“If it’s not the pandemic,” Chulpan Khamatova as Her sadly reflects, “It’s war.”
Set in contemporary war-torn Russia, two very different battles are occurring in and outside this small apartment.
A bubbling aquarium with a single roaming fish sits front and center and plays an important role in this extraordinary piece of brilliant comedy set in a world of chaos. From the first few moments with Andrey Burkovskiy as Him who makes even single handedly entering an apartment entertaining, I knew I was about to see something extraordinarily special.
Andrey Burkovskiy and Chulpan Khamatova (and a fish!) in Arlekin’s ‘Delirium’ Photo by Olga Maturana
Masterfully adapted from Romanian-French playwright Eugène Ionesco‘s Frenzy for Two and directed by Igor Golak, the Elliot Norton award-winning Arlekin Players continue their world premiere of absurdist play, Delirium live and in person for a limited time at the Calderwood Pavilion in Boston, Massachusetts through Thursday, July 2. This semi-interactive one act production runs approximately 80 minutes with no intermission. The action is not limited to the stage. Click here for more information and for tickets.
Burkovskiy demonstrated his vast talents for visual comedy and slapstick humor in small doses in Arlekin’s previous award-winning The Dybbuk, but here Burkovskiy really gets to show off his deadpan comedic skills alongside critically-acclaimed Russian actress Chulpan Khamatova as Her.
Andrey Burkovskiy and Chulpan Khamatova in Arlekin’s ‘Delirium Photo by Olga Maturana
From a polka dot dance floor to streaming spotlights to flashes of sudden darkness, lighting designer Jeff Adelberg and inventive sound designer Denis Zabiyaka work together seamlessly navigating sound effects and the spontaneous underlying intensity of this production. Jan Pappelbaum’s dual level industrial set with metallic columns and scaffolding hold a variety of meticulously placed multi-purpose props including mattresses, a parasol and a scratched mirror to help illustrate their longtime relationship which is not without its ebbs and flows inside this small apartment. In purple tights, sparkling black heels, a leopard patterned fur coat and a sequin dress, Khamatova rocks her distinct ensemble thanks to chic costumer Sasha Ageeva. Burkovskiy complements Khamatova beautifully in a black tuxedo adorned with large purple flower in the lapel.
Delivering energetic performances with sporadic doses of self aware humor and razor sharp comedic timing, Burkovskiy and Khamatova are a suburb comedic match. Khamatova is capricious, thoughtful, flirtatious and fiery while Burkovskiy is a romantic yet practical gentleman. They bicker, belittle, and lament yet their petty arguments are wildly eccentric and creative showcasing an absurdly passionate and wild bond. Never on the same page until it counts. They are also witty, playful, chaotic, imaginative, endearing funny and feed off each other so well that it is easy to forget they are in the throes of war just outside their makeshift window. I could watch them all day.
Andrey Burkovskiy and Chulpan Khamatova in Arlekin’s ‘Delirium’ Photo by Olga Maturana
“The world is upside down,” Khamatova muses and much like this quick witted production, things change on a dime.
Delirium is as unpredictable and funny as it is stirring and startling. I was incredibly moved by the boundless creativity, the complicated emotions, and the timely significance of this entire production. It’s definitely worth it.
Take time to see the world premiere of Arlekin’s absurdist play, Delirium live and in person for a limited time at the Calderwood Pavilion in Boston, Massachusetts through Thursday, July 2. Click here for more information and for tickets.
In Darren Aronofsky’s 2010 psychological thriller horror filmBlack Swan, Nina’s ballet instructor urges Nina to show him a side to her that she has never known. It’s the side that lets go.
American Repertory Theater’s musical Black Swan may be a bit different than the movie in some respects, but the message remains the same.
With Sonya Tayeh’s taut direction and dynamite choreography and Or Matias’s foreboding music direction, American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12. The action is not limited to the stage and this mature production within a production runs approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.
Melanie Moore and members of the company of A.R.T.’s world-premiere production of Black Swan. Credit: Hawver and Hall.
The arts can be brutal, competitive and fickle. Especially with the art of ballet, it requires a unique kind of discipline, sacrifice and determination under the constant pressure of perfection.
Black Swan started out as a 2010 Academy award-winning psychological thriller horror film featuring a stellar cast that included Natalie Portman as Nina, Mila Kunis as Lily, Winona Ryder as Beth and the incomparable Barbara Hershey as Nina’s mother Barbara. It’s a mesmerizing yet unsettling film loaded with literal and figurative twists and turns through the eyes of sweet dancer Nina whose reality sporadically becomes skewed as the film progresses.
In the process of making the film, Natalie Portman and Mila Kunis endured rigorous training and followed a strict diet. Kunis had never danced in her life. Both trained for four months on an intense schedule seven days a week and five hours a day which also included Portman swimming a mile every day. Portman lost 20 pounds from her already tiny frame and Kunis tore a ligament, dislocated her shoulder and has visible scarring from training. Kunis also vowed she will never dance again and it was the hardest thing she had ever done.
Based on Jen Silverman‘s book of this musical, a story by Andres Heinz and the Academy Award-winning psychological thriller horror film, this world premiere musical boasts some lighter and more humorous moments while its intensity is laid out from the first scene featuring ambitious characters consistently competing with each other. They are driven by the arduous drive to survive, succeed, and gain power. It is no wonder that the lyrics and dialogue in this new musical are rife with powerfully visceral action words such as tear, scratch, scrape, twist, elongate, crack and attack as the dancers rehearse on a grueling three week deadline for a new production. It makes the audience feel this painstaking process.
Amber Iman and members of the company of A.R.T.’s world-premiere production of Black Swan. Credit: Hawver and Hall.
For those who have not seen the brilliant yet disquieting film, the film and musical are not a musical for the faint of heart. They explore the dark crevices of mental illness and obsession while emphasizing the struggle and ferocious determination it takes to become the best.
However, the Black Swan musical does not just speak to the art of ballet, but the savage journey one takes to become the best at their craft which often involves relentless focus, determination and sacrifice.
Melanie Moore and members of the company of A.R.T.’s world-premiere production of Black Swan. Credit: Hawver and Hall.
AMP featuring Marissa Todd’s vast and layered Scenography accompanied by Chris Fisher and Skylar Fox’s masterful illusion design exacts a ballet studio with moving Barres, a regal gala featuring a tremendous and glimmering chandelier, a wild psychedelic club scene with a dizzying disco ball, and a transformative and ominous forest. I was fascinated to see how various illusions from the film would translate into a stage production and the results are riveting combined with Lillis Meeh’s stunning blood imagery and Ida Saki’s powerful and athletic performance.
Isabella Byrd’s crackling and flashing lighting devastates and intrigues in this moody tale alongside Kai Harada’s haunting and foreboding fiddle laden rhythms. Shiona Turini’s colorful and dynamic wardrobe varies from silk and sequined gowns to creatively daring statement ensembles.
Melanie Moore in A.R.T.’s world-premiere production of Black Swan. Credit: Hawver and Hall.
In a pastel leotard, Melanie Moore climbs into the skin of anxious and gentle Nina, a New York City ballet dancer aspiring to become the company’s principal dancer. A perfectionist wrapped in a cluster of timid uncertainty, Nina is childlike, delicate, naïve, impressionable and sheltered under the guidance of her protective mother Barbara, in an increasingly searing performance by understudy Mehry Eslaminia (usually depicted by Kate Jennings Grant). Barbara is fixated on Nina becoming the star ballerina she was prevented from becoming and Nina longs to please her mother. Moore is excellent as Nina, a beautiful dancer and her sympathetic naiveté draws you into her world of uncertainty and longing.
When a bold new choreographer LeRoy, portrayed with easy charm, charisma and sharp comic timing by Amber Iman, arrives to stage a new version of Swan Lake, Nina thinks this might be her chance to shine. When Jada Simone Clark breezes in as mysterious and effervescent free spirit dancer Lily, she catches Nina and LeRoy’s attention. LeRoy is driven by something to prove and Iman and Thom Sesma as company director Jacques share a tense and interesting power dynamic underneath their lighter and more humorous moments.
Tory Trowbridge delivers a chilling performance as worn principal dancer on edge, Beth McIntyre. Consistently aware of her position, McIntyre is sympathetic in her desperation to hold onto her place in the company and her distressed exchanges with Moore will leave you on tenterhooks.
Ava Noble, Martell Ruffin, Adrian Lee, Anthony Santos, and Caleb Marshall lift Melanie Moore in A.R.T.’s world-premiere production of Black Swan. Credit: Hawver and Hall.
While the film draws a clearer picture of Nina’s journey, Black Swan musical is intense, haunting, visceral and intriguing deciphering Nina’s precarious state of mind and how it is executed onstage. The conclusion remains stunning. I agree with the moderate differences in the musical than the film for the most part. However, much of the film hinges on the traditional ballet production than a modern new vision which seems like it doesn’t quite fit. In the film, Aronofsky takes the dark nature of this renowned classic and turns it on its ear while enhancing this dancer’s journey running intermittent parallels with Tchaikovsky’s Swan Lake. Aronofky also produces this musical so I am surprised by this change. Though this musical is no romance, it is no less a transformational piece rooted in the desire to become who you believe you are meant to become at whatever the cost.
American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12. Click here for more information and for tickets.
Some friendships are instant and others form through an inexplicable connection at just the right time.
The latter is the case for Laura Latreille as free spirited Alice who meets Lee Mikeska Gardner as intellectual Diana through a babysitting co-op with their two daughters. The daughters become fast friends and these unfulfilled mothers, fascinated with each other, become friends unexpectedly even in the face of their apparent differences.
Paula Plum’s engaging direction explores friendship, societal expectations and much more in David Auburn’s dramedy, Summer, 1976 which ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30. This candid two hander production contains adult content and runs 90 minutes with no intermission. Click here for more information about Central Square Theatre and more on their upcoming production, Yellow Bird Chase.
Laura Latreille and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios
Set in Columbus, Ohio during the Summer of 1976, two households sit side by side. One is a cheerful yellow while the other is composed of sensible brick. These distinctive houses by set designer Kristin Loeffler reflect two seemingly contrasting mothers’ personalities destined to become friends.
Justin Lahue’s colorful projections with Deb Sullivan’s illuminative lighting offers vibrancy to Kristin Loeffler’s summer set design through fireworks, sunsets, fireflies, clear blue skies and stoner psychedelic imagery.
Summer, 1976 is a reflective piece driven by a unique narrative. Instead of two women recalling their own memories individually onstage, they share the stage and react to each other’s animated memories conversationally while correcting and playfully ribbing each other along the way. The narration is a novel approach and it certainly draws on the compelling chemistry between Latreille’s Alice and Gardner’s Diana. Their joys, heartbreaks, mischievousness and secrets unfold as the other is engulfed in the other’s story.
Latreille portrays winsome, bold and seemingly carefree married housewife Alice exuberantly who tries not to think too far ahead while Gardner depicts immaculate, studious and practical single mother Diana who is always thinking ahead and encourages Alice to carefully think about her own future. Occasionally engaging with the audience, Gardner and Latreille challenge each other while exposing one another’s hypocrisies and mutual stubbornness with a clever twist which changes the way you witness this tale. It’s an important twist and revelation crucial to keeping this style of storytelling fresh. From migraines to life changing decisions, these two sincerely root each other on and some of the most fulfilling friendships thrive with tough love under the best intentions.
Laura Latreille in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios
Taking place during a pivotal and role shifting era for women from the 50s to the 80s, Summer, 1976 insightfully explores these two mothers and their life choices who long to see and understand each other clearly. It is the kind of familiar camaraderie prevalent in so many important relationships. I admire the way the production takes a relatable look at friendship and how it evolves throughout the years through a combination of comic and somber moments. Exploring the joyous and bittersweet, Summer, 1976 delivers a summer not soon forgotten.
Laura Latreille, and Lee Mikeska Gardner in Central Square Theater’s ‘Summer, 1976’ Photo by Nile Scott Studios
David Auburn’s dramedy, Summer, 1976 ran at Central Square Theatre in Cambridge, Massachusetts through Sunday, November 30. This candid two hander production contains adult content and runs 90 minutes with no intermission. Click here for further details and more on their upcoming production, Yellow Bird Chase.
Who knew a unique tale about a puzzle loving couple and a foul mouthed exotic parrot would not only be mischievously funny but also tug at the heartstrings?
Get to know Featherbaby.
With lively direction by Weylin Symes, Greater Boston Stage Company continues the co-world premiere of David Templeton’s comedy, Featherbaby live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, September 28. This amusing production contains some explicit language and runs approximately one hour and 40 minutes with one intermission. Click here for more information and for tickets.
Liv Dumaine, Paul Melendy and Gabriel Graetz in Greater Boston Stage Company’s ‘Featherbaby’ Photo by Nile Scott Studios
It was easy for me to see the appeal of Featherbaby, especially since my first pet was a parakeet and we shared an unbreakable bond. While my parakeet lived for 10 years, a yellow naped Amazon parrot like Featherbaby lives 20 to 30 years in the wild and up to 80 years in Angie’s cozy apartment living off what Melendy’s Featherbaby refers to as treats or “num-nums.” It also shows a parrot can enjoy a rich and extended life with love and many adventures that may exceed the parrot’s owner given the parrot’s long life expectancy.
Liv Dumaine, Paul Melendy and Gabriel Graetz in Greater Boston Stage Company’s ‘Featherbaby’ Photo by Nile Scott Studios
Set designer Katy Monthei cleverly depicts Featherbaby’s two kingdoms dividing the stage between Angie’s furnished apartment including a colorful carpet and the greenery of the Amazon Rainforest with Featherbaby’s perch center stage as a hot pink wicker throne. Puzzle pieces and images of pop culture references are subtly scattered on this richly detailed set’s surface illuminated by Matt Cost’s cheerful and multicolored neon lit imagery. Mackenzie Adamick’s pop and rock-inspired sound design lends to some of this comedy’s most hilarious moments.
Paul Melendy in Greater Boston Stage Company’s ‘Featherbaby’ by Nile Scott Studios
I did not know much about the story going into this comedy and found myself enjoying its significant twists and turns as they unfolded and I’m sure you will too. Liv Dumaine offers a certain mysterious air as Featherbaby’s puzzle-loving intellectual and somewhat flighty pet parent, Angie. Coy and curious, Angie shares some sweetly scholarly chemistry with Gabriel Graetz as level headed and inquisitive yet sensitive Mason and is a doting pet parent to Paul Melendy as vain and attention-craving Featherbaby. However, Featherbaby and Mason have a more adversarial relationship and it is quite the sight to see.
Paul Melendy in Greater Boston Stage Company’s ‘Featherbaby’ Photo by Nile Scott Studios
Symes seems to leave plenty of room for improvisation as Paul Melendy as Featherbaby impressively spreads his wings. Plumes “burst” in Melendy’s textured and shiny suit coat enhanced by a vibrant yellow silk shirt and tie and an orange feather creatively designed by Deirdre Gerrard. Melendy has a gift for facial features and exacting this bird’s mannerisms is believable and wonderfully comical. In a role that could be anticipated as over the top or grating, Melendy is intense and vocal, but also offers a nuanced performance which includes precise mannerisms of this complicated and intense parrot through exacting darting eyes, head bobbing, weaving, pacing, swaying, veiled aggression and in the gentle lean for a head rub. Seemingly part stand up, improvisation and storyteller, narrator Melendy proves engaging, charming, charismatic and endearing as Featherbaby while occasionally being more than a bit naughty sharing Featherbaby’s history, insecurities and an unexpected new journey.
Gabriel Graetz, Paul Melendy and Liv Dumaine in Greater Boston Stage Company’s ‘Featherbaby’ Photo by Nile Scott Studios
As much as this quirky comedy is funny and lighthearted, it also boasts its share of stirring moments among this trio who all share appealing chemistry. You’ll laugh and at times be unexpectedly moved. In a life divided between the feathered and the unfeathered in Featherbaby’s terms, Featherbaby delivers a few profound life lessons along the way which is quite a feat coming from a bird.
Greater Boston Stage Company continues the co-world premiere of David Templeton’s comedy, Featherbaby live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, September 28. Click here for more information and for tickets.
Sherlock has always had its passing comical moments.
Though considered a mystery-crime drama, Sherlock Holmes has delved into quirky territory featuring an eccentric lead in Sherlock Homes and his various idiosyncrasies. Holmes is a deductive and egocentric genius who considers emotion irrelevant and crosses paths with Dr. Watson who is reasonable, but also carries emotional weight in various situations. They are both brilliant in their own way and together, a force to be reckoned with.
Directed by Rebecca Bradshaw, Gloucester Stage Company continues Kate Hamill’s comedic murder mystery spoof Ms. Holmes and Ms. Watson – Apt 2b live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, September 27. This wild production features adult humor and is a lengthy two hours and 15 minutes with a 15 minute intermission. Click here for more information and for tickets.
Based on numerous stories and four novels by Sir Author Conan Doyle, the legend of Sherlock Holmes has been adapted many times which includes satire and parodies, but this classic tale tends to be at its best through its thrilling, haunting and suspenseful moments as the mystery unfolds. That is when I think Ms. Holmes and Ms. Watson – Apt 2B is also at its best.
Set in London in the spring of 2021, Stephen Shore performs multiple roles including a chilling Narrator. As Shore’s face illuminates in an eerie glow while Shore’s charismatic and elegant vocals start to reveal the tale, I was excited for what was in store. Shore is a talented and charismatic presence standing out in this production.
However, even with its scattered suspenseful moments, this production is mostly a quirky pop cultured peppered comedy where freelance detective Sherlock meets Dr. Watson in the contemporary world to solve a mystery.
Kristin Loeffler’s sliding set boasts that classic Sherlock fireplace with twin bookcases, skeleton and wooden doors illuminated by Deb Sullivan’s evocative and ghastly red lighting as well as Julian Crocamo’s ticking and classical sound design.
I appreciated the dynamic between Breezy Leigh as excitable and frank New Yorker Ms. Watson who seems firmly planted in the contemporary world while aside from new age meditation and vaping, Eryn O’Sullivan’s Sherlock seems in every other way from the past rebuffing technology and relying solely on the mind and the written word for everything. O’Sullivan brings an over the top cryptically calm detachment, frequent disdain and pretension while Dr. Watson is so excitable and squeamish, it became difficult to believe that Ms. Watson was ever a level headed doctor.
The production delivers major characters from the classic Sherlock novels featuring some enviable costume selections by Chelsea Kerl, especially displayed in Grace Experience’s red velvet suit and fabulous bejeweled shoes. Portraying multiple roles, Grace Experience zings from a peculiar cockney-accented housekeeper to a bold and clever seductress while having a great time in each swift transformation.
However, I still longed for more thrills and less clutter. Ms. Holmes and Ms. Watson Apt. 2b feature a murder mystery, but comedy is king in this production and among so many comedic distractions, it became difficult to get invested in the mystery. While it has some self aware humor and creative silliness in a certain train scene, it seems to meander too often without striking a real balance between humor and suspense. As a fan of Kate Hamill’s great work most recently in The Odyssey and Austen’s Emma, I was just longing for something more.
Gloucester Stage Company continues Kate Hamill’s comedic murder mystery Ms. Holmes and Ms. Watson – Apt 2b live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, September 27. Click here for more information and for tickets.
Some moments will bring joy to your heart and others will launch your heart in your throat. Prepare to be amazed by the 7 Fingers.
The Montreal-based 7 Fingers contemporary circus troupe was founded in 2002, but this is the first time I witnessed their distinctive artistry as they trace a cohesive connection about travel to life and time within the perpetual motion of a train. We are all passengers on this transformative journey as tales, rhythms, and creativity unites onstage.
Members of the Passengers company in performance. Credit: Grace Gershenfeld
Eloquently written, directed and choreographed by Shana Carroll, American Repertory Theater (A.R.T.) continues The 7 Fingers: Passengers live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Friday, September 26. This thrilling production runs 90 minutes with no intermission. Click here for more information and for tickets.
Amanda Orozco, of the Passengers company, in performance. Credit: Grace Gershenfeld.
Whether it’s to escape, to return home, to make a new start or to navigate back to a familiar place, everyone travels with hope and expectation for what the future holds. However, this production is about the motivation and journey and not necessarily the destination. Through leaps, bounds, acrobatics, and always with creative and audacious flair, the 7 Fingers depict a group of agile and graceful travelers that maneuver to compelling original music from piano-infused lullabies to soulful beats to guitar-infused tango and echoing fiddle folk rhythms memorably composed by Colin Gagné with lyrics by Shana Carroll. Far from a silent performance, Passengers unveils this insightful journey in poetry, song and the spoken word through storytelling while sharing reflections, dreams, and aspirations as Johnny Ranger’s dynamic projection, Colin Gagné with Jérôme Guilleaume’s absorbing sound design and Éric Champoux’s vivid lighting are as animated and lively as the performers onstage.
Members of the Passengers company in performance. Credit: Grace Gershenfeld.
Suitcases, textured chairs, gliding luggage carts and a split flap departure board are just a portion of Ana Cappelluto’s rolling scenic design enhanced by Johnny Ranger’s surreal projections ranging from lush watercolor illustrations to layered cinematic landscapes that enhance the production’s consistent motion while allowing the dazzling feats to take center stage.
Members of the Passengers company in performance. Credit: Grace Gershenfeld.
Composed of Victor Crépin, Eduardo De Azevedo Grillo, Isabella Diaz, Marie-Christine Fournier, Téo Le Baut, Amanda Orozeco, Michael Patterson, Basile Pucek, Santiago Rivera and Méliejade Tremblay-Bouchard, the 7 Fingers show off their various talents with agility, power and ease demonstrating feats that range from playful, elegant, and mischievous to daring, intense and suspenseful. In Camille Thibault-Bédard’s loose, freeing and flowing casual and classic outdoor apparel, they also bring to light the amount of sheer trust, connection, and chemistry involved in every carry, leap, toss, and intimate climb with no net between the members of this international circus troupe. The athletic beauty, the durability, grace and precision in each movement and stroke is spellbinding whether dangling in mid-air in aerial silk, flying across the stage or grounded within a comedic piece. While I preferred the more daring stunts, each piece brought a dynamic range of emotions within its gripping 90 minutes including heartbreak, longing, loss and liberating joy. Within all its thrilling components, playfulness and wonder, the 7 Fingers also offers resonating depth and thought- provoking nuances about life and the magnitude of time in each inquisitive lyric, comic scenario, and precise step.
Members of the Passengers company in performance. Credit: Grace Gershenfeld.
Grab a ticket to this amusing and exhilarating journey you won’t soon forget.
Passengers Production Photo
Members of the cast of Passengers in performance.
Photo: Lucille Audoineau-Maire
Harvard doesn’t know what it’s in for in Legally Blonde the Musical.
Blending Allana Turcotte’s upbeat direction and energetic and athletic choreography with Richard Marchetti’s lively music direction, Emerald City Theatrical presented Legally Blonde the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts. This exuberant musical was greeted by an enthusiastic audience and ran two hours and twenty minutes with one intermission. Parking was a little tricky, so allow some extra time when attending this theatre. Click here for more information and here to see what Emerald City Theatrical is working on this season.
Michelle Moran and her sorority sister in Emerald City Theatrical’s ‘Legally Blonde the Musical’ Photo by Jesse Barnett
Elle Woods, a high school sorority student, thinks her future is set until she realizes things are not quite what they seem. In order to win back her ex-boyfriend, Elle is determined to attend Harvard Law School.
This is the fundamental premise of the 2001 movie, Legally Blonde, which is on the verge of celebrating its 25th anniversary of the film’s release. Starring Reese Witherspoon, this box office success inspired a sequel, award-winning Legally Blonde: the Musical and a prequel series currently in the works. Although Reese Witherspoon portrays inspirational Elle Woods with humor and heart, this romantic comedy has its share of superficial, silly and over the top moments which can be a lighthearted distraction from the film’s themes.
However, with book by Heather Hach, music and lyrics by Laurence O’Keefe and Nell Benjamin, Legally Blonde: the Musical’s cast recording hatches out some of cast’s psyche and motivations while still maintaining its frothy and comic charm. While everything seems to be made into a musical these days, Emerald City Theatrical presents Legally Blonde: the Musical as a well paced production which expands and elaborates on the film’s themes while further resonating its inherent message.
Nathan Corbett and Michelle Moran in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett
Musical numbers such as Serious and Chip on My Shoulder offer greater insight and further dimension into Michelle Moran as Elle Woods that is only touched upon in the film. For example, in a beautiful and humorous duet called Serious between Elle and Nathan Corbett as Warner, both share they want different things. Corbett manages to make Warner at first sympathetic and well intentioned under his parents’ unrelenting pressure which offers this character a bit more perspective and both have compelling comic timing. Moran also shares some endearing scenes with Max Connor as handsome, earnest and hardworking Emmett and their duet Chip on My Shoulder is one of the musical’s greatest highlights.
Michelle Moran and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett
Michelle Moran portrays Elle as more introspective than excitable while delivering her share of sparkling wit. With strong vocals and distinctive laugh, Moran navigates her change of scenery from California to Harvard with a flourish even under the pressure to fit in.
Michelle Moran, Olivia Lancellotta and cast in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett
From cheerful ensembles to colorful school uniforms to classic three piece suits, Emerald City Theatrical, known for its extraordinary costumes, navigates from dazzling to stately in bright and bold colors before later presenting a classic and darker color scheme in browns and grays. The rolling set features multicolored floral arrangements, a layered pink backdrop with gold accents, white pillars and crown molding that even highlight sparkles in the tablecloth to contrast Harvard’s confined monochrome dark wood paneling and red brick accents.
Grace Graham as Paulette in Emerald City Theatrical’s ‘Legally Blonde: the Musical’ Photo by Jesse Barnett
Delores Salamurovic as Serena, Abby Turchon as Margot and Carina Lopes as Pilar make a squealing yet contemplative Greek chorus as Elle ventures into Harvard’s new and challenging territory with the bright and optimistic number, Positive. Acting as a cheering squad for Elle while offering a mix of wise and misguided advice, this wild and humorous trio lightens some of the show’s more serious moments.
While Norwell-born Jennifer Coolidge personified the character of Paulette, Grace Graham wisely does not imitate Coolidge while making outspoken and candid hairdresser Paulette her own in unique Emerald City ensembles that stand out in ripped jeans, denim boots and mismatched flair. With some sharp physical comic timing, a light city accent and a vocal growl, Graham makes quite an impression whether in Ireland’s Celtic swagger or in the flirtatious Bend and Snap alongside Moran.
Grace Graham, Michelle Moran, Olivia Lancellotta, Abbie Burchard and cast in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett
Jim Braunstein boasts gravitas and commanding vocals as Professor Callahan and clearly relishes the role. In a beige and brown suit, his wry and egoistical demeanor is immediately evident in a commanding Blood in the Water. Olivia Lancellotta also depicts cold disdain well as Vivienne and it is fascinating to watch her interact with Moran’s dreamy and optimistic Elle.
Emerald City Theatrical Jim Braunstein Michelle Moran and cast in class in Emerald City Theatrical’s ‘Legally Blonde: The Musical’ Photo by Jesse Barnett
From the giddy Omigod You Guys to uplifting So Much Better to Find My Way, Legally Blonde: the Musical is a show not to be taken too seriously until it gradually starts to take itself seriously. Some of the giddiness can be a lot and a few of the characters never go beyond the surface, but there is an inspirational sincerity underneath that could encourage anyone to reach for the stars.
Emerald City Theatrical presented Legally Blonde: the Musical live and in person for one weekend only from Friday, August 22 through Sunday, August 24 at the Marilyn Rodman Performing Arts Center in Foxboro, Massachusetts. Click here for more information and here to see what Emerald City Theatrical is working on this season.
Ambitiously directed with smooth choreography by Kevin P. Hill and lively music direction by Milton Granger, North Shore Music Theatre continues its 70th season with the hit musical, Grease live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 24. This upbeat musical has some adult language and runs approximately two hours with one intermission. Click here for more information and for tickets.
Director Kevin P. Hill creates a few cleverly presented magic changes in perspective that brings major themes of this musical heightened meaning. Don’t expect to see a retread of the hit 1978 film or the stage musical, but a balance of both while staying true to the show’s themes with a few surprises along the way. Themes like bullying, adolescence, peer pressure and fitting in take center stage and are as relevant as any of the musical’s love stories.
From oversized vinyl records to famous 50s dance moves including the hand jive to classic cartoons to a cherry red convertible to an epic floor featuring a gleaming tapestry of images including Marlboro cigarettes, lipstick, and vintage roadsters, Grease offers plenty of warm 50s nostalgia using Alex Berg’s polished sound design with scenic and lighting designer Jack Mehler. A peek into Mehler’s illumination includes a starlit floor and sparkling vinyl records. Costume coordinator Rebecca Glick also helms a trip down memory lane in the T-Birds and Pink Ladies jackets right out of the film, pastel gingham skirts and frilly crinoline gowns, silks, and colorful vintage Rydell High school uniforms.
Taking place in the late 50s and featuring an array of hit songs including Summer Nights, Greased Lightnin, Look at Me, I’m Sandra Dee, and We Go Together, Grease focuses on Caroline Siegrist as new Rydell High School student Sandy. Little does Sandy know that Nick Cortazzo as ladies man Danny in which they shared a fleeting summer romance, also attends the same school.
This well cast musical resembles their classic 1978 film counterparts and features songs that do not appear in the film in its entirety. Taking a cue from Stockard Channing in a short pixie cut and deep clipped vocals, Bailey Reese Greemon shares that frank, intimidating and guarded indifference as Betty Rizzo. The bullying seems more extreme and the T-Birds are depicted as macho juvenile delinquents albeit with plenty of comic relief touched upon in Hank Santos as Kenickie’s slick number, Greased Lightnin. Caroline Siegrist is a sweet Sandy with silvery soprano vocals that give off Olivia Newton-John vibes while Nick Cortazzo portrays Danny as a ladies’ man with comic zing. Hopelessly Devoted to You, a song written by the late great Olivia Newton-John for the Grease film, is perfection within Siegrist’s longing vocals.
Brittany Zeinstra steps more into the spotlight as Marty, a glamorous and flirty romantic and resourceful pen pal. Her path to romance is examined in her coy number, Freddy My Love and Jeremiah Garcia as Roger and Sunayna Smith as Jan share a goofy yet humorous duet in Mooning boasting compelling harmony.
In a vision of silver and white, Beauty School Drop Out, featuring dynamite vocals by Avionce Hoyles as Teen Angel, is lighthearted, comical and one of the best numbers of the production. However, Kathy St. George is a scene stealer as English teacher Miss Lynch. A skilled and avid dancer, expect the unexpected from spitfire Kathy St. George who is delightful, especially during the number, Born to Hand Jive.
North Shore Music Theatre’s Grease remains slick and cool while still offering something new to this classic hit musical. North Shore Music Theatre continues its 70th season with the hit musical, Grease live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 24. Click here for more information and for tickets.
An American proverb like this speaks volumes about teaching being the very foundation of most everything in life. Without the inspiring art of teaching, the world would be a very different place.
To think some people know they are born to teach and through it all, they do just that.
Beautifully directed by Pascale Florestal, Gloucester Stage continues Nilaja Sun’s semi-autobiographical No Child, a one person production continuing live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, August 23. This insightful play within a play within a play contains strong language and runs 75 minutes with no intermission. Click here for more information and for tickets.
Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer
The poorest congressional district in the nation is within the Bronx. One teacher embarks on a dubious journey to teach 27 tenth graders and quickly wonders if she may be in over her head. Valyn Lyric Turner, starring in this one person production, takes on this insurmountable challenge and rises to the challenge with grace, wit, humor, and integrity.
Narrated by Turner as Custodian Baron with a twinkle in her eye, Turner embodies a wide range of animated characters from youthful to the elderly in innovative and brilliant ways capturing distinct mannerisms, posture, tics, accents, diction as well as various expressions and languages. In a performance that might have come off bumpy and awkward, Turner’s shrewd solo performance is engaging and lively with each character uniquely and astutely personified through smooth and fascinating transitions.
Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer
Turner as Janitor Baron speaks directly to the audience with sage musings and historical knowledge of the Bronx school Baron has cleaned since 1958 while sharing the story of aspiring theatre teacher Miss Sun. In a tailored shirt and dark pants, Jose, Miss Sun, Jerome, Miss Kennedy, Miss Tam, Chris, and Janitor Baron are only a small portion of the dynamic characters Turner masterfully delivers in swift succession with finesse and unmitigated charm. Not only exacting accents from southern to Jamaican at times within the same breath, but taking it one step further by occasionally correcting pronunciations in character from one character to another. It is extraordinary to see Turner accomplish this amazing solo acting feat within this inspiring and absorbing tale.
Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer
Hazy windows, a weathered light fixture, an uncovered beige radiator and a water stained linoleum floor punctuated by two red steel classroom chairs at center stage detail Christina Todesco’s intricate scenic design. Sound designer Jacques Matellus conveys the production’s surroundings through the show’s atmospheric sound design which includes a metal detector, a moving train and the authentic sounding class bell.
Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer
One of the many highlights of this production is it radiates not only what it is like to be a teacher in a challenging classroom, but unveils a number of significant perspectives including, as Custodian Baron states, what these “academically challenged” students are like facing fears, apprehension, frustration, lowered expectations and for some, an embattled home life.
Valyn Lyric Turner in Gloucester Stage’s ‘No Child’ Photo credit: Jason Grow Photographer
A humorous, timely, poignant, educational and inspiring journey, No Child remarkably explores the distractions, sacrifices and challenges that even the most patient teachers face and the power of every victory in the classroom and beyond.
Gloucester Stage continues Nilaja Sun’s semi-autobiographical No Child, a one person production continuing live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, August 23. Click here for more information and for tickets.
Two brothers on different paths are connected in a transformative tale exploring the nature of faith, virtue, honesty and what truly matters. From Victor Hugo, author of the classic novel, Les Miserables, The Hunchback of Notre Dame certainly knows how to tug at the heartstrings while delivering an epic and compelling tale.
Insightfully co-directed by Zoe Bradford and Sally Ashton Forrest with resonating musical direction by Robert McDonough, The Company Theatre Center for the Arts presents gothic musical classic, The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday August 17. The action is not limited to the stage and runs a lengthy but well paced two hours and 50 minutes with one intermission. Click here for more information and for tickets.
Salvatore Guillermo Garcia, Peter S. Adams and the cast of Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Jacob French as Young Claude Frollo is determined to join the priesthood while his brother Jehan, depicted by Charlie Solari, would rather lead a hard partying lifestyle with the local gypsies. It’s a tale that bears some resemblance to The Prodigal Son parable. Young Frollo, who considers himself holy and righteous, is appalled by his brother’s actions and the results are destined to change both their lives.
Jacob French, Dru Daniels, and Charlie Solari in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Disney’s The Hunchback of Notre Dame was released shortly after The Lion King and Pocahontasin 1996 and is considered part of the Disney Film Renaissance spanning from 1989 to 1999. Having recently re-watched Disney’s The Hunchback of Notre Dame, do not go into the Company Theatre thinking it is strictly a staging of the Disney musical. Faithful to elements of the 1996 Disney adaptation with Alan Menken and Stephen Schwartz’s amazing and unforgettable music soundtrack and Victor Hugo’s 1831 classic gothic novel sporadically revealed through multiple narrators, The Company Theatre assembles a powerful and inspirational tale of virtue and humility in the face of cruelty and obsession.
Salvatore Guillermo Garcia, Peter S. Adams and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Set in 1492 Paris, Salvatore Guillermo Garcia leads the cast in riveting form as quiet and gentle hearted Quasimodo who acts as Notre Dame Cathedral’s bell ringer and is kept in the bell tower visited solely by Peter S. Adams as manipulative Dom Claude Frollo. Starved for company and overjoyed by any shred of attention, Quasimodo anticipates The Feast of Fools, an exciting France feast day celebrated by the clergy during the Middle Ages and perhaps an opportunity to be accepted for a day.
Set designer Ryan Barrow replicates the regal stone pillars and the gold signature Notre Dame Cathedral bells brought to life by its harmonious chiming. However, the jewel in this detailed set is a multicolored stained glass cathedral dome above the wooden balcony which lighting designer Dean Palmer Jr. brilliantly enhances and bathes the set in an array of colors rooted in the stain glass during the production.
Company Theatre’s ‘The Hunchback of Notre Dame’ set Photo by Zoe Bradford
So much of The Hunchback of Notre Dame hinges on its ability to capture this complex production’s powerful hymnal ambiance and The Company Theatre does that in spades not only through its strong lead vocals, but through twenty-two additional choir members consistently enhancing the action onstage. It is at times “blow your hair back” powerful and expressive, the production’s thunderous and harmonious voices exhilarating right from its magnificent opening number, The Bells of Notre Dame. I was visibly moved many times.
Peter S. Adams in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Peter S. Adams as Dom Claude Frollo and Dru Daniels as Florika are both lauded operatic talents who collaborated in Company Theatre’s wonderful The Secret Garden. Adams delivers a more measured performance as Don Claude Frollo, a manipulative and righteous priest. Firm and commanding, Adams brings additional dimension to the role and his exchanges with Garcia as Quasimodo are as fascinating as they are bittersweet. His rich rendition of Hellfire and Esmeralda is bold yet tormented, exposing momentary glimpses into his shielded angst. Dru Daniels also embellishes every moment she has onstage with her magnificent vocals as Florika.
Salvatore Guillermo Garcia with Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Costume Designer Kiera O’Connor has assembled an assortment of vibrant and multi-colored costumes as well as traditional vestments similar to the Disney adaptation and its time period, but adorned in Parisian masquerade masks, the shimmering and imaginative gargoyles are the ones that truly shine. Sally Ashton Forrest’s unique, playful, ballet-inspired and symbolic choreography impressively drive Anne Martland as Hugo the Playful, Mel Carubia as Victor the Reasonable, and Gilbert Dabady as Laverne the Nurturing Gargoyle as they advise and keep Salvatore Guillermo Garcia as lonely Quasimodo company. Paired with these intricate and sparkling ensembles, they provide not only comic relief, but work together to articulate distress, comfort, amusement and more while acting as a respite and community sanctuary for Quasimodo in the bell tower.
David J. Kim and cast in The Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
With a knowing smile, David J. Kim portrays stealthy showman and deemed King of the Gypsies, Clopin Trouillefou. Kim’s smooth delivery and complicated demeanor makes him a charming enigma. Kim leads the revelers in an animated rendition of Topsy Turvy and with Lopes, Roussell, Adams and Garcia in a spellbinding Rhythm of the Tambourine.
Celena Lopez and cast in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Celena Lopes gives a mesmerizing performance as frank, saucy, compassionate, resourceful and headstrong Esmeralda, a role voiced for the Disney adaptation by a charismatic actress known for spirited female characters, Demi Moore. Lopes performs an incredible rendition of the hopeful ballad, Someday with Jack Roussell as seemingly bombastic, egotistical and regal Phoebus de Martin and shares charming chemistry with Garcia. However, Top of the World and stirring God Help the Outcasts is where Lopes is at her best.
Jack Roussell and cast in the Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
Salvatore Guillermo Garcia offers a paramount performance as Quasimodo, a role in which he dedicates to his late mother. The sheer physicality and understated performance boasted by sterling vocals he delivered as Jean Val Jean in Academy of the Company Theatre’s previous production of Les Miserables make him the perfect choice for this role. Garcia embodies Quasimodo’s humble naiveté, trepidation, loneliness and yearning as well as the soft glow that passes over Garcia’s shy and meek features. From the wondrous ache of Out There and tender Heaven’s Light to the soaring Made of Stone, Garcia caps off this meaning musical experience worth witnessing for yourself.
Celena Lopes, Salvatore Guillermo Garcia, Anne Martland, Mel Carubia, and Gilbert Dabady in Company Theatre’s ‘The Hunchback of Notre Dame’ Photo by Zoe Bradford
The Company Theatre Center for the Arts presents The Hunchback of Notre Dame continuing live and in person at The Company Theatre in Norwell, Massachusetts through Sunday, August 17. Click here for more information and for tickets.
