sci fi

REVIEW:  Boston Playwrights’ Theatre’s world premiere of Brandon Zang’s ‘Recursion of a Moth’ alongside world premiere of Isabelle Fereshteh Sanatdar Stevens’ ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’

Posted on by The Sleepless Critic

Boston Playwrights’ Theatre recently presented two world premiere productions for BPT’s Spring Rep Festival.  Boasting some common themes, both are fitting companion pieces though one executes their ideas more fluidly than the other.

Both shows are rooted in preventing disaster and end the way they began with new meaning.  While one travels through time while the other roams through a cosmic plane, both shows are motivated through grief, trauma, and discovery while featuring key twists on the journey.  Both believe that changing their present circumstances will lead to better futures, but facing a world that cannot easily bend to their will.

Fear gives way to strength as one travels through space and the other among the stars.

Minou Pourshariati and Danny Bryck in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’s Recursion of a Moth alongside Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts.  Both shows ran approximately 80 minutes with no intermission.  Click here for more information and for BPT’s future events.

REVIEW:  A sky full of stars, transformation and resilience fuel Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn

In a country entrenched in war, two children meet under a mystical fig tree.  One loves to sleep and the other constantly stands watch.  However, their purpose under this tree unveils in significant ways from what they share to what they face.

Directed by Nikta Sabouri, The Fig Tree,  and the Phoenix, and the Desire to Be Reborn  by Isabelle Sanatdar Stevens is a mythological tale about love, grief, courage in the face of danger, war, loss, and unbreakable bonds.  Minou Pourshariati and Danny Bryck are cosmically and supernaturally connected and that connection is explored meaningfully as transformation takes place around them.

Taking place in August 1988 during the Iran-Iraq War, Danny Bryck as Javeed and Minou Pourshariati meet under a fig tree.  Mandana loves to sleep because she can speak to her late brother in her dreams while Javeed is afraid to sleep because he needs to stand guard to keep his family safe.  For these two children whose bravery is ingrained in fear, they seem to become old souls overnight. 

Danny Bryck and Minou Pourshariati in ‘The Fig Tree The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Skillfully taking on dual roles, Pourshariati and Bryck are adorable as children and revel in their roles sharing each other’s fears, prayers, anger and sadness as they struggle for certainty and to understand what is happening around them.  Irresistibly endearing building a unique bond and vowing to change the world they live in and beyond, inquisitive Mandana and virtuous Javeed instill playfulness, imagination, and joy into these complex performances enhanced by bright and affectionate choreography as they share their creativity, energy and boundless imagination amidst the turmoil.  Sporadically mature in thought and innocent in their approach, they squeal, leap and bounce in a stirring bitter sweetness during a serene interlude in a land where things can change at any moment as light and darkness are in constant battle.

Danny Bryck and Minou Pourshariati in ‘The Fig Tree, and the Phoenix, and the Desire to Be Reborn’ Photo by Benjamin Rose Photography

Lighting designer Grant Powicki and scenic design Cleo Brooks work together as twinkling lights, sunshine and glowing lanterns highlight a beautiful tree and wooded residential landscape which is unfurled by a retractable spool.  Shadows give way to surprises and bring to life their shared stories.  Sound designer Arshan Gailus is behind the immersive cosmic and natural harmony of this world.

The production contains a wealth of symbolism enmeshed in stories, objects, conversation and more.  Funny, touching, powerful, and poignant, The Fig Tree,  and the Phoenix, and the Desire to Be Reborn is an affecting and thought provoking journey worth taking.

REVIEW:  Brandon Zang’s The Recursion of a Moth races against time

This is no way to document time. 

Directed thoughtfully by Katie Brook, Boston Playwrights’ Theatre presented Brandon Zang’s sci fi drama The Recursion of a Moth.

It is the 25th century and a couple of time traveling bureaucrats and ex lovers are sent to document time and find a woman named Chrys for undisclosed reasons.  However, what transpires becomes far and away from what their mission entails into a journey rife with complications.

Alexander Holden and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography

Lighting designer Grant Powicki enhances Cleo Brooks’s simple black and white scenic design that colorfully depicts various dimensions and planes throughout the production. Fold out compartments depict a living room and kitchen as cast members change the props between scenes. Aubrey Dube’s radiating and moth-inspired clicking divide each scene while subtle and sparkling special effects drive this quantum leaping story.

Alexander Holden depicts resourceful time traveling bureaucrat Icarus heading to the Denver airport, his mysterious motivations behind a trench coat and glasses.  Jaime José Hernández portrays Mikey, a commitment phobic time bureaucrat dedicated to saving his family and completing their current mission.  However, Icarus has gone rogue with his own agenda to his timeline for good.

Alexander Holden and Jenny S. Lee in ‘The Recursion of A Moth’ Photo by Scornavacca Photography

The Recursion of a Moth explores generational patterns, family, the nature of suffering, and takes some liberties with time travel that becomes a bit too outlandish to be believable even if it would make for a nice story. Holden’s Icarus is obstinate and will stop at nothing to bend time according to his will while Hernández’s reasonable and grounded Mikey cannot help but remind him of time’s known limitations and consequences.  However, Icarus knows far more than he is letting on and longs to change time piece by piece for what may become a better future.

Alexander Holden, Jenny S. Lee and Jaime José Hernández in ‘The Recursion of a Moth’ Photo by Scornavacca Photography

Jenny S. Lee as Chrys, Alexander Holden and Jaime José Hernández all convincingly convey the production’s intensity at the mercy of time.  The moth’s role and recursion theory in this story is particularly fascinating.  Full of twists and quick turns which at times can be confusing, the show may have benefited by a longer runtime for further development of these characters and to give the revelations more breathing room.  The storyline winds into a major plot twist that seems too absurd to be believable even if it makes for a nice story. Recursion of a Moth has its bright spots, but especially under Back to the Future’s Doc Brown’s standards, certain twists would lead to a paradox. 

Boston Playwrights’ Theatre presented the world premiere of Brandon Zang’s Recursion of a Moth alongside the world premiere of Isabelle Fereshteh Sanatdar Stevens’ The Fig Tree, and the Phoenix, and the Desire to Be Reborn for BPT’s Spring Rep Festival through Sunday, March 9 live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts. Click here for more information and for Boston Playwrights’ Theatre’s future events.

REVIEW: Yorick Ensemble’s dark and rollicking ‘The Guy Who Didn’t Like Musicals’ hums its own unique tune

Posted on by The Sleepless Critic

Imagine Office Space meets Little Shop of Horrors with a twist…and it only gets wilder.

Set in Hatchetfield in 2018 with a vintage vibe, Tom Marsh depicts polite yet direct office worker and everyman Paul.  A particular man of few words, Paul is surrounded by people who cannot keep much to themselves until a mysterious astronomical event threatens to change everything.

Directed appealingly by Kari Boutcher with lively music direction by Elias Condakes, Yorick Ensemble continues horror sci-fi musical parody The Guy Who Didn’t Like Musicals through Saturday, February 22 live and in person at the Plaza Theater in Boston Center for the Arts in Boston, Massachusetts.  This production is occasionally not limited to the stage, contains adult content and language and runs one hour and 45 minutes with one intermission.  Click here for more information and for tickets.

Yorick Ensemble’s ‘The Guy Who Didn’t Like Musicals’ cast Photo by Toni Photography

Simply staged with rolling and portable props, The Guy Who Didn’t Like Musicals is in part a musical, but if you are not a musical fan, do not let that deter you.  The production delivers inside jokes for theatre fans as well as its own share of material for those who are not a fan of the genre.  It has an appealing vintage flair while still fitting well in its contemporary setting largely due to excellent lighting and sound designer Michael Jay. 

Silly, zany, and exceedingly funny fluctuating from cheerful to eerie without taking itself too seriously…at first.  The musical numbers often dive head first into the absurd and range from sinister to upbeat and catchy with one example demonstrated in the creepily upbeat and catchy number La Dee Dah Dah Day which comes off cheery before morphing into a trance.

Yorick Ensemble’s ‘The Guy Who Didn’t Like Musicals’ cast Photo by Toni Photography

The Guy Who Didn’t Like Musicals delivers love triangles, family drama and more.  Introducing Paul with feigned grandiosity, Marsh is sympathetic as Paul and shares some compelling scene time with Demi Dicarla as intuitive barista Emma.  However, Marsh’s best moments have a darker tinge including the tormented struggle he endures in Let it Out. 

With the exception of Marsh who exclusively portrays Paul, this bold and enthusiastic cast often uses improvisation to play to the audience while sliding into a number of different roles.  Some of the roles may seem random, but will become crystal clear by the end of the production.   It is entertaining to place which office coworker might seem all too familiar such as Kelly McGowan as obnoxious Ted or Katie Iafolla as discontented cat sweater-wearing office gossip Charlotte.  However, Bradley Boutcher’s Alexa worshipping Professor Hidgens is a delightful scene stealer.  Right down to the wild timber in his voice, Boutcher hints at all the mad scientists of 1950s films becoming wackier and more hilarious with each scene and culminating into an outrageous Show Stoppin Number.   

Yorick Ensemble’s ‘The Guy Who Didn’t Like Musicals’ cast Photo by Toni Photography

The Guy Who Didn’t Like Musicals has its dark side which can feel uneven at times and is at its best when it is not taking itself too seriously.  Approach this production with an open mind.  Mixing and inspired by a smorgasbord of genres, it isn’t an easily defined production which leaves room for it to become its own darkly humorous creation that works.

Yorick Ensemble continues horror sci-fi musical parody The Guy Who Didn’t Like Musicals through Saturday, February 22 live and in person in the Plaza Theater in Boston Center for the Arts in Boston, Massachusetts.  This production is occasionally not limited to the stage, contains adult content and language and runs one hour and 45 minutes with one intermission.  Click here for more information and for tickets.

REVIEW:  ‘Zebra 2.0’ at New Ohio’s ICE Factory boasts an unconventional meet cute with fascinating zip

Posted on by The Sleepless Critic

One is nicknamed Zebra and another knows everything there is to know about Zebras….except how Zebras feel.

Zebra 2.0 is technological ice breaker and a breakthrough unlike any other.  An interesting meet cute for the modern age, AnomalousCo, Wistaria Project, and Romanian Cultural Institute’s sci-fi rom com Zebra 2.0 was presented at New Ohio Theatre’s ICE Factory in NYC and is now streaming through August 12.  The show runs for 1 hour and 30 minutes.  Click here for more information and how to stream the film.

Alina Mihailevschi and Tim Craig in ‘Zebra 2.0’ Photographer: Jarrett Robertson

A computer and a woman meet in a lab.  She calls it Al and Al nicknames her Zebra 2.0.  As Al coordinates a line of numbers, inquisitive Zina, energetically depicted by Alina Mihailevschi, realizes that Al, portrayed with intellectual charm by Tim Craig, have much more in common than either of them realized.  Zebras are only the beginning.

Zebra 2.0 has an enchanting way of delving into various topics such as the environment, biology, science, books, music, immigration, standardized tests, employment, and the nature of being human in a clever and fascinating manner.  Though Zina only chance meets Al as she cleans up a laboratory, her friendly and candid conversations with Al spark some compelling results.  Written by Saviana Stanescu and directed by Jeremy Goren, Zebra 2.0 combines method and sentiment into a sweet, intense, and astute production with resounding messages about humanity.  Tim Craig is impressive, gradually molding Al into a charismatic and sympathetic character and Mihailevschi epitomizes lonely, zealous, friendly, rebellious, and imaginative Zina who longs for knowledge and dreams of a better life.

Tim Craig and Alina Mihailevschi in ‘Zebra 2.0’ Photographer: Jarrett Robertson

John Jannone, Michi Zaya,  and Amy Liou’s luminous projection and  video, Duncan Davies’s incredible multicolor lighting and Ras Badejo’s epic music and sound combine to make Al into a dazzling, fervent, and a powerful entity that blurs fantasy and reality inside a pristine, windowless, and futuristic space by Xinan Helen Ran.  These special effects display some of the most exciting scenes in the production only second to Craig and Mihailevschi’s humorous and engaging chemistry that just might deliver greater meaning than anything Al can calculate.

Alina Mihailevschi and Tim Craig in ‘Zebra 2.0’ Photographer: Jarrett Robertson

Written ambitiously by Saviana Stanescu with elevated direction by Jeremy Goren, AnomalousCo, Wisteria Project, and Romanian Cultural Institute’s sci-fi rom com Zebra 2.0 was presented at ICE Factory in NYC and is now streaming through August 12.  The show runs for 1 hour and 30 minutes.  Click here for more information and how to stream the film.

REVIEW: With a double dose of vintage flair, Lyric Stage’s ‘Little Shop of Horrors’ will make audiences thirsty for more

Posted on by The Sleepless Critic

This sad little flower shop on Skid Rowe holds a secret.

Tattered, lesser known movie posters such as ‘Mothra,’ ‘Planet of the Vampires,’ and ‘Attack of the Puppet People’ strewn fervently on brick, graffiti-covered walls provide just a hint of the zany, B-movie glory that opens Lyric Stage Company of Boston’s 45th season with retro sci-fi musical comedy, ‘Little Shop of Horrors’ continuing through Sunday, October 6 at Lyric Stage in Boston, Massachusetts.  Click here for more information and tickets.

From the inventive special effects to the fascinating, ‘blooming’ set,’ Lyric Stage makes two things abundantly clear:  Don’t feed the plants and everyone’s life should be narrated by a streetwise, Greek chorus.

‘Little Shop of Horrors,’ based on Jack Cullier’s 1932 story Green Thoughts, went on to become a cult classic, featuring actors such as Jack Nicholson, Bill Murray, Rick Moranis, Steve Martin, and John Candy stepping into its various film adaptations.  A remake is in the works as it marks its 60th anniversary in 2020.

It’s a seemingly simple tale about young love on Skid Rowe in a fledgling flower shop that houses a curious, unique breed of plant.  Some critics have compared it to the daring tone of the cult classic, ‘Rocky Horror Picture Show,’ but ‘Little Shop of Horrors’ offers a more subtle brand of campy charm.

Lyric Stage's Little Shop of Horrors Trio

From L to R: Pier Lamia Porter as Chiffon, Carla Martinez as Ronnette, and Lovely Hoffman as Crystal Photo credit to Mark S. Howard/Lyric Stage Company of Boston

Janie E Howland’s vivid, transformative set is remarkable right down to its carefully timed shop bell.  Not only does it pay homage to vintage films of its time, but ‘Little Shop of Horrors’ is packed with 50s and 60s references such as ‘I Love Lucy,’ Howdy Doody, Donna Reed, and Betty Crocker.

Before going any further, let’s start with that Greek Chorus.  With few exceptions, the music, with lyrics by award-winning composer Alan Menken, have a catchy, rock n roll vibe including tunes that pay tribute to 60s girl groups.  From casual street garments to flashy glam, these three electrifying vocalists certainly know how to make an entrance.  Pier Lamia Porter as Chiffon, Lovely Hoffman as Crystal and Carla Martinez as Ronnette are a tough, humorous, and street-smart trio who unveil the real ins and outs of Skid Rowe through harmony, kicking it off with the catchy signature track, Little Shop of Horrors.

Lyric Stage Little Shop Remo Airaldi Dan Prior Katrina Z Pavao and Jeff Marcus

L to R: Remo Airaldi as Mr. Mushnik, Dan Prior as Seymour, Katrina Z Pavao as Audrey, and Jeff Marcus as a customer Photo credit to Mark S. Howard/Lyric Stage Company of Boston

The show has a gift for funny, ironic contrasts with a cast that has increasingly complicated motives.  Wearing black-rimmed glasses, a baseball cap, and fervently wiping his brow, Dan Prior gives real heart to Seymour, a sympathetic, yet conflicted botanist.  With an anxious demeanor and a light city accent, Prior emphasizes Seymour’s inherent, inescapable loneliness as he struggles to remain forthright and honest as the show progresses.  He shines in the darkly tender number Grow for Me and in his awkward adoration for trusting and frequently unlucky Audrey, portrayed wonderfully with plucky charm by Katrina Z Pavao.  In a particularly comical moment, Seymour hopes to take Audrey to “a fancy dinner at Howard Johnson’s.”

Pavao’s lovely soprano vocals carry a lullaby or a soulful belt with equal skill.  She shares her simple, 50s domestic dreams in a funny and tender rendition of Somewhere That’s Green and with Seymour in a powerful rendition of Suddenly Seymour.

Lyric Stage 'Little Shop of Horrors' Dan Prior as Seymour and Remo Airaldi as Mr Mushnik

Dan Prior as Seymour and Remo Airaldi as Mr. Mushnik Photo credit to Mark S. Howard/Lyric Stage Company of Boston

Disheveled and desperate in an old cardigan, Remo Airaldi takes on the role of frustrated flower shop owner, Mr. Mushnik.  Having delivered a deliciously dark comedic turn as Ben in Lyric Stage’s ‘The Little Foxes,’ Airaldi once again delivers a dark and memorable performance.  He is especially clever with Dan Prior as Seymour for the manipulative and comical number, Mushnik and Son.

Lyric Stage's 'Little Shop of Horrors' Carla Martinez Pier Lamia Porter Lovely Hoffman and Jeff Marcus

From L to R: Carla Martinez as Ronnette, Pier Lamia Porter as Chiffon, Lovely Hoffman as Crystal, and Jeff Marcus as Orin Photo credit to Mark S. Howard/Lyric Stage Company of Boston

Jeff Marcus brings out his campy, satiric best in several roles including a no-holds-barred performance as Orin, a belligerent, narcissistic biker dentist punctuated with a howling, maniacal laugh.  Marcus and Prior are particularly fun to watch, playing well off each other in the number, Now (It’s Just the Gas). 

Lyric Stage's 'Little Shop of Horrors' Dan Prior as Seymour and Audrey II

Dan Prior as Seymour and Yewande Odetoyinbo as Audrey II Photo credit to Mark S. Howard/Lyric Stage Company of Boston

However, the real spectacle is  Audrey II, the sly, soulful plant that changes everything.  With versatile and grimly wise vocals by Yewande Odetoyinbo, inventively manipulated by Tim Hoover, and skillfully designed by Cameron McEachern, Audrey II is a comical, extraordinary specimen right down to her bright colors and shiny, dangling teeth.  Audrey II is handled in such an innovative, natural, and majestic way, the results are truly mesmerizing.

Directed and choreographed by Rachel Bertone, Lyric Stage’s ‘Little Shop of Horrors’ continues through October 6 at the Lyric Stage Company of Boston, 140 Clarendon Street in Boston, Massachusetts.  Click here for more information and tickets and here for what is coming up during Lyric Stage’s 45th season.

Go green with Cohasset Dramatic Club’s sci fi horror comedy musical ‘Little Shop of Horrors’

Posted on by The Sleepless Critic

Cohasset Dramatic Club’s comedy horror rock sci fi musical, Little Shop of Horrors, offers two very important life lessons.  Don’t feed the plants and everyone’s life should be narrated by a streetwise, Greek chorus.  Punctuated by the sweet, sassy sounds of female Greek chorus trio Chiffon, Crystal, and Ronnette, Cohasset Dramatic Club opened its 98th season with Little Shop of Horrors in all of its zany, outrageous glory on the Cohasset Town Hall stage in Cohasset, Massachusetts continuing through Sunday, November 18.  Click here for more information and tickets.

Cohasset Dramatic Club Little Shop of Horrors cover

Directed by Lisa Pratt, ‘Little Shop of Horrors’ continues through November 18! Photo courtesy of Cohasset Dramatic Club

Little Shop of Horrors, based on John Cullier’s short story Green Thoughts from 1932, has gone on to become a cult classic, with actors such as Jack Nicholson, Bill Murray, Rick Moranis, Steve Martin, and John Candy stepping into its various film adaptations.  A remake is in the works as it celebrates its 60th anniversary in 2020.

It’s a seemingly simple tale about young love on Skid Rowe in a fledgling flower shop that houses a curious, unique breed of plant.  Some critics compare it to the campy tone of the another cult classic, Rocky Horror Picture Show, but Little Shop of Horrors offers a more subtle brand of campy charm.

The show has a gift for funny, ironic contrasts right down to the bright, cheerful set design by Mark Bono with scenic artist Denise Feeney.   An ode to vintage 50s films of its time, Mr. Mushnik’s beautiful and pastel Floral Shop front seems hardly a place that belongs on Skide Row or Gutter as the name of a bar.  With few exceptions, the music, with lyrics by award-winning composer Alan Menken, has a catchy, rock n roll vibe, some tunes an ode to 60s girl groups.  From plaids to shimmering gowns, Colleen Craig as Chiffon, Michelle Margulies as Crystal and Cara Lee Chamberlain as Ronnette form a taut, humorous, street-smart trio, unveiling the real ins and outs of Skid Rowe through harmony, kicking it off with the catchy, signature track, Little Shop of Horrors.

With a distinctive, comedic voice and dark reading glasses, Jonathan Markella is a natural as Mr. Mushnik.  Shrewd, sensible, and a bit dour, Markella’s take on the firm, yet fidgety Mr. Mushnik is a memorable one.  He showcases his comedic chops best with Jordan Reymolds as Seymour in the clever number, Mushnik and Son.

Cohasset Dramatic Club Little Shop of Horrors Seymour

Jordan Reymolds as Seymour and Audrey II Photo courtesy of Cohasset Dramatic Club

With black glasses and a sweater vest, Jordan Reymolds is splendid as Seymour, a sympathetic, conflicted botanist.  With a bit of a crackly speaking voice and a light city accent, he is ever the shy, unassuming nerd that actor Rick Moranis stepped into in the 1986 film adaptation.  He shines in the darkly tender number, Grow for Me and his awkward adoration for Audrey, portrayed with stylish, effervescence by Adina Lunquist, exudes comic charm, at one moment he’s hoping to take her to “a fancy dinner at Howard Johnson’s.”  Linquist is wonderful, her silvery soprano vocals carrying a lullaby or a soulful belt with equal skill.  She shares her simple, 50s domestic dreams in Somewhere That’s Green and with Seymour who deliver a powerful rendition of Suddenly Seymour.

Brendan Smith rises to the occasion playing several roles including the outrageous, narcissistic biker dentist.  Having portrayed The Monster in Young Frankenstein, his pliable, animated features master a multitude of roles in stride.

The real spectacle is Audrey II, the sly soulful plant that changes everything.  With deep, soulful, animated vocals that harness a bit of Elvis and Robin Williams and skillfully manipulated by Mike Nakashima whose theatre history includes a part in Cohasset’s Avenue Q, Audrey II is an impressive specimen right down to its shiny, dangling teeth.

Directed by Lisa Pratt, Cohasset Dramatic Club presents Little Shop of Horrors through Sunday, November 18 at Cohasset Town Hall, 41 Highland Avenue in Cohasset, Massachusetts.  Click here for more information and tickets.  Learn more about Cohasset Dramatic Club by following on their Facebook page.