slavery

REVIEW:  Helmed by a strong cast, Actors’ Shakespeare Project’s profound and soul-stirring ‘Gem of the Ocean’ shines

Posted on by The Sleepless Critic

Everyone should see Aunt Ester.

Joshua Lee Robinson delivers a captivating performance as complex young Citizen who is desperate to see Regine Vital’s Aunt Ester, believing she is the key to unburdening his heavy heart and cleansing his soul.  Robinson conveys Citizen’s troubled spirit in low tones as well as pleading and urgent mannerisms that make it easy to feel the weight of his burden. 

Joshua Lee Robinson and Regine Vital with Dereks Thomas and MarHadoo Effeh in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

August Wilson has woven a powerful tale with an array of interconnected characters and a supernatural twist that delves into the meaning of freedom, oppression, superstition, the law, redemption, biblical themes and much more.

Directed intuitively by Monica White Ndounou, Actors’ Shakespeare Project continues August Wilson’s Gem of the Ocean live and in person at Hibernian Hall in Boston, Massachusetts through Sunday, May 17.  This beautiful production contains strong language and runs two hours and 40 minutes including one intermission.  Click here for more information and for tickets.

Dereks Thomas, MarHadoo Effeh, Joshua Lee Robinson, Jonathan Kitt, and Kadahj Bennett in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

With the acclaim of Fences, Ma Rainey’s Black Bottom and The Piano Lesson, Denzel Washington recently made a deal with the August Wilson Estate to bring the rest of the plays from August Wilson’s Pittsburgh Ten Play Cycle to the big screen.  Washington only met August Wilson once on a rainy day in Seattle between 2003 and 2005 when Wilson was considering Washington for a part in his new play, Gem of the Ocean.

Over the past few years, Actors’ Shakespeare Project staging August Wilson’s plays has proven to be a match made in Heaven.  Since the premiere of Seven Guitars in 2023, Actors’ Shakespeare Project shines with each new production and Gem of the Ocean, their resonating fourth play in August Wilson’s Pittsburgh Cycle, is no exception.

Set in 1904 Pittsburgh, Gem of the Ocean was not written first, but it is set the earliest in the Pittsburgh cycle and stands as the historical and spiritual center of the cycle’s various works.  Seven Guitars also ties in Gem of the Ocean nicely with a brief mention of Aunt Ester’s legendary gifts and now we are learning the full story.

Payton Tavares creates a wooden duel level and transformative set which features a balcony, a dark staircase, hanging wrought iron pots, a vintage etched cabinet with bread box, doilies adorning timely furniture and pivotal lanterns adorning both sides of Aunt Ester’s house.

Joshua Lee Robinson (center) with Jonathan Kitt and Regine Vital in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

Like The Piano Lesson, Gem of the Ocean has its own transfixing and suspenseful share of supernatural elements hauntingly illuminated by Isaak Olson combined with Aubrey Dube’s windswept, mystical, soulful and rumbling sound design.

Jonathan Kitt, Dereks Thomas, and Joshua Lee Robinson in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

The family bonded rapport between characters, the genuine humor, rich storytelling and shared pearls of wisdom are just a few of the common and riveting elements in August Wilson’s productions.  With the soaring vocals Vital is known for in other productions, Regine Vital brings to life charismatic, weary, and home bound Aunt Ester whose power and discernment reveals itself in bursts.  Aunt Ester’s mystical wisdom shapes this story while Jonathan Kitt portrays a heartfelt and larger than life persona as energetic Solly Two Kings.  Kitt’s Solly muses, “If I live my life for a woman, I can’t live my life for the people” and “Wave the law in one hand and a Billy club in the other.” 

MarHadoo Effeh and Kadahj Bennett in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

Kitt is as endearing and avid a storyteller as he was as reserved and discerning Doaker in The Piano Lesson, but Solly Two Kings is an impulsive, frank and instinctive man full of ideas. Even with a wooden stick for a cane, Kitt’s Solly is a man of action and devoted to his family with a harrowing history of survival that fuels his determination and only makes him stronger.  Solly and Aunt Ester share a lighthearted and affectionate rapport.  Aunt Ester also leans on Dereks Thomas as warm, concerned and protective Eli, a fascinating bond with Marhadoo Effah as Aunt Ester’s loyal caretaker Black Mary, and a growing and enigmatic connection with Robinson’s Citizen who resembles someone from her past.

Michael Broadhurst (right) with MarHadoo Effeh in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

In a black vest, holster and tie, Kadahj Bennett is terrific as tough, outspoken, wealthy and rigid free man Caesar, who has changed in recent years to the frustration of Effah is also Caesar’s humble, earnest and seemingly stoic sister.  In a production boasting biblical references, it is likely Caesar is named after the Roman Emperor who practiced supreme civil authority.  Blinded by self-righteousness and a dominating sneer, Bennett’s Caesar is intense and unflinching in the name of the law.  Michael Broadhurst rounds out this intriguing cast as Solly’s trusted peddler friend, Rutherford.

Joshua Lee Robinson (center) with Jonathan Kitt, MarHadoo Effeh, Dereks Thomas, and Regine Vital in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)

A gem is established when it is tested to its very limits.  Gem of the Ocean is a remarkable spiritual journey that tests each of these characters and is rooted in harrowing history while emphasizing the importance of endurance and fortitude in life’s brutal battlefield. It is a moving production offering humor and profound life lessons that culminate in surprising revelations and full circle moments that keeps you guessing to the very end.

Actors’ Shakespeare Project continues August Wilson’s Gem of the Ocean live and in person at Hibernian Hall in Boston, Massachusetts through Sunday, May 17.  Click here for more information and for tickets.

REVIEW:  Speaking out in Plays in Place’s ‘A Light Under the Dome’

Posted on by The Sleepless Critic

‘A breath, a heartbeat, and a prayer’

Wise words spoken directly from Plays in Place’s A Light Under the Dome and it was just what it took to muster speaker Angelina Grimké ’s strength and courage.  Stirringly portrayed by Amanda Collins, Grimké was the first woman to stand and speak out in front of the Massachusetts State Senate to fight for what is right.  What was brought to light was Grimké’s careful strategy, passion and the surrounding events that unfolded around a handful of humble yet powerful women who historically embarked together to brave their own struggles for the sake of others.

United we stand.

Directed poignantly and powerfully by Courtney O’Connor and commissioned by the National Park Service, Plays in Place presented Patrick Gabridge’s A Light Under the Dome for a limited sold out run with waiting list availability only from August 12 to 15 live and in person at the Senate Chamber of the MA State House in Boston, Massachusetts.  The production was approximately one hour with no intermission.  Click here for more information and for more on Plays in Place.

The Senate Chamber of the MA State House is the setting for Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

Plays in Place has been noted for taking a significant historical moment in time and infusing it with multiple perspectives as the audience witnesses it in the place where it happened. It is the first of three plays of the Suffrage in Black and White series commissioned by the National Park Service.  A Light Under the Dome examines the scope of Grimké’s significant speech and its effects on this united group of women and the turmoil surrounding them.  It was not just the reenactment of the speech itself, but included the build up and the fallout surrounding this occurrence.

Amanda Collins as Angelina Grimké in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

Amanda Mujica’s colorful period costumes ranged from stripes to plaids to puffed sleeves combined with Rachel Padula-Shufelt’s well coiffed wigs to make each well adorned and inspiring individual stand out in their own distinct way.  Collins as Grimké embodied a string of emotions through wringing hands, hesitation and anxiety to make the speech of her life in front of thousands back in 1838 only held up by the women who supported her. 

Regine Vital as Julia Williams Bridgette Hayes as Lydia Marie Child and Thomika Marie Bridwell as Susan Paul in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

Though it was not thousands that surrounded Collins’s exiled Southerner Grimké when she made her personable, articulate and convincing speech about women’s rights which included suffrage as well as abolishing slavery like it was on that pivotal day on February 21, 1838, it was no less an immersive experience as the audience was welcomed to open seating inside the pristine and regal senate chambers while these five individuals freely roamed the room.  Surrounded by the detailed crown molding and towering chandelier in the Senate chambers, Andrew Duncan Will’s rich sound design articulated the commotion in the room and the looming chaos that erupted outdoors.  

American educator and abolitionist Susan Paul (Thomika Marie Bridwell), Anti-slavery and absolutist Maria Weston Chapman (Marge Dunn), Vice President of the Convention 1838 Anti-Slavery Women Lydia Marie Child (Bridgette Hayes), and Boston Female Anti-Slavery Society member Julia Williams (Regine Vital) surrounded repentant slave owner Grimké and all had vested interest and offered unyielding support to Grimké as their unique stories were weaved into the production.

Thomika Marie Bridwell as Susan Paul and Marge Dunn as Maria Weston Chapman in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

Dunn, having starred as Sherlock Holmes in Greater Boston Stage Company’s Miss Holmes Returns, still masters that commanding gleam in her eye and knowing grin.  Chapman was a powerful and resourceful presence in the room and one that the other individuals looked to for guidance.  Each individual shared their personal lives including a particular highlight as Bridgette Hayes as Lydia Marie Child reflected that she married a man who was good with dreams but bad with money.   Regine Vital as Julia Williams was in a battle of her own fighting everyday to free her sister from slavery.  However, the camaraderie between these women was never so well depicted than when they marched arm in arm during the 1838’s historical day of terror.

Regine Vital as Julia Williams in Plays in Place ‘A Light Under the Dome’ Photo by Nile Scott Studios

Gabridge’s script unveiled the hardships and grim reality of the freed in the north and the still enslaved in the south as the fight continued to abolish slavery and segregation.  These influential women fought for everything they have and still faced oppression from every side.  Gabridge’s script imbues a contemporary undertone that some aspects of Boston still have not changed including and not limited to Boston’s continuously sky high rent. 

L to R: Thomika Marie Bridwell as Susan Paul, Marge Dunn as Maria Weston Chapman, Amanda Collins as Angelina Grimké, Regine Vital as Julia Williams and Bridgette Hayes as Lydia Marie Child in Plays in Place’s ‘A Light Under the Dome’ Photo by Nile Scott Studios

A Light Under the Dome was an informative and eye-opening experience while also expressing to the contemporary viewer to continue to call for change in today’s society and fight for what is right as well as a firm plea to love thy neighbor as thyself.

Directed poignantly and powerfully by Courtney O’Connor and commissioned by the National Park Service, Plays in Place presented Patrick Gabridge’s A Light Under the Dome for a limited sold out run with waiting list availability only from August 12 to 15 live and in person at the Senate Chamber of the MA State House in Boston, Massachusetts.  The production was approximately one hour with no intermission.  Click here for more information and for more on Plays in Place.

REVIEW:  The Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

Posted on by The Sleepless Critic

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3.  With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house.  Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton.  Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history.  Very likely taking place at the historic Old South Meeting House which is also celebrating its 300th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard. 

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis,  Phillis in Boston offers a unique and heartfelt perspective of this courageous woman.  In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries.  Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it.  Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae.  S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream.  Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley.  Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest.  With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3.  With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house.  Click here for more information and for tickets.

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 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 300th 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 and Brooks Reeves Photo by Nile Scott Studios

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 300th 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: SpeakEasy Stage Company’s ‘TJ Loves Sally 4 Ever’ a striking satire

Posted on by The Sleepless Critic

It’s hard to miss the message behind TJ Loves Sally 4 Ever, a bold, semi-interactive satire that takes a deep dive into prominent social issues such as racism and sexual harassment by putting a contemporary spin into troubling pieces of history.  Taking cues from Dear White People, TJ and Sally 4 Ever is anything but a love story and highlights the frustration evident within each of its characters as they attempt to convey their own point of view.

Directed by Pascale Florestal, SpeakEasy Stage Company presents TJ Loves Sally 4 Ever virtually through Thursday, May 13.  The show run 1 hour and 35 minutes without an intermission and is not suitable for children. Viewer discretion is advised.  Click here for more information and tickets.  Resources for this production can also be found on speakeasystage.com and a panel discussion is available here after seeing the production.

Jared Troilo and Tah-Janay Shayone in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company

Speakeasy Stage Company’s TJ Loves Sally 4 Ever heeds social distancing guidelines through some careful blocking and innovative technology.  Though a couple of frames look a little awkward, the majority of the show flows naturally.

Sally, portrayed with levelheaded wit by Tah-Janay Shayone, portrays a college student who is starting a job under obnoxious, egotistical, controlling (and much more) Dean Jefferson.  Flailing about with a subversive glint in his eye, Jared Troilo delivers an unabashed, grimly humorous performance as Dean Jefferson.  Dru Sky Berrian as Pam and Sadiyah Dyce Stephens portray Sally’s caring, protective, and partying sorority sisters and Jordan Pearson as blunt and tenacious Harold will do just about anything for change.

Jared Troilo and Jordan Pearson in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company

Though this satire at times misses its mark, TJ Loves Sally 4 Ever’s unconventional premise and delivery distinctively portrays Sally and the cast’s exasperation as they bring to light the hypocrisies and arrogance within our society as each try to forge a path toward a brighter future.  Choreographed cleverly by Kira Cowan Troilo, a particular highlight involves a dance sequence between Pearson and Troilo that quite literally drives home the scene’s inherent message.  Rachel Padula-Shufelt’s colorful and detailed costume design from Sally’s symbolic outfit to a scene featuring colonial gowns enhances the production’s strong and serious subject matter.

Left to Right: Dru Sky Berrian, Tah-Janay Shayone and Sadiyah Dyce Stevens in ‘TJ Loves Sally 4 Ever’ Photo courtesy of SpeakEasy Stage Company

The show effectively takes a hard, long look tying in the past, present, and is ultimately optimistic for a compassionate future.  Speakeasy Stage Company’s TJ Loves Sally 4 Ever continues virtually through Thursday, May 13.  Click here for more information, tickets, and how to support the SpeakEasy Stage Company.