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REVIEW: Turn up that jukebox for Reagle Music Theatre of Greater Boston’s lively musical comedy ‘All Shook Up’

Posted on July 18, 2024 by The Sleepless Critic

Meet Chad, a would-be Elvis big on swagger, sideburns and love for the ladies.

From that electric Jailhouse Rock opening, All Shook Up soaks up the nostalgia and the lighthearted side of the ‘Fabulous ‘50s.’ Adding humor, fun frivolity and amazing choreography, All Shook Up boasts powerful vocals and plenty of love to the beat of Elvis’s greatest hits. Turn up that jukebox. It’s time for a ride down memory lane.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.

With exuberant direction by Arthur Gomez, tight and sweeping choreography by Larry Sousa with upbeat music direction by Mindy Cimini, Reagle Music Theatre of Greater Boston presents All Shook Up live and in person at the Robinson Theatre in Waltham, Massachusetts through July 21. This engaging musical comedy is approximately two hours with one 15 minute intermission and not for young children. Click here for more information and for tickets.

eagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Chad (Christopher Lewis) and Ensemble. Photo by Robert P.JPG

Vibrantly charged in florescent blue and red by Frank Meissner Jr, Reagle Music Theatre of Greater Boston brings the 50’s back to life with Janie Howland’s vintage set design of Main Street USA which includes Sylvia’s Honkey Tonk, Jim’s Service Station, Main Street Museum and appropriately Town Shoes which is a hint for those blue suede shoes. Each locale plays an integral part in roustabout Chad’s wild journey.

Boasting a Bye Bye Birdie vibe with Grease energy, All Shook Up looks at a small Midwestern town’s perspective on a summer day in 1955 when Chad, portrayed distinctly by Christopher Lewis, makes an instant impact. Lewis shakes up Main Street USA for the better while unearthing a guitar-tinged bebop vibe that self righteous and plotting Mayor Matilda, depicted with sharp comedic timing by Janis Hudson in a performance reminiscent of Joan Cusack, is determined to stop. In cat eye glasses and alongside James Turner the III as suspicious Sheriff Earl, Hudson shines in the fierce and catchy number The Devil in Disguise, humorously posing and barking out orders with zeal and authority.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. (l to r) Mayor Matilda (Janis Hudson) and (Christopher Lewis) and Sheriff Earl (James Turner III) Photo by Robert P.

All Shook Up is full of deadpan jokes and clever quips with Elvis song titles and lyrics. When a townsperson points out Chad’s blue suede shoes, Chad casually warns to lay off them. Part impersonation with the vocal chops to match, Chad embodies the larger than life qualities of Elvis, but takes it one step further making the part his own exemplified in a resonating rendition of I Don’t Want to demonstrating Lewis’s own unique and dynamic range.

A storm of unrequited love and love triangles taken from a mix of Shakespearean comedies, this ‘50s musical comedy infuses a lot of elements into this lively tale and it works. Christopher Lewis as Chad makes a powerful impression on everyone he meets. Gwynne Wood as Natalie is the mechanic and is looking for more excitement than this little town can hold. Wood is endearing as Natalie who is sensible, timid, and resourceful with a powerful belt for One Night with You. Wood shares some charming chemistry with Jackson Jirard as best friend Dennis who only has eyes for Natalie. Jirard also shares some amusing scenes with Lewis, Wood, and Alfred-Jean Chavier’s Jim as the voice of reason.

Tader Shipley as vampy blond bombshell Miss Sandra also makes her own impression with a soaring rendition of Let Yourself Go and alongside the cast for a sassy take on Teddy Bear/Hound Dog.

Carolyn Saxon brings sincerity and candidness to Sylvia and shares a varying yet sweet rapport with her daughter, Lorraine, depicted by Amaris Rios and Jean-Alfred Chavier as forthright and apprehensive widow Jim. Saxon performs a stunning rendition of There’s Always Me.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. Sylvia (Carolyn Saxon). Photo by Robert P.

The production also flips the script in more ways than one while staying faithful to the Shakespearean twists. Rebellious Lorraine and Preston Karp as dutiful Dean share exciting chemistry and their rendition of It’s Now or Never is a delight alongside Sousa’s innovative bus choreography.

Reagle Music Theatre of Greater Boston will be rocking when ALL SHOOK UP, featuring 25 of Elvis’ hit songs, takes the stage July 12 – 21, 2024. Dean (Preston Karp) and Lorraine (Amaris Rios) Photo by Robert P.

C’mon everybody is a classic and vintage showstopper weaving in classic dance moves as Emerald City Theatrical does it again in vintage gleaming colored costumes ranging in plaids, bowling shirts, and gorgeous fit and flair crinoline dresses.

All Shook Up is bright, catchy and a lot of fun with an inherent message within an array of beloved Elvis hits that might lighten the weight of this world for awhile.

With exuberant direction by Arthur Gomez, amazing choreography by Larry Sousa with upbeat music direction by Mindy Cimini, Reagle Music Theatre of Greater Boston presents All Shook Up live and in person at the Robinson Theatre in Waltham, Massachusetts through July 21. This engaging musical comedy is approximately two hours with one 15 minute intermission. Click here for more information and for tickets.

REVIEW: Embrace life and pursue the ultimate wave with Gloucester Stage’s summer soaked world premiere comedy ‘Wipeout’

Posted on July 16, 2024 by The Sleepless Critic

It is never too late to try something new.

Margaret nicknamed Gary, is ready to take risks. Whether throwing caution to wind by neglecting to wear sunscreen or a seatbelt, Gary is finally embarking on a lifelong dream – to ride the ultimate wave for her 77^th birthday in Santa Cruz, California…having never set foot in the water before.

Cheryl D. Singleton, Karen MacDonald and Noelle Player in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

With innovative and at times hilarious direction by Shana Gozansky as well as inviting lighting by Kat C Zhou, Gloucester Stage could not have chosen a more perfect time in its 45^th season to unveil the world premiere of Aurora Real de Asua’s comedy Wipeout continuing live and in person at Gloucester Stage in Gloucester, Massachusetts through July 28. The production contains a mix of important and needlessly explicit language, adult themes and runs approximately 100 minutes with no intermission. Click here for more information and for tickets.

Noelle Player and Karen MacDonald in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

Surrounded by brightly colored beach balls on an aqua draped landscape, three women and one handsome teenage Santa Cruz Surf Skool instructor take to the waves depicted in a wooden pool like structure with sea turtles and various marine life painted on its perimeter. The absence of water in Jenna McFarland Lorde’s immensely exuberant set design embellishes the humor and endearing moments in this production as rolling chairs carry surfboards. Infuse Aubrey Dube’s immersive Pacific Ocean sounds and Wipeout transforms into one lively surfing safari.

Wipeout’s excellent physical comedy is hysterical as the group carefully wades through the ‘water’ in scrupulous and urgent strokes while each character balances on their individual board. In water shoes and matching surf skool t-shirts by Jennifer Greeke, Gary, depicted with captivating depth and bawdy audacity by Karen MacDonald, is excitable, adventurous, and a playful prankster but there might be more to that than meets the eye. MacDonald’s more serious moments are equally adept in a glassy-eyed grimace or squirming consternation. Supportive, wise, cheerful and grounded school teacher Claudia portrayed beautifully by Cheryl D. Singleton, shares true companionship with Noelle Player as haughty and glamorous with a bit of a chip of her shoulder Wynn and Gary through the manner in which they share memories, meanderings, insecurities, inside jokes, gossip and bawdy references at times with Golden Girls flair. They embody a solid, longtime, and intimate friendship through thick and thin. This engaging trio fumbles to find common ground with Thomas Bilotta who is instantly likable as their patient, enthusiastic, and compassionate teenage instructor Blaze which is met with intriguing results. Wipeout is full of surprises as well as stirring and authentic life lessons as each character explores instinct, life’s unpredictability, mortality, and what is really means to embrace life to the fullest.

Noelle Player and Thomas Bilotta in Gloucester Stage’s ‘Wipeout’ Photo by Jason Grow

With innovative and at times hilarious direction by Shana Gozansky and inviting lighting by Kat C Zhou, Gloucester Stage could not have chosen a more perfect time in its 45^th season to unveil the world premiere of Aurora Real de Asua’s dramedy Wipeout continuing live and in person at Gloucester Stage Company in Gloucester, Massachusetts through July 28. The production contains a mix of significant and needlessly explicit language, adult themes and runs approximately 100 minutes with no intermission. Click here for more information and for tickets.

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

Posted on July 10, 2024 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

REVIEW: A stellar cast leads Central Square Theater and Front Porch Arts Collective’s extraordinary ‘next to normal’

Posted on June 25, 2024 by The Sleepless Critic

Diane’s world looks different and although it seems like an ordinary day, she is on the brink.

One would never know what Sherée Marcelle as Diane is going through at first glance. It seems a typical day in the lives of The Goodman family as they roam around the house, caught up in an average school morning. The mundane and stressful routines do not hint of what is in store for Diane during the bustling and humorous number, Just Another Day. However, this particular day will be different and it will affect everyone around her.

Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Astutely directed and symbolically choreographed by Pascale Florestal with excellent musical direction by Katie Bickford, Central Square Theater co-produced by Front Porch Arts Collective continues the Pulitzer Prize-winning and multiple Tony Award-winning rock musical, next to normal live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, June 30. This fascinating production contains adult themes and is approximately two hours and 20 minutes with one intermission. Click here for more information and for tickets.

Anthony Pires, Jr. Sherée Marcelle, and Diego Cintrón in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

With significant Easter eggs floating above Erik D. Diaz’s meaningful and multi-tiered set connected notably by a spiral staircase and a central door, most of the scenes take place inside the Goodman household with the exception of the living room that doubles as an office space. Mark Clark Wonson’s evocative lighting pulses and radiates on this production’s veering emotional journey and Kiara Escalera’s vibrant costumes often complement each other in stripes, patterns and shades between Anthony Pires Jr. as Dan and Marcelle and most notably in shades of blue later depicted between Cortlandt Barrett as Natalie and Dashawn McClinton as Henry.

Next to normal is a well paced and revealing musical journey about a troubled family who hides it well. It delves into dysfunction and disorders with a bittersweet and relatable gusto and Brian Yorkey’s thought provoking script with dynamic and captivating music by Tom Kitt work together to unravel the nature of Diane’s illness and how each character is affected in Diane’s struggle. I have seen quite a few great performances lately, but helmed by Sherée Marcelle as Diane, this is a powerhouse. Each one of the next to normal cast delivers compelling performances with the vocal chops to prove it while conscientiously revealing their unique way of managing the complexity of their lives.

Anthony Pires, Jr. and Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

With glassy eyed confusion and shaking fingers, Sherée Marcelle as Diane is overwhelmed by her life. Marcelle evokes the anxiousness, disillusionment, trauma, and the submersion Diane faces as bipolar and her yearning vocals unleash the suffering she endures living in her head searching for relief in I Miss the Mountains. Marcelle is amazing as Diane who feels trapped wherever she is. Numb or overdrive where reaching for normal never feels quite right.

The catchy and dark satirical parody, Who’s Crazy / My Psychopharmacologist and I paints and infuses humor into a reeling picture of her battle while also providing a peek into how this affects those around her like her concerned grounded husband portrayed charismatically and sympathetically by Pires Jr. as Dan whose patience is quickly unraveling in his search for answers. Ricardo “Ricky” Holguin in a dual role is hilarious as a deadpan doctor, wild, then later poignant full of compassion and concern.

Ricardo “Ricky” Holguin and Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Pires Jr. and Marcelle is an enthralling pair mastering complex and rhythmic harmonies as well as visceral emotions with zeal and intensity. In one of the production’s lighter moments and next to normal contains as much humor as it does drama, Pires Jr. nails the giddy and quick-paced number It’s Gonna Be Good in helpless wonder and perfect harmony with the rest of the cast.

Cortlandt Barrett and Dashawn McClinton in Central Square Theater and Front Porch Arts Collective’s production of ‘next to Normal’ Photo by Maggie Hall

Cortlandt Barrett’s impressive vocals expel a painful cadence as the struggling, often neglected and perfectionist daughter, Natalie. Barrett and Marcelle share their frames of mind in Wish I Were Here and with the cast in an absorbing Make Up Your Mind/Catch Me I’m Falling. Barrett also shares warm chemistry with Dashawn McClinton as persistent and earnest Henry who is instantly lovable in an intriguing rendition of Perfect for You. Diego Cintrón is lively and memorable, especially in an eerie rendition of There’s a World and with Marcelle and Barrett for a poignant and revealing rendition of Superboy and the Invisible Girl.

Sherée Marcelle and Cortlandt Barrett in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Next to Normal has a few bombshell revelations and the production not only paints an authentic and educational picture of mental illness, but love’s carefree but oftentimes arduous journey with humor, heart and hope. Mental illness makes it difficult to escape from inside one’s head so it shuts people out. As the daughter of a person with depression, it was eye-opening to see a reflection of these challenges within the family and to witness someone so well loved struggling for the strength to see beyond the pain and find the other side.

Anthony Pires, Jr. Sherée Marcelle Diego Cintrón in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Astutely directed and symbolically choreographed by Pascale Florestal with excellent musical direction by Katie Bickford, Central Square Theater co-produced by Front Porch Arts Collective continues the multiple Tony Award-winning rock musical, next to normal live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, June 30. This fascinating production contains adult themes and is approximately two hours and 20 minutes with one intermission. Click here for more information and for tickets.

REVIEW: Reagle Music Theatre of Greater Boston looks at love and sacrifice in a breezy ‘South Pacific’

Posted on June 22, 2024 by The Sleepless Critic

Long ago and far away on the islands of the South Pacific, the turbulence of World War II leaves the South Pacific in peril. The challenges that face this particular group of people may be the only thing that turns the tide.

Directed and choreographed by Rachel Bertone and adapted from James A. Michener’s Pulitzer prize-winning novel, Tales of the South Pacific, Reagle Music Theatre of Greater Boston kicked off its 55^th season with Rodgers and Hammerstein’s Golden Age musical classic, South Pacific live and in person at the Robinson Theatre in Waltham, Massachusetts through Sunday, June 23. This family-friendly production is approximately two hours and 30 min with a 15 minute intermission. Click here for more information and for tickets.

Penelope Rhoads and Lola Rhoads in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Rodgers and Hammerstein’s South Pacific focuses on love, sacrifice, and survival during a turning point in World War II, but also features many lighthearted and humorous moments under Rachel Bertone’s direction and mix of delicate and energetic choreography from the endearing Dites-Moi featuring graceful Penelope Rhoads as Nguana and Lola Rhoads as Jerome to the high-spirited There is Nothing Like a Dame to the carefree comedy of Honey Bun featuring charismatic, wisecracking but well-meaning Luther depicted impressively by Brendan McGrady with a smirk and thick New York accent. With strong and engaging vocals navigated by Music Director David Coleman, South Pacific boasts a long list of Rodgers and Hammerstein’s revered American Standard classic tunes.

Janie E. Howland’s breezy, tropical, and wicker-infused set includes painted tropical flowers, towering palm trees, and signs of significant locations as well as a surprising special effect with a helicopter. Blended with Frank Meissner Jr’s radiant lighting, South Pacific illuminates compelling landscapes from dawn to daybreak as well as a gleaming aqua coastline. Emerald City Theatrical’s terrifically retro costumes range from vintage cheerfully colored casual wear to authentic looking uniforms.

Jennifer Ellis and Christopher Chew in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Jennifer Ellis blends effervescence and effortless charm as Nellie Forbush, a GI nurse from Arkansas who quickly falls for Christopher Chew as Emile de Becque, an older, worldly and mysterious Frenchman who resides on an island plantation. Both are incredibly curious about the other and consider each other way out of their league. Chew and Ellis share romantic tension-fueled chemistry, making it sweet to witness their awkward conversions. There is warmth between these two and Chew’s marvelous vocals deliver a beautiful rendition of Some Enchanted Evening after Ellis shares her lighthearted nature in an enchanting rendition of Cockeyed Optimist.

Emile and Nellie seem to have a mature love that is often tested as the production progresses. This show is less about love triangles, but more about love at first sight and the challenges that each one of them face as war hangs in the balance.

Lisa Yuen in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Another captivating yet fiery presence is Lisa Yuen as determined, practical and shrewd businesswoman Bloody Mary. Yuen’s candid, direct and persistent demeanor as a Tonkinese woman attempting to find success is excellent, especially as she outsmarts some GIs she encounters for a deal. She has a wonderful rapport and chumminess with the GIs, especially during the number Bloody Mary through Bertone’s lively choreography. Yuen shares a funny first encounter with Blake DuBois as cool, collected and enigmatic Lieutenant Joseph Cable who delivers a memorable rendition of Younger than Springtime. Yuen’s Bloody Mary just might be the most earnest and levelheaded individual in the production, her haunting vocals on full display in Bali Ha’i and heartfelt alongside Calico Valasco as Liat in Happy Talk.

Lisa Yuen and Calico Valasco in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Some aspects of South Pacific still seem dated and a little cloying and with much respect to Rodgers and Hammerstein, South Pacific is not as emotionally charged as their other works and often found myself questioning the motivation of some of these characters. For example, Ellis as Nellie seems impulsive and indecisive just as quickly as she seems so certain. Perhaps it was just a different time. Otherwise, Reagle Music Theatre of Greater Boston’s South Pacific is a memorable, family-friendly day at the theatre with a strong and timeless inherent message.

Jennifer Ellis as Nellie and the cast of Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

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

Posted on August 30, 2023 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on August 22, 2023 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, 2023 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, 2023 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, 2023 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.