semi-interactive | The Sleepless Critic

REVIEW: Endearing yet complex, The Huntington’s ‘We Had a World’ an exceptional love letter to family

Posted on March 4 by The Sleepless Critic

Award-winning playwright Joshua Harmon brings insight into his multifaceted life with textured humor in We Had a World, Harmon’s deeply personal family memory play inspired by his grandmother.

Will Conard brings warmth and amiability to narrator Joshua Harmon who highlights his indelible bond with his grandmother Renee and the mark and influence she made on his life, even as he has only seen her through rose colored glasses.

Amy Resnick and Will Conard in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Soulfully directed by Keira Fromm, The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15. This wonderful semi-interactive production runs one hour and 40 with no intermission and contains some adult humor. Click here for more information and for tickets.

Will Conard in the Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Joshua Harmon is a brilliant playwright and is no stranger to depicting family dynamics as demonstrated in his fascinating and intricate French and Jewish multi-generational play, Prayer for the French Republic spanning from 1944 to 2016 recently presented at the Huntington in 2022. It’s a family portrait with depth and complication taking place over decades and though it differs in tone, We Had a World also depicts its own intimate family portrait.

A play within a play of sorts, We Had a World focuses on Conard as playwright Joshua Harmon growing up with Eva Kaminsky as his orderly and sensible mother Ellen and Amy Resnick as his adventurous grandmother Renee spanning from the 80s through today. It delves into family drama with wit and humor while exploring missteps, misunderstandings, trauma, abuse, and family secrets.

Will Conard and Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Courtney O’Neill’s stylish and detailed brick trimmed setting acts as several significant places in this family’s life including Renee’s elegant Upper East Side NYC apartment and a posh Parisian hotel room. Parisian love seats, warm lighting and upscale décor are just part of this inviting and multi functional backdrop.

Amy Resnick in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

Tyler Micholeau’s meticulous lighting cleverly clicks and darts on each character as if under the limelight to share their unique perspectives. Each cast member is remarkable, but Amy Resnick is marvelous as Renee and a bit of a scene stealer. Regardless of the flaws she has within her family, you still can’t help but revel in her unfiltered personality. Bawdy, unapologetic, adventurous and a bit naughty, Resnick encapsulates Renee who can alleviate almost anything through her charismatic and unfiltered sense of humor. Conard’s agreeable, peacemaking and well meaning Joshua blends well with Renee’s laissez faire rapport which hones a rare curiosity for the world as they learn from one another. Resnick speaks to her grandson like an aspiring adult rather than a child which does not always sit well with Kaminsky’s Ellen. Kaminsky’s Ellen is practical, a tinge jealous and guarded while Renee seems carefree and wild. With stubbornness and lively personalities, Kaminsky and Resnick share a fascinating rapport and together make quite the impression even as they insist they are not alike.

Eva Kaminsky in The Huntington’s ‘We Had a World’ Photo by Annielly Camargo

A familiar and believable tight knit family, they undermine and judge one another and are so close, they cannot help but challenge each other as they thrust one another under the microscope. At times casual and humorous and other times unflinching, We Had a World has its share of raw and bitter resentments and family squabbling which has the potential to cut to the quick, but never lets the production become too heavy and serious even during intense times.

The production’s witty dialogue boasts a natural flow and the distinctive way these characters confide in each other and the audience with humor, candidness and ruefulness at times within the same thought makes it one of the best shows I’ve seen this year. Humorous and poignant, it is a show you won’t soon forget.

The Huntington continues the regional premiere of Joshua Harmon’s autobiographical play We Had a World live and in person at the Calderwood Pavilion through Sunday, March 15. Click here for more information and for tickets.

REVIEW: An amusing battle of wits at Hive Theatre Company’s ‘The 25th Annual Putnam County Spelling Bee’

Posted on January 30 by The Sleepless Critic

It can be a strange form of intellectual entertainment.

The contestants range from excitable to anxious to charismatic while braving through the pressure to succeed. With spell check just a click away, knowing how to spell complex words such as Xanthosis, Autochthonous, or Logorrhea almost seems like an archaic practice. However, Scripps National Spelling Bees are seen all over the world and like any competition, plenty of drama is happening behind the scenes.

Smoothly directed and choreographed by Margaret McFadden with John Eldridge’s witty music direction, The Hive Theatre Company dives into an interesting match of wits with the award-winning musical comedy, The 25^th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. This semi-interactive production runs 1 hour and 45 minutes with one intermission and contains some adult humor. Click here for more information and for tickets.

The cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Based on a book by Rachel Sheinkin and William Finn and featuring playful and insightful songs from its Grammy award-nominated album such as I’m Not That Smart, Pandemonium, and I Speak Six Languages, The 25^th Annual Putnam County Spelling Bee explores the lives of quirky and feverishly ambitious Putnam Valley Middle School students who are not only striving to win the bee, but to find their place in the world.

Alex Kennedy and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Featuring a live four piece band in the background, the BCA Plaza Theatre offers a fitting scholastic vibe for a spelling bee. Kevin Deane Parker’s modestly staged set features a blue school door, colorful metal chairs and auditorium seating. No spelling bee should be without a sponsor and Putnam Optometrists have stepped in with a humorous slogan across the judge’s table. Samantha Wolfrum’s wild and eccentrically charming costumes illustrate each character’s distinctive qualities.

Before addressing each one of the improvisational wizards that compete in Hive Theatre Company’s production of The 25^th Annual Putnam County Spelling Bee, it is important to note that the audience plays their own part in the bee. This small cast makes a big impression, and this zany musical comedy tests the audience’s knowledge as four lucky guest volunteer spellers have the honor of taking the stage to compete with the cast. It is an amazing experience to be a guest speller as the cast keeps them on their toes all in good fun.

Amanda Wade and Cameron Nye in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

If offered this opportunity, do not let fear and the unknown override a wonderful chance to join in the excitement of the bee along with the outside possibility of getting serenaded by some real talent. The interactive antics are just part of what makes this improvisational musical comedy unique and doused in a bit of the “reality show” flavor. Each performance of The 25^th Annual Putnam County Spelling Bee leaves its own individual and lasting impression.

From caricature voices to bizarre antics, this spelling bee cast leans into and emphasizes character quirks much more than endearing qualities than other version I have seen while relishing in their own various idiosyncrasies. To these students, spelling can be ruthless and punishing and are certainly feeling the pressure. Full of anxiety and neurotic awkwardness, each adolescent has their own humorous ways of coping to achieve a win paired with the difficulties of growing up. Learning each speller’s story and why they are participating in the Putnam County Spelling Bee (and needs a win) can be insightful, comical, and moving.

Salvatore Guillermo Garcia, Amanda Wade and Maya Gopalswamy in The Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Running the Bee is Amanda Wade as Rona Lisa Peretti, former winner of Putnam’s Spelling Bee. Peppy, orderly, and with polished vocals, Wade doles out fun facts about the contestants with palpable enthusiasm especially during the excitable number, Rona Moment #1. She and Josh Telepman as Vice Principal Douglas Panch are responsible for quite a few clever one liners during the show, feeding off each other’s varied personalities.

Anna Wright and Salvatore Guillermo Garcia in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Salvatore Guillermo Garcia is impressive as intense, firm, but sensitive Mitch Mahoney who hands out cure-all juice boxes to eliminated contestants as he supervises the competition.

Maya Golalswamy and Kaden Mays in Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Outlandish and peculiar, the remarkable spellers play well off each other and boast particular chemistry and harmony during the numbers, Pandemonium, My Friend, the Dictionary, and Magic Foot which fittingly features a kick line. Maya Gapalswamy as Olive and Kayden Mays as William display some awkwardly cute chemistry. Gapalswamy as hesitant and sweet Olive Ostrovsky is also sympathetic in a stirring rendition of The I Love You Song with Amanda Wade and Salvatore Guillermo Garcia. Anna Wright as Logainne Schwartzandgrubenniere, an anxiously outspoken bright-eyed girl in braids with a lisp forlornly laments Whoa is Me and Alex Kennedy is memorable as Leaf Coneybear, an intense, wildly dressed savant in a cape and bow tie while Cameron Nye has more than spelling on his mind as shy and daydreaming Chip Tolentino. Ashley Ha is ironically charismatic as socially awkward and rigid perfectionist Marcy Park especially for the athletic number, I Speak Six Languages.

Kaden Mays (center) and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

In a tricky environment where so much rides on improvisation, the cast navigates their characters while gliding through any challenging circumstances. The show inserts a few interesting pop references and contemporary issues into this timeless musical comedy. Some elevate the comedy while others seem out of place. Overall, The Hive Theatre Company’s musical comedy, The 25^th Annual Putnam County Spelling Bee is a clever and original musical production that may just leave the audience feeling a little smarter.

The Hive Theatre Company continues musical comedy, The 25^th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Adam Theater’s whimsical ‘Library Lion’ sings and wonderfully inspires

Posted on January 23 by The Sleepless Critic

“A book’s cover is like a big door.”

As an avid bibliophile, this significant quote from Library Lion could not ring more true. Extraordinary things do happen when you read.

One of the big doors that unleash a limitless imagination is the library. Unlike streaming, movies or television, a book is a movie for your mind and Library Lion, one of Time Magazine’s top 100 Children’s books, highlights the joys of reading and what to expect at the library until someone unexpected arrives.

Wisely directed by Ran Bechor with impactful music by Yoni Rechtor and dynamic music direction by Tomer Sne, Adam Theater continues Michelle Knudsen’s Library Lion live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, January 25. This enchanting, semi-interactive, and family-friendly musical play is not limited to the stage and runs approximately one hour and 10 minutes with no intermission. Click here for more information and for tickets.

The full cast of Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studios

The commotion is electric among this youthful crowd anticipating what is about to take place onstage. Whether young or old, this charming musical production does not disappoint. Books and other set pieces come to life in subtle, yet charming special effects refreshingly crafted with limited use of CGI or sophisticated digital screens.

Cast members from Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio

Unveiling Cameron Anderson’s stunning multicolor and vibrant, multilayered rolling set, Library Lion features an exuberant cast which includes a realistic lion puppet created by Jim Hensen’s Creature Shop waltzing to Irene Wang’s mischievous and playful sound design. In striped garments, a puppetry trio which includes Sophie Kauffman, Sydney Grant and Sarah Nolen directed by Kate Brehm, operate and deliver a beautifully stylized lion portrayal from its powerful roars to its intricately blinking big blue eyes adorned with a multi-toned mane.

Puppeteers Sophie Kauffman, Sydney Grant and Sarah Nolen from Adam Theater’s production of LIBRARY LION. Photo by Nile Scott Studio

Eli Bijaoui’s clever and occasionally rhyming dialogue and simple, yet catchy songs by an intimate, three piece orchestra are well paced and mostly jovial as Jayden Declet as precocious Michelle and Aaron Mancaniello as reserved Kevin discover the wonders and virtues of the library with the help of Janis Hudson as charismatic and practical Ms. Merriweather, Robert Saoud as moody yet endearing Mr. McBee, and Clara Hevia as a lively yet frenzied storyteller.

l.-r. Janis Hudson, Jayden Declet and Ken Crossman in Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio

Declet and Mancaniello share an easy rapport and start some minor chaos as they venture through the library’s doors as a clock is perpetually set to when the library opens at 9AM. In a distinctive velvet coat and bowtie, Saoud is wonderful as Mr. McBee in a sympathetic depiction of a librarian who sticks by the rules but longs for something more. In a flowing floral dress, a pleasant voiced Janis Hudson depicts Ms. Merriweather with a breezy practicality and in this performance, more than a passing resemblance to Laura Linney. It is amazing how Hudson slips into characters with such finesse. Hevia rounds out the cast with quirky style and unique energy as the library’s storyteller.

Janis Hudson as Mrs. Merriweather confronts the Lion in Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studios

You don’t need to be familiar with the pop culture references or books to enjoy this production, but you may wish to revisit or read them for the first time when they are introduced into the story.

The library is a treasured sanctuary for many reasons and the Library Lion sings its well deserved praises where you can occasionally sing-along. Library Lion offers much more than life lessons, but delivers a compassionate and imaginative storyline that does not come off as preachy or condescending. It offers humor, silliness and heart that will keep children engaged and at one point, brings the audience right into the story. I say that is time well spent.

Adam Theater continues Library Lion live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, January 25. Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company’s zany ‘The Play that Goes Wrong’ has the right idea

Posted on April 8, 2025 by The Sleepless Critic

‘Come rain, come sleet, the show must go on!’

Singin’ in the Rain’s Donald O’Connor as Cosmo uttered this classic line from the beloved 1952 film which has been inspiring theatres for generations. Greater Boston Stage Company’s The Play that Goes Wrong shows that rain and sleet are just a tip of the iceberg in a laundry list of all that can go wrong and you’ll be sure to delight in witnessing many of them here.

No matter what, the show must go on.

Buckle up for a bumpy ride courtesy of the Cornley Polytechnic Drama Society as they deliver an unconventional whodunit production that has Paul Melendy as an inspector engraving crime scene notes into a flower pot not to mention a dog missing somewhere on the premises! If this all seems preposterous, that is just a glimpse into the inspired laughs at Haversham Manor in The Play That Goes Wrong.

The cast of Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

Methodically directed by Tyler Rosati, Greater Boston Stage Company continues The Play That Goes Wrong by Henry Lewis, Jonathan Sayer, and Henry Shields continuing at Greater Boston Stage Company in Stoneham, Massachusetts through Saturday, April 19. This semi-interactive production is not limited to the stage and runs approximately two hours with one intermission. Click here for more information and tickets.

The Play That Goes Wrong is a British farce that first hit the London Stage in 2012 before it went on to make its way around the globe. This award-winning whodunit play-within-a-play became so popular that it bore BBC’s The Goes Wrong Show lasting two seasons including holiday specials.

Sarah Gazdowicz, Liam Grimaldi and Paul Melendy in Greater Boston Stage Company's 'The Play that Goes Wrong' Photo by Maggie Hall Photography — Liam Grimaldi and Paul Melendy in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

After some interactive, pre-show comedic antics by Ceit Zweil as resolute stagehand Annie, Paul Melendy as Cornley’s warm yet befuddled director Chris sets the stage for what this enthusiastic and determined acting troupe has in store for its audience. What makes The Play That Goes Wrong particularly entertaining is just how well timed the cast must collaboratively be in order to make this type of auspicious theater.

Ceit Zweil and Sarah Morin in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

From an unpredictable corpse portrayed stealthily by Stewart Evan Smith to the various degrees of hysterics demonstrated by Sarah Gazdowicz and Ceit Zweli as well as various cast members’ feigned composure under fire, The Play That Goes Wrong runs the gamut from missed cues to an utterly sinking ship. Zweli as stagehand Annie and Jeff Mahoney as baffled yet undeterred Duran Duran fan sound man Trevor are wonderful as they take the heat at times for guffaws from subtle to catastrophic in a perplexed malaise.

Mark Linehan, Ceit Zweil and Paul Melendy in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

With a sophisticated air adorned in an elegant and cascading dress, Gazdowicz as Sandra flails and flaunts with poise and urgency determined to portray Florence. She shares some frivolous moments with Liam Grimaldi who is occasionally overexaggerated as bad actor Max. Sarah Morin as Denise demonstrates propriety and shrewdness in her deadpan delivery of occasionally tongue tied Butler Perkins while Mark Linehan delivers wit and gravitas as Robert who contributes to the clever sight gags and a wealth of hilarious improvising.

Costume designer E. Rosser captures the madcap essence of the British, upper crust atmosphere from various patterns and mismatched plaids to dapper three piece suits including a signature Inspector trench coat while Peter Colao and Danielle Ibrahim’s innovative and extraordinary set design brings in as many laughs as the cast’s humorous antics. Accompanied by James Cannon’s cryptic and humorously misguided sound design and Katie Whittemore’s standout and suspenseful lighting, Haversham Manor’s elegant bookcase, classic wooden grandfather clock, brick fireplace, a functioning elevator, velvet sofa and second floor study all seem to have a life of their own in this delightful show.

Ceit Zweil, Sarah Gazdowicz, Paul Melendy and Mark Linehan in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

Though a few of the running gags can go on a bit too long, The Play that Goes Wrong is a fun way to let loose and enjoy a lighthearted production where flustered cheeks become the norm and to find out just how far this entertaining group will go to for an uproarious good time.

Paul Melendy and Mark Linehan in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

Greater Boston Stage Company presents The Play That Goes Wrong by Henry Lewis, Jonathan Sayer, and Henry Shields continuing through April 19 at Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information and tickets.

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

Posted on November 23, 2024 by The Sleepless Critic

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

Posted on October 19, 2024 by The Sleepless Critic

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 50^th 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.

REVIEW: Wild high jinks take shape in Central Square Theater’s spooky madcap spoof ‘The Hound of the Baskervilles’

Posted on October 2, 2024 by The Sleepless Critic

Expect anything and everything to happen as things go bump in the night in this version of The Hound of the Baskervilles.

A striking lass, peculiar locals, a mustachioed stranger, a hobby horse, a stubborn stagehand, wacky beards and hefty accents are all part of this treacherous journey through the moor in Central Square Theater’s spooky and madcap spoof, The Hound of the Baskervilles by Steven Canny and John Nicholson continuing live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, October 6. Wildly directed by Lee Mikeska Gardner and very loosely based on Doyle’s legendary tale, this zany and semi-interactive production runs two hours and 15 minutes including an intermission. Click here for more information and for tickets.

Sarah Morin, Jenny S. Lee, and Aimee Doherty in Central Square Theater’s ‘The Hound of the Baskervilles’ Photo by Maggie Hall

The Hound of the Baskervilles is no stranger to adaptations. Based on Sir Arthur Conan Doyle’s 1903 classic Sherlock Holmes crime novel, The Hound of the Baskervilles has been adapted into dozen of films and TV shows including a 1978 British parody film starring Peter Cook and Dudley Moore. The actual tale is a chilling and puzzling foray into a mysterious crime and is considered one of Doyle’s best novels.

Haunting, comical and spontaneous is this mystery spoof that mixes the classic with the contemporary while still loosely sharing Doyle’s legendary tale as it veers into several comedic detours along the way.

Sarah Morin and Aimee Doherty in Central Square Theatre’s ‘The Hound of the Baskervilles’ Photo by Maggie Hall

A full moon, distant howling and a single illuminated ghost light kick off the foreboding and eerie demeanor of Central Square Theater’s Hound of the Baskervilles as David Bryan Jackson’s dynamic sound design along with John R. Malinowski’s spooky lighting navigate the haunting, humorous, and spontaneous elements of this swiftly shifting production that is not limited to the stage.

While generally not a big fan of spoofs, this self aware trio takes improvisation, physical humor, and even miming to new heights led by the ever impressive Aimee Doherty as herself, Holmes and others, especially during a zany expedition through Act II. It is at times mind boggling to think how this jocular trio manages to keep track of which comedic detour they are addressing from moment to moment (never mind the accents!) changing identities, and what is real and what is all in disguise, but it seems all in good fun with a considerable dose of goofy silliness.

Sarah Morin and Jenny S. Lee in Central Square Theater’s ‘The Hound of the Baskervilles’ Photo by Maggie Hall

Costume designer Leslie Held delivers Sherlock sleuthing at its Edwardian finest complete with Harris Tweed deerstalker caps, wool gray and mustard colored coats, paisley ties, and top hats mixed with some surprisingly whimsical selections as well. The production also swings from vintage into the contemporary in remarkable self aware fashion. Spoofing deductions about deducing is Doherty as Holmes who must solve the mysterious death of Sir Charles Baskerville. Did he die of a heart attack or were there darker forces at work? Doherty’s comic timing is particularly sharp during a train sequence in which Doherty portrays a repetitive train conductor. Jenny S. Lee is more than game as admiring and a bit dim Watson, Sherlock’s sidekick. It is amusing to watch Doherty playfully tease Lee as Watson from time to time as they both attempt to solve this ‘jigsaw’ puzzle of a case. Lee is a fun sidekick, has engaging chemistry with Doherty, and stands as a firm Robin to Sherlock’s Batman.

Jenny S. Lee and Aimee Doherty in Central Square Theater’s ‘The Hound of the Baskervilles’ Photo by Maggie Hall

Sarah Morin more than has her work cut out for her as not only Canadian Sir Henry Baskerville, but all in the family line not including the zany characters that Doherty and Lee meet along the way. Trying to unravel this mystery and keep up with all the split second dress changes is a feat in itself.

Sarah Morin and Jenny S. Lee in Central Square Theatre’s The Hound of the Baskervilles Maggie Hall

However, the greatest feat of all might be how the show manages to remain on course. After all, The Hound of the Baskervilles is essentially a murder mystery and Holmes and Watson have a crime to solve.

Central Square Theater’s presents spooky madcap spoof, The Hound of the Baskervilles by Steven Canny and John Nicholson live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, October 6. Wildly directed by Lee Mikeska Gardner and very loosely based on Doyle’s legendary tale, this zany and semi-interactive production runs two hours and 15 minutes including an intermission. Click here for more information and for tickets.

REVIEW: Praxis Stage’s ‘The Arsonists’ create a spark

Posted on September 12, 2024 by The Sleepless Critic

Who really is the stranger at your door?

Directed ominously by Bob Scanlan, suspicion takes a front seat as Praxis Stage presents Max Frisch’s British absurdist satire, The Arsonists at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, September 15. This semi-interactive production is approximately two hours with one intermission. Click here for more information and for tickets.

‘The naked truth told enough, nobody believes it’ is a variation of Nazi Joseph Goebbels’s Big Lie propaganda technique, ‘Repeat a lie often enough, it becomes the truth.’ The Arsonists build on that here as being blind to the obvious.

First published by Max Frisch in 1953, The Arsonists has since evolved from a radio play to television and a stage production under other names such as The Fire Raisers or The Firebugs. It delves into many issues including hypocrisy, fascism and propaganda.

Michael Anderson as Pre-show MC and other roles in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

In an unnamed town, place, and setting, The Arsonists is unorthodox right from the start and focuses on Kim H. Carrell as Gottlieb Biedermann who is contrary in many ways. Relishing in his upper middle class affluence in an expensive ascot in lieu of a tie while smoking cigars, Biedermann just finishes reading about arsonists setting fires in people’s homes in his neighborhood when a towering stranger with bleached blond locks arrives at his door. Anxious, preoccupied and frustrated Biedermann reluctantly lets him in.

Daniel Boudreau and Kim Carrell in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

The stranger is Daniel Boudreau as charismatically chatty and homeless former circus wrestler Joe Schmitz. Boudreau and Carrell share a gnawing awkwardness as Boudreau’s Schmitz voraciously eats and insists he is looking for a little humanity. Boudreau delivers another impressive performance as Schmitz not entirely unlike his persuasive character Goldberg in The Birthday Party and he shares a darkly fascinating rapport with Zair Silva as mysterious thrill seeker Will Eisenring.

Zair Silva and Daniel Boudreau in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

The Arsonists reveal some of life’s minor truisms such as when people dismiss behavior over the weather to mask negative emotion and more serious ones such as overlooking any event if it was not reported in the news. Carrell as Biedermann is fixated on appearances and insists that we are all human beings regardless of status yet disassociates himself with people and is extremely ruthless in other areas of his life. Along with Julia Trueblood as Biedermann’s equally anxious wife Babette, they wish to appear accommodating even if that is not necessarily the case.

Annunciating Mr. Biedermann’s name for emphasis, Stephanie Charlton is humorous as practical and edgy maid Anna, reflecting much of the exasperation the audience feels at Beidermann’s increasingly bizarre behavior exemplified by an amusing moment amongst an otherwise somber scene between Biedermann and Anna arguing over table settings.

Julia Trueblood and Stephanie Charlton in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

There is musical accompaniment to The Arsonists by vocalist Miss Mary Mac, Music Director David Krimsky and Malachi Connolly on guitar with percussionist Benedict Dawn-Cross highlighted by a grim cover of R.E.M’s It’s the End of the World as We Know it as part of this cabaret-style show. Mackenzie Adamick’s sound design is often immersive and lends to some of the show’s tension as a timer sporadically ticks in the background. The most impressive part of Kevin Fulton’s lighting is inside a hidden door that is realistic, convincing and won’t be revealed here.

Miss Mary Mac on vocals and the band Photo by Praxis Stage

Like Praxis Stage’s previous absurdist work for The Birthday Party, The Arsonists may render you speechless, a bit disoriented and frustrated, yet you may also find yourself invested in this production’s motivations and outcome especially in shifty Boudreau as Schmitz and Zair Silva as Eisenring. Both absurdist works examine the human condition and deliver its share of truisms from an absurdist perspective but unfortunately, The Arsonists leaves little to interpretation as both productions culminate in a dining room table showdown in which the tables turn.

The Greek chorus of firemen, composed of five actors including Alison Butts, Abby Duell, Jean Dany Joachim, Gabriel Pagan and Jessica Newman, appear to pose as a neighborhood watch. The idea is intriguing, but their welcome wears thin at first chorusing at times what the audience might be thinking before coming off as condescending, repetitive, and unnecessary with the exception of a brief haunting song sung by Jean Dany Joachim right after intermission.

Chorus: Left to Right Abby Duell Jean Dany Joachim Gabriel Pagan Alison Butts and Jessica Newman in Praxis Stage’s ‘The Arsonists’ Photo by Praxis Stage

At one point, the show encourages you to think for yourself and yet, the show is not without its subtle biases and political leanings. It may have been more thought provoking if left ambiguous as the play is already witty and relevant on its own.

Directed ominously by Bob Scanlan, Praxis Stage presents Max Frisch’s The Arsonists continuing at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, September 15. This semi-interactive production is approximately two hours with one intermission. Click here for more information and for tickets.

REVIEW: Sisterhood is the new black in Hub Theatre Company of Boston’s vivacious ‘Love, Loss, and What I Wore’

Posted on August 1, 2023 by The Sleepless Critic

Call this cast a girl squad and a sisterhood.

With potent direction by Paula Plum and based on the bestselling memoir by Ilene Beckerman, Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5. This show is 90 minutes with no intermission and pay-what-you-can tickets are available. It occasionally contains adult and unfiltered language. Purchase a drink during this show and Club Café also offers a full menu. Click here for more information and for tickets.

Lauren Elisa, June Kfoury, Barbara Douglass, Evelyn Holley, and Nettie Chickering in Hub Theatre’s ‘Love, Loss, and ‘What I Wore’ Photo credit to Tim Gurczak

The name Nora Ephron must ring a bell. She was a famous award-winning rom-com journalist, writer, and filmmaker best known for 1983’s Silkwood, 1989’s When Harry Met Sally as well as 90s rom com classics Sleepless and Seattle and You’ve Got Mail before co-writing the screenplay for Julie and Julia in 2009. Ephron’s signature style tackled the seriousness of life with a lighthearted demeanor and always found some relatable humor along the way. With her sister Delia, Nora lends that empowering humor and charm to Love, Loss, and What I Wore.

June Kfoury, Evelyn Holley, Nettie Chickering, Lauren Elias, and Barbara Douglass in ‘Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

One of the greatest strengths of Love, Loss and What I Wore is the ensemble’s beautiful camaraderie. Love Loss and What I Wore has a gift for eloquently associating fashion with life’s bittersweet challenges. Portraying several ages while sharing that walk down memory lane is Nettie Chickering, Barbara Douglass, Lauren Elias, Evelyn Holley, and June Kfoury. Dressed in chic black by Kat Lawrence, they allow their vibrant experiences to take center stage. From fashion faux pas to that eternally favorite garment, five women lay bare their fondest memories and insecurities. It is a love letter to growing up and growing older in all of its wonder and complications.

Nettie Chickering in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

To an array of lighthearted club hits between scenes, this dynamic group share silly, sad, courageous and important stories with collaborative flair and wistfulness. They dance, grieve, conspire, tease, support and relate to each other all while discussing everything from relationships to family to roommates to the trials and tribulations of being a woman in a fun loving and deeply personal manner. A few lighter moments include witnessing Lauren Elias and her hilarious and empathetic comments about carrying a purse, Douglass’s wise and humorous motherly advice, and the sheer joy and supportive manner in which these women appreciate each other’s company. However, what stirs the production the most is contained in this group’s most significant challenges. The stories they share are raw, honest, at times rueful, and may seem familiar as well.

June Kfoury in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

With Talia Elise’s dazzling lighting powering a bright and cheerful set which includes glowing string lights, a luminous neon hanger, shimmering disco ball, multicolor boas, and an illustrated clothing rack by Justin Lahue and Maggie Shivers plus a wonderful dose of nostalgia, Love Loss and What I Wore is a captivating experience into life’s surprises and how to discover what is truly important.

Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5. This show is 90 minutes with no intermission and pay-what-you-can tickets are available. It occasionally contains adult and unfiltered language. Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company’s ‘The Legend of Sleepy Hollow’ a family treat and delivering more surprises than things that go bump in the night

Posted on November 4, 2022 by The Sleepless Critic

Under a glimmering moon, fog rolls in as a candle burns.

Near a tattered fence and curtains behind a pedestal table sits The Legend of Sleepy Hollow’s author Washington Irving, portrayed by Boston-based actor Paul Melendy. Poised to share his gothic novel, Washington Irving is just one of several personas Melendy charismatically manifests for Greater Boston Stage Company’s semi-interactive, one man performance of Halloween classic, The Legend of Sleepy Hollow.

Paul Melendy in Greater Boston Stage Company’s ‘The Legend of Sleepy Hollow’ Photo credit to Nile Scott Studios

With lively direction by Weylin Symes, Paul Melendy aptly bares the weight of this local, legendary, and family-friendly tale live and in person at Greater Boston Stage Company in Stoneham, Massachusetts as well as virtually through Sunday, November 6. This show is just under 90 minutes with no intermission. Click here for more information and tickets.

Already proving to be a wonderful talent in Greater Boston Stage productions such as The 39 Steps and Miss Holmes Returns, Paul Melendy captures the spirit of Sleepy Hollow through a frenzy of distinct personalities, rapid fire mannerisms, and occasional scares. This version has a historical and contemporary context, delivering more family- friendly and comedic content than a fright fest.

Melendy’s Icabod Crane is an eccentric, bumbling, and polite schoolmaster in love with the lovely Katrina and sets out to impress her and her family, but rumor has it that something ghostly just might be lurking through Sleepy Hollow. Feeding off the audience while drawing comedic inspiration and wide- eyed vigor reminiscent of Jim Carrey or Jerry Lewis, Melendy’s pliable features transform into a number of characters ranging from the elegant Katrina to a tough guy New Yorker to the mysterious Mister Knickerbocker. A cross between a recollection and a retelling, The Legend of Sleepy Hollow treats the audience to an assortment of dynamic characters who roam through this secluded valley along the Hudson River.

Melendy is an animated and quick-witted storyteller on this partially introspective journey as David Remedios’s chilling sound effects highlighted by a wild horse whinnying, Katy Monthel’s haunting scenic design, and Deirdre Gerrard’s eerie lighting elevate the production’s mysterious and uneasy tone. Add Melendy’s exuberance to the mix and audiences are in for an enjoyable ride.

The cast and creative team for Greater Boston Stage Company’s ‘The Legend of Sleepy Hollow’ Photo courtesy of Nile Scott Studios

Greater Boston Stage Company presents The Legend of Sleepy Hollow live and in person in Stoneham, Massachusetts as well as virtually through Sunday, November 6. This show is just under 90 minutes with no intermission. Click here for more information and tickets.