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

Posted on August 30 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: New Ohio Theatre’s ICE Factory’s ‘Here I Fall Up’ and ‘How I Disappeared’

Posted on August 22 by The Sleepless Critic

A girl is starting to wonder if she is fall apart or is she just falling up?

Gianna Milici, Sophia Drapeau, and Lauren-Quigley in ‘Here I Fall Up’ Photo credit to Natalie Powers

Featuring chiming melodies, a girl is somehow tethered to her family’s seaside home in a way that makes her question her own sanity. Surrounded by her sisters who narrate the story, Here I Fall Up is thoughtfully directed and composed by Beth Golison and directed creatively by Annabel Heacock and Maiya Pascouche and is just under an hour. It was featured at New Ohio Theatre’s ICE Factory in NYC and was streaming through August 12. Click here for more information.

The girl, portrayed sympathetically and realistically by Sophia Drapeau, ventures into dark places that keeps the audience guessing whether the girl is actually experiencing something outside this world or is it all happening inside the girl’s head? Drapeau’s suffering throughout this production makes a real case for either and watching the girl attempt to cope with anxiety and a severe degree of agoraphobia is heartfelt, earnest, and a bit distressing to witness. The bluish and haunting shadows by Chris Voegels combined with the simple, multifunctional set by Jessie Baldinger are as imaginative as it is symbolic of a girl longing to make a connection outside the girl’s fears and vulnerabilities.

Rose Tablizo and Sophia Drapeau in ‘Here I Fall Up’ Photo credit to Natalie Powers

Here I Fall Up’s inviting, folksy, and intermittently catchy acapella harmonies from sisters and narrators Samantha Medina Chachra, Lauren Rose Quigley, and Gianna Millici combined with Rose Tablizo’s mysterious presence keeps the production a bit lighter while tackling some darker issues.

Here I Fall Up is thoughtfully directed and composed by Beth Golison and directed creatively by Annabel Heacock and Maiya Pascouche and is just under an hour. It was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.

Does it matter where I put my roots down?

Identity should be not what one is, but who one is. Not the labels, but the person. That is not such an easy journey living in NYC.

Told from the perspective of six immigrant Asian individuals living in NYC, How I Disappeared is a bilingual production about grasping for acceptance in the world without assumptions or grief, but with understanding. Directed by Tianding He and produced by CHUANG Stage, it is done creatively, though not always clearly in this abstract and Avant Garde production.

How I Disappeared is just under an hour and was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.

From an individual covered in overwhelming and all encompassing remnants of NYC including a liberty hat, Broadway sign, wearing a mask and carrying a suitcase subway map to the desolate and metaphorical marine characters on the NYC subway, How I Disappeared emphasizes the intimidating, overwhelming, noisy, and isolating city atmosphere.

The glassy reflections particularly stand out in this part projection by Brian Shin-Hua Ellis and part animated puppetry by Wilden Weihn production. From a Puffer fish to a whale wandering on a subway, each distinctive marine creature delivers a combination of bittersweet and relatable humor as the narrator describes each creature’s authentic capabilities and defenses. Steeped in soothing blue aquatic lighting by Will DeJianne, it seems absurd witnessing them on the subway, and yet it becomes a snapshot of humanity as the show progresses.

The production does have lighter moments of dancing including catchy and original live music by John Tsung and Siyi Chen as well as its fair share of silliness with underlying messages of perseverance in the face of fears, doubt, and judgment. Staying true to oneself and anything is possible.

How I Disappeared is just under an hour and was featured at New Ohio Theatre’s ICE Factory and was streaming through August 12. Click here for more information.

REVIEW: Fitz and the Tantrums groovily beat the heat and a storm at Indian Ranch

Posted on August 18 by The Sleepless Critic

No one can make people forget an unforgiving and sweltering heat quite like indie pop neo soul band Fitz and the Tantrums. Though the day called for storms, nothing was going to stop their positive vibes until after these multi-platinum artists finished their set. Their performance was politics-free, but no less personal and full of encouragement with a repertoire of groovy and upbeat sounds that make even those determined not to dance in this heat, bob and sway, get up and get down.

Fitz of Fitz and the Tantrums Photo credit Adam Klein

Fitz and the Tantrums appeared at Indian Ranch in Webster, MA on July 29 and it was one stop on a national tour that continues through October 1…so far. Click here for more information on upcoming Indian Ranch performances and click here for more information on Fitz and the Tantrums latest national tour.

Indian Ranch is an outdoor concert venue and more which features a lakeside view and beach. A portion of the seats do have a cover for rain and the shows are mostly rain or shine. The VIP pre-concert experience that day started at 11:30 am and featured barbeque with a choice of hamburgers, hotdogs, or veggie burgers, baked beans, corn, salads, and an array of desserts. Fitz and the Tantrums took the stage at 1:30pm for an almost 2 hour set including an encore.

Noelle from Fitz and the Tantrums Photo credit Adam Klein

Fitz and the Tantrums took the stage for a feel good set featuring an array of hit tunes and some songs off their new album, Let Yourself Free. Despite the heat, the group remained dedicated to their unique and classy style in dark pants and converse sneakers as the band heated up with horn –infused rhythms and flashing, multi-colored lights.

Most of the songs were infectious, lighthearted, and boasted wild rhythms. The enthusiastic band made the best of the heat as they encouraged the audience to dance and sing-along. A few of the highlights included a tune that lead singer Michael Fitzgerald or ‘Fitz’ wrote for his wife, Silver Platter. It’s a breezy, flirty and snappy single off their new album as he exclaimed, ‘Gimme-gimme that love-that love-that love.’ They also revved the audience up with the inspirational number, 123456 as the audience sang along, ‘Count it out! Shout it out!’

Noelle and Fitz from Fitz and the Tantrums Photo credit Adam Klein

Featuring an amazing saxophone solo by James King and Noelle Scaggs’s rhythmic tambourine, Fitz and the Tantrums grooved to Out of my League’s reverberating synth rhythms before delving into the knock down, get up workday struggle with Living for the Weekend.

Fitz and the Tantrums at Indian Ranch Photo credit Adam Klein

Fitz and the Tantrums kept the party going with their brief, but endlessly catchy title track, Let Yourself Free, the story of a dream with AHHHH! and didn’t leave out their biggest hits such as The Walker to the crowd’s delight.

REVIEW: Company One’s ‘The Boy Who Kissed the Sky’ a heartfelt tale that rocks the cosmos

Posted on August 10 by The Sleepless Critic

Music lifts, transports, comforts, brings people together, and provides its own therapy to the happy and the hurt. Though the Boy, depicted with earnest and imaginative optimism by Errol Service Jr., is not aware of it yet, a force much bigger than him is going to lead the way to his destiny.

Errol Service Jr. in ‘The Boy Who Kissed the Sky’ Photo by Erin-Crowley

Directed inventively by Summer L Williams with funky musical direction by David Freeman Coleman, joyfully choreographed by Victoria Lynn Awkward and loosely based on legendary guitarist Jimi Hendrix’s life, Company One presents Idris Goodwin’s celestial and groovy The Boy Who Kissed the Sky live and in person at the Strand Theatre in Dorchester, Massachusetts and now streaming through Saturday, August 12. This far out production is 70 minutes with no intermission and pay what you can tickets are available. Part of what makes Company One’s The Boy Who Kissed the Sky special is its commitment to the community and social change by partnering with a number of community organizations including Project Bread, Zumix, and Boston Music Project through this production. Click here for more information and tickets.

Adriana Alvarez, Errol Service Jr. and Martinez Napoleon in ‘The Boy Who Kissed the Sky’ Photo by Erin Crowley

In many ways, musician Jimi Hendrix was deemed ahead of his time. Part biography, part musical and part fantastic trip through time, the cosmos, and through hardship, The Boy Who Kissed the Sky envisions possibly how Hendrix got there. It is noteworthy that Service’s boy is never referred to as Hendrix and can be translated into any dreamer’s potential.

This production boasts a wealth of various projections by Rasean Davonte Johnson including traffic and misty rain as well as kinetic water colored special effects and cosmic imagery. Through all of the pizzazz and psychedelic special effects lies an inspirational tale built for any dreamer attempting to overcome challenging circumstances. Set in Jimi Hendrix’s hometown of Seattle, Washington, It also delivers a strong message about the value of hard work, keeping an eye on the prize, and believing in one’s boundless potential.

The cast of ‘The Boy Who Kissed The Sky’ Photo by Erin Crowley

The Boy Who Kissed the Sky’s energetic cast is lead by Errol Service Jr. referred to only as The Boy. Much of the cast plays more than one role. Service’s Boy is amiable, sympathetic, imaginative and inquisitive as he waits for his mother, depicted warmly by Yasmeen Dunkin. Cedric Lilly is enigmatic and forthright as the boy’s veteran father, Mel and Keira “Kee” Prusmack delivers a humorous yet kindhearted performance as Mrs. Newton, the boy’s nosy neighbor.

L-R Martinez Napoleon and Errol-Service Jr. in ‘The Boy Who Kissed the Sky’ Photo by Erin Crowley

However, grooving through time and space backed by some of Hendrix’s music history and influences is Martinez Napoleon who soars as J. Sonic. With excellent vocals, mystical charisma, and an easy rapport with Service Jr, Napoleon sweeps through the production with a smooth yet caring demeanor as Martinez attempts to demonstrate that the boy, using a broom as a guitar, is more powerful than the boy ever thought possible.

Backed by Eugene H Russell IV and Divinity Roxx’s uplifting rock n roll and blues-inspired score especially for numbers A Feeling Without A Name and Way Back, The Boy Who Kissed the Sky is a musical celebration elevated by Jimi Hendrix’s iconic fashion sense and Danielle Dominique Sumi’s dramatic and galactic 60s-inspired costume design. An epic and renowned onstage band trio jams high above the production’s stage alongside a gigantic moon and Wooden Kiwi Productions constructed the rock n roll set equipped with giant wooden amplifiers and stereo speakers under Danielle DeLaFuente’s scenic vision.

Idris Goodwin’s ‘The Boy Who Kissed the Sky’ is appropriate for all ages and a wonderful production to anyone could use a little inspiration.

Directed inventively by Summer L Williams with funky musical direction by David Freeman Coleman, joyfully choreographed by Victoria Lynn Awkward, and loosely based on legendary guitarist Jimi Hendrix’s life, Company One presents Idris Goodwin’s celestial and groovy The Boy Who Kissed the Sky live and in person at the Strand Theatre in Dorchester, Massachusetts and now streaming through Saturday, August 12. This far out production is 70 minutes with no intermission and pay what you can tickets are available. Click here for more information and tickets.

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

Posted on August 8 by The Sleepless Critic

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

Nathan Johnson photo-by Nile Scott Studios

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

Brooks Reeves Photo by Nile Scott Studios

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

Evan Turissini and Brooks Reeves Photo-by Nile Scott Studios

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

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

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

Nathan Johnson and Brooks Reeves Photo by Nile Scott Studios

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

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

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

REVIEW: Dive under the sea with Reagle Music Theatre of Greater Boston’s magical ‘The Little Mermaid’

Posted on August 3 by The Sleepless Critic

Sebastian is right.

Life under the sea is better than anything we have up here especially if it is Reagle Music Theatre of Greater Boston’s lively and family-friendly production of Disney’s The Little Mermaid. Having witnessed Disney’s 1989 classic The Little Mermaid several times, one of the many reasons to see Reagle Music Theatre’s stage version is it contains additional songs and scenes while still delivering all the beloved dialogue, music, and costumes from the 1989 film. It was refreshing to see that The Little Mermaid has so much more to say.

Directed and choreographed exuberantly by Taavon Gamble with buoyant music direction by David Coleman, Reagle Music Theatre of Greater Boston presents Disney’s The Little Mermaid through Sunday, August 6 live and in person at the Robinson Theatre in Waltham, Massachusetts. This production is 130 minutes with a fifteen minute intermission. Click here for more information and for tickets.

Ariel (Kayla Shimizu) and Sebastian (Davron and ensemble perform ‘Under the Sea’ in Reagle Music Theatre’s Disney’s The Little Mermaid. Photo by Herb Philpott

Less than 35 years after the release of Disney’s 1989 classic film and not too long after the release of Disney’s live action remake The Little Mermaid this year, Reagle Music Theatre of Greater Boston has chosen a grand time to bring this land and sea classic to life onstage. Some will recognize the set pieces and settings from the 1989 film, but Reagle’s production also boasts a great deal of originality as well.

From shimmering fins to uniquely- shaped, brilliantly colored costumes adorned with carefully structured headdresses, Emerald City Theatrical delivers Caribbean charm in all of its animated splendor. Tony Ferrieri’s layered aquatic scenic design combined with Franklin Meissner Jr’s impressive lighting enhances the complexion and depth of the production’s kaleidoscopic waves, transforming from welcoming to at times threatening along a backdrop steeped in puffy clouds.

King Triton’s Kingdom Disney’s The Little Mermaid presented by Reagle Music Theatre thru August 6 in Waltham Photo by Herb Philpott.

Based on the Hans Christian Anderson tale and the Disney film, The Little Mermaid is about a curious mermaid princess named Ariel, depicted with vibrant charm and soaring vocals by Kayla Shimizu, who falls in love with not only a human prince, but the world on land. She is offered a way to escape the sea, but will she take it?

Ariel (Kayla Shimizu) singing Part of Your World in Reagle Music Theatre’s ‘The Little Mermaid’ through August 6. Photo by Herb Philpott

The Little Mermaid boasts a completely lovable cast led by Ariel, portrayed with enthusiastic, wide eyed wonder by Kayla Shimizu. Shimizu’s compelling performance and powerful vocals are remarkably reminiscent of Jodi Benson, the actress who voiced Ariel in the 1989 film. Shimizu shines with splendid renditions of Part of Your World, The World Above and If Only. Shimizu shares captivating moments with Ray Robinson as amiable and refined Prince Eric, sweet camaraderie with endearing Kenny Lee as shy, friendly and adorable Flounder and brave, streetwise, and frank Jack Mullen as seagull Scuttle. Having depicted Will Parker in Reagle’s previous musical, Oklahoma, Mullen again demonstrates his sharp comic wit and jubilant dance moves in a hilarious rendition of Positoovity.

Positoovity from Disney’s The Little Mermaid presented by Reagle Music Theatre in Waltham. Photo Herb Philpott.

A vision in deep, sparkling red, Davron S. Munroe is exemplary as strict and critical crab Sebastian who assists King Triton, portrayed with wise regality by Cristhian Mancinas-Garcia. In a display of bursting color and enchanting merriment, Munroe’s calypso-infused rendition of Under the Sea is stupendous and Kiss the Girl not only has tender charm, but delivers a humorous and delightful depiction of twilight, especially as frogs look on.

Sibling rivalry has never been more fun as showcased through Ariel’s mersisters consisting of Kindred Moore, Aimee Coleman, Joy Clark, Ellie Lauter, Aubrie-Mai Rubel and Olivia Foght. They are gorgeous beauty queens who gossip, laugh and try to upstage each other. They perform a catchy, 50s style rendition of She’s in Love with Flounder where even the fishy puns are cute.

Kenny Lee as Flounder and the Mersisters perform ‘She’s in Love’ from Disney’s The Little Mermaid presented by Reagle Music Theatre in Waltham. Photo Herb Philpott.

Rich Allegretto as Grimsby is also impressive as Prince Eric’s traditional yet sympathetic advisor and Teddy Edgar as deranged and passionate Chef Louis is hilarious even in a brief appearance for a marvelous rendition of Les Poissons. Edgar’s menacing eyes and passion for food make every moment count!

Katherine Pecevich as Ursula and Eels in Reagle Music Theatre’s Disney’s The Little Mermaid thru August 6. Photo by Herb Philpott.

A trio of dastardly proportions takes shape in Katherine Pecevich as Ursula and Ursula’s two lurking and smirking neon electric eel henchmen portrayed by Miki Grubic as Flotsam and Alan Cid as Jetsam. With wild hair and a black and purple glittering gown, Pecevich’s slippery manipulations and brash, yet shrewd machinations match whatever Cid and Grubic have in their co-conspiring minds. Even though Ursula is the main attraction, Cid and Grubic’s functioning and eye catching costumes do a bit of their own scene stealing. However, Pecevich’s charisma shines in a devious rendition of Poor Unfortunate Souls, her husky vocals only second to her maniacal laughter.

REVIEW: ‘Zebra 2.0’ at New Ohio’s ICE Factory boasts an unconventional meet cute with fascinating zip

Posted on August 1 by The Sleepless Critic

One is nicknamed Zebra and another knows everything there is to know about Zebras….except how Zebras feel.

Zebra 2.0 is technological ice breaker and a breakthrough unlike any other. An interesting meet cute for the modern age, AnomalousCo, Wistaria Project, and Romanian Cultural Institute’s sci-fi rom com Zebra 2.0 was presented at New Ohio Theatre’s ICE Factory in NYC and is now streaming through August 12. The show runs for 1 hour and 30 minutes. Click here for more information and how to stream the film.

Alina Mihailevschi and Tim Craig in ‘Zebra 2.0’ Photographer: Jarrett Robertson

A computer and a woman meet in a lab. She calls it Al and Al nicknames her Zebra 2.0. As Al coordinates a line of numbers, inquisitive Zina, energetically depicted by Alina Mihailevschi, realizes that Al, portrayed with intellectual charm by Tim Craig, have much more in common than either of them realized. Zebras are only the beginning.

Zebra 2.0 has an enchanting way of delving into various topics such as the environment, biology, science, books, music, immigration, standardized tests, employment, and the nature of being human in a clever and fascinating manner. Though Zina only chance meets Al as she cleans up a laboratory, her friendly and candid conversations with Al spark some compelling results. Written by Saviana Stanescu and directed by Jeremy Goren, Zebra 2.0 combines method and sentiment into a sweet, intense, and astute production with resounding messages about humanity. Tim Craig is impressive, gradually molding Al into a charismatic and sympathetic character and Mihailevschi epitomizes lonely, zealous, friendly, rebellious, and imaginative Zina who longs for knowledge and dreams of a better life.

Tim Craig and Alina Mihailevschi in ‘Zebra 2.0’ Photographer: Jarrett Robertson

John Jannone, Michi Zaya, and Amy Liou’s luminous projection and video, Duncan Davies’s incredible multicolor lighting and Ras Badejo’s epic music and sound combine to make Al into a dazzling, fervent, and a powerful entity that blurs fantasy and reality inside a pristine, windowless, and futuristic space by Xinan Helen Ran. These special effects display some of the most exciting scenes in the production only second to Craig and Mihailevschi’s humorous and engaging chemistry that just might deliver greater meaning than anything Al can calculate.

Written ambitiously by Saviana Stanescu with elevated direction by Jeremy Goren, AnomalousCo, Wisteria Project, and Romanian Cultural Institute’s sci-fi rom com Zebra 2.0 was presented at ICE Factory in NYC and is now streaming through August 12. The show runs for 1 hour and 30 minutes. Click here for more information and how to stream the film.

REVIEW: Sisterhood is the new black in Hub Theatre Company of Boston’s vivacious ‘Love, Loss, and What I Wore’

Posted on August 1 by The Sleepless Critic

Call this cast a girl squad and a sisterhood.

With potent direction by Paula Plum and based on the bestselling memoir by Ilene Beckerman, Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5. This show is 90 minutes with no intermission and pay-what-you-can tickets are available. It occasionally contains adult and unfiltered language. Purchase a drink during this show and Club Café also offers a full menu. Click here for more information and for tickets.

Lauren Elisa, June Kfoury, Barbara Douglass, Evelyn Holley, and Nettie Chickering in Hub Theatre’s ‘Love, Loss, and ‘What I Wore’ Photo credit to Tim Gurczak

The name Nora Ephron must ring a bell. She was a famous award-winning rom-com journalist, writer, and filmmaker best known for 1983’s Silkwood, 1989’s When Harry Met Sally as well as 90s rom com classics Sleepless and Seattle and You’ve Got Mail before co-writing the screenplay for Julie and Julia in 2009. Ephron’s signature style tackled the seriousness of life with a lighthearted demeanor and always found some relatable humor along the way. With her sister Delia, Nora lends that empowering humor and charm to Love, Loss, and What I Wore.

June Kfoury, Evelyn Holley, Nettie Chickering, Lauren Elias, and Barbara Douglass in ‘Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

One of the greatest strengths of Love, Loss and What I Wore is the ensemble’s beautiful camaraderie. Love Loss and What I Wore has a gift for eloquently associating fashion with life’s bittersweet challenges. Portraying several ages while sharing that walk down memory lane is Nettie Chickering, Barbara Douglass, Lauren Elias, Evelyn Holley, and June Kfoury. Dressed in chic black by Kat Lawrence, they allow their vibrant experiences to take center stage. From fashion faux pas to that eternally favorite garment, five women lay bare their fondest memories and insecurities. It is a love letter to growing up and growing older in all of its wonder and complications.

Nettie Chickering in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

To an array of lighthearted club hits between scenes, this dynamic group share silly, sad, courageous and important stories with collaborative flair and wistfulness. They dance, grieve, conspire, tease, support and relate to each other all while discussing everything from relationships to family to roommates to the trials and tribulations of being a woman in a fun loving and deeply personal manner. A few lighter moments include witnessing Lauren Elias and her hilarious and empathetic comments about carrying a purse, Douglass’s wise and humorous motherly advice, and the sheer joy and supportive manner in which these women appreciate each other’s company. However, what stirs the production the most is contained in this group’s most significant challenges. The stories they share are raw, honest, at times rueful, and may seem familiar as well.

June Kfoury in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

With Talia Elise’s dazzling lighting powering a bright and cheerful set which includes glowing string lights, a luminous neon hanger, shimmering disco ball, multicolor boas, and an illustrated clothing rack by Justin Lahue and Maggie Shivers plus a wonderful dose of nostalgia, Love Loss and What I Wore is a captivating experience into life’s surprises and how to discover what is truly important.

Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5. This show is 90 minutes with no intermission and pay-what-you-can tickets are available. It occasionally contains adult and unfiltered language. Click here for more information and for tickets.

REVIEW: ‘Deadclass Ohio’ at New Ohio Theatre’s Ice Factory captures the past, loneliness, grief and disconnection with an unlikely witness

Posted on July 29 by The Sleepless Critic

Imagine seeing a relative’s picture for the first time. Ever wonder what was happening when that moment was captured? What is the significance behind it and what was going on through their mind? Photos from the past bring up a great deal of curiosity and Deadclass Ohio imagines some of these possibilities as a woman attempts to pay tribute to long lost relatives who were Holocaust survivors in a Jewish cemetery.

Based on Tadeusz Kantor’s documentary Umarla Klaza and directed with experimental complexity by Mitchell Polonsky and Chloe Claudel, The Goat Exchange’s Deadclass Ohio offers various perspectives on a photo and situation with a mix of humor and poignancy as it tackles loneliness, grief, and disconnection while capturing a harrowing time in history. It also explores the nature of the past.

New Ohio Theatre’s ICE Factory continues streaming The Goat Exchange’s play Deadclass Ohio through August 12. The production is approximately one hour. Click here for more information and how to view this play.

A lone bench, an escalating pile of laundry, a dining room table, a scrambled TV set and a floral arrangement is the foundation of two unique and related scenes on a dark and minimal stage. Two people enter a cemetery and commiserate about a photo of a woman’s grandmother as they contemplate what is behind the photograph and what happened when the photo was taken. Featuring Paul Lazar, Marcus Amaglo, Chloe Claudel, and Juliana Sass with Jim Fletcher, Deadclass Ohio holds many revelations which should not be unveiled here except it invites a sense of déjà vu and reaching into history.

Marcus Amaglo and Chloe Claudel Photo credit Hana Mendel

Each skilled member of this intimate cast faces a challenging task of bringing emotional depth to each scene as well as presenting a new perspective to each scenario. This is all while the plot progresses in unexpected ways. Little nuances of each actor’s performance shift the perspective and the production becomes more personal while it simultaneously delves into the unusual. Two memorable scenes metaphorically explore the nature of pigeons while the other echoes a haunting rendition of Too Young by Nat King Cole.

Mitchell Polonsky’s vivid sound and media design and Abraham E.S. Rebello Trujillo’s quirky costume design lends to the production’s mysterious atmosphere. Enhanced by a poignant violin score performed by Sasha Yakub, Deadclass Ohio contains some absurd and meaningful humor through some clever blocking, but it also keeps the viewer guessing at different points during the production. The show does not always make its intentions clear, but it does deliver the stirring emotional weight of loneliness, loss, disconnection, and a longing to be understood which becomes more prevalent as the production continues.

New Ohio Theatre’s ICE Factory continues streaming The Goat Exchange’s Deadclass Ohio through August 12. The production is approximately one hour. Click here for more information and how to view this play.

REVIEW: Gloucester Stage examines love’s good, bad, and funny side in Noel Coward’s ‘Private Lives’

Posted on June 21 by The Sleepless Critic

Two pairs of British honeymooners embark on a luxurious beachside vacation without a care in the world…until their exes come into view. Then panic sets in.

Directed with vintage finesse by Diego Arciniegas, Gloucester Stage presents the amusing and at times hilarious romantic comedy, Private Lives live and in person at Gloucester Stage in Massachusetts through June 25. The show is presented in three acts and is approximately two hours with two intermissions. Click here for more information and for tickets.

Gloucester Stage’s ‘Private Lives’ Gunnar Manchester as Elyot and Katie Croyle as Amanda Photo Credit to Jason Grow

Seeing an ex can be excruciating, embarrassing, and depending on the circumstances in which it ended, a resentful experience. Every individual is different, but unless one parts way in a resplendent and amicable manner resembling a typical Reese Witherspoon romantic comedy where everyone is cheerfully and most times unrealistically understanding, seeing an ex can take the wind out the sails and become a harrowing and at best, brief and awkward experience. During what should be the happiest time in these honeymooners’ lives, encountering a complicated ex can spell disaster.

Gloucester Stage’s ‘Private Lives’ Serenity S’rae as Sibyl Photo Credit to Jason Grow

Private Lives may be a bit outdated in some of its thinking, but the nature of love remains the same. It boasts Noel Coward’s snappy dialogue that resembles 1940 classic comedy His Girl Friday about ten years before that film existed. Set in the 1930s, Private Lives features gorgeous classic love songs designed by Eric Hamel and possesses the charm of times gone by including marvelous vintage couture and outdoor wear by Nia Safarr Banks and landline telephones back when no one could identify who was on the other end of the line until it was picked up. Refreshingly, not a cell phone in sight. Another bright facet of Private Lives is Izmir Ickbal’s elegant scenic design that matches the show’s pristine sophistication from matching French-style furniture and grand piano to a pristine marble patio, balustrades, and lush greenery.

Gloucester Stage’s ‘Private Lives’ Stephen Shore as Victor and Katie Croyle as Amanda Photo Credit to Jason Grow

Essentially though, it explores the good, the bad, and the ugly side of love. The patterns of falling in and out of love while learning from what went wrong. When it comes to love on a scale of when it’s good, it’s perfect, but when it becomes ugly, watch out.

Gloucester Stage’s ‘Private Lives’ Jennifer Bubriski as Louise Photo Credit to Jason Grow

Each character has an eloquent speaking style and sophistication in manner, tone, and behavior evident even in chatty, young, and impressionable Sibyl depicted with vigor and excitable humor by Serenity S’rae. S’rae as Sibyl is not to be underestimated and her scenes with Gunnar Manchester as Elyot are full of idealistic expectations. Manchester certainly has the charisma for it as brooding, mysterious and a gambler in every sense of the word Elyot. While his motives are often in question, Elyot is a fascinating sort that never walks blindly into a situation. Katie Croyle embodies headstrong Amanda with wit and cynicism, yet still idealistic about love and hoping she has outsmarted her past. Stephen Shore, who shares a passing resemblance to Matt Damon, depicts chatty, protective, yet heart on his sleeve Victor while Jennifer Bubriski portrays Louise, a comedic bystander in this situation with perfectly timed, deadpan one-liners. The cast have compelling chemistry as well as quick witted comedic timing. Each character also demonstrates various outlooks on love, but will it serve them well?

Gloucester Stage’s ‘Private Lives’ Stephen Shore as Victor Serenity S’rae as Sibyl and Gunnar Manchester as Elyot Photo credit to Jason Grow

Energetic, tense, and with plenty of engaging physical and absurd humor, Private Lives is a smart, lighthearted, and hopeful romantic comedy about searching for love that is perfect in its imperfection.

Gloucester Stage presents the amusing and at times hilarious romantic comedy, Private Lives live and in person at Gloucester Stage in Massachusetts through June 25. The show is presented in three acts and is approximately two hours with two intermissions. Click here for more information and for tickets.