spring

REVIEW:  Boston Ballet’s exhilarating ‘Winter Experience’ glows in anticipation

Posted on by The Sleepless Critic

Especially amid winter’s bitter isolation and bleakness, one cannot help but anticipate the crackle and rising glow of  spring. Through these two bold works, Boston Ballet shows how to appreciate the wonder of winter and glow in spring’s glorious awakening.

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15.  The production is one hour and 50 minutes with one intermission.  Click here for more information and for tickets.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Ji Young Chae, Viktorina Kapitonova, Lia Cirio, Seo Hye Han, WanTing Zhao, Haley Schwan, Chisako Oga, Chyrstyn Mariah Fentroy

With a wealth of expectation and powerful expression, Boston Ballet’s wondrous Winter Experience features a visceral pair of complementary works infusing innovative ballet which envisions the intensity of the season as well as the increasing promise of spring in Jorma Elo’s bold classic Le Sacre Du Printemps (The Rite of Spring) and Crystal Pite’s contemporary favorite, The Seasons’ Canon. 

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

 Boasting Jorma’s Elo’s sharp and versatile choreography, Le Sacre Du Printemps depicts rich beauty as dancers shift and sway to Stravinsky’s commanding score that ebbs and flows from tender to thunderous.  With incredible choreography by Crystal Pite and exhilarating music by Max Richter, The Seasons’ Canon finale remains one of the most amazing pieces that I have ever witnessed from the Boston Ballet.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Stravinsky’s Le Sacre Du Printemps is a striking exploration of a ritual dance believed to usher in the spring season.  Adorned in Charles Heightchew’s vibrant sequined burgundy costumes as a band of brimming color rises amid a black layered latticed backdrop, dancers slice the air, trot, tick and lunge in pas de deux and in groups delivering unruly yet synchronized grace in their athletic, sharp and intimate steps. 

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Stravinsky’s powerful drum and horn-infused rhythms ebb and flow from soft and mischievous to urgent and rebellious which reflect in the dancers as they intricately link and divide and in Brandon Stirling Baker’s symbolic and transformative lighting.  Pairs form daring and unique patterns as well as mirror each other as Stravinsky’s wielding drive animates dancers from rigid and mechanical to surprising to occasionally humorous within its more spontaneous moments to haunting as the dance intensifies.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Under a gleaming, crackling and morphing gold light by Jay Gower Taylor and Tom Visser, the Boston Ballet unveils a vision like none other with The Seasons’ Canon.  Crystal Pite’s intricate and meticulously detailed chorography to Max Richter’s version of Vivaldi’s mesmerizing The Four Seasons makes The Seasons’ Canon a superlative experience.  An incredible vision in every sense of the word, The Seasons’ Canon is innovative and unique as dancers pulse, sway, and tumble with intricate fluidity and precision while methodically spilling onto the stage. Moving like one sinewy organism as if waking from hibernation and molding into magnificent shapes, the sheer exactitude and congruent nature of these movements cannot be overstated.  An exciting, uplifting and commanding piece with bursts of energy as the landscape transforms into shades of silver, orange, and gold, is exquisite in every season.   It is a haunting and brilliant performance sure to stay with you long after the piece has ended.

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Rosalie O’Connor and Brooke Trisolini
Dancers: Sangmin Lee, Chisako Oga, Ji Young Chae, Jeffrey Cirio, Daniel Rubin, Sage Humphries

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15.  Click here for more information and for tickets.

REVIEW:  The title is everything and more!  Catch American Repertory Theater’s ‘Two Strangers (Carry a Cake across New York)’

Posted on by The Sleepless Critic

Two people with seemingly nothing in common, one wedding cake, and several pieces of luggage lead to a string of possibilities in this delightful spin on a romantic comedy.

I will admit, I didn’t want it to end.

Imaginatively directed  and choreographed by Tim Jackson, American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13.  This fabulous production runs two hours and 10 minutes including one intermission.  Click here for more information and for tickets.

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hall

On December 2, two strangers meet at a New York City airport unaware that their futures are connected.  That is until Sam Tutty as naïve and perpetually optimistic Brit Dougal discovers that Christiani Pitts as cynical New Yorker Robin is Dougal’s ride from the airport.  How they become connected to an expensive wedding cake is where the plot thickens.

Scenic and costume designer Soutra Gilmour cleverly makes innovative use of a pile of strategically placed luggage on a conveyer belt which multitasks as a coffee shop, hotel room, a dance club packed with a string of shimmering disco balls, and several other surprises that will not be revealed here.  The rotating conveyer belt is a brilliant addition to the production that translates into multiple uses in various settings.  Along with Music Director Jeffrey Campos working in conjunction with Sound Designer Tony Gayle and Cody Spencer, lighting designer Jack Knowles brings it all to life with the playful, flourishing and multicolored neon brilliance of Times Square to each of the onstage band’s rhythmic beat.  It is one of the most inventive sets I have seen in a long time.

Sam Tutty in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hal

Sam Tutty evokes an innate charisma as Dougal, a guileless and irresistible British charmer who is visiting New York City for a wedding.  Tutty’s Dougal is a movie loving, excitable, sincere, rose colored glasses, speak out of turn and puppy dog kind of charming that if Dougal does not win the girl, he will surely win over the audience.  Dougal is only in New York for 48 hours to see his absentee dad get married and it is back to England.  With a characteristic vibrato, Tutty expresses Dougal’s dreamy excitement for adventure in a duet with Pitts in New York and hopeful optimism in a reflective rendition of Dad.

Christiani Pitts is also terrific as cynical New Yorker Robin who is holding back a secret.  While Dougal seems to love life and charges at its possibilities with fun loving enthusiasm, Robin approaches life financially-hanging-on-by-a-thread hampered by a complicated family life struggling to make ends meet in more ways than one.  Robin sees the world just as it is and is more concerned about surviving it than taking it all in as exemplified in Pitts’s solo rendition of What’ll it Be.

Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

What these two do have in common is they are lost and trying to find their place in the world and within their family.  They also have a lot more to learn about each other than they realize as demonstrated in their contemplative duet Be Happy.

If you think you know how this romantic comedy musical will turn out, Two Strangers holds plenty of surprises up its sleeve and brings a refreshing new take to the romcom.  Leaving behind any shallow or empty plotlines that some romantic comedies are culpable,  Two Strangers deliver a self aware and satirical approach to these scenarios through dialogue and song.  It is a wink to past romantic comedies while also veering into new territory offering authentically exhilarating and stirring moments. 

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

Much of that is due to the crackling chemistry between Christiani Pitts and Sam Tutty who banter, tease, joke, disagree and reflect on the their individual lives and their views on the future.  Their irresistible affinity towards each other is endlessly entertaining and creates beautiful harmony in several duets, but especially for their humorous (and a little naughty) duet, On the App. 

Two Strangers (Carry a Cake across New York) boasts catchy and unique pop-infused melodies that these leads seem to master effortlessly with charm, style and finesse.  Pitts lends fluttering vocals and a mix of anxiousness and rising hopefulness to the powerful ballad This Year.  Pitts also masters the a cappella and vocal gymnastics of the hysterical and hilarious number, The Hangover alongside Tutty.   

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hall

Amusing, original, feel good and inventive, make time to witness how this heartfelt story unfolds!  Two Strangers (Carry a Cake across New York) stands as one of my favorite productions this year.

American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. Click here for more information and for tickets.

REVIEW: Wheelock Family Theatre’s ‘The Prom’ delivers humor and frivolity into an inspired true story

Posted on by The Sleepless Critic

This time I chose comfort over a frilly dress for this Prom.

Similar to Maureen Keiller’s diva-esque Dee Dee Allen, my prom style resembled Allen’s stylish jumpsuits.  It is one of Zoë Sundra’s many festive, glittering and characteristic-defining costumes displayed in this production, especially highlighted by Janis Hudson as Angie in a sparkling and show shopping red dress.  I felt like I fit right in. 

Gary Thomas Ng*, Janis Hudson, Maureen Keiller*, Elias Robles, Davron S. Monroe* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

With lighthearted direction and occasionally sashaying choreography by Larry Sousa as well as upbeat Music Direction by Jordan Oczkowski, Wheelock Family Theatre at Boston University rolls out the red carpet for musical comedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8.  Wheelock Family Theatre boasts open captions that come in handy during the performance which runs two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Since The Prom premiered on Broadway in 2018, it was adapted into a Netflix film that boasted an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry.  It has been brought to the stage locally over the last few years.  Inspired by a true story, anxious Emma, earnestly portrayed by Siri Manju, invites a date to the Prom with none other than Annie Parrinello as popular perfectionist Alyssa, the daughter of the head of the Parent Teacher Association.  However, their high school will not allow them to attend the prom together.  Once a group of egocentric Broadway celebrities get wind of this human interest story, they decide to make a difference in this small Indiana town.  

Annie Parrinello & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

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.  It delivers humorous moments ranging from silly to satirical with a sincere and underlying message about helping others.

The Prom boasts strong vocals from an amiable cast and lauded local talent.  Maureen Keiller brings ego and attitude as Dee Dee Allan, a self absorbed award-winning actress.  Keiller’s powerful belt is on full display for It’s Not About Me and The Lady’s Improving.  Along with soaring vocals by Davron S. Monroe as warm and charismatic actor Barry Glickman, Gary Thomas NG as no nonsense and frazzled PR rep Sheldon, Elias Robles as openhearted Trent, and Janis Hudson as inspirational Angie Dickinson, these seemingly shallow thespians share some comical moments, but their real charm is exposed by the people they meet in this fish out of water production. 

Lauren Velasco O’Donovan, Arabella Hardgrave & Ensemble in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

SeifAllah Salotto-Cristobal’s soft and cheerful multicolored lighting cleverly divides high school and theatrical scenes by illuminating vintage stage lights for celebrity numbers.  James Rotondo’s rolling and colorful set design are mainly set inside James Madison High School halls using some projections to transform settings from a 711 store front to a hotel to an Applebee’s.

David Jiles Jr.* & Maureen Keiller* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

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.  Siri Manju’s chiming vocals in the forlorn and self effacing number Just Breathe is a compelling revelation as well Manju’s sweet rendition of Unruly Heart while Jennifer Bubriski’s tight lipped delivery proves fitting for tough and controlling 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.

Janis Hudson & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom contains a wealth of welcome, inside Broadway references as well as symbolic choreography during the pivotal number, Tonight Belongs to You and It’s Time to Dance reflecting how the tide turns during the production.  Janis Hudson shines during the Fosse-inspired Zazz, an uplifting rendition delivering sparkle and encouragement.  Manju shares a touching rapport with both Hudson and Monroe, sure to make you smile. 

Annie Parrinello & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

As David Jiles Jr. as serious, compassionate and theatre loving Principal Hawkins reflects, “A distraction is momentary. An escape helps you heal.”  The Prom tells a complex and message driven story while also providing a temporary glittering escape from the realities of life. 

The full cast and crew of ‘The Prom’ Photo by Nile Scott Studios

Wheelock Family Theatre at Boston University rolls out the red carpet for musical dramedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8.  Click here for more information and for tickets.

REVIEW:  A lively cast highlights SpeakEasy Stage Company’s ‘Jaja’s African Hair Braiding’

Posted on by The Sleepless Critic

‘Be kind, for everyone you meet is fighting a hard battle.’

It is a popular expression that will hold profound meaning to a group of designers in Jaja’s African Hair Braiding.

Today is a special day in this Harlem salon.  The store owner, Jaja is getting married and before MaConnia Chesser as charismatic and outspoken Jaja makes her grand entrance, this salon buzzes with excitement, commotion, confiding, gossip, venting and conflict as steamy July temperatures show no sign of cooling off and the air conditioner hits a snag.

From left: Dru Sky Berrian, MarHadoo Effeh, Kwezi Shongwe, and Crystin Gilmore Photo by Nile Scott Studios

Directed with pizzazz by Summer L. Williams, SpeakEasy Stage Company continues Jocelyn Bioh’s dramedy Jaja’s African Hair Braiding through Saturday, May 31 at the Calderwood Pavilion in Boston, Massachusetts.  This production is approximately 90 minutes with no intermission.  Click here for more information and for tickets.

Set in 2019, behind these vividly painted graffiti double doors emblazed with ‘Jaja’s African Hair Braiding’ holds an impressive salon by Janie E. Howland featuring an array of identical salon chairs and overhead lights and includes meticulous details such as hazy steam fogging the mirrors, torn posters, and litter collecting out the doors.       

While Jaja makes her big plans, this group of West African immigrant designers are holding down the salon and making plans of their own.  Dru Sky Berrian makes a captivating entrance as Jaja’s anxious and cheerful daughter Maria who comically vents about already having a day of all days before the shop even opens.  Maria helps out at the salon and although Jaja envisions Maria’s life in a lucrative profession, Maria has set her sights on other dreams.  Well intentioned and earnest, sympathetic Berrian is the heart of the show.

From left: Dru Sky Berrian and MaConnia Chesser Photo by Nile Scott Studios

Crystin Gilmore portrays veteran designer Bea who has an ax to grind, particularly with younger designer, Ndidi, portrayed by Catia, who is there temporarily because the shop that Ndidi worked at burned down.  Bea is appalled and claims Ndidi is stealing her customers. Catia is cool and collected as Ndidi who relishes this opportunity to grow her business.  Gilmore’s Bea is glamorous, feisty, candid and frank as she shares the know-it-all vision she had of running this salon…if her plans had not gone awry. 

From left: (foreground) Crystin Gilmore, Dru Sky Berrian, and Catia. (Background) MarHadoo Effeh, Hampton Richards and Kwezi Shongwe Photo by Nile Scott Studios

Customers and designers alike confide their stories and struggles as hair braiding is quite an extensive process handled expertly under Williams’ meticulous direction.  This animated group holds compelling conversations, support each other, dance joyously, share juicy gossip, fight over the television remote and quietly tolerate what it is to be in customer service. 

From left: Catia and Yasmeen Duncan Photo by Nile Scott Studios

Ashley Aldarondo and Yasmeen Duncan champion multiple roles as customers, each distinctive and range from delightfully gleeful to intolerably fussy as designers force a smile across their lips and a poker face in numerous relatable scenarios.  It was particularly wonderful to watch Duncan pose and twirl teasingly in the mirror with her new Beyonce braids.  Joshua Olumide encapsulates various roles from diligent socks salesman to turning up the charm as a promising love interest and a philandering husband.

From left: MarHadoo Effeh and Hampton Richards Photo by Nile Scott Studios

Vivid pinks, oranges and greens are only a fraction of costumer Danielle Domingue Sumi’s bold tones and stylish African patterns lending to each character’s vibrant personalities.  Although these characters shine as individuals, the most fascinating moments come from their collective reactions from playful and horrified looks to synchronized cheers as this important day unfolds.

The cast of Jaja’s African Hair Braiding Photo by Nile Scott Studios

Jaja’s African Hair Braiding has its share of twists and turns, tackling societal and community issues including up to date matters of immigration.  However, is also hopeful production that demonstrates the tight bond among this lively cast offering unwavering support, especially in the face of immense challenges.

SpeakEasy Stage Company continues Jocelyn Bioh’s Jaja’s African Hair Braiding through Saturday, May 31 at the Calderwood Pavilion in Boston, Massachusetts.  This production is approximately 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Get swept off your feet by Hingham Civic Music Theatre’s ‘Kiss Me Kate’

Posted on by The Sleepless Critic

‘But for my bonny Kate, she must with me.’

Set in Baltimore, love and show business collide in more ways than one in the Cole Porter musical, Kiss Me Kate.  A Shakespeare play within a musical with plenty of backstage drama, David Daly as Fred/Petruchio and Sara Daly as Lilli/Katherine shine portraying exes onstage, but they are married in real life.

Sara and Dave Daly and Steve Dooner in ‘Kiss me Kate’ Photo by Pat Sherman

Well timed shortly after Shakespeare’s birthday and shrewdly directed by Steve Dooner, Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at the Sanborn Auditorium at the Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4.  Click here for more information and for tickets.

Justin Maloney and Joel Leonard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Musically directed by Sandee Brayton with exuberant choreography by Diana Byrne Gossard, this enchanting musical is approximately 2 hours and 30 minutes with one intermission.  Hingham Civic Music Theatre has dedicated their season to the memory of Violet (Vi) Villani.

Sara and Dave Daly in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

When a literary and music genius join forces, a Golden Age musical is born.  Kiss Me Kate boasts memorable Cole Porter classic tunes such as So in Love, Too Damn Hot, Wunderbar and Brush Up Your Shakespeare while infusing elements of Shakespeare’s Taming of the Shrew to create a romantic comedy for the ages.  Cole Porter’s music often reflects a jazz and bluesy feel as demonstrated in this play within a play’s self aware opening number, Another Opening/Another Show.

Kate Emily Crosta and Andy Gossard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Playful, charming, and imaginative, Kiss Me Kate tells the story of director, producer and star of Taming of the Shrew Fred, portrayed by David Daly, who is working with ex-wife Lilli, depicted by Sara Daly, a fading Hollywood star reluctantly turning to theatre and co-starring in his production.  Lilli is engaged to systematic and orderly General Harrison Howell, portrayed by Andy Gossard who seems to relish the role.  I’ve always considered Katherine in Taming of the Shrew a woman ahead of her time and Sara impressively takes on this dual role as Lilli and Katherine as headstrong and fearless women with minds of their own.  David brings lots of charm and earnestness to his dual role as Fred and Petruchio.  Boasting soaring vocals, it is delightful to watch David and Sara who share great chemistry onstage.  They perform a lovely and intense duet of Wunderbar and deliver sweet renditions of So in Love.

Emily Crosta and Justin Maloney in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman

Another adorable couple who make melodious harmony together is Justin Maloney as Bill/Lucentio and Emily Crosta as Lois Lane/Bianca. Maloney as Bill and Crosta as Lois make a captivating pair delivering a couple of coy and lighthearted duets including Why Can’t You Behave and Always True to You in My Fashion, the latter especially flirty and entertaining.  Fred, Lilli, Bill and Lois collaborate for a humorous rendition of the upbeat classic, We Open in Venice.

Dave and Sara Daly, Justin Maloney and Emily Crosta in ‘We Open in Venice’ in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman

Also offering some scene stealing comic relief are Brendan Smith and Connor O’Brien as the Two Men.  Tough and goofy with a hilarious strut in top hats and canes, these sharply dressed men perform a knowing Brush Up Your Shakespeare, advising the audience how to use Shakespeare to woo women.

Brendan Smith and Connor O’Brien in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Costume designer Ashley Buckeridge skillfully blends period pieces such as classic Juliet and romantic Renaissance attire in delicate patterns to the iconic post World War II era making a splash in coordinated polka dots, lace, silk, button down trousers and brimmed hats.

John Crampton and cast in Hingham Civic Music Theatre’s ‘Kiss me Kate’ Photo by Pat Sherman

From tap to traditional renaissance to swing dancing, Diane Byrne Gossard’s joyful and lively choreography is a particular highlight as John Crampton as smooth Paul leads a playful rendition with this enthusiastic cast in a whistling and horn-infused number, Too Damn Hot.   

Hingham Civic Music Theatre’s ‘Kiss me Kate’ cast Photo by Pat Sherman

Kiss Me Kate delves into a number of romantic high jinks including the war of the sexes and it is fascinating to see this topic resonate from the Renaissance to Post War II era to today with spirited flair.

John Crampton and Madison Pratt in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman

Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4.  Click here for more information and for tickets.

REVIEW:  Actors’ Shakespeare Project envisions a wildly mischievous ‘A Midsummer Night’s Dream’

Posted on by The Sleepless Critic

It may not be the lusty month of May yet, but Actors’ Shakespeare Project’s contemporary A Midsummer Night’s Dream has it covered by the time it arrives.  This is one wild ride.

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays.  It is everything but tragic and can be interpreted in a variety of ways.  It features magic, mischief, romantic comedy, action, and it was a perfect way to celebrate Shakespeare’s birthday on April 23.

Eliza Fichter and Dan Garcia in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

With bold direction by Maurice Emmanuel Parent, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts. The show’s action is not limited to the stage with two platforms immersed in the audience and runs 1 hour and 40 minutes with no intermission. Discounted tickets are available.  Click here for more information and for tickets.

The Cast of Actors’ Shakespeare Project’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text with some improvisation and pop culture references along the way.  Part play within a play, part fantasy, and part comedy, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to desire to true love to romantic comedy gone awry due to some mystical love potions.  A Midsummer Night’s Dream is also the source of some of Shakespeare’s most famous reflections on love such as ‘True love does not see with the eyes, but the mind’ and ‘The course of true love never did run smooth.’  Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines can translate seamlessly into a wide variety of contemporary scenarios.

Kody Grassett, Doug Lockwood, and Bobbie Steinbach in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Scenic designer Ben Lieberson’s multilevel and industrial scaffolding not only provides a club atmosphere, but a somewhat blank canvas for lighting designer Brian Lilienthal’s multicolored illumination as a glimmering disco ball hangs overhead. Seth Bodie’s distinctive costumes feature a wide array of 90s and turn of the century looks from refined to over the top in splashy, glimmering, feathered and suggestive club wear to edgy street attire in fringe, pleather and denim to lavish upscale suits.  Sound designer MacKenzie Adamick also sets a 90s and 2000s vibe with a mix of original and popular club beats for both comic relief and setting the scene.  

ia Giatrelis, Eliza Fichter, Evan Taylor, Doug Lockwood, and Kody Grassett in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, bold, and chock full of passion, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and absorbing characters determined to fight for what they want and aren’t shy about absurdity demonstrated by Doug Lockwood as the enthusiastic and bombastic Nick Bottom along with Bobbie Steinbach as resourceful Quince and a group of madcap and dedicated mechanicals offer more than silly humor before the final curtain. 

Bobbie Steinbach and The Mechanicals in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

These mature characters are tougher and have experienced life’s hardships which is a valuable attribute for love is fickle.  Michael Broadhurst as Lysander may seem sweet and adoring sharing an endearing chemistry with Thomika Marie Bridwell as Hermia, but Broadhurst also has a chance to explore another side of this character.  Athletic Alan Kuang is remarkable as wild, mischievous, and break dancing Puck and his conspiring moments with Dan Garcia as Oberon make for street savvy and cunning pair.

Thomika Marie Bridwell and De’Lon Grant in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

The women in this production are strong, beautiful, and fierce. Eliza Fichter takes on dual roles as powerful Hippolyta as well as glamorous and seductive Titania.  Thomika Marie Bridwell is wonderful as headstrong, comically tough and fearless Hermia while Deb Martin is a scene stealer and redefines crazy in love wild eyed Helena. Martin’s physical comedic prowess and the arduous lengths she goes through to get what she wants would be inspiring if she was not so unhinged and she shares some madcap moments with De’Lon Grant as impulsive Demetrius.  However, one intense scene between Martin and Bridwell going head to head becomes so hilarious and well executed that it stands as my favorite scene in this production. 

De’Lon Grant and Deb Martin in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

One of the liveliest adaptations I’ve ever seen, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts Click here for more information and for tickets.

REVIEW:  ‘Riverdance’s 30th Anniversary:  The New Generation’ combines mesmerizing visuals and fancy footwork to a show stopping rhythm

Posted on by The Sleepless Critic

‘Tall and straight my mother taught me.  This is how we dance.’

Flourishing Celtic landscapes, glimmering international city sidewalks, star studded cosmic atmospheres, and mystical seaside sunsets as well as a journey frolicking through roaring fire, threatening lightening, and changing seasons are just a few of the spectacular settings that unfold through driving rhythms while integrating other forms of captivating dance along the way.  Accompanied by a partial onstage orchestra, Riverdance is as innovate and imaginative as ever marking three decades of sparkling toe tapping zeal and ethereal vocals with memorably dramatic flair.

The cast of Riverdance

Audaciously directed by John McColgan and composed by Bill Whelan,   Riverdance 30th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country.  The show is approximately two hours including one intermission.  Click here for more information and for tickets.

Riverdance, Fergus Fitzpatrick

Whether battling the elements or showing off their skillful steps, Fergus Kirkpatrick and Olivia Nachtigal are among the leads in this enthusiastic and daring dance troupe as drummer Mark Alfred, fiddler Haley Richardson, saxophonist Emma McPhilemy, and Cathal Croke on Uilleann Pipes with Michael O’Gorman’s immersive sound design combine to deliver a mix of modern and traditional Irish works through Ireland and beyond. 

Riverdance, Dervish

Whether performing solo or playfully challenging other band members and the dancers, these harmonious instrumentalists set the varying tone from serene ballads to rhythmic beats.  Richly narrated with Celtic history and poetry as angelic vocals lift, Riverdance has a unique way of building excitement through razor sharp Ceili formations and urgent melodies.  Adorned regally in silvery tiaras, detailed velvet flowing dresses, tailored shirts vests and tights by Joan Bergin, the dancers exude confidence exacted in heads held high and the militant precision of their movements gathering in rows, circles and two hand reels. 

Riverdance Countess Cathleen with lead dancer Maggie Darlington

In Firedance, Rosio Dusmet commands the stage swirling in a shimmering red gown as fire surrounds her and the flames progressively turn blue to a driving beat.  Adventurous, freeing and empowering, Dusmet’s amazing performance is equal parts grace, athleticism, and charisma flowing through the scene.

Alan Farquharson’s fantastical and compelling set design with innovative motion graphics by Cosmo AV and Andrew Voller’s stellar lighting in scrupulous perfection enhance tappers Darmesh Patel and Kenji Igus who perform to rollicking rhythms in street clothes with Fergus Kirkpatrick showing off their skills under the bright city lights.  In Trading Taps, they all demonstrate fantastic footwork with charm and exuberance to rousing applause and stands as a particular highlight of this production.

Riverdance, Amy Mae Dolan and Will Bryant

Through a variety of dynamic rhythms, Riverdance’s 30th Anniversary: The New Generation is a whimsical, thrilling and visually splendid journey steeped in Celtic charm while integrating other forms of dance that keeps it refreshing and imaginative.  Having seen it for the first time and watching it with someone who has witnessed it since Riverdance began, it remains a joyous and impressive experience for the whole family.

The cast of Riverdance

Riverdance 30th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country.  The show is approximately two hours including one intermission.  Click here for more information and for tickets.

REVIEW:  Exploring the world of the sick, American Repertory Theater’s intense ‘Night Side Songs’ not just a lullaby

Posted on by The Sleepless Critic

It’s a shock that will take you out of your world.

Then reality sets in.

With stirring direction by Taibi Magar and musically directed by Alex Bechtel, American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8.  Communal, meaningful and creative, this interactive theater in the round experience runs approximately one hour and 40 minutes with no intermission.  It contains strong language and adult themes.  Click here for more information and for tickets.

It explores the news everyone dreads.  Finding out you are sick. 

Witnessing its 41st performance, this intimate cast depicts a number of characters in different scenarios while occasionally engaging the audience in a casual atmosphere.  It time jumps from the 12th century to the present day while addressing the calendar date the performance takes place and is dedicated to the sick, healthcare workers and caregivers by blending themes about relationships, sickness, mortality, and grief through acting, song and sing-along utilizing improvisation along the way. 

Robi Hager in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs immerses itself into uncomfortable and harrowing territory with patches of hope and beauty that will either be fascinating and draw you in and never let go or hope it’s all over soon.  It may not be for everyone, especially if you are squeamish about certain aspects of illness but have no choice but to get through it.  Much like being sick can be.

Mary Testa in A.R.T.’s world-premiere production of Night Side Songs. Produced in Credit: Nile Scott Studios

This warm and dedicated group showcases a number of scenarios, but the main storyline centers around Yasmine who discovers she has cancer at 41 years old in Worcester, Massachusetts.  Brooke Ishibashi delivers a raw and heartrending performance as Yasmine who must navigate her life in an entirely different way in an attempt to get well while facing obstacles in her path.  Mary Testa offers wit and self deprecating humor as Yasmine’s well meaning but overbearing and anxious mother Desiree who assures Yasmine that they come from a family of miracles.  Isibashi shares some endearing moments with Jonathan Raviv as warm and nurturing Frank.

Brooke Ishibashi and Jonathan Raviv embrace in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Each performer delivers affecting and inviting vocals and their solo performances are the most memorable.  The onstage musicians also interact with the performers and audience and the songs by The Lazours are an eclectic variety ranging from catchy to cathartic to ballads.  Some of the highlights in the therapeutic sing-along include Let’s Go Walking, Into the Sky and the poignant Will You Let me Know.

Jordan Dobson in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs approaches this handful of tales with dark humor, absurdity, science and realism peppered with relatable scenarios.  It can be uneven in tone at times.  How can anyone not relate to overwhelming and unexpected medical bills and drug side effects, but a song showcasing how people inaccurately make assumptions how someone gets sick in The Reason comes off more condescending than sincere and funny.  Illness is filled with fear and uncertainly.  People just don’t know what to say.

Jonathan Raviv in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Part unconventional love story and part tragedy, Night Side Songs expresses appreciation for the little things in life and relies more on camaraderie and community than faith and optimism while traveling to some grim places. It is informative offering coping methods with the unexpected and it is important to have a show like this to bring support and solidarity in times like these, but however I was moved, I was still left uncomfortable.

American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8.  Click here for more information and for tickets.

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

Posted on by The Sleepless Critic

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

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

No matter what, the show must go on.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: SpeakEasy Stage Company and Front Porch Arts Collective’s introspective ‘A Strange Loop’ clever from the start

Posted on by The Sleepless Critic

A Strange Loop’ is quite the existential crisis in one serious brainstorm.

Usher dreams of becoming a musical theatre writer.  In hopes of brighter prospects, Usher works as an usher on Broadway for Disney’s The Lion King musical but feels stuck.  Stuck in a pattern and flooded with self loathing and self defeatist thoughts over the pressure to be brilliant and accepted, Usher needs to overcome a great deal in order to create something great.

With Maurice Emmanuel Parent’s versatile direction and David Freeman Coleman’s complex music direction with expeditious choreography by Taavon Gamble, SpeakEasy Stage Company in co-production with Front Porch Arts Collective continues Michael R. Jackson’s Pulitzer Prize and Tony award-winning dark musical comedy satire A Strange Loop though Saturday, May 25 live and in person at Calderwood Pavilion in Boston, Massachusetts.  This unique and multifaceted production has explicit language, adult themes, and runs 100 minutes with no intermission.  Click here for more information and for tickets.

Kai Clifton (center) and the company of A STRANGE LOOP. Photo by Maggie Hall Photography

To say this production is multi-layered is an understatement.  It focuses on a queer black writer writing a musical about a queer black writer writing a musical about a queer black writer.  Usher, in a vivid, poignant and moving portrayal sung beautifully by Kai Clifton, is not only dealing with writer’s block but is overwhelmed by unpredictable, wild, unhinged, uninhibited, and punishing thoughts and it doesn’t take long to realize how brutal and undeserving these thoughts are for Usher’s wellbeing.  Kai Clifton’s Usher is reserved, shy, and nonconfrontational on the outside, but suffers from inner turmoil and loneliness.  Usher’s perspective of reality is a landscape of discouragement and the desire to be someone else, but also the desire to be free to be accepted for who Usher really is.

Kai Clifton (center) and the company of A STRANGE LOOP. Photo by Maggie Hall Photography

These frenzied thoughts, composed of Grant Evan, Davron S. Monroe, Jonathan Melo, Aaron Michael Ray, De’Lon Grant, and Zion Middleton, are compartmentalized cleverly into black stage lit cubes by John Savage and lighting designer Brian J. Lillienthal which act as a compelling metaphor for one’s tendency to  compartmentalize inner thoughts and feelings.  With powerful vocals and animated velocity, these actors master the gravity of quick changes in mood, personality, and roles seamlessly and with precision.

Some of the individual thoughts pop into multiple roles in Usher’s perception of reality as well.  In the comically guilt-ridden number, We Wanna Know, the cast wears identical housedresses and represents Usher’s pushy, religious and gossipy mother in various ways.  Clifton lets loose with Inner White Girl before taking a darker turn with the evasive yet telling Didn’t Want Nothing reflecting Usher’s strained relationship with Usher’s father.

The company of A STRANGE LOOP. Photo by Maggie Hall Photography

The loops in this production are not restricted to Usher’s thoughts but exist in circular conversations with parents, critics and others that have their own ideas of what Usher should write about and what they are comfortable with and if this production is being done right, the audience is anything but comfortable.  It also explores the psychological and frustrating journey of a writer and the pressure to write what is popular or safe rather than writing from the heart.  The notably well staged and satirical numbers Tyler Perry Writes Real Life and Writing a Gospel Play are both powerful, humorous and delve into some of these themes. 

Kai Clifton (center) and the company of A STRANGE LOOP. Photo by Maggie Hall Photography

A Strange Loop runs the gamut of raw emotions including fear and painful regret in the conflicted and sympathetic number Boundaries, gripping Memory Song, and the stirring title track.  It is humorous, but is also a harsh, shocking and challenging production.  Michael R. Jackson has noted that this Pulitzer prize-winning production is fiction, but perhaps emotionally autobiographical in its musical theatre style collection of original, evocative, and thought provoking songs that drives the show to its striking conclusion.

With Maurice Emmanuel Parent’s versatile direction and David Freeman Coleman’s complex music direction with expeditious choreography by Taavon Gamble, SpeakEasy Stage Company in co-production with Front Porch Arts Collective continues Michael R. Jackson’s dark musical comedy satire A Strange Loop though Saturday, May 25 live and in person at Calderwood Pavilion in Boston, Massachusetts.  This distinctive and multifaceted production has explicit language, adult themes, and runs 100 minutes with no intermission.  Click here for more information and for tickets.