REVIEW:  Chaos and good intentions in The Huntington’s hysterical satirical comedy, ‘Eureka Day’

Perhaps it’s the adults might have something more to learn than the students at Eureka Day.

Welcome to a meticulous world of learning where bright ideas are considered and delivered with such surgical accuracy to never offend anyone at Eureka Day School in Berkeley, California. Treading with intense care, Eureka Day is a private school that weaves radical inclusivity, veiled open-mindedness and ultra-progressive ideas into every aspect of their curriculum penetrating from each of the Eureka Day executive committee member’s polite smiles.  Bending over backwards to support one another never looked so pained.

Directed with tongue-in-cheek humor by Margot Bordelon, The Huntington continues Jonathan Spector’s satirical comedy Eureka Day live and in person at the Huntington in Boston, Massachusetts through Sunday, June 28.  The production is approximately 100 minutes with no intermission. Click here for more information and for tickets.

The cast of The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

From catchy children’s songs anywhere from Sesame Street to Schoolhouse Rock, Jonathan Spector’s Eureka Day at the Huntington cleverly welcomes the audience back to childhood though Daniela Hart, Noel Nichols, Bailey Trierweiler and Uptown Works’ sound design and the sight of Luciana Stecconi’s imaginative and detailed classroom filled with a wide array of children’s books prior to the production.

Eunice Woods; photo by Liza Voll Eureka Day May 28 – June 28, 2026 Written by Jonathan Spector Directed by Margot Bordelon
The Huntington Theatre, 264 Huntington Ave. Boston, MA 02115

Nothing but vim and vigor erupts from each committee member at the start of the 2018 to 2019 school year.  The Eureka Day executive committee are made up of parents who decide on policies in the best interest of the school.  Committee member and founder Suzanne portrayed by Nancy Lemenager and Ken Cheeseman as Don alongside Sasha Diamond as Meiko and Japhet Balaban as Eli are to show Eunice Woods as Carina, a new committee member and parent hailing from a Maryland public school, the ropes.  However, there is a lot more going on behind the scenes than anyone ever expected at this seemingly quaint elementary day school, especially when an outbreak of the measles surfaces and has the school divided. 

The cast of Eureka Day; photo by Liza Voll Eureka Day May 28 – June 28, 2026 Written by Jonathan Spector
Directed by Margot Bordelon The Huntington Theatre, 264 Huntington Ave. Boston, MA 02115

The extraordinary detail in Luciana Stecconi’s set design depicts a large jungle themed classroom adorned with signs, posters, and art work pinned to the walls, bookshelves piled with various children’s books of all sizes, and illustrated winding trees climbing the walls.  Plump stuffed animals and stackable shell chairs are scatter around the room as towering trees stem from above the classroom to an open sky.  Cha See’s energetic lighting and rhythmic sound design work together to trigger time and progression between scenes with similar flair as school set John Proctor is the Villian, a past production at the Huntington also directed by Margot Bordelon.

Eureka Day tackles a long list of hot topics and painfully awkward conversations including vaccinations, unisex bathrooms, motherhood, school closures, climate change, diversity, inclusion and more.  It also does so in a way that just tense enough while also finding some semblance of humor and much of that is due to this complex cast of characters who share everything except what they are truly thinking.  Also, Eureka Day contains a scene so hilarious in its resonance, tears rolled from my eyes.  This doesn’t happen to me often in the theater, but without spoiling it, this chaotic and rapid fire scene by projection designers John Horzen and Uptown Works is so brutally prevalent in today’s world that it’s no wonder I was hysterically laughing through tears.

 

Sasha Diamond and Japhet Balaban in The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre (264 Huntington Ave. Boston, MA 02155).

With a tight smile, Nancy Lemenager impressively depicts rigidly careful committee member and school founder Suzanne who goes out of her way to choose her words wisely in an effort to share her viewpoints while sporadically recounting the school’s historical decision-making process.  Lemenager’s Suzanne is shrewd, orderly and condescending while hiding a deep secret.  Ken Cheeseman as consummate peacemaker Don is likable, diligent and seeming concerned about accommodating everyone.  Sasha Diamond as level headed yet cynical single mother Meiko and Japhet Balaban as enthusiastic yet cagey parent Eli share some thought provoking and comical moments and Ebonie Marie as Winter round out this even handed cast.

Sasha Diamond, Nancy Lemenager, Ken Cheeseman, and Eunice Woods in The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre
(264 Huntington Ave, Boston, MA 02115).

Tension builds, friendships are tested and chaos most assuredly ensues while remaining thoroughly funny and compelling.  It also has its share of stirring and surprising moments where people ultimately have to arrive at some painstaking decisions and unleash their true feelings even as they call each other family.

Directed with tongue-in-cheek humor by Margot Bordelon, The Huntington continues Jonathan Spector’s satirical comedy Eureka Day live and in person at the Huntington in Boston, Massachusetts through Sunday, June 28. Click here for more information and for tickets.

REVIEW:  Comedic suspense and more drives Central Square Theater’s ‘The Mystery of Irma Vep: A Penny Dreadful’

Mummies and vampires and werewolves – oh my!

However, as Paul Melendy as Nicodemus quips, “Don’t be skeered.”

Offering much more absurdity and laughter than horror or gore, The Mystery of Irma Vep leans on comedic suspense in 1930s Mandacrest Manor.  Seeing a Penny Dreadful for the first time with some hesitancy, I’ll take it.

With striking direction and transformative set design by David R. Gammons, Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep:  A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 21.  This two hander adult production displays valuable captions, contains nudity, the action is not limited to the stage and runs two hours including one intermission.  If you are unaware of what a Penny Dreadful means, see here.  Click here for more information and for tickets.

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

Taking cues from classic gothic romantic literature, The Mystery of Irma Vep:  A Penny Dreadful focuses on the highly anticipated appearance of Paul Melendy as new mistress of Mandacrest Manor Lady Enid Hilcrest, the new wife of Gabriel Graetz as widower and Egyptologist Lord Edgar Hillcrest.  However, does Lord Edgar’s late wife, Irma Vep, still haunt these eerie halls?

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

A gleaming and almost sterile looking white foyer in Mandacrest Manor by David R. Gammons is much more than it seems illuminated by Jeff Adelburg’s flashing, tense and vivid lighting which take on a variety of crude shapes and sizes scattered around the room with a glowing fireplace. Composer Nate Tucker skillfully exacts a carefully executed sound design and special effects crucial in this twisted vintage gothic Victorian mystery.  Costumer Seth Bodie creates eccentric, vintage, outrageous and vibrant ensembles varying from grand robes with gold trim to 30s three piece suits to revealing negligees.

Paul Melendy and Gabriel Graetz Photo credit to Maggie Hall Photography

In a production that can be less than subtle, striking the right tone is paramount and this duo certainly has a way with words and sharp comedic timing in every over the top scenario which includes stuffed animals, a picnic table cloth and a tree stump.  Gabriel Graetz and Paul Melendy work remarkably well off each other in every incredulous expression, wild accent, or improvisational and self aware moment.  They also take a lot of complicated cues from each other even during the production’s most awkward scenarios in this vintage melodrama while inviting the audience in on its campy humor and its occasionally moving moments.

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

Melendy steps into each melodramatic character distinctly, but boasting scratchy vocals, a meandering gate and a slovenly appearance, Melendy’s Nicodemus may be my favorite character and one that is not to be underestimated.  The mysterious groundskeeper is protective and shrewd as he lurks about the manor.  Melendy as naïve and vampy chorus girl Lady Enid Hilcrest is self conscious under the suspicion of Graetz as stern and traditional housekeeper Jane who also portrays Lord Edgar Hillcrest…and you get the idea.  Depicting an actor reacting to portraying multiple characters is no easy feat, but both do so seamlessly.  Special accolades to the costume and stage hands for those glorious lightning fast costume and prop changes!  

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

Not a fan of the superfluous nudity even if it was for bizarre comedic purposes, but this production is funny and two great actors performing this campy gothic mystery made me laugh anyway. 

Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep:  A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 28. If you enjoy the soundtrack to this production, it is available on Spotify.  Click here for more information and for tickets.

REVIEW:  A playwright’s journey goes awry in shrewd satirical comedy ‘When Playwrights Kill’

Theatre can really drive you crazy and no one is more versed on that subject than Matt Doyle as playwright Jack Hawkins. Matt Doyle also acts as narrator reflecting on his wild journey as a struggling playwright.

With Noah Himmelstein’s zippy direction fueled by John Gromada and Joel Abbot’s catchy and mischievous sound design, Matthew Lombardo’s zany satirical comedy, When Playwrights Kill continues its world premiere live and in person at The Huntington in Boston, Massachusetts for a limited engagement through Saturday, April 18.  This semi-interactive play-within-the making-of-a-play contains adult language and runs 2 hours with an intermission. Click here for more information and for tickets.

(L-R) Adam Heller (The Producer), Matt Doyle (The Playwright), Kevin Chamberlin (The
Director) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Loosely based on a real life theatrical incident, When Playwrights Kill features far more wry humor and hilarity than dark moments when a struggling playwright desperately attempts to get his new play, The Return to the Broadway stage.  Working with an unpredictable theatre company which includes a greedy producer and a semi-retired acting legend, success may come with a price.

(L-R) Kevin Chamberlin (The Director), Matt Doyle (The Playwright), Beth Leavel (The
Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Alexander Dodge’s modestly stylish scenic design includes a glimmering red curtain and an extravagant makeup table with diva lights enhanced by Elizabeth Harper’s versatile lighting that not only cues scene changes and adds depth to the set, but illustrates Jack’s self aware inner monologue and narration.

Matt Doyle (The Playwright) and Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Comparing a restaurant to a shame shack and lines like “I’m not even following your tricycle of thought” is just a sample of Matthew Lombardo’s witty and uproarious script.  It often draws on theatre history and boasts an assortment of theatrical and Boston references, but you don’t need to be a theatre buff to enjoy the absurdity of this shrewd production.

When Playwrights Kill features a strong cast that feed well off each other as this initially lighthearted production’s plot wildly thickens.  Doyle delivers an earnest and engaging performance as Jack while articulating the building fury and frustration of being a playwright.  Doyle’s asides are especially entertaining and he shares a fascinating chemistry with Beth Leavel as Brooke Remington, a semi-retired acting legend hired to perform his one woman show.

Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Electric in fabulous heels, Beth Leavel is excellent as frazzled, charismatic, egotistical and blunt Brooke mastering a complex array of physical comedic scenarios that bear a passing resemblance to Carol Burnett‘s comedic prowess. For example, a scene where Leavel as Brooke is navigating a phone is pure perfection.  Always making a memorable entrance, Brooke can also order a meal that gives Sally Albright a run for her money decked out in glamorous and vibrant attire by costumer Alejo Vietti only second to Tomás Matos as frank and wisecracking Val Liam’s chic and studded wardrobe in shredded denim and florals.

(L-R) Beth Leavel (The Actress) and Marissa Jaret Winokur (The Stage Manager) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Adam Heller is also memorable as a business minded, fittingly raspy voiced and relentlessly greedy producer who shares some grand scenes with Doyle, but it is especially entertaining as Heller and Kevin Chamberlin, wonderful as the Director, conspire together calculating what next is in store.  Boasting some priceless facial expressions, you may also feel the frustration of Marissa Jaret Winokur as a sympathetic and level headed Stage Manager who is doing everything necessary to keep this production afloat.

(L-R) Beth Leavel (The Actress), Tomás Matos (The Prompter), Adam Heller (The Producer),
Matt Doyle (The Playwright) in ‘When Playwrights Kill’ Photo by Jim Sabitus

Twists and turns navigate this quickly paced and often unpredictable tale that delves into themes such as avarice versus creativity and other thought provoking ideas that resonate while the production never takes itself too seriously. 

When Playwrights Kill is a delightfully absurd and insightful treat to anyone on and off the stage.

Matthew Lombardo’s zany satirical comedy, When Playwrights Kill continues its world premiere live and in person at The Huntington in Boston, Massachusetts for a limited engagement through Saturday, April 18.  Click here for more information and for tickets.

REVIEW:  What it is to be human in SpeakEasy Stage’s curious ‘The Antiquities’

The Antiquities paints a vivid portrait for a potential future.

On the day I was scheduled to see SpeakEasy Stage’s The Antiquities, I went to the State House in Boston with a group of SAG-AFTRA members to speak to legislators about passing bill H. 4832 An Act Relative to the Contracting of Digital Replicas.  The bill is largely about protecting an individual’s image and voice from exploitation which is imperative during these looming times of AI increasingly dominating job markets, society and life in general.  One cannot even use a search engine without AI automatically popping up “thinking” instead of searching for your answer.

From left to right: TOBIAS WILSON, HARRY BAKER, and KELSEY FONISE Photo by Benjamin Rose Photography

Little did I realize I was about to see the aftermath of the inadvertent demise of humanity due to our abuse of technology.  However frightening that is, The Antiquities is a stimulating production that contains a mix of light, dark, tongue in cheek and witty humor that almost eases the unsettling nature of this potential destiny.

Cleverly directed by Alex Lonati, SpeakEasy Stage continues Jordan Harrison’s satire The Antiquities live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 28.  This engaging production is approximately 1 hour and 45 minutes with no intermission and contains adult language and themes.  Click here for more information and for tickets.

A portion of The Antiquities hints at the groundbreaking robotic guides featured in Tomorrowland within Disney’s Magic Kingdom.  It also could be a page right out of Rod Serling’s timeless The Twilight Zone, James Cameron’s The Terminator or in Charlie Brooker’s Black Mirror where digital replicas co-exist alongside its human counterparts doing the less savory work of human existence so the original may live an easier life.

ALISON RUSSO as cast Photo by Benjamin Rose Photography

However, The Antiquities are far beyond that stage.  Members of the audience are human visitors of “The Museum of Late Human Antiquities” in which two humanoid AI guides quip, “Now, you are the dinosaurs.”

From left to right: KELSEY FONISE and TOBIAS WILSON Photo by Benjamin Rose Photography

In this world, humans no longer exist and are artifacts of a post human existence.  Christopher and Justin Swader’s gleaming and chrome plated space adds a sophisticated touch to all the artifacts “on display” bathed in Amanda E. Fallon’s soft glow.  However, the most impressive aspect of the production is the synthetic tics, pops, buzzes and churns within Anna Drummond’s robust sound design that yanks you into this astonishing world of rigidly moving humanoid AI guides pretending to be human.

From left to right: JESSE HINSON and HARRY BAKER Photo by Benjamin Rose Photography

Spanning from 1810 through 2076, The Antiquities explores a number of exhibits that reenact a wide range of scenarios in human history punctuated by the evolving fashion trends by costume designer Lila B. West.  Some exhibits revisit iconic moments of technological development, creation, grief, pain, inexplicable loss, and adoption and other exhibits depict the unintentionally humorous and ridiculous as humanoids define moments in human history they can only speculate about.

From left to right: HELEN HY-YUEN SWANSON and HARRY BAKER Photo by Benjamin Rose Photography

This capable cast portraying humanoids deliver intriguing performances full of actions that purposefully never cross or capture the essence of human emotion, curiosity, commitment, faith or falling in love.  Each aspect is automatic and calculated within the exhibit.  They enthuse, “What it must be like to be human!” 

From left to right: ALISON RUSSO and KELSEY FONISE Photos by Benjamin Rose Photography

Black Mirror’s unsettling and groundbreaking messages focus on the dangers of the thirst for technological advancement, perfection and comfort at the expense of what makes humans genuine and unique.  Never mind about computers taking over, but the fine line between progress and the complacency for life to be streamlined and easier while saving the almighty buck is disturbing enough.  As Ian Malcolm from Jurassic Park warned, “Just because you can, doesn’t mean you should.”

However, humanoids and humans do share flaws which make up some of the best moments of the production.  It’s in the subtle instances of humor in having read the human manual but never authentically living, witnessing or feeling it.  It’s something that can never be taught or duplicated.  It’s in the capability to just be. 

From left to right: JOHN KUNTZ and KELSEY FONISE Photo by Benjamin Rose Photography

SpeakEasy Stage continues Jordan Harrison’s The Antiquities live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 28.  Click here for more information and for tickets.

REVIEW:  Notes on greed and scandals in Central Square Theater’s thought provoking ‘Mrs. Warren’s Profession’

Let the negotiations begin.  This is big business and with cigar in hand, Vivie Warren thinks she is ready for anything.

Set Designer David R. Gammons designates a perfect place for negotiations for the head and heart using a long conference table in a board room for this rich and enigmatic drama.

With sharp direction by Eric Tucker, Bedlam, Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. This production lasts two hours with one 15 minute intermission.  It boasts open captions that come in handy during the performance and the content has some adult themes.  Click here for more information and for tickets.

What is Mrs. Warren’s profession?                                                                                                

Herein lays one of a few mysteries among this group of complex and formidable characters who are keeping a few secrets of their own.  Condescending and at times, downright smug, Barlow Adamson steps into the expensive shoes of Sir George Crofts who declares himself a friend of Vivie’s mother, Mrs. Warren.  The show’s fascinating opening scene features Adamson and Luz Lopez as Vivie in an intellectual exchange proving that Vivie can certainly hold her own.  Even through Adamson’s humorous mansplaining, Vivie is a female force to be reckoned with.

Barlow Adamson and Luz Lopez in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession is primarily steeped in at times heavy, but steadily shrewd and satirical comedy and social commentary.  Adamson impressively portrays Crofts with a mix of sardonic wit and charisma as he carefully sizes up seeming competitors including Nael Nacer as kindly Praed, Wesley Savick as alarmed and tight lipped Reverend Samuel Gardner, and Evan Taylor as young, impulsive and perhaps loose cannon Frank Gardner.  Nacer as Praed and Adamson as Crofts embark in cagey and captivating exchanges while smirking and belligerent Taylor as Frank cuts his father, Savick as Reverend Gardner down to size when Frank is not shamelessly flirting with both Mrs. Warren and Vivie.  Each man approaches Vivie and Mrs. Warren with their own motivations knowing that these strong willed women are also limited by a woman’s oppressive place in society.

Melinda Lopez, Wesley Savick, Nael Nacer, Evan Taylor, Luz Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Just three years after the publication of Henrik Ibsen’s Hedda Gabler, George Bernard Shaw published Mrs. Warren’s Profession in 1893.  These works feature women ahead of their time fighting against the limitations of a woman in that era.  Creating tension and isolation, Tucker seamlessly blends the classic with the contemporary through a notably vintage piece of staging reminiscent of Hedda Gabler where the whole cast is present, but not part of the action taking place onstage.  In this pivotal scene, the negotiation table doubles as a stage as Jeff Adelberg’s moody  and rhythmic multipurpose lighting gauges time is money as stock market projections flash above the stage.

Nael Nacer Evan Taylor Melinda Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession delves into status, conspiracy, hypocrisy, morality and complex family dynamics wrapped up in a couple of significant mysteries that directly affect the complicated relationship between absentee mother Mrs. Warren and her daughter, Vivie.  Costumer Leslie Held puts the cast in their business finest with the exception of Sam in a vestment, callow Frank and Vivie.  Standing out in a braid and classic business casual attire,  Lopez’s poker faced Vivie might be at the negotiation table, but she is ultimately in it for more.

Melinda Lopez and Evan Taylor in Central Square Theatre’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Luz Lopez portrays idealistic Vivie, a modern, unwaveringly sensible, and fiercely independent and innately mature woman who is meeting with her mother and woman of the hour, Mrs. Kitty Warren, depicted with critical yet measured affection by Melinda Lopez, for the first time in many years.  Vivie feigns a certain indifference to her mother, but feels displaced and lonely.  Though Kitty attempts to be more than cordial, Vivie keeps her mother at arm’s length for reasons that gradually unfold.  Bickering, mincing words, and pressing each other’s buttons, Melinda and Luz skillfully navigate their unstable mother and daughter dynamic which veer from a cold handshake to hospitable and then changing once again as guilt and promises are stealthily presented amidst negotiations. 

Melinda Lopez and Luz Lopez in Central Square Theater’s ‘Mrs. Warrens Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession is considered a classic play and much of the quick witted content can be translated with ease into today’s society.  Suspenseful and intriguing, these chilling revelations may not be as scandalous as they might have been in 1893, but no less impactful, especially as negotiations go awry.

Nael Nacer and Wesley Savick in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. Click here for more information and for tickets.

REVIEW:  The secret is in the sting in Theater Uncorked’s ‘As Bees in Honey Drown’

The future looks bright for Evan Wyler.  Fame couldn’t be this easy…could it? 

Theater Uncorked’s unconventional satire As Bees in Honey Drown examines art, materialism, sensationalism and celebrity as debut writer Evan Wyler, depicted with wide eyed credulity by Michael Mazzone, dives into an alluring deal that promises fame and fortune, but the price of this ticket could be more than he bargained for.

Effectively directed by David Miller, Theater Uncorked presented Douglas Carter Beane’s As Bees in Honey Drown for one weekend only at BCA Plaza Box Theatre in Boston, Massachusetts through Sunday, May 18.  This darkly satirical production contained adult themes and ran approximately 2 hours with an intermission.  Click here for more information and what is next in store for Theater Uncorked.

Sehnaz Dirik and Michael Mazzone in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

Douglas Carter Beane creates a hard and fast world full of movers and shakers from Wyler’s perspective as he is suddenly thrust into the fame game and uncomfortably participates in an awkward magazine photo shoot with a disdainful London photographer, played to perfection by Benedict Dawn-Cross, alongside Isabel Ginsberg as his humorously apathetic assistant, Amber.  However, this preamble is just making room for Sehnaz Dirik as fast talking and polished celebrity agent Alexa Vere de Vere who is about to up the ante on Wyler’s celebrity status.

The cast of Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

Director David Miller and Leonard Chasse’s rolling set design alludes to the art of observation as cameras and studio lights accompany a raised platform with a crowd backdrop.  Some of the furnishings evoke an Andy Warhol and 90s flair which include white sculpted chairs and colorful furnishings.  However, what is most prominent is the eye catching orange and white beehive images on the wall.  Tim Rose’s awesome sound design combines fitting hits of the 70s and 80s while occasionally alluding to the hum and buzz of the bees. 

Michael Mazzone and Sehnaz Dirik in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

As Honey in Bees Drown is not just a metaphor and is referenced forebodingly a number of times during this production.  It lures Wyler in with talk of grandeur and achievement, but be aware of the sting.  Dirik’s notable delivery somewhat resembles the comic genius of Absolutely Fabulous as Alexa Vere de Vere, a grandiose PR enigma with a glamorous British accent in sparkling black speaking as if money is no object.  Impressionable and hungry for success, Wyler shares some unforeseen moments with Alexa who navigates from hardnosed agent to slick charmer to vulnerable victim in quick succession. Recalling comical quips, quotes and candid monologues about her personal history, Dirik offers quite the layered performance in a wide array of stylish costumes by Anna Silva from furs and pearls to sleek business suits.  Manipulative, clever, and often shooting from the hip, Dirik’s Alexa’s rapid fire musings can spin a tale without restraint and it is no accident that Alexa occasionally refers to Wyler as ‘lamb.’  Mazzone also makes no bones about being molded while Dirik takes the reins.  

Bradley Belanger and Sehnaz Dirik in Theater Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

With the exception of Mazzone and Dirik, the cast portrays a number of enhanced stereotypes that offer some comic relief.   Isabela Ginsberg infuses likability and humor into an array of sarcastic, self important and airy characters inconvenienced by the work that they are doing.  Lauren Elias juggles a self absorbed actress, partygoer and socialite breezily.

Bradley Belanger is in his element portraying your best friend and your worst enemy.  What makes Belanger’s delivery so intriguing is a shared crazed expression that works for both characters with separate motivations.

Bradley Belanger and Michael Mazzone in Theatre Uncorked’s ‘As Bees in Honey Drown’ Photos credit: Gary NG

As Bees in Honey Drown presents an interesting concept and an engaging comedy, but the real kicker lies in its sting.  As soon as you think this show is heading in one direction, the production turns the narration on its head.  Part character study and part morality play, As Bees in Honey Drown is an actor’s showcase for Dirik luring everyone into her world and begs the question of what constitutes real success and authentic art.  Is it creating for the sake of creating or does everything go for the highest bidder? 

Theater Uncorked presented Douglas Carter Beane’s As Bees in Honey Drown for one weekend only at BCA Plaza Box Theatre in Boston, Massachusetts through Sunday, May 18.  Click here for more information and what is next in store for Theater Uncorked.

REVIEW: Theater Uncorked’s ‘The Lion in Winter’ a resonating roar in deceit and dysfunction

“Oh, what a tangled web we weave when first we practice to deceive.”

Here lies the marrow when royalty, family, power and possibly love collide in The Lion in Winter, a historical drama that may itself be fictional, but a number of conflicts in the production within this real life monarchy are based on historic events.  This famous quote from Scottish poet Sir Walter Scott may be cautionary in nature and The Lion in Winter seems like a cautionary tale in some familial aspects, but these wildly tangled webs are far beyond fixing and are need of a reckoning.

With scrupulous direction by Allison Olivia Choat, Theater Uncorked presents James Goldman’s rarely performed drama The Lion in Winter live and in person at Boston Center for the Arts at the BCA Plaza Theatre in Boston, Massachusetts through Sunday, December 15.  The production contains adult themes and is approximately two hours with one intermission.  Click here for more information and for tickets.

Sehnaz Dirik center Thain Emrys Bertin James Honaker and Finian Ross in Theater Uncorked’s ‘The Lion in Winter’ Photo Credit: Gary Ng

The Lion In Winter has been adapted into an Academy Award-winning 1968 film starring Peter O’Toole as King Henry II and Katherine Hepburn as Eleanor of Aquitaine.  Though both actors were nominated for Academy Awards, Katherine Hepburn won for Best Actress.  The Lion in Winter was also later adapted into a lesser known TV movie in 2003 starring Sir Patrick Stewart as King Henry II and Glenn Close as Eleanor of Aquitaine.

Set designer Leonard Chasse delivers medieval festive hauling out the holly for Christmas adorning gold and red velvet tables, a regal coat of arms on the wall and a pair of keenly lit crosses while candlelight by lighting director Erik Fox not only casts ambient light, but adds a foreboding quality to much of the production.

Finian Ross and Sehnaz Dirik in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

Theatre Uncorked does dysfunction well.  They certainly made a case for the Eliot Norton award-winning Who’s Afraid of Virginia Woolf last year diving into extreme marital dysfunction and this year, a royal battle as three sons vie to become the next King of England as Christmas approaches in 1183.  Anthony Mullin as Henry II has high hopes for one son, but Sehnaz Dirik as recently imprisoned Queen Eleanor of Aquitaine has other plans.  It shares some similarities with Shakespeare’s King Lear and the play is even mentioned during the production.  However, nothing is as it seems and the crown and succession feels like a smaller detail in the grand scheme of this family’s maladies.

Like Who’s Afraid of Virginia Woolf, The Lion in Winter visits some of the darkest places of the human condition, and not only reflects the frustration in a toxic marriage but explores neglect, betrayal, grief, mortality, oppression, war and an unscrupulous hunger for power.  It also has its share of satirical humor in its veiled slights, quips, and deadpan style of manipulation.  Each member of the family is playing a long game to achieve each of their desired objectives and as soon as you think you have a grasp of what is happening, the tables turn.

Anthony Mullin and Sehnaz Dirik in Theater Uncorked’s ‘The Lion in Winter’ Photo Credit: Gary Ng

The Lion in Winter boasts two powerful leads in Anthony Mullin as charismatic and egotistical King Henry II and Sehnaz Dirik as Queen Eleanor.  Complicated does not begin to describe their relationship and like Who’s Afraid of Virginia Woolf, King Henry II and Queen Eleanor’s relationship have many layers in their decades long marriage and one cannot think of how dangerous it can be to know someone all too well.  Mullin’s clever and shrewd King Henry to Dirik’s witty and scheming Eleanor put on more than a game face fueled by their passion and stubbornness vying for the upper hand in everything.  Dirik is a natural at Eleanor’s underlying vulnerability behind her machinations with only the audience the wiser.

Micah Livesay and Matthew Zahnzinger in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

Micah Livesay is sympathetic as loyal and susceptible Alais as she struggles in her twisted role while Matthew Zahnzinger as Alais’s egotistical brother Phillip stealthily bides his time on his next move as King of France.

The sons seem like pawns and wish I had a deeper understanding of who they are.  All longing for love more than anything else and acting out about it in distinctive and destructive ways.   Finian Ross as impressionable John, James Honaker as calculating Geoffrey and Thain Emrys Bertin as complex yet valiant Richard all work best while conspiring with each other. 

Matthew Zahnzinger James Honaker and Finian Ross in Theater Uncorked’s ‘The Lion in Winter’ Photo credit: Gary Ng

The Lion in Winter is a bit lengthy contemplating the game more than it builds tension, though it is intriguing to see how each move plays out.  Whatever this family has next up their sleeve, it is certainly far from a Norman Rockwell Christmas.

Theater Uncorked presents James Goldman’s rarely performed drama The Lion in Winter live and in person at Boston Center for the Arts at the BCA Plaza Theatre in Boston, Massachusetts through Sunday, December 15.  The production is approximately two hours with one intermission.  Click here for more information and for tickets.

REVIEW:  Hub Theatre Company of Boston explores secrets and hypocrisy in Molière’s witty ‘Tartuffe’

Is Tartuffe a saint or sinner?

That is the main question broached by the cast of a mysterious character contemplated so often that it is a wonder if Tartuffe is less a person than legend.  However, when Tartuffe does appear, plenty of drama lay in his wake.

Directed comically by Bryn Boice and translated by Richard Wilbur, Hub Theatre Company of Boston presents Molière’s satirical comedy drama Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24.  This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis.  Click here for more information and for tickets.

June Kfoury, Lily Ayotte and Brendan O’Neill in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Though Molière ’s satirical comedy Tartuffe takes place during King Louis XIV’s reign in 1664, Hub Theatre Company of Boston mixes many aspects of the contemporary with the 17th Century French Common Era in costumes and nuanced dialogue.  Costume designer Marissa Wolf and Wig Maven Liv Curnen blend historical French high fashion including decorated coiffed wigs, silks, trendy lace up shoes, crinoline, and vivid patterns including paisley and tartan to match with jeans, sneakers, and racer striped pants which provides a bit of a contemporary edge.  Lily Ayotte as Mariane’s crinoline skirt cage however, felt gnawingly incomplete without a skirt over it even if it is in the name of high fashion.

Tartuffe, spoken in melodious coupling rhyme, is easy on the ears and adds lightheartedness to the production especially during its most serious moments.  June Kfoury as Madam Parnelle baits the hook on Tartuffe as she humorously lambastes everyone in the room including her family in a marvelously frank and offhanded manner except the one person absent and proclaims an unpopular opinion:  She considers Tartuffe a saint and praises his bold candidness.

Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Brooks Reeves as oblivious Orgon also thinks the sun rises and sets on Tartuffe and although Orgon comes off as a bit one dimensional, Reeves leans into the character’s absurdity and stubbornness to craft a character you end up rooting for. 

Lauren Elias in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Lily Ayotte as sweet and obedient Mariane is one of the best parts of the production.  Her engagement with the audience, reactions and physical comic timing is impeccable.  Ayotte and Robert Thorpe II as Valère share amusing chemistry and their scenes are full of charming banter.  Lauren Elias as maid Dorine is one of the few voices of reasons and a scene stealer in her own right navigating the plot through reason, good intentions, a good deal of sarcasm, and some popcorn (which acts as a fabulous gag during the show). 

Laura Rocklyn and Jeremy Beazlie in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Laura Rocklyn portrays cool and collected Elmire with finesse.  Elmire is a dynamic role and Rocklyn brings determination and confidence, especially to her more absurd scenes with Reeves and Jeremy Beazlie as Tartuffe, performing to great lengths for a laugh.

However, Jeremy Beazlie as Tartuffe, well, there is not much question how Tartuffe lives up to his legend which will not be revealed here.  Tartuffe explores hypocrisy and secrets while historically speaking to what was happening in France at the time and Beazlie depicts it to a fault stirring up a lot more than rumors by the time he takes the stage.

Jeremy Beazlie and Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography

Though Tartuffe may not be for everyone, it boasts a strong cast and witty moments that keeps one guessing how this unbridled string of events will end up right through the very end.

Hub Theatre Company of Boston presents Molière ’s satirical comedy Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24.  This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis.  Click here for more information and for tickets.

REVIEW:  Umbrella Stage Company gets up close and personal with ‘Network’

How far will anyone go for ratings?

It’s a mad world and UBS is here for it.

With compelling direction by Ashley Kelly Tata, adapted for the stage by Lee Hall and based on Paddy Chayefsky’s Academy Award-winning screenplay, The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3.  This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes.  Click here for more information and for tickets.

Set in September of 1975, UBS is a struggling television station drowning in the ratings.  Tensions are sky high as executives scramble to save it.   As a result, world weary veteran newsman and widower Howard Beale, a metamorphic portrayal by Bill Mootos, has been forced to retire after 25 years dedicating his whole life to his work.  In an act of desperation, Beale makes a shocking decision that impacts everyone around him. 

Bill Mootos stars as Howard Beale in ‘Network’ Photo by Jim Sabitus

Steeped in nostalgic glory, Network seamlessly rewinds the clock to a time where television was the world’s primary source for news, information, and entertainment.  From three piece suits to wrap dresses to Barrymore collars, costume designer Nancy Leary captures the essence of the 70s while Afsoon Pajoufar’s duel level retro studio set features vintage studio equipment, a line of wall clocks keeping track of various time zones all over the world and a multitasking wooden desk. 

The cast of ‘Network’ Photo by Jim Sabitus

 The towering UBS logo printed across SeifAllah Salotto-Cristobal’s projection screen can be distracting at times, but symbolically portrays the media’s monstrous influence on the world over anything else. Not only does it provide a window into nostalgic television but an intimate account into the characters’ reactions as if the camera is always rolling.   Featuring flashes of famous 70s commercials to searing headlines to classic TV shows like Laverne and Shirley, Salotto-Cristobal’s montages are overwhelming, rapid and impactful.  Even the television test signal can be unsettling.  Aubrey Dube’s audio design bring to life some particularly intense moments as well as satirical humor demonstrated in David Bowie’s meticulously placed Fame during a pivotal scene in the production. 

Blythe de Oliveira Foster as Diane and Bill Mootos as Howard Beale in ‘Network’ Photo by Jim Sabitus

Having worked through the Golden Age of Television, Howard Beale has seen the trends change into a darker tomorrow.  Mootos craftily transforms as alcoholic newsman turned influencer Howard Beale.  From a professional newsman straightening his tie, Mootos captures the derailment methodically from weary to anguish and everything in between struggling to learn what is really important.     

Workaholic Diane, ferociously portrayed by Blythe de Oliveira Foster, is a laser focused executive voracious for success and ratings that she flagrantly talks of immorality like she is ordering a drink at a bar.  Justifying unimaginable things hungry to accomplish her goals, Foster as Diane brings gall, gumption and a dark humor to her greediness that make her fascinating in her audacity.  Foster delivers some thought provoking scenes with Barlow Adamson who is impressive as tough yet rational Max and one of the few sympathetic voices of reason in this production.   Will McGarrahan also makes a lasting impression as menacing Arthur Jensen.   

Jennifer Bubriski as Sheila and Blythe de Oliveira Foster as Diane in ‘Network’ Photo by Jim

Network is a cleverly executed and gripping production that becomes so immersive that it may encourage you to contemplate whether anything has changed today or worsened especially in this digital age.  Network’s lighting is almost glaringly bright during show time and shadows take over behind the scenes depicting a darker reality.  Tata’s direction is invasive and revealingly up close and personal to expose the nature of many of the production’s themes including corporate greed, corruption, sensationalism, consumerism, scandal, violence and fame.  It is a barrage of ideas that are peeled away bit by bit and what is unveiled is both fascinating, alarming and not so unfamiliar before it reaches its shocking conclusion.  When has it all gone too far? 

Bill Mootos is “Mad as hell” and he’s “not going to take it anymore” as Howard Beale in a new stage adaptation of the 1976 classic film, ‘Network’ Photo by Jim Sabitus

The Umbrella Stage Company presents dark satirical drama Network live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, November 3.  This well-timed production is 90 minutes with no intermission and contains explicit language and adult themes.  Click here for more information and for tickets.

REVIEW: Facing corporate greed and corruption with a sprinkling of levity in Lyric Stage’s ‘Urinetown: The Musical’

I went in skeptical. 

Having been invited to see this show years ago when a friend was in it, the title and premise lacked a certain initial appeal.  Yes, the show is about what the title suggests, but as narrator or maybe more like ringmaster Anthony Pires Jr as Officer Lockstock insists, ‘The setting is not Urinetown, just the name of this musical comedy.’  Janie E. Howland’s set is dingy in various shades of brown and littered with broken toilets and grime as undefined shapes pepper the stage. 

Anthony Pires, Jr and Paige O’Connor in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

And yet….

The set is a ruined landscape as one would imagine it would be for a musical comedy called Urinetown, but Mark Hollmann’s piano-infused music is suspenseful, foreboding, urgent and bright and Deb Sullivan’s mood-induced lighting design stands out.  As serious as some of the issues the show addresses are in a story about urination becoming a privilege for the rich and not a human right, the production’s satirical tone sits somewhere between not to be taken too seriously and a cautionary tale of oppression, corruption and more.

With thought provoking direction by Courtney O’Connor with lively choreography by Christopher Shin, The Lyric Stage Company opened its 50th anniversary season with musical parody Urinetown: The Musical live and in person at Lyric Stage Company in Boston, Massachusetts through October 20.  The action is not limited to the stage and run two hours with a 10 minute intermission.  Click here for more information and for tickets.

The cast of Urinetown: the Musical Photo by Nile Hawver

Taking place in an unknown city that suffers from a severe water shortage, Anthony Pires Jr as narrator and Officer Lockstock, Gabriel Graetz as Officer Barrell, and Lisa Yuen as rigid and business minded Penelope Pennywise, must enforce that each city resident pay a fee to urinate passed down by Christopher Chew as President and Owner of Urine Good Company’s Caldwell B. Cladwell.  When an incident takes place involving Remo Airaldi as Joseph “Old Man” Strong, Kenny Lee as Strong’s idealistic and determined son Bobby decides to do something about it.

Urinetown boasts a wealth of powerful vocals including Yuen’s stellar rendition of It’s a Privilege to Pee capped off by an astounding finale belt.  In rubber boots, fanny pack, and pigtails, Yuen brings depth to Pennywise who is caught between a rock and a hard place not unlike another survivor she portrayed earlier this year in Reagle Music’s South Pacific.  Pennywise must do what she thinks she must in fear of the alternative.

Lisa Yuen, Anneke Angstadt and James Turner in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Anthony Pires Jr is charismatic, engaging and a lifeline as Officer Lockstock who alternates between law enforcement and narrating the plot at various interludes.  Pires Jr’s self aware humor and sharp comedic timing adds levity to this bold satire that delivers its share of dark moments in a way that does not feel as heavy with Pires Jr at the helm.  The Cop Song, a duet with Graetz and Company, offers an inside look of what it’s like to enforce the law here to a cheerful beat.

Kenny Lee and Elliana Karris in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Elliana Karris depicts Cladwell’s rich, beautiful, compassionate, and idealistic daughter Hope who believes in change and shares an endearing rendition of Follow Your Heart with Bobby.  They are goofy, giddy and share each other’s wide eyed optimism and determination.  Kenny Lee is instantly likeable and impressive as Bobby who also longs to make a difference.  Paige O’Connor is excellent as precocious, street smart and conflicted Little Sally who shares some funny and fascinating scenes with Lee and Pires Jr throughout the production.

Christopher Chew and the cast of ‘Urinetown: The Musical’ Photo by Nile Hawver

With commanding vocals, Christopher Chew depicts threatening yet humorous adversary Caldwell B. Cladwell.  Chew strikes a delicate balance between scathing and corrupt with comic wit.  Cladwell could have easily delved into cartoon villainy, but Chew brings enough manipulative chutzpah to songs like Mr. Cladwell and Don’t Be the Bunny to make him a credible and worthy foe.

Musically directed by Dan Rodriguez, Urinetown features not only a number of songs in an array of styles, but also a variety of musical references which includes The Wizard of Oz, West Side Story and Les Miserables.  The cast’s moving rendition of Run Freedom Run and the seemingly peppy I See a River are both memorable.  As the band plays above the stage, it sheds some light as this skillful production delves into themes such as oppression, socialism, corporate greed, fear, corruption and freedom.  It’s also a strong metaphorical satire about something one would hopefully never have to go through.

If you can get past that, The Lyric Stage Company continues Urinetown: The Musical at Lyric Stage Company in Boston, Massachusetts through October 20.  Click here for more information and for tickets.