat.

MaxwellPurushothaman as Chris and Bill Connington as James in ‘Love, Repeat’ Photo courtesy of DARR Publicity/Love, Repeat

Written, executive produced, and starring Bill Connington as James, Love, Repeat largely portrays the difficult part of love. It explores the kind of love that is tested after things go right, but done in a way that is optimistic, humorous, and never bereft of hope.

Marcus Ho as Chad, Maxwell Purushothaman as Chris, Stu Richel as Philip, and Bill Connington as James Photo courtesy of DARR Publicity/Love, Repeat

The setting may be idyllic, but this is not a tale of beautiful people with beautiful problems that are easily solved. Love, Repeat boasts a dynamic, strong, and quirky cast helmed by Bill Connington as earnest, stoic and quietly romantic James Anderson. Connington endearingly depicts James’s tension and hesitation as he wades into this unexpected period in his life while his artistic ex-wife Barbara, amiably portrayed by Leenya Rideout, seems ready to move on. The pair possess a sweet and familiar chemistry. There is nothing quite like getting romantic advice from your son and Maxwell Purushothanan as their bright, albeit blunt son Chris receives the lion’s share of the laughs. Stu Richel as Phillip, James’s football-loving father resembles that “shoot-from-the-hip” charisma portrayed in Martin Crane from the hit TV show Frasier.

Marcus Ho as Chad and Nandita Shenoy as Lavanya Photo courtesy of DARR Publicity/Love, Repeat

Marcus Ho as Chad and Nandita Shenoy as Lavanya are James’s chic and wildly dramatic friends as they amusingly swing from passionate to cynical at times in the very same scene. The film also has its share of good naturedly silly moments including a spontaneous dance sequence and Vivia Font who deems a noteworthy portrayal as increasingly obsessive and comically driven Camilla.

The story is a bit rushed at times and it would have been nice to get more insight into Barbara’s character, but the characters are relatable enough to stay invested while delivering an authentic message about love, risk, acceptance, and relationships while taking in those marvelous city views.

Bill Connington as James at the MET Photo courtesy of DARR Publicity/Love, Repeat

Warwick Film’s Love, Repeat is available to stream and on DVD. Click here for more information on the film and how to watch Love, Repeat.

REVIEW: Hub Theatre Company of Boston makes virtual ‘Much Ado about Nothing’ something special

Posted on December 2, 2020 by The Sleepless Critic

It was love in the time of Covid.

Hub Theatre Company of Boston puts a 2020 twist on Shakespearean romantic-comedy classic, Much Ado About Nothing. This lighthearted production not only battles the perils of love, but a modern-day pandemic.

Shakespeare was no stranger to the times we are living in today. He watched theatres close during the Great Plague of London in the 1600s and used his time wisely, writing King Lear, MacBeth, and Antony and Cleopatra during that time of isolation. Tailoring this romantic comedy into 2020 isn’t too far of a stretch, especially in the humorous and clever manner in which Hub Theatre approaches these changes, not taking themselves too seriously.

Hub Theatre Company of Boston offered live streamed performances of Shakespeare’s Much Ado about Nothing until November 21 on a pay-what-you-can basis. Astutely directed and adopted by Bryn Boice, the virtual performance is still available to watch on Hub Theatre Company of Boston’s Facebook page. Click here to learn more about Hub Theatre Company of Boston and their future productions.

It is difficult to put together a show in the best of circumstances so Hub Theatre of Boston smartly steered into the skid by presenting this classic production, developing what theatre would have considered obstacles into strengths using the power of Zoom. Romantic partners kiss (offstage), couples and groups schedule rendezvous in breakaway rooms, and masks are weaved right into the story varying from silly animals to refined Venetian costume masks.

Part of what keeps Much Ado about Nothing a relevant, insightful, and easily modern piece is its foundations inspired endless inspiration for contemporary rom-coms. Adding tech talk and Covid-speak such as ‘turn off the cameras,’ ‘swipe right,’ ‘privacy issues,’ ‘your mic is on,’ and ‘venmo to payment’ does not seem too out of place onstage or on a laptop. Its exuberant and mischievous tone steeped in romance, gossip, tricks, and trappings have universal and timeless appeal.

This lively cast zealously adapts the production’s modern charm as they deliver wit, humor, and ripening drama in equal measure. As Hero (Micheline Wu) is getting ready to marry Claudius (Jaime Hernandez), mutual friends decide to do some matchmaking of their own with sworn singles Benedick (Jon Vallente) and Beatrice (Lauren Elias).

Wu is natural, charming, and sympathetic as blushing Hero and she shares sweet chemistry with Hernandez who delivers a robust performance as lofty and serious Claudio. Sarcasm, wit, and banter are not lost on outspoken, headstrong, and stubborn Elias and Vallente, who exhibit crackling chemistry as Beatrice and Benedick. One favorite line Hub Theatre gloriously did not change was when Benedick asks Beatrice, “You take pleasure then in the message?” Beatrice replies, ‘Yea, just so much as you may take upon a knife’s point.’ Their bickering is as biting as ever.

Nettie Pickering brings gravitas to her portrayal as Don Pedro and providing contemporary comic relief are the hackers or in traditional terms the Watchmen led by officer Dogberry (John Kinsman) boasting a Boston accent. Kinsman’s conceited and controlling Dogberry is amusing on his own, but shines in scenes with his watchman, portrayed with streetwise sass by Borachio (Lorraine Kanyike) and Conrade (Jessica Golden).

Chelsea Kerl’s dynamic, edgy costumes and Justin Lahue’s bold digital design keep the show bright and buoyant even in its darkest moments…and there are a few. Michael John Ciszewski has a flair for portraying dastardly characters and his elitist, tyrannical depiction of Don John is no exception.

The revelations hold up and pay off in Hub Theatre Company of Boston’s modern adaptation of Much Ado about Nothing. A recorded version is still available on Hub Theatre Company of Boston’s Facebook page. The production is on a pay-what-you-can basis. Click here for more information on Hub Theatre Company of Boston and their eighth season.

REVIEW: Moliere in the Park’s ‘The School for Wives’ a twist-filled comedy of scheming proportions

Posted on November 2, 2020 by The Sleepless Critic

What truly makes one person love another?

Moliere in the Park begs this question while addressing gender stereotypes and takes an at times tongue in cheek look at what makes a good wife in The School for Wives, a classic comedy by French playwright Moliere first making its stage debut in 1662. Translated by Pulitzer Prize-winner Richard Wilbur with French subtitles, this virtual romantic comedy in five acts has plenty of twists and turns on the road to love and made its live streaming debut on October 24 with the recording available through October 28 on Moliere in the Park’s YouTube channel.

The cast of Moliere in the Park’s ‘The School for Wives’ Photo courtesy of Moliere in the Park

Moliere in the Park is dedicated to inclusive, just, and free theatre. Click here for more information.

Set in Brooklyn, NY, Moliere in the Park’s The School for Wives uses its creative technical wizardry to meet Covid-19 standards with enhanced, virtual sets by Lina Younes transporting actors from a regal city garden to a carefully-detailed bedroom to an inviting cafe. At one point, it also gives the illusion that the characters are all together. Ari Fulton’s colorful costumes stay faithful to the time period while providing a certain modern edge.

Kaliswa Brewster (Horace), Mirirai Sithole (Agnes) Photo courtesy of Moliere in the Park

Directed insightfully by Lucie Tiberghien, ‘The School of Wives’ is punctuated by its intriguing and catchy dialogue as well as its flipped gender roles. Older and wealthy Arnolphe (Tonya Pinkins) thought he has his love life figured out until Horace (Kaliswa Brewster) makes him rethink his road to love with sweet and virtuous Agnes (Mirirai Sithole). Each character is well developed, but what truly shines is the fleshed out philosophies and misconceptions of what makes a good woman and a good wife while exemplifying what truly makes a good man and husband.

Tony Pinkins skillfully depicts the well-spoken and arrogant Arnolphe as a myriad of emotions cross Pinkins face in a single scene. From a biting temper to soft chuckling to a Cheshire smile, Pinkins seamlessly illustrates Arnolphe’s constant inner conflict. Ever the focused manipulator, Arnolphe’s vibrant scene-stealing gravitas keeps you engaged no matter how complicated his situation becomes.

Kaliswa Brewster (Horace), Tonya Pinkins (Arnolphe) Photo courtesy of Moliere in the Park

Kaliswa Brewster’s thousand-watt smile brings glowing charisma to young Horace, his youth shining through his outspoken candidness and confidence. Pinkins and Brewster are best as they hide their veiled intentions from each other, carefully holding all their cards at bay.

Virtue takes form in Mirirai Sithole as Agnes, a wide-eyed, sympathetic creature who hides a secret. Sithole’s carefully delivered dialogue and angelic, learned mannerisms keeps her fascinating and complicated in a demure pink headpiece and dress.

Tonya Pinkins (Arnolphe), Mirirai Sithole (Agnes) Photo courtesy of Moliere in the Park

Peasants Georgette (Tamara Sevunts) and Alain (Corey Tazmania) offer comic relief as frenzied servants of Arnolphe. Anxious, obedient, and scrambling to meet Arnolphe’s demands, they are a fanatical and sympathetic pair whose often bewildered expressions makes one think they may have just ended up in the wrong place at the wrong time.

Tamara Sevunts (Georgette), Tonya Pinkins (Arnolphe) and Corey Tazania (Alain) Photo courtesy of Moliere in the Park

Moliere in the Park’s The School for Wives takes an enlightened look at love while the play unquestionably sets the foundation for today’s romantic comedy tropes. Its rich, inherent message never lacks humor or sincerity when it comes to the unpredictable path to true love.

REVIEW: Merrimack’s Repertory Theatre’s ‘Maytag Virgin’ a captivating mix of sweetness and substance

Posted on January 22, 2020 by The Sleepless Critic

Maytag Virgin has a charming way of airing out the laundry.

Loss and laundry is just the tip of the iceberg in Audrey Cefaly’s moving romantic comedy, Maytag Virgin. Poignantly directed by Eleanor Holdridge and presented by Merrimack Repertory Theatre (MRT) Maytag Virgin continues through Sunday, February 2 at Liberty Hall in Lowell, Massachusetts. This show is not suitable for young children. Click here for more information and tickets.

Merrimack Repertory Theatre's 'Maytag Virgin' set

‘Maytag Virgin’s’ inviting set Photo courtesy of Jeanne Denizard

Though this romantic comedy may at first seem as fluffy as its laundry, Maytag Virgin is full of honesty, raw humor, and substance featuring just two cast members as seemingly enigmatic widowed neighbors with enough sassy chemistry and smart dialogue to keep the show on spin. Sound designer Scott Stauffer’s upbeat, fiddle-laden score effectively enhances the show’s humorous and bittersweet story line.

Merrimack Repertory Theatre Brazda and Adkins in lights

Kati Brazda and David Adkins. Photo by Meghan Moore.

Set in Southern Alabama, Maytag Virgin focuses on next door neighbors who find common ground despite their vast differences. Kati Brazda is engaging as outspoken, sensitive, and newly widowed Lizzie, a goldmine of chatter who suffers from the unfamiliarity of living alone. In a messy updo, Brazda captures Lizzie’s awkward anxiousness and need to control her surroundings through her frank and excitable demeanor. Having only lost her husband only a month ago, it is easy to see how her grief and loneliness is seeping into her everyday life.

David Adkins is amiable as stoic and good humored Jack, Lizzie’s new neighbor she politely calls Mr. Key. He is quiet and more familiar with solitude. They discuss everything from neighborhood gossip to religion to their sad stories. Both are stubborn and guarded, dealing with their grief in different ways. However, what makes these two fascinating is not so much in the things that they say to one another. It is what they reveal about each other through slight and subtle actions that could easily go unnoticed, but Brazda and Adkins do well to reveal more about themselves in a glance or a long pause much more than in their insightful dialogue.

Kris Stone and Katie Scibelli’s memorably stylish scenic design puts its own spin on white picket fences featuring pristine transparent houses that add dimension and vastness to the surrounding southern Alabama neighborhood. Gleaming props mixed with Karen Perlow’s beautiful lighting create some compelling landscapes.

Merrimack Repertory Theatre Brazda and Adkins Christmas

Kati Brazda and David Adkins. Photo by Meghan Moore/Merrimack Repertory Theatre

Lizzie has never used a dryer and Jack doesn’t know what to do without one. It’s never to too late to start again.

Maytag Virgin’s opening night featured a pre-talk with author Audrey Cefaly and a post show reception featuring food by Mill City Barbeque as well as crackers, beverages, and various desserts.

Merrimack Repertory Theatre continues the romantic comedy ‘Maytag Virgin’ through Sunday, February 2 at Liberty Hall, 50 East Merrimack Street in Lowell, Massachusetts. Click here for tickets and upcoming special performances during the show’s run. Click here for more information on Merrimack Repertory Theatre’s 2019-2020 season.

REVIEW: Magic, mischief, and classic romantic comedy rule Company Theatre’s wondrous ‘A Midsummer Night’s Dream’

Posted on October 12, 2019 by The Sleepless Critic

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays. It is everything but tragic. It features magic, mischief, romantic comedy, action, and under a harvest moon, a haunting twist perfect for October and Halloween.

This particular play holds historical significance to the Company Theatre because it was the first show they ever produced 40 years ago when they were working with very little money. Company Theatre’s A Midsummer Night’s Dream is an opportunity to transform the production into what they have always hoped it to be and what a dream it is.

Cleverly directed by Steve Dooner, Company Theatre’s A Midsummer Night’s Dream continues through Sunday, October 20 at the Company Theatre in Norwell, Massachusetts. Click here for a closer look at show and here for more information and tickets.

Company Theatres A Midsummer Nights Dream set and cast

Samantha McMahon as Queen Titania and fairies Photo courtesy of the Company Theatre

Under a gigantic moon, Ryan Barrow’s enchanting set design and Zoe Bradford’s beautiful art design unleash a picturesque, woodland world full of frolicking fairies, sword fights, romance, and more surrounded by a moving and glittering landscape. The show’s fanciful Ravel and Mendelssohn-infused soundtrack, some high flying special effects, Paula Ninestein and Anna Splitz’s authentic costumes with a bit of a contemporary edge, and Ethan R. Jones’s stirring lighting design seamlessly combine to enhance this captivating work.

Company Theatre A Midsummer Nights Dream Theseus and Hippolyta

Dan Kelly as Theseus and Sarah Dewey as Hippolyta Photo courtesy of the Company Theatre

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with gravitas and humor. For those hesitant about understanding Shakespeare’s work, this production is lively, lighthearted, and manageable to follow.

Part play within a play, part intrigue, part comedy, and part mystery, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to true love to romantic comedy to love potions. This production is the source of some of Shakespeare’s most famous reflections on love such as “True love does not see with the eyes, but the mind,” and “The course of true love never did run smooth.” The show’s witty dialogue is a wonderful reminder that Shakespeare’s story lines are timeless and can translate into any contemporary story line.

Though A Midsummer Night’s Dream boasts a dignified and dynamic cast, it also excels at improvisation, hilarity, and absurdity. Dan Kelly is a regal and charismatic Theseus and Sarah Dewey a radiant Hippolyta. They glide onstage like today’s royal family. Declan Dunn delivers a remarkable performance as wild, mischievous, and mighty Puck and his conspiring moments with Jermaine Murray as King Oberon make for a clever and cunning pair.

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The women in this production are strong, beautiful, and fierce. Ariel Wigfall portrays sympathetic, yet courageous Hermia while raven-haired Joan Raube-Wilson is virtuous and stunning as Helena. Samantha McMahon is as glamorous as she is amusing as Queen Titania.

‘A Midsummer Night’s Dream’ also has a wealth of wonderful, improvisational moments. Suraj Ranhbhat as headstrong Demetrius, Bryant Marshall as Lysander, and especially Marco Zenelli as the energetic, bombastic, yet benevolent Nick Bottom along with his group of madcap, merry Mechanicals all demonstrate some excellent physical humor, improvisation, and zany comic relief. Where would today’s humor be without these classic comedic moments which stand as the foundation of what we are all laughing about today.

Company Theatre A Midsummer Nights Dream Mechanicals

From L to R: Marco Zanelli as Nick Bottom, Declan Dunn as Puck and Caroline Kautsire as Peter Quince

Company Theatre’s classic A Midsummer Night’s Dream continues through Sunday, October 20 at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information, tickets, and how to support Company Theatre’s future. Also follow Company Theatre on Facebook, Instagram and Twitter to learn all about their upcoming events.

REVIEW: Hingham Civic Music Theatre’s ‘The Annulment’ makes parting sweet sorrow

Posted on September 3, 2019 by The Sleepless Critic

First comes love. Then comes marriage. This new musical takes a look at what may come next.

Playwright Sheila Kelleher, Music Director John Ferguson, and choreographer Cat Umano collaborated for a two day workshop of a world premiere musical destined to be submitted to a future New York festival. Hingham Civic Music Theatre presented ‘The Annulment’ on Friday, August 23 and Saturday, August 24 at Hingham Town Hall in Hingham, Massachusetts. This show contains some adult humor. Click here for more information and more about Hingham Civic Music Theatre’s future productions.

With music accompaniment consisting of Music Director and pianist John Ferguson and percussionist John Duff, the inviting set was well suited for this production as the show travels to different eras and timeframes.

‘The Annulment’ may have been about three different couples and what happens after they said, ‘I do,’ but what truly gives this show more emotional weight are the larger questions it pursues. What does it take for long-lasting happiness? What stirs the soul? What constitutes an annulment and when is it just legal jargon on a piece of paper? Celia, portrayed with quick-witted cynicism and wistfulness by Carole Shannon, just wants some answers.

Hingham Civic Music Theatre The Annulment Celia and Nadine

Carole Shannon as Celia and Stephanie Blood as Nadine Photo courtesy of Hingham Civic Music Theatre

‘The Annulment’ could very well have developed into a drawn out court battle, but it instead explores the nature of relationships, love, loss, and everything in between. The cast has a very natural chemistry and it is not difficult to imagine this group being longtime friends. The show is also not without its share of wild and sometimes cynical humor. James Swindler channeled a Vince Vaughn vibe as Dave, a playful, party-loving guy who has an uninhibited passion for his equally wild wife Nadine, a lively and comical performance by Stephanie Blood. Their uninhibited and flirtatious antics are among the most amusing parts in the production and they both clearly look like they are enjoying themselves.

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Carole Shannon shows a pensive, vulnerable side as Celia, her smooth vibrato poignant during the numbers, When I Used to Sing and What We Missed. Charlie McKitrick impressively portrays Tony, a critical man who constantly worries more about outward appearances than anything else. ‘The Annulment’ is skilled at building tension and there is no lack between these two. Offering a sympathetic, non-judgmental ear is Deanna Lohnes as Celia’s supportive friend Sabrina. ‘The Annulment’ is a funny, relatable musical comedy with heart when life doesn’t quite deliver a happily ever after.

Hingham Civic Music Theatre has been entertaining audiences for over 70 years. This fall, ‘The Dr. Seuss Experience’ exhibit will be heading to Boston and Hingham Civic Music Theatre is also presenting ‘Seussical The Musical‘ in October. Click here for all the details and their recently announced 2020 season.

REVIEW: Footlight Club’s ‘The Importance of Being Earnest’ clever and comedic fun

Posted on June 12, 2019 by The Sleepless Critic

It’s the age old question: “What’s in a name?” Apparently it makes all the difference in the world in Oscar Wilde’s classic play, The Importance of Being Earnest, a high society romantic farcical comedy written twenty years after The Footlight Club was established in 1877. Full of adages about life and relationships as well as its fair share of ploys, elaborate scheming, love at first sight, and mistaken identity, The Importance of Being Earnest proves that some things are timeless.

The Footlight Club, the oldest running theatre in the nation, boasts renovations that include new seating and more at Eliot Hall. Directed by David Marino, Oscar Wilde’s The Importance of Being Earnest continues at Eliot Hall in Jamaica Plain, Massachusetts through Sunday, June 15. Click here for more information and for tickets.

It is amazing to see how far theatre has come over the years. The Importance of Being Earnest is a lighthearted production told in three acts with each act separated by the drop of the stage curtain. It is refreshing to see this production in vintage form, especially in a day and age where rolling sets and elevated scenery eliminates the need to close the curtain until intermission.

The Footlight Club The Importance of Being Earnest Michael Jay and Frances Price

Michael Jay as Jack and Frances Price as Lady Bracknell Photo credit to Elizabeth Bean/Footlight Club

Zach Best, David Alger, and Cara Guappone’s elegantly-detailed set, which includes a brass chandelier, seemingly expensive wall hangings, and plush furniture, reflect 1895 London, where high society’s seemingly biggest worries are when to dine, when to have tea, and when to go to the club. However, even in Audrey Stuck-Girard’s regal costumes, the rich nevertheless have their own relatable issues whether it’s over family, love, and happiness.

What keeps Oscar Wilde’s show so relevant is its witty and hilarious script, showing even the simplest things in life can be the most elusive. Its comic observations about family, love and society can be scathing, but possess a remarkable ring of truth.

The madcap, clever cast has impressive comic timing, especially Bradley Boucher’s knack for physical humor as Algernon Moncrieff. Back in 2002, Rupert Everett starred as Algernon Moncrieff at age 43 in the film adaptation joined by a stellar cast that included Colin Firth, Reese Witherspoon, Judi Dench, and Tom Wilkinson. At first glance, Bradley Boutcher looked too young to portray the suave and sardonic Algernon, especially as he spends a great deal of the show making quips about life as only a well-experienced individual can. However, Boutcher’s smug smile and shrewd comic timing gradually won me over despite some misgivings and he became quite a scene stealer.

Footlight Club The Importance of Being Earnest Elizabeth Loranth as Gwendolyn and Michael Jay as Jack Worthing

Elizabeth Loranth as Gwendolyn and Michael Jay as Jack Worthing Photo credit to Matt McKee/Footlight Club

Boutcher as Moncrieff and Michael Jay as excitable and anxious Jack Worthing share an amusing, competitive camaraderie as they attempt to prove one wiser than the other. It is fun to see two very different personalities collide over something as trivial as muffins.

In an extravagant feathered hat, Frances Price flourishes as outspoken, society-minded Lady Augusta Bracknell. Price strikes a delicate balance between well intentioned and intrusive, making distinguished Lady Bracknell likable, even when her lips curve into a judgmental frown.

Kevin Brunton’s droll presence as Lane/Merriman enhances each scene while Gabrielle Jaques as seemingly sweet, wide-eyed Cecily and Elizabeth Loranth as elegant Gwendolyn are fascinating to watch as their characters become increasingly more complicated. Jennifer Bean as quirky, love struck Miss Prism and Tim Joseph as amiable Reverend Chasuble round out this stellar cast and make Earnest much more than a name, indeed.

Footlight Club The Importance of Being Earnest Jennifer Beam as Miss Prism and Tim Joseph as Reverend Chasuble

Jennifer Bean as Miss Prism and Tim Joseph as Reverend Chasuble Photo credit to Elizabeth Bean/Footlight Club

The Footlight Club presents Oscar Wilde’s The Importance of Being Earnest at Eliot Hall, 7A Eliot Street in Jamaica Plain, Massachusetts through Sunday, June 15. Click here for more information and tickets to Footlight’s Club final show of the season.