september | The Sleepless Critic

REVIEW: Boston Lyric Opera’s ‘Madama Butterfly’ a mesmerizing and surprising metamorphosis

Posted on September 27 by The Sleepless Critic

‘I gave my tears into the earth, now it must give me back flowers.’

This is just a hint of Puccini’s masterful lyrics that encapsulates profound love and loss in Puccini’s epic classic 1904 Italian libretto Madama Butterfly presented live and in person at Emerson Colonial Theatre through Sunday, September 24. This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1. Click here for more information and more about Boston Lyric Opera’s season.

After their onstage wedding Butterfly’s Karen Chia-Ling Ho and Pinkerton’s Dominick Chenes love spills out onto the San Francisco streets PHOTO BY KEN YOTSUKURA

With heartrending direction by Phil Chan and stirring choreography by Michael Sakamoto, Madama Butterfly was delivered with an altered setting and contemporary flair over a period of time from 1941 to 1983. Puccini’s Madama Butterfly is a searing and brilliant love story and the source material for the Tony award-winning Broadway musical, Miss Saigon. This time, Madama Butterfly’s settings ranged from Hawaii to San Francisco to Arizona. Jeanette Oi-Suk Yew’s multifaceted lighting not only reflected the shadows and watercolor reflection in a lively nightclub but the rich purple and rose of the horizon at daybreak as moving set pieces transported the audience to contrasting settings. Featuring multicolor fans, contemporary yellow crowns, and regal military uniforms, Sara Ryung Clement’s distinctive, silky, and shimmering costumes in bursting color embellished the festivities of the Club Shangri-La in Chinatown in San Francisco, where Navy officer B. F. Pinkerton, depicted with enigmatic sweetness by tenor Dominick Chenes and soprano Karen Chia-Ling Ho as naïve, proud, bubbly and devoted Butterfly or Cio-Cio San meet in 1941. It will be a night they never forget.

Uncle Bonze Hyungjin Son center makes a shocking revelation about Butterfly Karen Chia-Ling Ho in BLOs new production of MADAMA-BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s production of Madama Butterfly had the audience gripped in a full range of emotions as the eye level live orchestra led by Annie Rabbat articulated Puccini’s moving array of arias punctuated by magnificent drums. Boasting angelic vocals, Chia- Ling Ho blossomed as Madama Butterfly, her coy yet fragile depiction poignant and buoyant as she navigated through a plethora of challenges during World War II and Pearl Harbor. Chenes and Chia-Ling had captivating chemistry only enriched by powerful vocals and enthralling dialogue. Mezzo soprano Alice Chung at first offered an understated performance as steadfast and loyal Suzuki, but Chung’s depiction gradually culminated into one of the most endearing characters of the production alongside Troy Cook as compassionate and protective Sharpless. Baritone Junhan Choi had a reduced role as Commissioner/Registrar in Madama Butterfly compared to the engineer’s meaty role in Miss Saigon, but Choi left his mark during each of his memorable scenes in a charismatic portrayal of dark humor and dastardly wit.

Suzuki Alice Chung l. laments the news Pinkerton Dominick Chenes brings with him in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Michael Sakamoto’s dynamic choreography ranged from delicate to fitful, most notably as Butterfly took the stage in a traditional dance with the Club Shangri-La performers and later in a stirring dance featuring Cassie Wang. Wang’s symbolic performance was peculiar, heartfelt, foreboding and so riveting that it may remain ingrained into the psyche long after the performance has ended.

During a visit from Officer Sharpless Troy Cook r. Butterfly Karen Chia-Ling Ho center reveals a secret in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s Madama Butterfly took some liberties from the classic libretto that dealt in immigration, bigotry, and patriotism in a surprising array of twists and turns and proved to be a production that will not soon be forgotten.

Boston Lyric Opera presented Puccini’s Madama Butterfly through Sunday, September 24 live and in person at Emerson Colonial Theatre in Boston, Massachusetts. This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1. Click here for more information and more about Boston Lyric Opera’s season.

REVIEW: Sparkle and charm fuel Titusville Playhouse’s ‘The Prom’

Posted on September 26 by The Sleepless Critic

Having been invited to The Prom for the second time this year, it seemed best to celebrate this time around in a frilly dress. It was especially appropriate catching a show while away on vacation and with Jordyn Linkous’s festive and glittery wig and costume design, it was easy to fit right in.

Innovatively directed and creatively staged by Niko Stamos with lighthearted choreography by Jordyn Linkous, Titusville Playhouse presents musical dramedy The Prom live and in person in Titusville, Florida through October 1. This show contains some strobe lighting and special effects. It runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

Mandy Kerridge as Dee Dee Allen, Steven J. Heron as Barry Glickman and cast in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom should sound a least a little familiar since its 2020 Netflix film adaptation debut with an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry. Inspired by a true story, anxious Emma, depicted with self effacing humility by Delaney Sue McGough, invites a date to the Prom with none other than Myanell Enriquez as popular Alyssa, the daughter of the head of the Parent Teacher Association. Once a group of egocentric Broadway celebrities gets wind of this human interest story, they decide to make a difference in this small Indiana town. The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana. The Prom delivers plenty of humor ranging from silly to satirical with a sincere and underlying message about helping others.

Mandy Kerridge as Dee Dee Allen and Delaney Sue McGough as Emma Nolan in ‘The Prom’ Photo credit to Titusville Playhouse

With extraordinary music direction by Spencer Crosswell, The Prom boasts strong vocals from an amiable cast. Glamour takes center stage with Mandy Kerridge as Dee Dee Allan, a self absorbed and award-winning actress. Kerridge’s impressive vocal range and wonderful belt is on full display for It’s Not About Me and The Lady’s Improving. Along with Steven J. Heron as warm, lovable, and lauded actor Barry Glickman, Danny Sanchez as no nonsense PR rep Sheldon, Corey Evans as openhearted Trent, and Sarah Ruth Joyner as inspirational Angie Dickinson, these seemingly shallow thespians bring some humorous moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lit with soft and cheerful multicolored lighting by Davis Vande Steeg , The Prom features a dynamic set design by Niko Stamos including a digital screen that transforms settings in an instant including the store front of a 711, a monster truck rally, and the glittering festivities of a Prom. Some clever staging includes the transformation of an Applebee’s to a balcony seat during a beautiful rendition of We Look to You as well as veiled and translucent staging for the number, Tonight Belongs to You.

Steven J. Heron as Barry Glickman and the Executive and Artistic Director of the Titusville Playhouse and Delaney Sue McGough as Emma in ‘The Prom’ Photo credit to Titusville Playhouse

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone. It is positive throughout, even in the face of Emma’s most difficult challenges. McGough’s chiming vocals in forlorn yet earnest number Just Breathe is a compelling revelation while Holly Fuller’s tight lipped delivery proves fitting for tough and immutable antagonist Mrs. Greene. Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Cast photo Photo credit to Titusville Playhouse

The Prom contains a wealth of welcome, inside Broadway humor and references as well as notable choreography including a sweet rendition of You Happened and the Fosse-inspired choreography of Zazz. The Prom provides a message driven and sparkling escape to fun and frivolity if only temporarily from the realities of life.

Titusville Playhouse presents The Prom live and in person in Titusville, Florida through October 1. This show contains some strobe and special effects and runs two hours and 25 minutes with one intermission. Click here for more information and for tickets.

REVIEW: In partnership with the city of Chelsea and Teatro Chelsea, Apollinaire Theatre staged a street fighting and adventurous summer ‘Hamlet’

Posted on August 30 by The Sleepless Critic

Ser o no ser esa es la cuestion (To Be or not to Be)

This was the classic question posed by Apollinaire Theatre Company in partnership with Teatro Chelsea and the City of Chelsea in a bilingual production of Shakespeare’s classic play, Hamlet which took place on Fridays and Saturdays only from August 4-19 live and in person at various locations in Chelsea, Massachusetts. Though it was not necessary to understand both Spanish and English to enjoy this show and does not take away the gravitas of Shakespeare’s eloquent text, those who understood the dialogue in Spanish may have been at an advantage. The free production was 90 minutes with no intermission.

Each performance featured a pre-show that offered take out or delivery dinner, live entertainment, and a pop up Beer Garden by BearMoose Brewing Company at 6:30 pm prior to the performance at 8 pm. Click here to see what is next for Apollinaire Theatre Company and Teatro Chelsea this fall.

Alan Kuang ‘Hamlet’ rap Photo credit to Danielle Fauteux Jacques

Every summer for the past 20 years with donor support, the Apollinaire Theatre Company has been presenting outdoor theatre productions free to the public in partnership with the city of Chelsea. This year’s production of the Shakespearean classic, Hamlet mixed the traditional with the contemporary while keeping the audience on its feet. Intricately directed and cleverly staged by Danielle Fauteaux Jacques with lighthearted chorography by Audrey Johnson, the show is an immersive experience as the production expands beyond the stage and cast members can enter from anywhere.

Armando Rivera as Hamlet in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Though the roads were blocked off, there was still plenty that might have distracted this focused cast. However disruptive, outdoor disturbances such as traffic, noises or foot traffic did not distract them from their performances for an instant. Armed with microphones, it was fascinating to watch each scene unfold complete with transportable lighting, sound, ominous sound effects with Diana Mediola and Juhi Nagpal‘s elaborate sets and props. How complicated it must have been to stage something like this while gathering an increasing and surrounding crowd led to each destination by a single notebook.

Shakespeare’s Hamlet is about the Prince of Denmark who discovers his mother has married his uncle after his father has been murdered. An urgent message inspires Hamlet to believe ‘something is rotten in the state of Denmark.’

Armando Rivera as Hamlet and Paul Benford-Bruce in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Hamlet is a compelling drama that boasts some iridescent and noteworthy special effects such as blue smoke drifting above Paul Benford-Bruce’s haunting figure on a distinctive blue tinged city fountain lit by Joe Morales. Resolute, firm, and eerie, Benford-Bruce delivers a memorable performance as Hamlet’s father. David Reiffel’s ominous and echoing sound design and composition lent to the foreboding mystique of the production.

Anna Riggins as Ophelia, Alan Kuang as Laertes, Paola Ferrer as Gertrude and Brooks Reeves as Polonius in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Nodding to the Elsinore, Denmark setting during the late middle ages while boasting a sleek and contemporary flair, Hamlet blended the contemporary with the historical through its colorful, stately, and elegant costumes in furs, leathers, and glittering crowns by Elizabeth Rocha.

Armando Rivera as Hamlet, the Prince of Denmark, led this impressive cast. Rivera exacted the alarming rage expected of Hamlet in the face of betrayal. Rivera excelled at Hamlet’s darkly playful, determined, and off kilter demeanor, especially in a powerful scene alone with Ophelia and with Brooks Reeves as Claudius.

Anna Riggins delivered an absorbing performance as Ophelia with a wide smile, bright eyed virtue, and a complete infatuation and intriguing chemistry with Rivera. Clinging to any sign of affection, Riggins offered a vulnerable and sympathetic performance. Riggins also shared a sweet chemistry with her brother, Laertes and Ron Lacey who portrays their proud and concerned father, Polonius. Alan Kuang is naturally charismatic in the role of valiant and forthright Laertes, especially during an all out and literal street fight with Rivera.

Play-Within-A-Play in ‘Hamlet’ Photo credit to Danielle Fauteux Jacques

Brooks Reeves as Claudius achieved a suave poker face, but with just enough of a devious smirk to embellish this role with Paolo Ferrer as mysterious Gertrude, they are a beguiling pair. Claudius is a calculating character and left little room for sympathy. Reeves particularly shined during the play-within-a-play scene as Reeves exclaimed, ‘Get me some light!’ With skillful feigned concern and sarcasm, Reeves was well suited for the role as some of that demeanor is also on display in the Old North Church’s production of Revolution’s Edge through September.

Armando RIvera as Hamlet and Brooks Reeves as Claudius Photo credit to Danielle Fauteux Jacques

Hamlet was not complete without the appearance of Rosencrantz and Guildenstern, portrayed with jovial humor by Aloe Domizio and Paul St. Cyr respectively. Wheeling in on lit bicycles, they made a seeming pair of silly and dimwitted bookends as Hamlet’s childhood friends. However, like each character in this Shakespearean classic, they are more than meets the eye.

Apollinaire Theatre Company, in partnership with Teatro Chelsea and the City of Chelsea, presented an outdoor bilingual production of Shakespeare’s classic play, Hamlet which took place on Fridays and Saturdays only from August 4-19 live and in person at various locations in Chelsea, Massachusetts. Click here to see what is next for Apollinaire Theatre Company and Teatro Chelsea this fall.

REVIEW: In honor of Boston’s Old North Church’s tricentennial, Plays in Place rewinds the clock for tense and engrossing ‘Revolution’s Edge’

Posted on August 8 by The Sleepless Critic

After 300 years, Boston’s Old North Church has stood through some of the most exciting and harrowing moments in our nation’s history. The Old North Church’s clock has consistently kept time since 1726. Playwright Patrick Gabridge pens an original play that explores a particularly intense dialogue set on the eve of the Revolutionary War in 1775. Plays in Place rewinds the clock to 1775 where three individuals contemplate their fates as tensions escalate to panic, gradually making it impossible not to take action.

Nathan Johnson photo-by Nile Scott Studios

In honor of the Old North Church’s 300^th anniversary and directed skillfully by Alexandra Smith, Plays in Place presents Patrick Gabridge’s engaging Revolution’s Edge, live and in person at The Old North Church in Boston Massachusetts on select days through September 19. The production is 45 minutes with no intermission and the box pews provide an immersive view. It is an educational production that is appropriate for families. Click here for more information and for tickets.

Brooks Reeves Photo by Nile Scott Studios

From colorful waistcoats to pristine linen shirts to proper vestments, Christina Beam’s elegantly detailed costumes are perfectly authentic to its era and one couldn’t have asked for a better setting than the Old North Church, Boston’s oldest surviving church right along the Freedom Trail.

Evan Turissini and Brooks Reeves Photo-by Nile Scott Studios

Three individuals composed of a reverend/doctor, his slave, and a sea captain are metaphorically tied together during this strained window in history. They are contemplating the state of Boston, the nation, and their future. Each clings to a different perspective of their future in terms of family, loyalty, occupation, politics, and identity. Two are a friendship divided through conflict and one is left without a choice as they articulate their thoughts and struggles while the world seems to be collapsing around them.

Gabridge’s passionate script has an intensity rooted in fear that looms quietly and then builds throughout the production. It also brings out the best in this trio of performers. Revolution’s Edge teeters from warmth to anxiousness to manipulation, but each evokes a note of consideration and compassion, even while blinded by fear.

Evan Turissini portrays American ship captain, vestryman, and patriot Captain John Pulling Jr. with reason, devotion, and compassion for the others, but is squarely dedicated to his cause. Turissini and Brooks Reeves as complicated Rev. Dr. Mather Byles Jr, a reverend and doctor with ties to England and America, share some pivotal and contentious moments that bring out some indelible performances. Huddled closely together, it is engrossing to watch their war of words. Byles’s impatience and manipulative side is particularly exposed in a significant conversation with Byles’s slave Cato, depicted sympathetically and astutely by Nathan Johnson. Johnson is faced with agonizing sacrifices and is truly the heart of this production.

Nathan Johnson and Brooks Reeves Photo by Nile Scott Studios

Revolution’s Edge cleverly weaves some of Boston’s most significant events including the Boston Tea Party and Revere’s Ride while the audience is still privy to dangerous events in motion right outside the church’s windows.

Though this would be especially fascinating for visitors of Boston and historians, Revolution’s Edge is an exciting and deeply educational window into a harrowing moment in history. Witnessing it knowing how the world is now brings intricate and profound meaning.

In honor of the Old North Church’s 300^th anniversary and directed by Alexandra Smith, Plays in Place presents Patrick Gabridge’s engaging Revolution’s Edge live and in person at The Old North Church in Boston Massachusetts on select days through September 19. The production is 45 minutes with no intermission and the box pews provide an immersive view. Click here for more information and for tickets.

REVIEW: Theatre Kapow delivers a clever and engaging ‘Feast’

Posted on October 5, 2020 by The Sleepless Critic

You are part of this feast as an honored guest.

Megan Gogerty’s interactive and dynamic Feast makes you part of this production and it won’t be long until you get reeled into dinner conversation. New Hampshire’s Theatre Kapow brings back theatre in a unique way all while delivering real dessert (and a little extra) and as a person starved for the arts, Megan Gogerty’s Feast will leave you full while remaining behind the computer.

Theatre Kapow delivered party favors for ‘Feast’ Photo credit to Matthew Lomanno Photography/Theatre Kapow

Directed by Matt Cahoon who offers an insightful introduction, Theatre Kapow presented Megan Gogerty’s Feast live with select performances from Friday, September 25 through Sunday, September 27. This show contains mature content and has its own share of dark notes. Click here to learn more about Theatre Kapow’s 13th season, We Can Get through This and much more.

Feast is an intriguing blend of the classic and contemporary featuring to-the-minute pop culture references while unraveling an ancient mystery. Cleverly self-aware through its philosophies and contextual principles, Carey Cahoon is the hostess of this part conversation and part confessional one-woman show in 75 minutes – no small feat for one person. Opening night had a few technical glitches, but Carey didn’t miss a beat, picking up the moment she left off.

Feast acts as much a warning as a mystery and does not shy away from raw and difficult topics, but Carey’s candor makes these subjects easier to swallow. From government to grief, Feast is not preachy or “political” per se, but you’d be remiss if the conversation doesn’t cause you to look inward.

Carey Cahoon as Agathae Photo credit to Matthew Lomanno Photography/Theatre Kapow

Carey Cahoon is refined, biting, powerful, but most of all compelling as Agathae, an upper-class socialite getting to know the company she is keeping. She handles this complex personality with zeal through her gripping, slow-burn performance and combined with Megan Gogerty’s innovative script, keeps the tension rising as revelations are unveiled.

The show could have been one note and a bit long, but Matt Cahoon’s discerning staging and Tavya Young’s ominous lighting made interesting use of the limited space and various props, especially for an evocative scene involving a curtain. Multi-faceted, shrewd, and on its own calculated mission, Feast also markedly holds onto the famous proverb, ‘Revenge is a dish best served cold.’

Theatre Kapow presents Lauren Gunderson’s ‘Natural Shocks’ from October 23-25 Photo courtesy of Matthew Lomanno Photography/Theatre Kapow

Theatre Kapow continues its 13^th season with a live stream of Lauren Gunderson’s Natural Shocks from October 23 – 25. Click here for more information and for tickets.

On the verge of Cohasset Dramatic Club’s 100th season, President Lisa Pratt wrestles with the future of live theatre

Posted on July 23, 2020 by The Sleepless Critic

“It looks like a snapshot in time waiting for life again,” reflects Cohasset Dramatic Club President Lisa Pratt, as we spoke about what the future holds for live theatre and their highly-anticipated production of The Music Man. The show was supposed to take the stage in March on the weekend Covid-19 shut everything down.

Sleepless Critic spoke to Pratt about live theatre, the history of Cohasset Dramatic Club, and how art makes a new start. Cohasset Dramatic Club is hoping to present The Music Man in September 2020 to kick off its 100^th season, but what it will look like still remains to be seen.

Photo courtesy of Cohasset Dramatic Club

Sleepless Critic: I understand you are hoping The Music Man will arrive this fall.

Lisa Pratt: I guess I’m hopeful but realistic. From a parent’s standpoint, I only want to do what’s best and give everyone an outlet for a beautiful and wholesome show. Literally every costume is perfectly intact and every dressing room is waiting for us to come back. It looks like a snapshot in time.

Of course, there’s the financial fallout. We spent all that money to put on a show, but didn’t sell a single ticket. Not that theatre is a money-making venture. We might lose more money producing the show than not, but the art is so important to put back on its feet again that we’ll do whatever we have to do to make it happen.

It’s ironically Cohasset Dramatic Club’s 100^th season this September and we had a bunch of plays in the talking stages. We are scheduled to do Our Town because Our Town author Thornton Wilder portrayed the Stage Manager when it was first being produced in summer stock on our stage which was what Cohasset Town Hall’s Theatre space was before The South Shore Music Circus became their second venue. It was necessary to have more space, so a family named Cook who owned that flat land in Cohasset, donated the land to let the people put up a tent for shows in 1950. The summer stock circuit started in the 40s. It was in and out of the Cohasset Town Hall for 10 years.

Our Town, a relatively simple show to produce, has a fairly large cast. The town election takes place in that space. It works for them and I think it is convenient to have the town officers have their own auditorium attached to them. So, we would bypass a September 1 election and have Our Town before the November 3 election. The final show and the end of our 2021 season would be in March 2021.

Sleepless Critic: I was watching the 1962 film The Music Man a few weeks ago. At one point in the movie, Robert Preston as Harold Hill was told not to go in that house and he replied, “Why? Is it in Quarantine?”

Lisa: Shut the front door! Are you kidding me? That is so funny. We want The Music Man be a live event at this point. It all depends if Covid-19 follows the right path to keep all of us safely sharing space and moving forward. As much as I want it all to happen, I would be devastated if anything came from it and someone got sick. What will it look like?

Sleepless Critic: Theatre has transformed a bit as we’ve been going through what Lin- Manuel Miranda deemed “an intermission.” Some theatres have just stopped and some have turned to other avenues.

Lisa: I feel we have stayed in touch with people who have wanted to study scene work, choreography, dance, and vocal work. In the spring, we created a program called, Live from the Living Room, a free virtual production with option to donate to Cohasset Dramatic Club and people did. We did a special theatrical makeup piece created by Lancôme’s Cara Lee Chamberlain. We have a great friend who is a professional dancer and choreographer for The Tonight Show starring Jimmy Fallon in New York. She also choreographed a large theatrical production of Matilda which took place at the Union Theatre in Minneapolis, one of the biggest regional theatres in the country. She taught a choreography class and we had lots of young families virtually tune in. We did that for about six weeks and then took a break to settle in a bit.

Photo courtesy of Cohasset Dramatic Club

This would have been our 15th consecutive year of offering that summer theater education and performance program for kids ages 8-21. One of the shows we got the rights to produce this summer is Les Miserables with age ranges from 14 to 21 years old. We are excited we are not losing the rights and doing it next year.

‘Les Miserables’ delayed to 2021 Photo courtesy of Cohasset Dramatic Club

Cohasset Dramatic Club has been at the same place for 100 years and thankfully, I haven’t been at the helm of it that long which I think is unique. So many theatres I respect are having a hard time and I am saddened every time a theatre is selling off stuff because they can’t keep it alive anymore or however it works at a professional, regional, or local level. No one goes into this with the amount of time it takes to spend to do any less than the best they can with the resources they have. For that, I am always buoyant when I see theatres at any level doing great things.

Whether we present our work virtually, in person, or on the town green with people sitting further apart from one another, the arts community is committed and alive and it’s so important for so many people to keep it that way.

I’m so proud of this organization that has been through good times and bad whether living on a shoestring budget or having the money to pay for rights for shows before they get to deadline. We’re part of a community that I think we’ll survive. If there is ever a person looking for a rocking chair and we have one, I’ll be the first one to say that you can come get it or I can meet you somewhere. That’s the camaraderie of our combined love of art.

We can do this. Theatre can do it. It has survived through everything.

Click here for more on Cohasset Dramatic Club and its upcoming events.

Renowned singer-songwriter Grace Potter returns for Vermont’s Grand Point North Music Festival in September

Posted on July 11, 2017 by The Sleepless Critic

Award-winning singer-songwriter and multi-instrumentalist Grace Potter will make her annual return to her beautiful home state this fall to perform at Burlington, Vermont’s exciting, family-friendly music festival she co-founded with the band, Higher Ground, the Grand Point North Music Festival. Celebrating their 7^th year, the Grand Point North Music Festival highlights local and national artists around New England, enlivening Vermont for one monumental weekend. Grand Point North Music Festival also includes a VIP tent, with a variety of food, beverages, and more. Click here for further details and ticket information. Children under 12 attend for free and the festival will be held rain or shine.

Grand Point North Music Festival co-founder Grace Potter Photo courtesy of Grand Point North

Performing both nights and headlining Saturday night is Vermont-native rock star Grace Potter with Tony award-nominee and Phish band member, Trey Anastasio and his band headlining on Sunday at Burlington’s Waterfront Park on Lake Champlain from Saturday, September 16 and Sunday, September 17. Troy Millette and Dylan Gombas have been voted favorite local band contest by Vermont’s renowned alt news weekly Seven Days and have been added to the Grand Point North Music Festival lineup. Also included in Grand Point North’s lineup is New Orleans folk-blues group Hooray for the Riff-Raff, L.A. rock band Dawes, Detroit boogie band Low Cut Connie, rock and roll band Lake Superior, Portland sister trio Joseph, Philadelphia R&B singer Son Little, and many more.

Details on Grand Point North Music Festival’s after party is coming soon. Gates open at on Saturday, September 16 at 3 p.m. On Sunday, September 17, gates open at 2 p.m. VIP tickets include early entrance into the show, closer view by the soundboard, access to the VIP tent offering shade with discounted food and beverages, and more.

Concert sunset at Burlington’s Waterfront Park Photo courtesy of Grand Point North

Click here for further ticket details, call 802-652-0777, or go to the Higher Ground Box Office located at 1214 Williston Road in South Burlington, Vermont. Soak in a hint of fall foliage as well as some of the tremendous concert flavor at the Grand Point North Music Festival in September. Follow Grand Point North Music Festival on Facebook and Twitter for updates.