Speakeasy Stage

REVIEW: SpeakEasy Stage’s ‘Swept Away’ creates light and haunting shadow in impactful rhythms

Posted on by The Sleepless Critic

Paralyzed by the past, one man must share his life-altering recollections of the high seas.

Directed by Jeremy Johnson with pulsating musical direction by Paul S. Katz, music and lyrics by the Avett Brothers and astutely choreographed by Ilyse Robbins, SpeakEasy Stage continues the New England premiere of musical drama, Swept Away live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, May 23.  Based on a true story set in New Bedford, Massachusetts, Swept Away has adult themes and runs approximately 90 minutes with no intermission.  Click here for more information and for tickets.

Peter DiMaggio & ensemble. Photo: Nile Scott Studios

Sailing the high seas can hold as much danger as adventure.  A dynamic group of veteran and inexperienced whalers set sail from New Bedford, Massachusetts on a wooden yacht called The Mignonette. The yacht’s name is based on a real life yacht bound from Southampton, England to Sydney, Australia in 1884 and inspired an album by the Avett Brothers.

Having seen In the Heart of the Sea, a film with some similar themes based on the Essex Maritime Disaster and inspired Herman Melville’s Moby Dick, Swept Away has a lot of jubilant and hopeful moments while it is also based on a horrific true story about survival. While the sweeping harmonies and beautiful lyrics drew me in, the darker themes kept me at bay which left me wondering whether every tale needs to be told.

Max Connor (dark hair) and Bishop Levesque. Photo: Nile Scott Studios

It is joyful and moving, but also chilling and grim.  You should be ready for all of these to witness this musical.

Opposing ideas are at war during this surprising musical drama and includes a number of meaty themes such as duty, faith, trauma, sacrifice, grief, morality, sin, desperation and redemption dwelling within these often jaded whalers.  These themes are not just touched upon, but are the very basis for what happens next. 

Janie E. Howland’s maritime-inspired set includes wooden chests, masts tied in thick rope, ladders and wooden barrels framed by a translucent sail illuminated by kerosene lanterns. Karen Perlow’s vibrant lighting depicts days passing in shades of greens, purples, and blues on the horizon.  Perlow also creates creeping shadows as James Cannon’s haunting sound design demonstrates the rollicking and foreboding sounds of the sea.

Foreground Max Connor (left) and Peter DiMaggio with ensemble. Photo: Nile Scott Studios

It’s natural to wonder what is beyond your backyard and what kind of adventures lies just beyond your reach. Led by Peter DiMaggio who delivers a charismatic, sympathetic, and sinister performance, this enthusiastic cast initially shares a warm camaraderie as they get to know each other.  Little Brother, amiably portrayed with naiveté, wide-eyed tenacity by Max Connor, is determined to become a whaler believing it might be his only chance to see the world.  However, Bishop Levesque as Max’s protective older brother, a pillar of faith and sacrifice, hopes to convince him to come home.

From left: Christopher Chew, Peter DiMaggio, Bishop Levesque, Max Connor. Photo: Nile Scott Studios

Levesque’s Big Brother beliefs clash with Peter DiMaggio as rebellious Mate who has seen and swallowed more than he can bear and wants to wash his hands of responsibility.  They impressively standoff with the cast in a cappella and piano-infused harmony for gospel hymn Lord Lay Your Hand On My Shoulder against the catchy and stomping rhythms of Ain’t No Man.

Christopher Chew as The Captain with ensemble. Photo: Nile Scott Studios

Swept Away boasts stunning harmonies in this folk-rock musical articulated through Robbins’s swift, energetic and organic choreography in every sliding, stomping and clapping rhythm led by skilled aerialist Ezra Quinlan who gracefully glides from what seems to be a main sail.  They leap and sway to the upbeat and guitar-tinged Hard Worker which describes the life of a whaler and Christopher Chew eloquently shares his proud yet weary life as Captain in May it Last. 

Bishop Levesque as Big Brother. Photo: Nile Scott Studios

The Avett Brothers deliver a number of poetic and memorable lyrics such as What more is a rainbow than colors out of reach? and With Your Heart my soul is bound and their riveting rhythms is the pulse of this nautical journey.

Peter DiMaggio as Mate. Photo: Nile Scott Studios

SpeakEasy Stage continues the New England premiere of musical drama, Swept Away live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, May 23.  Click here for more information and for tickets.

REVIEW:  What it is to be human in SpeakEasy Stage’s curious ‘The Antiquities’

Posted on by The Sleepless Critic

The Antiquities paints a vivid portrait for a potential future.

On the day I was scheduled to see SpeakEasy Stage’s The Antiquities, I went to the State House in Boston with a group of SAG-AFTRA members to speak to legislators about passing bill H. 4832 An Act Relative to the Contracting of Digital Replicas.  The bill is largely about protecting an individual’s image and voice from exploitation which is imperative during these looming times of AI increasingly dominating job markets, society and life in general.  One cannot even use a search engine without AI automatically popping up “thinking” instead of searching for your answer.

From left to right: TOBIAS WILSON, HARRY BAKER, and KELSEY FONISE Photo by Benjamin Rose Photography

Little did I realize I was about to see the aftermath of the inadvertent demise of humanity due to our abuse of technology.  However frightening that is, The Antiquities is a stimulating production that contains a mix of light, dark, tongue in cheek and witty humor that almost eases the unsettling nature of this potential destiny.

Cleverly directed by Alex Lonati, SpeakEasy Stage continues Jordan Harrison’s satire The Antiquities live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 28.  This engaging production is approximately 1 hour and 45 minutes with no intermission and contains adult language and themes.  Click here for more information and for tickets.

A portion of The Antiquities hints at the groundbreaking robotic guides featured in Tomorrowland within Disney’s Magic Kingdom.  It also could be a page right out of Rod Serling’s timeless The Twilight Zone, James Cameron’s The Terminator or in Charlie Brooker’s Black Mirror where digital replicas co-exist alongside its human counterparts doing the less savory work of human existence so the original may live an easier life.

ALISON RUSSO as cast Photo by Benjamin Rose Photography

However, The Antiquities are far beyond that stage.  Members of the audience are human visitors of “The Museum of Late Human Antiquities” in which two humanoid AI guides quip, “Now, you are the dinosaurs.”

From left to right: KELSEY FONISE and TOBIAS WILSON Photo by Benjamin Rose Photography

In this world, humans no longer exist and are artifacts of a post human existence.  Christopher and Justin Swader’s gleaming and chrome plated space adds a sophisticated touch to all the artifacts “on display” bathed in Amanda E. Fallon’s soft glow.  However, the most impressive aspect of the production is the synthetic tics, pops, buzzes and churns within Anna Drummond’s robust sound design that yanks you into this astonishing world of rigidly moving humanoid AI guides pretending to be human.

From left to right: JESSE HINSON and HARRY BAKER Photo by Benjamin Rose Photography

Spanning from 1810 through 2076, The Antiquities explores a number of exhibits that reenact a wide range of scenarios in human history punctuated by the evolving fashion trends by costume designer Lila B. West.  Some exhibits revisit iconic moments of technological development, creation, grief, pain, inexplicable loss, and adoption and other exhibits depict the unintentionally humorous and ridiculous as humanoids define moments in human history they can only speculate about.

From left to right: HELEN HY-YUEN SWANSON and HARRY BAKER Photo by Benjamin Rose Photography

This capable cast portraying humanoids deliver intriguing performances full of actions that purposefully never cross or capture the essence of human emotion, curiosity, commitment, faith or falling in love.  Each aspect is automatic and calculated within the exhibit.  They enthuse, “What it must be like to be human!” 

From left to right: ALISON RUSSO and KELSEY FONISE Photos by Benjamin Rose Photography

Black Mirror’s unsettling and groundbreaking messages focus on the dangers of the thirst for technological advancement, perfection and comfort at the expense of what makes humans genuine and unique.  Never mind about computers taking over, but the fine line between progress and the complacency for life to be streamlined and easier while saving the almighty buck is disturbing enough.  As Ian Malcolm from Jurassic Park warned, “Just because you can, doesn’t mean you should.”

However, humanoids and humans do share flaws which make up some of the best moments of the production.  It’s in the subtle instances of humor in having read the human manual but never authentically living, witnessing or feeling it.  It’s something that can never be taught or duplicated.  It’s in the capability to just be. 

From left to right: JOHN KUNTZ and KELSEY FONISE Photo by Benjamin Rose Photography

SpeakEasy Stage continues Jordan Harrison’s The Antiquities live and in person at the Calderwood Pavilion in Boston, Massachusetts through Saturday, March 28.  Click here for more information and for tickets.

REVIEW:  Superpowers, grunge and dragons in SpeakEasy Stage’s zany indie-rock musical ‘Lizard Boy’

Posted on by The Sleepless Critic

In a musical world of grunge and dragons, Lizard Boy stands alone.

Unforeseen circumstances bring together a quirky trio of characters and onstage multi-instrumentalists when Keiji Ishiguri as introverted, anxious and well meaning Trevor leaves his apartment hideaway once a year.  Longing for real connection and a possible love interest in Peter Dimaggio as goofy, friendly and squeamish Cary, Trevor reluctantly practices a little faith over faith.  However, so much can happen just stepping out your front door.

From left: Chelsie Nectow, Keiji Ishiguri, Peter DiMaggio Photo by Benjamin Rose Photography

Blending dark humor, fantasy, mythology, sci-fi, action and horror with harmonious musical flair, Lizard Boy takes an earnest look at isolation, trauma, and loneliness. It is going to take a lot more than a simple song or even an apocalyptic event to unleash Trevor’s true reasons for staying home or the inexplicable sting in Trevor’s back.

With Book and Lyrics by Justin Huertas, rhythmically directed by Lyndsay Allyn Cox and creatively Musically Directed by Violet Wang, SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22.  With Playwright Justin Huertas in the audience during the performance I attended, this edgy production contains adult content and humor and runs 100 minutes with no intermission.  Click here for more information and for tickets.

Illustrated with comic book-inspired chalk drawings, colorful graffiti and band posters scattering the walls, Set Designer Qingan Zhang’s intriguing set provides a hint of the 90s though it takes place in the present day.  Sean Doyle’s mighty sound design can be overpowering at times, but there is a zing to the show’s perpetual harmonious rhythms (including the banging of a guitar case, carefully timed lightning and instruments that double as weapons) in a world where dragons really do exist.  After all, this Lizard Boy musical has scales…get it?  Clever. 

From left: Keiji Ishiguri, Peter DiMaggio, Chelsie Nectow Photo by Benjamin Rose Photography

Costume designer Zoë Sundra delivers a daring rock vibe which includes spandex, eye liner, furs, racer pants, flannels, graphic tees, and chained red booties.  With a blend of satirical and upbeat indie-rock tunes in unconventional rhythms using various instruments including a kazoo and the ukulele, Lizard Boy’s soundtrack is delivered with zeal and humor as this skilled trio must contend with each other for the sake of their world.  

From left: Chelsie Nectow, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

A portion of the tunes are delivered in a stream of consciousness fashion infused with pop culture references such as Ishiguri’s Trevor’s title track.  Tambourine-tinged The Whoa Song boasts catchy and powerful harmonies you may be humming after the show is over.  Clelsie Nectow depicts manipulative, relentless and occasionally unhinged Siren with raw prowess while delivering seething vocal rhythms faintly resembling Evanescence’s Amy Lee for A Terrible Ride.  Peter DiMaggio and Keiji Ishiguri showcase their improvisation skills and vulnerability with Cary’s Song and Things I Worry About.

From left: Peter DiMaggio, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

Though the plot can veer a bit too outlandishly at times, Lizard Boy is a wild musical journey with action, comic book violence, a resounding message and a few revelations in a world where true superpowers can come from the unexpected of places.

SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22.  Click here for more information and for tickets.

REVIEW:  Kindness and the little things in SpeakEasy Stage’s dramedy ‘Primary Trust’

Posted on by The Sleepless Critic

Kenneth’s visits to Wally’s Tiki Bar mean much more to him than just the two-for-one Mai Tais.

Quietly profound and inviting, Primary Trust is a unconventional journey about a lonely townie named Kenneth, performed with humble charm and simmering yearning by David J. Castillo, whose outlook on life is about to be shaken.

Arthur Gomez and David Castillo in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

With multilayered direction by Dawn M. Simmons, SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11.  This intriguing production runs approximately 100 minutes with no intermission.  Click here for more information and for tickets.

What I love most about Eboni Booth’s sharp and rapid fire script is that it is upbeat and funny while evoking a wide spectrum of emotions within its snappy dialogue.  Anna Drummond’s urgent sound design keeps the pace of Booth’s charged and lively script as it veers from one quick witted scenario to the next.  This small cast is more than up for the challenge enhancing the unique and often changing essence of this production.

David Castillo Luis Negrón and Arthur Gomez in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

A show without set changes, Shelley’s Barish’s compelling scenic design holds small town charm divided into sections including an island-inspired Tiki Bar with colorful leis and hale illuminated by Christmas lights as part of Karen Perlow’s soft atmospheric lighting, a stack of oversized books with bookcases, a large bank sign with a large wad of cash and a cozy park bench with lamppost.

Set in the cheery small town of Cranberry, New York (with a population of 15,000) and a hint of Our Town familiarity, Castillo as Kenneth lives a life of simplicity and certainty spending his days with Arthur Gomez as Kenneth’s encouraging and supportive only friend Bert.  In glasses, jeans and a cardigan, Gomez delivers unassuming charisma and infuses warmth, optimism and enthusiasm into Bert’s candid and charming demeanor.  However, there is a lot more to wise Bert than keeping Kenneth company.  Sharing an endearing camaraderie and insightful dialogue, Gomez’s Bert is a source of security for Kenneth who is carrying a lot more than a lonely life on his shoulders.

Arthur Gomez and David Castillo in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

One would think connection might come naturally in a small town, but not for Kenneth.  With a nervous laugh, at times jittery demeanor, and a vast imagination, Castillo is excellent as Kenneth who confides in the audience and you can’t help but feel protective and a friend to him as he shares his setbacks and challenges while shyly appreciating the little things in life.

David Castillo and Janelle Grace in SpeakEasy Stage’s ‘Primary Trust’ Phot by Benjamin Rose Photography

Janelle Grace and Luis Negrón nimbly capture multiple roles during the production ranging from local townie to significant figures driving Kenneth’s story.  Luis Negrón transforms into each role so impressively, it may take a moment to catch on while Grace demonstrates amazing and occasionally frenzied comic timing stepping into each role.

Whether Kenneth is sharing a moment of understanding with Negrón or a joyful chance moment with Grace, Primary Trust demonstrates humanity and compassion in each authentic moment.

Primary Trust holds a few important twists and turns best experienced as the story unfolds.  Boasting an inherent depth, it has delightfully amusing moments that help smooth over the heavier elements and dark humor in Booth’s perceptive script without diminishing their significance.  Make no mistake Primary Trust will make you laugh as often as you might be moved.

David Castillo as Kenneth in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11.  Click here for more information and for tickets.

REVIEW:  Speakeasy Stage delivers crackling chemistry and lots of ‘Laughs in Spanish’

Posted on by The Sleepless Critic

Down in Wynwood, Miami, Florida, Mari is in a panic. 

On the eve of one of the most important events of her art career, Mari’s gallery Studio 6 has been robbed.

However, those surrounding Mari are not reacting in quite the same way.  Uptight, stressed and just about at her wit’s end, Rebekah Rae Robles as Mari is determined to get to the bottom of it and somehow salvage the event.  In braids and silky loungewear, Luz Lopez as intern Caro and Daniel Rios, Jr. as Caro’s boyfriend Officer Jaun take note of what is happening, but seem a little more interested in each other. 

Rebekah Rae Robles, Daniel Rios Jr. and Luz Lopez in SpeakEasy Stage’s ‘Laughs in Spanish’

Directed exuberantly by Mariela Lopez-Ponce and in honor of National Hispanic Heritage Month, SpeakEasy Stage Company opened its 34th season with Alexis Scheer’s lively comedy Laughs in Spanish continuing live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 12.  This quick witted production has strong language and is 90 minutes with no intermission.  Click here for more information and for tickets.

Rebekah Rae Robles, Brogan Nelson, Luz Lopez and Daniel Rios Jr. in SpeakEasy Stage’s ‘Laughs in Spanish’

Rebecca Glick’s stylish costumes feature bold colors and vibrant patterns indicative of each character’s personality and especially prevalent of Robles as Mari in a serious gray suit.  Alexis Scheer boasts a refreshing script with good pacing, surprising revelations, and a wild dose of complicated family dynamics as well as a comical cast with crackling chemistry.  Robles as Mari seems as wound about as tightly as her celebrity, model, and movie star mother Estella is vivacious and carefree.  Making quite the grand and unconventional entrance, dramatic, spectacular, and self-centered Paola Ferrer as Estella appears to revel in her role as the adventurous life of the party.  Quick thinking, reposed and resourceful, there is much more to Ferrer’s Estella who delivers a standout performance embellished by a poignant and heartfelt monologue later on in the production.  Robles and Ferrer share a natural, relatable and yet complicated mother and daughter dynamic as these seeming opposites humorously searching for common ground.  Lopez as intern Carol and Rios Jr. as Officer Juan are adorable and genuinely funny as they bicker and flirt attempting to help Mari, but finding themselves in complications of their own.  

Paola Ferrer and Rebekah Rae Robles in SpeakEasy Stage’s ‘Laughs in Spanish’ Photo by Nile Scott Studios

With an uplifting Latin-inspired dance soundtrack, Laughs in Spanish boasts a multipurpose split set by Erik D. Diaz featuring an array of tropical greenery with wicker-infused furniture adorned with twinkling lights on one side and a pristine white and mustard colored studio with missing canvases, modern furniture and soft lighting on the other setting a sophisticated yet festive city tone.  This split set doubles the laughs as action often occurs simultaneously on both sides, especially in a notable performance by Brogan Nelson as Estella’s giddy and awkward assistant Jenny in a memorable solo piece of silent, physical humor as cast members converse in the other room.

Rebekah Rae Robles and the cast of ‘Laughs in Spanish’ Photo by Nile Scott Studios.

If you are looking for an upbeat, playful, and lighthearted piece of theatre with some interesting twists, modern pop references and a bit of mystery and family dysfunction with Latino flair, SpeakEasy Stage delivers plenty of Laughs in Spanish.

The cast of SpeakEasy Stage’s ‘Laughs in Spanish’ Photo by Nile Scott Studios

Directed exuberantly by Mariela Lopez-Ponce and in honor of National Hispanic Heritage Month, SpeakEasy Stage Company continues Alexis Scheer’s lively comedy Laughs in Spanish continuing live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 12.  This quick witted production has strong language and is 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  SpeakEasy Stage Company offers a shrewd and exceptional ‘Fairview’

Posted on by The Sleepless Critic

Mama is about to have a birthday bash no one will soon forget.

Prepared by Yewande Odetoyinbo as Beverly and Dominic Carter as Dayton who delivered playful and endearing chemistry previously seen in Lyric Stage Company’s production The Light, SpeakEasy Stage Company’s brilliant production of Fairview is an impactful and evolving show that has so much to say, but yet so little should be said before witnessing it.  Its humor ranges from conventional to absurd to acerbic and should be watched, understood, and thought over.

Yewande Odetoyinbo and Dom Carter. Nile Scott Studios

SpeakEasy Stage Company presents Jackie Sibblies Drury’s Pulitzer prize-winning Fairview live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, March 11.  Powerfully directed by Pascale Florestal, Fairview boasts an excellent and dynamic cast.  Fairview runs one hour and 45 minutes with no intermission and contains adult themes.  Click here for more information and tickets.

Lyndsay Allyn Cox, Yewande Odetoyinbo, and Victoria Omoregie. Nile Scott Studios

Amid an Obama family portrait on the left and a Langston Hughes poem on the right with upscale furniture and a dangling crystal chandelier overhead by Erik D Diaz, the production opens to an inviting and seemingly affluent household as Beverly, attempting to quell her nerves, begins to dance while peeling a carrot for Mama’s birthday dinner.  Soon joined by Dayton, Lyndsay Allyn Cox as Beverly’s sister Jasmine and Victoria Omoregie as Beverly and Dayton’s daughter Keisha, Fairview reveals a dysfunctional family gearing up for a big night for Mama.  Beverly’s only wish is for everything to be perfect.

Fairview addresses the nature of observing and perspective in a unique, palpable and unpredictable manner and it is quite a wild ride to its astonishing conclusion, so be still and observe.  This may be unlike anything witnessed before onstage and most assuredly worth the journey.

SpeakEasy Stage Company presents Jackie Sibblies Drury’s Pulitzer prize-winning Fairview live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, March 11.  Fairview runs one hour and 45 minutes with no intermission and has adult themes.  Click here for more information and tickets.

REVIEW: Featuring delicious food and eclectic charm, consider Boston’s ‘The Beehive’ before or after the show

Posted on by The Sleepless Critic

After spending Sunday afternoon at the Calderwood Pavilion for the Tony award-winning musical Fun Home, I had made reservations through Open Table for The Beehive restaurant right next door at 541 Tremont Street in South Boston, Massachusetts.  It’s a charming and convenient place to enjoy after show cocktails, brunch, lunch, or dinner while featuring daily live music including jazz and tribute to famous musicians.  Decorated subtly for Halloween and featuring a lit outdoor patio, The Beehive has unique charm and Bohemian décor in the South End on the orange line off of the Back Bay T stop.

At the time I made the reservation, the live band didn’t start until 8 p.m.  The servers were friendly and asked about the performance I saw at the Calderwood.  Pricing is a bit expensive, but the food is wonderful and can easily be shared.  The artisan sour dough bread was seasoned with sea salt and topped with delicious honey butter.  Our dinner dish, the half chicken was tender, flavorful and juicy mixed with carrot puree, bok choy, rainbow carrots, and olives in a peanut aillade.  It was more than enough for two unless you prefer to take some home.

The Beehive is open seven days a week and located in the Back Bay, an area in Boston that features many theatrical options.  The Beehive offers a special menu on holidays and are open on Thanksgiving.  Take a closer look at the Beehive here for the menu, live music schedule, and much more.