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REVIEW: The 52nd annual ‘Midwinter Revels: A Solstice Celebration Tales from Ellis Island’ shares solace and warmth into a tapestry of traditions from around the world

Posted on December 24, 2022 by The Sleepless Critic

After a half century, the Midwinter Revels can not only still create fresh and concise storytelling while weaving in various cultures and traditions with a balance of joy and poignancy, but this year recalls a miraculous event in history that is not shared enough during the holiday season.

Innovatively written and directed by Patrick Swanson and guided by Carolyn Saxon as the Immortal Spirit of Place, Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15. Each performance pays tribute to Revels supporters and this particular performance was dedicated to the The Rioff Family in honor of WGBH’s Brian O’Donovan. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

The Ensemble of The Christmas Revels Photo by Roger Ide

Veteran reveler David Coffin’s enthusiasm reflected the same from the audience as he vigorously prepared them pre-production for the Revels live and interactive sing-along that features a vast array of carols and cultural songs. Meticulously musically directed by Elijah Botkin and led by Keith Murphy of A Saint Patrick’s Day Celtic Sojourn, an intimate onstage band returns as the Liberty Band performing carols to folk to war songs from around the world right alongside the cast. The joy and gratitude in singing in front of an audience again is as uplifting as ever and the cast’s a cappella harmonies are a glorious treat.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island does not just take place on Ellis Island, but provides the foundation for each of the tales shared during the production. The tales of hardship and strife seem so different, but are somehow tied into shared experiences as immigrants from all over the world find themselves stranded together on Christmas Eve in 1924. The spirit of the season is exemplified in several tales including a fiddle that needs mending featuring Maeve Leahy as Bridget and Ewan Swanson as Isaac.

From Left to Right Carolyn Saxon, Maeve Leahy and Ewan Swanson and the Revels Ensemble Photo by Paul Buckley

Adorned in a glimmering gown and gold wreathed crown, Carolyn Saxon makes a warm and welcome return to Revels this time as the Immortal Spirit of Place. Her subtle charm and light humor enhance each aspect of the production as she guides the audience through various tales and periods in history in Nikes. Saxon is clearly enjoying this enigmatic role becoming invisible when she wishes and popping up at felicitous and spontaneous moments.

While last year’s show focused on saving a bar by venturing into the past, family is much more prevalent as members of the cast tie in pieces of their own cultural holiday memories into the production. Irish and Jewish Dramaturg Nicole Galland contributed by drawing on her own experiences and upbringing. With frank and humorous inflections, Reveler Stephanie Clayman is an amiable and avid storyteller as she brings some of those tales to life such as two well staged pieces of morally centered Jewish folklore and several Chanukah traditions.

Stephanie Clayman, Ewan Swanson, The Ellis Island Children, and the Midwinter Revels Adult Chorus Photo by Paul Buckley

David Coffin as Conor Riley revealed a miraculous event during World War I that took place on Christmas Eve in 1914. For a brief time, soldiers showed camaraderie with their enemies as they joined together in song, games, and friendship. It is a historical event that needs to be shared with as much frequency as annual holiday traditions such How the Grinch Stole Christmas, A Christmas Carol, or It’s a Wonderful Life. That brief interlude of peace made such a significant impact on the world and Midwinter Revels depicts that moving period of time with Christmas in the Trenches, O Tannenbaum and Stile Nacht as the production spread itself beyond the Sanders Theatre stage.

The children are always a joy to watch and this year as the Ellis Island Children, they share upbeat, jumping rope rhythm for There’s a Big Ship Sailing and later with Las Posadas as Mary rides on a donkey. It is just one example of the many endearing appearances they make in song and tale.

A brilliant performance comes from Ricardo Holguin who passionately performs a wondrous rendition of Mexican love song La Malgeuna followed by striking number El Relampago featuring women in gorgeous floral headdresses and sun drenched gowns by Heidi Hermiller. Kelli Edwards’ multifaceted choreography is on full display throughout as well as for a tricky and intricate sword dance accompanied by an onstage accordion and drummer for The Straw Folk Mummers Play and Rogue’s Delight.

Maeve Leahy (left), Ewan Swanson (center), and dancers from Great Meadows Morris & Sword Photo by Paul Buckley

Though the show lulled a bit on occasion, Midwinter Revels: A Solstice Celebration Tales from Ellis Island’s engaging tales bring unity and light and depicts how sharing different traditions can bring a new understanding and warmth into the darkest of times.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15. Click here for more information and tickets.

REVIEW: Chocolate promises and shattered dreams as Arlekin Players turn over a bizarre ‘Stone’

Posted on September 28, 2019 by The Sleepless Critic

It is a show unlike anything the Sleepless Critic has ever seen before. Arlekin Players is currently celebrating their 10th anniversary season as they present Marius von Mayenburg’s avant-garde production, ‘The Stone‘ (remount in English) through Sunday, September 29 in Needham, Massachusetts. Click here for more information and tickets. Click here for an interview done last year with director Igor Golyak.

Directed by Igor Golyak, ‘The Stone’ explores the history of a German house before and beyond World War II and its various owners which includes a Jewish family and their ancestors. Quite a few revelations and family secrets are revealed through traumas and triumphs inside this haunting structure.

Arlekin Plays 'The Stone' with Viktoriya Kovalenko, Rimma Gluzman and Olga Sokolova

Viktoriya Kovalenko, Rimma Gluzman and Olga Sokolova in Arlekin Players ‘The Stone’ Photo courtesy of Irina Danilova/Arlekin Players

The Arlekin Players stage is an overwhelming experience told in the theatre round without a bad seat. With vintage lighting by Jeff Adelberg, ‘The Stone’ features very few props and unconventionally arranged set pieces which includes a partially buried piano, a vintage chandelier, and a chair hanging upside down from the ceiling. As characters emerge and exit almost supernaturally from the floor in head-to toe-white with black paint splotches staining their pants, it quickly became clear that this would not be an orthodox production.

Photo courtesy of Irina Danilova/Arlekin Players

With wild white hair, a pair of navigators called the conductors, portrayed with bizarre humor by Jenya Brodskaia and Misha Tyutyunik, are seemingly mad scientists that conduct and calculate time travel. They take the audience through the history of the house before and beyond World War II, one of the most tumultuous times in history. The time travel is a raging, jarring experience with special effects that may have been effective the first couple of times, but starts to distract from the tale as the show moves along.

The characters march strangely and unnaturally, sometimes under a plastic umbrella, an urgent tale with segments between the characters so brief, it is difficult to develop an attachment to them. The cast is stoic for the most part, especially from Mieze, portrayed with a guarded, calculating air by Rimma Gluzman. When Viktoriya Kovalenko as idealistic Heidrun discovers a small box in the house that she believes was her father’s, portrayed with complexity by David Gamarnik as Wolfgang, the moment Heidrun has with her mother Witha, portrayed by Darya Denisova, provides a touching moment in the production.

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I’m sure there is an audience for experimental theatre and the actual tale is powerful, but too unconventional and at times confusing for my taste. It chooses to be different and complex when the story can be told in a straightforward way. It is still art and it’s unforgettable.

Arlekin Players presents ‘The Stone’ through Sunday, September 29 at 368 Hillside Ave in Needham, Massachusetts. Click here for more information and tickets and here for more information on the Igor Golyak Acting Studio.

Director Igor Golyak discusses the shocking and comical show, ‘Dead Man’s Diary: A Theatrical Novel’

Posted on March 13, 2018 by The Sleepless Critic

Taking a rich, multidimensional look at love and the theatre, the Arlekin Players proudly presents Mikhail Bulgakov’s Dead Man’s Diary: A Theatrical Novel for two weekends from Saturday, March 17 through Sunday, April 1 at Paramount Center in Boston, Massachusetts. Shocking and comical, Dead Man’s Diary: A Theatrical Novel is written in Russian and performed by Russian actors with English audio translation, but was created in Needham, Massachusetts. Click here for more information and for tickets.

Director Igor Golyak of ‘Dead Man’s Diary’ Photo courtesy of Igor Golyak Acting Studio

Dead Man’s Diary’s director and head of Igor Golyak Acting Studio, Igor Golyak, discusses this shocking and comical show’s fascinating background, developing the show’s unique style, and what it means to be successful.

Sleepless Critic: What is it about this show that made you decide to take on this piece?

Igor Golyak: I fell in love with the novel, a prose piece by Mikhail Bulgakov, which was not published until after his death as it was considered offensive to Stanislavsky and the Moscow Art Theatre. I wanted to adapt this unfinished novel for the stage because I saw it not only as satire on theatre, but as a vow of love to the theatre. Through this production, we wanted to express the conflicts and illusions around realizing oneself in the theatre through Bulgakov life’s work.

‘Dead Man’s Diary: A Theatrical Novel’ Photo courtesy of the Arlekin Players

SC: Arlekin Players is behind this production and they studied under the Igor Golyak Acting Studio. Please tell me about your studio and teaching philosophy. How can people join the Arlekin Players?

IG: Right now, I mostly cast my students because we develop our own theatre vocabulary during the training period. This takes some time. It is a big advantage as I know the capabilities of the actors and how to challenge them. What’s most important in the theatre is the atmosphere of mutual respect and appreciation in the training and rehearsal process. I aim to create this with the approach I take. People can join the company by applying, coming to rehearsals, and possibly doing some scenes with company members. Ultimately, if we mutually agree that the relationship can move forward, they join the company. We have a family-type atmosphere in our theatre just like in life. People get to know each other and some join the family.

SC: This diary is written by a scorned lover. How would you describe how the show depicts love or the lack thereof?

IG: I am not sure if there is a better way to express the love for the theatre than through Bulgakov’s words.

The main character, Maksudov says:

‘I returned to the theater which had now become as necessary to me as morphine to an addict.” and “But more important was my love for the Independent Theatre; I was now pinned to it like a beetle to a piece of cork…’

SC: The show offers a new perspective on theatre and is at times shocking. It also can be a bit haunting and bleak. How did you develop the style of this show?

IG: Each style of theatre for me is born out of the text, and the world of the author.

The main character says:

‘I started noticing that something colorful was emerging from the white pages.

The vision was not just a flat picture, but something three-dimensional. As if peering into a little box, I could see the light gleaming and the figures from my novel moving about. Oh, what a fascinating game it was to observe these characters moving about the little room.’

Using this text, we decided to create a box that all the characters live in, and with them, Maksudov, the main character. What kind of box should it be? Since the play depicts the Moscow Art Theatre in the 1920s, we decided that the shape of the walls of this box should depict the famous portrait foyer of the Moscow Art Theatre with portraits of the great artists of the time constantly staring at the author and characters inside the box. We then decided that the audience members should portray these portraits, and thus, we have the audience seated around the box, in which characters come alive. They are looking though their individual windows or portraits as if in a foyer of the legendary theatre. Maksudov therefore, is forever stuck like Prometheus in the ‘magical box’ or the ‘portrait foyer’ that he loves more than anything in the world.

A scene from Dead Man’s Diary: A Theatrical Novel Photo courtesy of Arlekin Players

SC: This show also features its share of absurd comedy as well.

IG: Correct. In Maksudov’s eyes, the actors in the theatre hire him to write a play are from a different, exotic, and fascinating world. It’s as if they are superhuman. The absurdity comes from the heightened level of passion of the characters and their incredible self-delusions, which at times are absurdly vulnerable and poetic, and at times absurdly cruel and self-absorbed. We recognize the faults of the human soul looking through Maskudov’s eyes as if though a looking glass, where the faults become exaggerated and ultimately comical.

SC: It describes not only theatre, but the writer’s journey and touches upon what it really means to be successful. What are your views on success?

IG: My view of success is having a group of artists, a team of sorts, which is united and inspired by each other to produce a specific piece of text. As a result, they are able to touch the souls of people in the audience. When this happens, I feel truly successful.

SC: What do you like most about this show and what is the best reason someone should attend?

IG: I think the acting, directing, set design, music composition, and collaborative imagination all work together to give this piece an unusual style. We are excited to bring what we believe is a unique contribution to the Boston Theatre Scene. Also, the piece was written in Russian and is performed by Russian actors but was adapted and created here. We are a local company making new work for the last 9 years. We have already had 20 performances of Dead Man’s Diary. For those who have seen and loved it, it has grown even more over time. See the show and you will not leave untouched.

Click here for more information and for tickets to Dead Man’s Diary: A Theatrical Novel from Saturday, March 17 through Sunday, April 1 at the Paramount Theatre in Boston, Massachusetts. Follow the Arlekin Players on Facebook and Twitter.