Spanish | The Sleepless Critic

REVIEW: Humor brightens The Huntington’s raw and gritty ‘Oedipus El Rey’

Posted on May 27 by The Sleepless Critic

Is it possible to alter your destiny?

If you are thinking of that classic Greek mythological tale, then yes, it’s that story…with a twist.

Boldly directed by Loretta Greco, The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Taking place in engaging stadium seating, the production runs approximately 100 minutes without an intermission. The program contains a valuable synopsis and guide of Spanish terms with translations. Click here for more information and for tickets.

Javier David in foreground, with LtoR:Jaime José Hernández, Juan Arturo, Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Oedipus El Rey is a re-imagining of Sophocles’s classic tale and is one third of Luis Alfaro’s Greek trilogy. The other two works include Sophocles’ Electra and Euripides’ Medea. Oedipus El Rey is shared through a distinct lens about a man wrestling with destiny.

Hana S. Kim’s barebones set comes to life through mystical, biblical, modern, and kaleidoscopic projected landscapes from shooting stars to prison bars to floral gardens. One of my favorite set pieces was the ice cream cart! Greco makes the most out of the intimate staging through the depiction of motion and scenes occurring side by side. From finely-detailed and mythological headdresses to modern orange emblazoned jumpsuits and track suits with thick gold chains and baseball hats to chic denim and Latino-inspired gowns, Hana S. Kim ties together this tale transcending time right down to Jocasta’s laced up Greek sandals.

Javier David in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Set in a contemporary urban Los Angeles landscape, Oedipus El Rey delivers universal themes with a dose of mysticism about the cost of relentless pride and infallibility. This world is raw and gritty while possessing its own distinct energy. It has a passing resemblance to Baz Luhrman’s gritty setting in Romeo and Juliet which takes place in California and combines Mexico City, Miami and Los Angeles with Catholic imagery.

If you don’t already know this classic story, it is a poignant tale not for the faint at heart featuring a group of wise and discerning narrators who also act as a Greek chorus delivering a mix of satirical humor and commentary that can lighten this production’s heavier elements.

Shared in a penitentiary setting, this Greek chorus disguised as inmates not only keep time, but assume a number of pivotal roles. Jaime José Hernández, Victor Almanzar, Javier David, and Gabe Martínez share a fascinating and seemingly easygoing and amiable rapport delivering relatable, modern, dark and humorous commentary as they share this fluctuating tale that is once cynically amusing, grim the next and thoroughly intense. It boasts music, celebration and comedy while still possessing all the elements to this at times shocking classic tale. Alongside Juan Arturo as Oedipus, the group displays athleticism, activity and prowess with an urgency to outrun or outsmart their ultimate fate.

Domineering gang leader Laius, fiercely portrayed by Gabe Martínez, learns he is expecting a baby with Melisa Soledad Pereyra as Laius’s faithful wife Jocasta. However, when a seer foretells the baby’s fate, Laius takes drastic measures to prevent Oedipus’s ultimate destiny.

Juan Arturo, Melisa Pereyra in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Juan Arturo as Oedipus sharply mixes hubris, resentment, rage and sympathy in a textured and intense performance. Oedipus is a victim of circumstance and longs for meaning veiled in relentless ego and pride and brings overriding sympathy but not endearment beneath an array of shocking actions.

Victor Almanzar in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

Oedipus and Victor Almanzar as Tirasius share a complex and compelling relationship. Almanzar is particularly impressive as compassionate Tirasius who possesses profound power behind stirring humility. Melisa Soledad Pereyra also stands out as traditional and powerfully faithful Jocasta who demonstrates resilience through her struggle and resentment and Jaime José Hernández is charismatic as Jocasta’s protective brother Creon.

Jaime José Hernández in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

While I’m not a fan of Greek mythology and the classic tale of Oedipus isn’t one of my favorites, I can appreciate its resounding significance and moral messages. What I enjoyed about Oedipus El Rey is its liveliness and the imaginative retelling while still managing to stay true to its timeless mythological roots. The dark and occasionally lighthearted humor unexpectedly made me laugh quite a few times even as this troubling tale reached its inevitable climax and for that, I am grateful.

L to R: Victor Almanzar, Javier David, Juan Arturo,Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin

The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Click here for more information and for tickets.

REVIEW: Apollinaire Theatre Company’s ‘Every Brilliant Thing’ counts its blessings

Posted on January 5, 2025 by The Sleepless Critic

As famous author Kurt Vonnegut once remarked, ‘Enjoy the little things in life, for one day you’ll look back and realize they were the big things.’

Bringing to light life’s simple pleasures, Every Brilliant Thing emphasizes that no matter what, there is always something to be grateful for, even when it seems impossible to find.

Amusing, heartfelt, poignant and immersive, Every Brilliant Thing is an interactive piece of experimental theater storytelling that hinges on involvement and its success depends on the combination of a charismatic and efficient storyteller and a game audience.

Cristhian Mancinas-García and Parker Jennings in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Directed insightfully by Danielle Fauteux Jacques and an excellent choice for the New Year, Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19. Alternately starring Parker Jennings and Cristhian Mancinas-García, this refreshing and informative production is presented in both English and Spanish and runs approximately 70 minutes long with no intermission. Click here for more information and for tickets.

Set in 1988 and beyond, the small but mighty little things in life are easier to find through the eyes of this seven year old storyteller, even when facing traumatic times. The prospect of dressing up as a Mexican wrestler, roller coasters, and wearing a cape are just a few of the brilliant things that make life worth living. Why would anyone want to throw it all away?

Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

Transforming this Chelsea theater space into a cozy, multi-level room with vintage flair, scenic and sound designer Joseph Lark-Riley invites the audience to feel right at home featuring scattered living room chairs, flowers, plush couches, a dining room, and rugs spread out on the floor. Danielle Fouteux Jacques as lighting designer adds vintage flair with a variety of eclectic lamps and Lark-Riley’s upbeat selection of American Standards from the swing era and beyond. Music and exacting sound effects also play a significant and symbolic role in this production which leaves lots of room for originality and imagination with makeshift props and much more.

It takes a special ability to solely make an audience comfortable while bringing them into your confidence. Cristhian Mancinas-García rises to the occasion with unassuming sincerity and playfulness that adds levity to the production’s somber moments. Sharing his journey with earnestness and ingenuity, he warmly brings this zany and game audience cheerfully into elements of the production.

Every Brilliant Thing is ideal for people who wish to play along and participate in minor ways, but if you are performance shy, maybe sit in the back. It has some flexibility and a way of bringing the audience uniquely together while leaving you at the edge of your seat for what is next.

Fast paced and improvisational, Every Brilliant Thing infuses a life affirming journey into a shared experience while spontaneously drawing connections into its articulate and occasionally arbitrary script. Mancinas-García tackles a challenging piece and it is amazing how well he draws each connection into the story as each little joy is revealed in its amusing and ardent beauty that one can only long to reflect on them a bit longer.

Parker Jennings and Cristhian Mancinas-García in Apollinaire Theatre Company’s ‘Every Brilliant Thing’ Photo credit to Danielle Fauteux Jacques

For some, the New Year can bring great hope and immense reflection. Every Brilliant Thing has a way of delivering both in love, loss, grief, and trauma with moments of humor and joy. It is short enough that it never wears thin and long enough to tell a complete, meaningful and relevant tale that will be sure to carry weight for many and a solid reminder of the joy in the smallest of things and a restored appreciation of everything.

Apollinaire Theatre Company continues Duncan Macmillan with Jonny Donahoe’s Every Brilliant Thing or Cada Cosa Maravillosa live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through January 19. Click here for more information and for tickets.

REVIEW: Teatro Chelsea’s ‘Fade’ a tense cautionary tale

Posted on July 10, 2024 by The Sleepless Critic

Tanya Saracho’s Fade proves the daily grind should always contain some chic choreography.

Accented by Desiree Salvo’s multicolored and club-inspired lighting and Armando Rivera’s intense and Latin-inspired upbeat rhythms, two people energetically tackle their workday. These eclectic and lively dance breaks provide a clever reprieve and gradually become more meaningful afterhours inside a television station where drama takes a front seat.

Directed thoughtfully by Armando Rivera with playful chorography designed by Movement Director Audrey Johnson, Teatro Chelsea presented Tanya Saracho’s Fade live and in person at Chelsea Theatre Works through Sunday, June 30. Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish have a bit of an advantage. This partially bilingual show was approximately 100 minutes with no intermission and contained explicit language. Click here for more information and for more on Teatro Chelsea’s upcoming performances.

Luz Lopez and Cristhian Mancinas-Garcia in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

The intimate manner in which the audience is situated offers a uniquely exclusive peek into Rivera’s detailed set design complete with commercial carpet, notes scribbled on a white board, a personalized bulletin board and functioning office equipment. Fade turns the tables a bit to focus on an individual who is not necessarily a likable figure. Mexican-born novelist Lucia (Lus-sea-a), portrayed with fiery anxiousness by Luz Lopez, is the new scriptwriter at a television station and is not quite sure where to begin. When Lucia meets quiet yet observant Mexican-American custodian Abel (A-bell) in an absorbing portrayal by Cristhian Mancinas-Garcia, she seemingly sees a like minded individual, but they soon realize that they are not exactly on a united front.

Lucia, feeling under qualified and insecure, is chatty, nosy, and opinionated as she rants about how unfair life has been for her living in California. She is anxious about success and blames everyone but her own abilities for the work she has done. To some points, she is justified working in a primarily white male environment. She jumps to conclusions, is a sneaky rule breaker and hotheaded while Abel is mysterious, reserved and reluctant to speak with her. However, their conversations progress from awkward to tense as focused, humble, and patient Abel cannot help but politely comply as Lucia uses guilt and pressure in order to have her way.

Lopez delivers a convincing and bold portrayal as Lucia who would be easy to sympathize with if she was more respectful of Abel’s wishes. Lopez’s Lucia is dramatic, persuasive, and a clear spark exists between her and Mancinas-Garcia as Abel. Mancinas-Garcia’s Abel is an immediately sympathetic character, forthright, and brutally honest which seems to be good for Lopez’s Lucia. However, delving into everything from family to politics and everything in between, things get complicated the more they learn about each other.

Cristhian Mancinas-Garcia and Luz Lopez in Teatro Chelsea’s ‘Fade’ Photo by Elainy Mata

Luz Lopez and Armando Rivera make a visually compelling statement in Lucia’s clothing which reflects her gradual character transformation from low key basic attire to lavish and flattering accented with a patterned scarf while Mancinas –Garcia’s Abel’s uniform remains the same.

There lies a twist in this tale and it is startling even if it is one you might see coming. A tense workplace drama tempered by some comedic and upbeat flair, Fade tackles many topics including intuition, integrity and where you place your trust.

REVIEW: Central Square Theater elegantly streamlines heart and innovation with ‘Machine Learning’

Posted on February 17, 2024 by The Sleepless Critic

Jorge is in distress. Maybe Arnold can help.

Directed beautifully by Gabriel Vega Weissman, Central Square Theatre in partnership with Teatro Chelsea and a Catalyst Collaborative@MIT production continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, February 25. The show is 100 minutes with no intermission and contains some Spanish dialogue. Click here for more information and for tickets.

Armando Rivera in ‘Machine Learning’ Photo by Nile Scott Studios

Caring for a loved one is challenging in itself, but a loved one with a terrible illness battling addiction is that much more daunting. Frustrated yet determined computer scientist Jorge, empathetically portrayed by Armando Rivera, shares a complex history and relationship with his proud, stubborn, and sympathetic Columbian father Gabriel, depicted with machismo yet stalwart likability by Alberto Rubio. Rubio as Gabriel hones an authentic depiction of the nature of addiction in an ailing man. In order to care for his ailing father who is battling liver cancer, Jorge establishes an AI digital application and nurse named ‘Arnold’, voiced brilliantly by Matthew Zahnzinger, which might not only possibly make both their lives easier, but an entity that stubborn Gabriel just might listen to.

Jorge Alberto Rubio as Gabriel Photo by Nile Scott Studios

Each of these lovable characters is virtuous in their own way and their desire to seek the best in the other is what truly makes them remarkable. Young Jorge, depicted precociously and humorously by Xavier Rosario, is a scene stealer in his sweet and difficult moments with his father particularly demonstrated in an escalating battle over a game. Rosario tries his father’s patience with unflinching honesty and their experiences shape the relationship later demonstrated by Rivera as Jorge and Rubio as Gabriel. Zahnzinger as Arnold is an inquisitive and unintentionally funny logical entity that develops a seemingly caring and convincing rapport with Rivera and Rubio that can affectively blur the lines between AI and humanity, but Mendoza’s insightful script cleverly navigates this line of thinking through Arnold’s programming and deduction.

Xavier Rosario and Jorge Alberto Rubio Photo by Nile Scott Studios

Sugandha Gopal portrays sensible and focused Anita, Jorge’s encouraging and astute professor and mentor. Anita and Jorge share an admirable mutual respect and Gopal shines when she perceptively challenges Jorge on the most difficult things that Jorge needs to face about himself. Gopal as Anita has confidence in Jorge, but knows the best thing for Jorge is compassionate yet constructive criticism for Jorge’s difficult mission to help his father and to become a better computer scientist.

Sugandha Gopal and Armando Rivera Photo by Nile Scott Studios

What makes Machine Learning fascinating is not only the terrific state of the art sound design by David Remedios with sound engineer Kai Bohlman, Amanda Fallon’s animated lighting, and Janie E Howland’s innovative fold out and compartmentalized set boasting rich graphics and impressive coding by Projection Designer SeifAllah Salotto-Cristobal, but the care instilled in Arnold’s every calculation in an attempt to deliver Gabriel better care than Jorge believes he could ever possibly deliver on his own. It is the compassion and resolve put into every detail despite the fraught history Jorge has with Gabriel and their inherent and relatable flaws. Through all of this seeming perfection is the delicate imperfection that truly resonates.

Jorge Alberto Rubio and Xavier Rosario Photo by Nile Scott Studios

Though the production delves into the science of AI and the characters are encompassed by calculations and functionality, not for one moment does this production ever feel robotic. If anything, Machine Learning is a moving production that brings out the ties that bind between a father and son in all of its illuminating calculations.

Central Square Theatre in partnership with Teatro Chelsea and MIT continues the world premiere of Francisco Mendoza’s Machine Learning live and in person at Central Square Theatre in Cambridge, Massachusetts through Sunday, February 25. The show is 100 minutes with no intermission and contains some Spanish dialogue. 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, 2023 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: Teatro Chelsea hits close to home with compelling family dramedy ‘619 Hendricks’

Posted on June 28, 2023 by The Sleepless Critic

When a house is chock full of memories, sometimes it is difficult to let go.

Shortly after the death of brothers Nesto and Richie’s parents in Laredo, Texas, the aptly titled 619 Hendricks is an address which holds the livelihood of Nesto and Richie’s immediate futures, but for very different reasons.

Directed thoughtfully by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1. Though it is not necessary to understand both Spanish and English to enjoy this production, those who understood some of the dialogue in Spanish may have been at an advantage. This bilingual production is 100 minutes with one 10 minute intermission. Click here for more information and for tickets.

Cristhian Mancinas Garcia as Richie and Juan Carlos Pinedo-Rivera as Nesto in ‘619 Hendricks’ Photo credit to Teatro Chelsea

619 Hendricks is an affecting and sincere dramedy of a vibrant Latino family with some tough decisions ahead of them. It achieves a delicate balance of sentimentality and practicality as Nesto and Richie discuss the future of their family house which will be financially split between the two of them. Scenic designer Payton Tavares creates an appropriately tattered atmosphere including intricately torn brick walls and strips of blue wallpaper under vintage photographs perhaps symbolizing the house’s need of repair is not just external. The intimate manner in which the audience is situated offers a uniquely exclusive peek into this house of many secrets. 619 Hendricks explores grief, jealousies, stubbornness, sibling rivalry, and desperation as the show teeters between humor and tension even occasionally within a single statement.

Juan Carlos Pinedo-Rivera as Nesto, Juan Pedro Paniagua as Tio Chago, and Cristhian Mancinas Garcia as Richie in ‘619 Hendricks’ Photo credit to Teatro Chelsea

This lively cast captures a natural and animated familial rhythm as they lovingly tease and chide each other as they roam the house. Nesto and Monica Risi as wise and tolerant Marta make an amiable pair striving to do what is best for their family. Juan Pedro Paniagua as Tio (Uncle) Chago and Eliza Guzman-Hostas as Tia (Aunt) Carolina provide a refreshing lightheartedness as they humorous banter while the brothers discuss a topic that is all too universally familiar within families, especially after a loved one has passed.

Two brothers are at odds over the family house, but the house is just the tip of the iceberg. Their family issues run deep and the drama unfolds steadily and consistently as tension mounts. Nesto and Richie have contrasting temperaments which make their bickering, needling, and manipulations that much more explosive. Nesto, portrayed with a big personality and even loftier ideas by Juan Carlos Pinedo-Rivera, thinks he has a fool proof plan for the house while Richie, portrayed with sympathetic and quiet introspection by Crishian Mancinas Garcia, is not so sure. With Felix Ramos as business minded agent Hector’s added pressure, determined Pinedo-Rivera and Garcia deliver meaty performances as they cut each other to the quick, a consequence of fighting for the upper hand at any cost. The fights are genuine, tense, and so universally familiar that it is easy to relate to their situation in all of its complications.

Cristhian Mancinas Garcia as Richie in 619 Hendricks Photo credit to Teatro Chelsea

Directed by Armando Rivera, Teatro Chelsea continues the world premiere of Josie Nericcio’s family dramedy, 619 Hendricks live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through July 1. This bilingual production is 100 minutes with one 10 minute intermission. Click here for more information and for tickets.

REVIEW: OBIE Award-winning New Ohio ICE Factory’s ‘Isla,’ ‘Acheron: The River of Tragedy’ and ‘Body Through Which the Dream Flows’

Posted on August 19, 2022 by The Sleepless Critic

The OBIE-Award winning New Ohio ICE Factory is celebrating its 29^th year and has been presenting a number of innovative works each summer that continue through August 20 live and in person at New Ohio Theatre, 154 Christopher Street in New York City. Virtual shows are available through August 27. Isla, Acheron: The River of Tragedy, and Body Through Which the Dream Flows are just a few of works presented during this annual festival. Click here for further details, how to stream, and for tickets.

Bikes fly, a plane takes off, and cars zoom as a world unfolds in interactive shadows. Produced by Hit the Lights Theatre, Isla is a documentary experience which combines shadow puppets, photos, animation, and live action to depict the warmth of Samantha Blaine’s homeland and the realities of the Cuban invasion she grew up in. Her unique and personal journey with her mother and two free spirited sisters integrates nature and song to demonstrate the realities of invasion, family, and how everything is connected. Featuring strong vocals as well as heartwarming and wistful performances by Samantha Blain, Marlena Mack, Tiffany Ortiz, Kristopher Dean, Mikayla Stanley, Claron Hayden, and Casey Scott Leach, Isla is a fascinating production that explores heartache, division, political turmoil, pollution, and how Blaine’s world was shaken by communism.

A car crash and a tense, mysterious encounter lead to much more than either of these characters bargained for at a river at the Mexican-US border. Directed by Martin Balmaceda, Spanish language production Acheron: The River of Tragedy serves up a wealth of twists and turns in this sordid and at times clever tale. This production has mature themes and is not for children.

A secretive and menacing presence, portrayed by Cinthia Perez Navarro, has entered the life of Leonardo, portrayed with strained intensity by Aline Lemus Bernal, a nattering, impulsive, and yet perpetual optimist who dreams of freedom as soon as that tumultuous river is crossed. However, there is a heavy price for that dream and neither are savory characters. Navarro’s searing intensity and cryptic glances make for some skittish moments while Bernal’s jaunty moves and brisk chatter never quite distract from Navarro’s distressing wrath. Cinthia Perez Navarro and Aline Lemus Bernal are also behind the show’s sharp choreography. Acheron: The River of Tragedy is a gritty tale about the darker side of humanity in the pursuit of happiness.

Acheron ©Hugo Freeman With Aline Lemus Bernal (left) and Cinthia Perez Navarro (right)

Body Through Which the Dreams Flows also explores what it takes to achieve a dream. In this case, it is achieving the Olympic dream as past footage of Olympic champions kick off the production. Part documentary and part stage performance, creator Soomi Kim and company takes a look at the incredible world of gymnastics and the corruption and tragedy that has seeped into the sport and the lives of young girls in training. What does it take to be a champion? Sometimes the price is too steep.

What is really compelling about Body Through Which Dreams Flow are the reenactments of some real life footage as well as Soomi Kim and Alexandra Beller’s beautiful choreography, the sheer athleticism, and interpretation from athletes Lucy Meola, Olivia Caraballoso, Madison Rodriguez, Shayna Wilson, Nora Avci, and Ai Clancy. Enhanced by Amanda Ringger’s haunting lighting, Body Through Which the Dream Flows is a stirring and eye opening production addressing the pressures and what seems like the impossible expectations from coaches while focusing on what past athletes have endured. It also delivers a powerful message on the importance of a child having the chance to be a child.

New Ohio BTWtheDF Full cast_ Ai Clancy, Soomi Kim, Madison Rodriguez, Nora Avci, Shayna Wilson, Lucy Meola, Olivia Caraballoso

The New Ohio ICE Factory 2022 continues live and in person at the New Ohio Theatre through August 20 with virtual availability through August 27. Click here for more information and tickets.

REVIEW: ‘Chabe,’ ‘Conversations with Female Clowns,’ ‘Dictionary’ and ‘Por Mi Hija’ explore various aspects of love and connection at The New York City Indie Film Festival

Posted on June 24, 2022 by The Sleepless Critic

The New York City Indie Film Festival concluded on June 19 after approximately a week of screenings at the Producers Club in New York City. It featured a variety of films from shorts to narratives to documentaries curated with common themes. At this festival, Sleepless Critic had the opportunity to see screenings on music, small businesses, love and connection, and much more which will be explored in future articles. Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it first launched in 2010. Click here for more information.

Curated by Lucie Guillemot, this narrative film collection explored different aspects of love and connection. Directed by John Tsiavis, Chabe is a vivid short film about Isabel Gomez, a woman who assists in a cataracts surgery project for a Mexican indigenous tribe. Rich in unique color and told through Isabel’s eyes, the film evokes Isabel’s sheer joy in helping others and the complex process of this tribe’s journey from dark to light. Chabe made me long to see more on it all.

Isabel Gomez in ‘Chabe’ Photo credit to NYC Indie Film Festival

Directed insightfully by Clare Redden and Joseph Pulitzer, Conversations with Female Clowns is a surprising look at connection through laughter from a unique perspective. Reflected through a group of female clowns, it explores not only the incentive for a woman to become a clown, but the societal and personal norms as a female that seem to relate all too well to this profession. It sheds light on the idea of clowning from a new angle with an opportunity to see these female clowns in action. From a hospital clown to a member of the Big Apple Circus, Conversations with Female Clowns is an eye opening and humbling experience about what it truly means to be funny.

Director and writer Clare Redden of ‘Conversations with Female Clowns’ Photo credit to NYC Indie Film Festival

Dictionary explores the ODU concept of the seven stages of love in vignettes. A tribute to the Indian culture, Aishwarya Sonar has a great deal to convey in the screening’s brief time frame and writer, director, and producer Elena Viklova aptly evokes the fleeting and sacred power of love in each frame. From the warm bloom of attraction to the stillness of grief, Sonar elevates each stage in dynamic subtleties.

‘Dictionary’ by Elena Viklova Photo credit to NYC Indie Film Festival

Por Mi Hija (For My Daughter) is an immersive Spanish language film that addresses familial love and the dream of what is thought to be a better life. Written, directed, and produced by Fernando Rodriguez who dedicated this film to his wife and kids and based on two true stories, Por Mi Hija is a stirring account that examines what creates a fulfilling life in an unconventional way.

Christopher Bustos as Leo and Daniela Vidaurre as Emma are young newlyweds living a happy life surrounded by family in Mexico when they receive life changing news that prompts Leo to seek success in California. Bustos and Vidaurre depict a strong and relatable couple with endearing chemistry as they face moving and realistic trials and tribulations while Luciana Elisa Quiñonez shines as imaginative and sweet Luciana.

Christopher Bustos, Daniela Viduarre, and Luciana Elisa Quinonez in ‘Por Mi Hija’ Photo credit to NYC Indie Film Festival

The real strength in this film lies in its unconventional timeline and how it manages expectations and reality. The various parallel scenes between Leo and Emma including having a meal or riding in a car are gripping as it is weaved into the film’s progression and there is a dreamlike quality looking into the past as well as a hazy, ethereal ambiance of the future. This particular style enhances the film’s poignant message while achieving a balance between the lighthearted and tense moments. It also embodies what the characters cannot quite see at the time until the film’s stunning revelation.

Chabe, Conversations with Female Clowns, Dictionary and Por Mi Hija were all part of Narrative 14 at the New York City Indie Film Festival which continued through June 19. Click here for more information on this annual festival and its winners.