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REVIEW: Singer-songwriters Natalie Price and Grace Pettis share resilience through struggle and the joy of performing live onstage again

Posted on April 21, 2022 by The Sleepless Critic

It is no surprise that guitar strumming singer-songwriters Natalie Price and Grace Pettis recently brought a mix of emotional weight to the Club Passim stage in Cambridge, MA. Not only in the great joy of performing for an audience again, but the heartache, loss, and reflection in their music as a result of these past couple of complicated years. However, within this sadness lies resilience for thriving again.

Grace Pettis and Natalie Price Photo credit to Natalie Price

Singer-songwriter Natalie Price debuted at Club Passim and opened for returning Club Passim favorite Grace Pettis on Thursday, April 14 in person and on live stream for one night only. Click here to see where Pettis will perform next and here for more on Price. Click here for more on Club Passim, their educational programs, upcoming events, and how to support local music.

A smattering of spotlights lit the Club Passim stage as Dallas-born Natalie Price delivered a mix of reflective, sorrowful, and playful love songs during her brief opening set. Price’s sound has a tinge of Natalie Imbruglia or Lisa Loeb as she shares her experiences.

These Days is a clever track about the memory of escaping an unhealthy relationship and if the timing of that relationship were any different, Price might not have escaped. Price sings, ‘I’m so glad I wasn’t younger when we met’ and ‘The heaviness, strangled me/A songbird in a cage.’ Its seemingly lighthearted chords contrast a returning and complex memory that changes over time.

Another highlight was The Island, a song performed entirely with a music box-sounding Kalimba instrument. It is a melodious track about the euphoria of new love while Done is another clever piece that delves into the erratic and frantic feelings of unsteady love. Price ends the set with a catchy and cheerful tune about devotion.

Natalie Price’s music can be found on Band Camp or on her website.

Grace Pettis Photo credit to Nicola Gell

Before taking the stage alone, Grace Pettis joined Price for an unconventional and sweet lullaby Pettis wrote and performs for a Ukrainian child living with Pettis and her family in Ireland called Sleepy Lobster. Pettis had a table set up that evening to support Ukraine.

Florida-born Grace Pettis delves into a collection of powerful, somber, and soulful tunes, a reflection of some of the complex, life-changing experiences Pettis endured over the last two years. In a burgundy shirt and black pants, Pettis is an unassuming presence with a certain personable charm and expressed her gratefulness to be back at Club Passim sharing her music with a crowd again.

Her passionate and powerful vocals in Pick me Up and Never Get it Back from her new album, Working Woman from MPress Records, has universal appeal with the latter a bittersweet message on the importance of living in the present and the former finding the strength to keep going in spite of life’s hardships. Though Pick me Up could simply be interpreted as a love song, it could also apply to a larger message about faith and finding loyal support through life.

Pettis mused in Rain’s lyrics, ‘I don’t know how to be happy’ when she recalled being tasked with writing a song about sunshine. The somber track was inspired by November rain in Ireland.

So many of Grace’s work addresses strength through struggle. Mean Something also from Working Woman has a soothing quality about finding hope while Birthright, which is a Nobody’s Girl song, reveals the struggles of living with the pain of the past. Pettis is an apt songwriter reflecting on the end of a life-changing relationship. She sings, ‘Brace myself for unwanted advice…I’m the box forgotten in the attic.’

However, one of my favorite tracks is Corner, a complex love song about unconditional loyalty, the pain thick in Grace’s voice. Though the show had its share of solemn musings, Pettis ends the set with Working Woman’s fiery and meaningful title track, her powerful belt demonstrating though hardship, Grace Pettis has thicker skin than that.

Click here for more information on Grace Pettis and where she is touring next. Learn more about Natalie Price here and click here for more on Club Passim, their music classes, upcoming concerts, and how to support local music.

Take a look at Company Theatre’s new logo as co-founder Zoe Bradford discusses the Company Theatre’s exciting future

Posted on January 12, 2020 by The Sleepless Critic

The Company Theatre is kicking off 2020 with a new look.

Not only are they starting a fun-filled new season that includes The Who’s Tommy, Bring it On, Rock of Ages, and Fun Home, but they recently unveiled their new logo. Click here to see their new logo.

Sleepless Critic had a chance to interview Zoe Bradford about the Company Theatre’s upcoming projects, their vision for the future, and even walked away with some good advice. Click here for the full list the Company Theatre’s 2020 season.

Company Theatre co-founders Jordie Saucerman and Zoe Bradford, courtesy of Company Theatre

Sleepless Critic: Congratulations on Company Theatre’s recent 40^th anniversary. So much has happened in the last few years from the upgraded, painted theatre with new seating to new, original productions. Please tell me more about that.

Zoe Bradford: Now that the theatre is beautiful, we’re envisioning the potential of our outdoor property. We’ve done a lot with Academy of the Company Theatre (A.C.T.) with an expanded outdoor stage and new pavilion. We have a growing summer program that has been at full capacity. Not only do we need more space and with everybody addicted to their screens, I believe in getting kids outside. We have a path to the pond front and we’ve held classes there for water coloring and creative writing.

A group of past A.C.T. students Photo courtesy of The Company Theatre

Freedom for creative expression has been the key for me, so I know it is the key for them. It’s why I desperately wanted my own theatre and thank God it happened. It’s not stimulating to work in the confines of another person’s building or organization. That’s one of the draws here.

SC: You once said you chose popular shows that sell, but in the last few years, The Company Theatre has been delving into uncharted waters a bit with musicals such as Carrie the Musical, Lizzie Borden, and American Idiot.

ZB: It’s financially difficult to do that, but we are trying to give the young people what they want. Lizzie Borden went well because people love local history and some said they have been to her house. It’s a gruesome tale, but it was also a nice psychological thriller.

We changed how we choose our shows a little, but we still have to please our general audience and offer something for the family, something mature, and our team knows their demographic well and what will be successful.

I’m passionate about big musicals and there’s nothing like the thrill of a live orchestra. People in the professional theatre world, mentors, and colleagues say they will put eight pieces in here and do a lot of synthetic and prerecord. You can make a lot of money that way, but we can’t do that. Michael Joseph said that is standard while he was here and we’ve maintained it.

SC: What shows do you still dream of doing?

ZB: I’d love to do Wicked, The Hunchback of Notre Dame, and I’m also waiting to do Mamma Mia! We’ll get to it. It’s all about rights and I’m sure there are new shows coming out that I’d love to get my hands on.

As a non-profit, whatever comes in has to support what we are doing and help us be self-sustaining. Grants, gifts, and tax deductible donations are the key. We have better opportunities for community support such as new packages for corporate sponsorship due to having higher end computer capabilities, a better website, and a ticketing service that allows people who wish to support us to advertise.

SC: What has been your most challenging musical?

ZB: The Wizard of Oz because the movie is a masterpiece and any derivation from the film would be a disappointment for those who truly love it. People would fight me on that, but if you take on The Wiz, you can do what you want because no one has a preset notion of it.

Company Theatre’s ‘The Wiz’ auditions will be held on January 22. Photo courtesy of the Company Theatre

SC: The Wiz is also part of Company Theatre’s 2020 season. What advice would you give someone taking on a business in theatre or similar?

ZB: It’s highly competitive. Know your vision, don’t give up, and try to think of something that someone else hasn’t already thought of. Be fresh and original when you can and make sure people know of your existence without being obnoxious about it. We still struggle with it. Some people say they didn’t know a theatre is here.

SC: What do you envision for the Company Theatre’s future?

ZB: We have to keep growing and we set up the Legacy Fund. Our money rolls in and out with the tide as any non-profit would, but we’re actively fundraising to ensure another 40 years and beyond.

For over ten years, I’ve wanted to design a new logo. I remember sitting at a little drafting table back in the 70s and hand drew it when we didn’t have any money or resources.

With art being cut in classrooms and attending theatre in Boston can be so expensive, we’re looking to keep this going so it’s accessible for everyone and expand. I can see us taking on more property and A.C.T. quadrupling over the next ten years. We’re not a community theatre anymore, but a year round professional and we’ll evolve again. We provide many jobs for people, but the other part of my vision is to create more jobs for artisans in the area. The more people that are working and inspiring people, the better.

Photo courtesy of the Company Theatre

The Company Theatre kicks off their 2020 season with A.C.T’s The Who’s Tommy from January 17 through January 26. Click here for tickets and here for more on Company Theatre’s 2020 season. You can also get tickets by calling the box office at 781-871-2787. Located at 30 Accord Park Drive in Norwell, Massachusetts, click here for how to support the Company Theatre and be sure to follow them on Facebook, Twitter, and Instagram.

For Performing Arts news, interviews, reviews, and much more in Boston and beyond, follow us on Facebook @sleeplesscritic and subscribe.

Company Theatre’s co-founder Zoe Bradford talks 40th anniversary, ‘Ragtime’, and the theatre’s exciting future

Posted on July 13, 2018 by The Sleepless Critic

Underneath a tent on a bright summer day, Company Theatre’s co-founder Zoe Bradford, enthusiastic and smiling, has a lot to celebrate. The award-winning Company Theatre is as busy as ever as they prepare to open their 40^th season with beloved musical, Ragtime July 27. Click here for more information and tickets.

Zoe reflects on how Company Theatre has evolved over the years and her extraordinary vision for the future which goes well beyond their 2.3 acres in Norwell, Massachusetts.

A.C.T. Summer Workshop, 2014 Photo courtesy of The Company Theatre

A glimpse at the Academy of the Company Theatre Photo courtesy of Jeanne Denizard

Company Theatre co-founders Jordie Saucerman and Zoe Bradford, courtesy of Company Theatre

Sleepless Critic: Congratulations on Company Theatre’s 40^th anniversary. Even in the last five years, so much has happened from the upgraded, painted theatre with new seating to new, original productions. Please tell me more about that.

Zoe Bradford: Now that the theatre is beautiful, we’re envisioning the potential of our outdoor property. We’ve done a lot with Academy of the Company Theatre (A.C.T.) having an expanded outdoor stage and new pavilion. Our growing summer program is currently at capacity with 200 kids. Not only do we need more space and with everybody addicted to their screens, I believe in getting kids outside. We now have a path to the pond front and we’re holding classes there for water coloring and creative writing.

The 2012 ‘Paragon Park’ cast, photo courtesy of Company Theatre

SC: The original musical Paragon Park took place in 2012. Are there any original shows you are working on?

ZB: Michael Hammond and I loved working on Paragon Park together and we want to do another one. We’re bookending our 40^th anniversary with the start of Ragtime and ending summer to summer with a revival of Paragon Park in 2019 as opposed to the season running January to December.

Paragon Park will be the pinnacle of our 40^th celebration with a wonderful night of dinner and dancing at Nantasket Beach Resort in Hull. Preceding that will be a VIP cocktail reception where guests can go on the Carousel and ride the ponies if they wish. Then we’ll trolley to the hotel for celebration and fundraising.

Company Theatre's original production, 'Paragon Park'

TV personality Scott Wahle with ‘Paragon Park’ cast The Company Theatre’s will reprise its original production of Paragon Park the Musical, which premiered in 2012, image by Zoe Bradford

We’ll also have an outdoor VIP cocktail reception before opening Ragtime and featuring the Model T Ford, which is integral to Ragtime’s story. It looks like the real thing, built exactly to scale. Bob Grazioso, who has since retired from technical director but is still active at Company Theatre, built the Model T Ford when we did the show in 2003. The Ford Motor Company wanted to buy it from us, but we kept it because we wanted to do the show again.

Ragtime's Booker T. Washington with the Statue of Liberty

Todd McNeel Jr. of Boston as Booker T. Washington in ‘Ragtime’ Photo courtesy of Zoe Bradford

SC: When you revive a show like Ragtime, what kind of changes do you make?

ZB: Life happens. My thinking has evolved from 2003 to 2018 just from life experience and I have approached Ragtime differently than I did then. We have three actors reprising their roles and 40 cast members who all feel it is a different experience than last time.

We did Ragtime in 2003 because there are strong, underlying themes of racism in the early 1900s and our attitude was thank God this is all behind us. Now this show has never been needed more. Shockingly, things have gone backwards and we have to speak out. Being a huge sympathizer of Black Lives Matter and having a black adopted daughter puts a lot of things into perspective.

Back then, immigration was sort of in the forefront of the news, but not like it is today. The show is about immigrants, which is about America and coming to America.

My passion lies in great storytelling. Ragtime is a prevalent, uplifting show with three beautiful, intertwining stories involving a Jewish immigrant and his daughter, a New Rochelle family, and jazz musician Colehouse Walker Jr. who buys the Model T. It’s a moving, relatable show about family, choosing family, and acceptance. It also has a brilliant score and we have a fifteen piece live orchestra. In my long theatre career, Ragtime is one of my top three shows. People will leave feeling good.

(L to R) Finn Clougherty, Jillian Griffin, Cristian Sack, Hannah Dwyer as Little Girl, Michael Hammond as Tateh, Barbara Baumgarten, Brenna Kenney, Melissa Carubia as Emma Goldman (on soapbox), Hilary Goodnow Photo courtesy of Zoe Bradford

SC: Period pieces can be difficult from costuming to the fine details and Ragtime must be a monster to put together.

ZB: It’s challenging, but we have our costumer Bree Plummer. We would love to have her as a resident, but she is also a teacher so we get her when we can. I work with a great team of designers including Ryan Barrow and James Valentin to make the most beautiful show possible. We love period pieces because we can make it interesting.

I’m trying to let others set design because people have to carry the legacy on just in case. I probably won’t ever retire, but will let people take over certain aspects. As I let some things go, I plan to write more.

(L to R) Hannah Dwyer of Scituate as Little Girl with Michael Hammond of Holbrook as her father Tateh Photo courtesy of Zoe Bradford

SC: Spring Awakening also took place in the last five years, another daring show.

ZB: I didn’t cut it, though it was handled carefully. Though it happened in a different era, the themes are also relevant today and people need things they can relate to. I also love a good score. Steve Bass came on in 2016 and we’ve made him our resident Music Director and may keep him on indefinitely. He’s a young, brilliant pianist and has his PhD from the Conservatory.

Company Theatre's musical, Spring Awakening

Company Theatre’s 2014 musical, ‘Spring Awakening’ Photo courtesy of The Company Theatre

SC: You once said you chose popular shows that sell, but in the last few years, The Company Theatre has been delving into unchartered waters a bit. Last year was haunted with Carrie the Musical and Lizzie Borden.

ZB: It’s financially difficult to do that, but we are trying to give the young people what they want. Lizzie Borden went well because people love local history and some said they have been to her house. A gruesome tale, but it was also a nice psychological thriller.

We changed a little how we choose our shows, but we still have to please our general audience and offer something for the family, something mature, and our team knows their demographic well and what will be successful.

SC: What shows do you still dream of doing?

As a non-profit, whatever comes in has to support what we are doing and help us be self-sustaining. Grants, gifts, and tax deductible donations are the key. We have better opportunities for community support such as new packages for corporate sponsorship due to having higher end computer capabilities, a better website, and a brand new ticketing service that allows people who wish to support us to advertise.

SC: What has been your most challenging musical?

SC: What advice would you give someone taking on a business in theatre or similar?

Company Theatre’s logo, a design Zoe Bradford hand drew 40 years ago

SC: What do you envision for the Company Theatre’s future?

ZB: We have to keep growing and in our 40^th year, we are finally setting up the Legacy Fund. Our money rolls in and out with the tide as any non-profit would, but we’re actively fundraising to ensure another 40 years and beyond.

For the last ten years, I’ve wanted to design a new logo. I remember sitting at a little drafting table back in the 70s and hand drew it when we didn’t have any money or resources.

Click here for tickets or call the box office at 781-871-2787. Located at 30 Accord Park Drive in Norwell, Massachusetts, click here on how to support the Company Theatre and be sure to follow them on Facebook, Twitter, and Instagram.

For Performing Arts news, interviews, reviews, and much more in Boston and beyond, follow us on Facebook @sleeplesscritic and subscribe.

New England Philharmonic President Ann Teixeira offers inside look at 40th Anniversary concert March 4

Posted on March 1, 2017 by The Sleepless Critic

Led by Maestro Richard Pittman, the New England Philharmonic (NEP) has a stellar reputation for bringing magnificent works and uncovering promising masterpieces in each of their meticulously crafted concerts. Music Director Richard Pittman is celebrating his 20^th anniversary with the orchestra as New England Philharmonic presents its 40^th anniversary concert featuring Michael Tippett’s stirring and thought-provoking A Child of Our Time with Chorus pro Musica under the direction of Jamie Kirsch. This exciting concert will be held at Tsai Performance Center at Boston University on Saturday, March 4 at 8 p.m. A number soloists and musicians are slated to perform at this special celebratory concert. Click here for more information and for tickets.

New England Philharmonic President Ann Teixeira offers an inside look at how each season’s works are selected, their annual Call for Scores competition, and how to celebrate two anniversaries in one extraordinary night.

Jeanne Denizard: How did this 40^th anniversary season come together and how were the works selected? I understand part of the process is NEP holds an annual Call for Scores competition. Was there a specific theme involved this year?

Ann Teixeira: Music Director Richard Pittman is responsible for the music selection each season. Once the orchestra and Board know what he has chosen for the next season, the season’s theme is identified and each concert is given a title based on the relationship among the pieces. When he selects a program’s theme in advance, it is almost always selected for the family concert. This year’s family concert was called, The Big Bad Wolf.

JD: On March 4, the NEP will hold an anniversary concert celebrating two anniversaries at Tsai Performance Center at 8 p.m. A number of musicians and soloists will be returning for this big night. What inspired highlighting these two significant anniversaries in one evening?

AT: The orchestra is primarily celebrating NEP’s 40th anniversary, but this is also the first of Richard Pittman’s 20th year as Music Director. We are fortunate to have a number of musicians who are long time members of the orchestra on stage for the 40^th anniversary concert, including violinist Louise Myers, who joined it as early as its third concert in 1977, and 30-year NEP cellist Jennifer Snodgrass among others.

As the NEP did for its 30th and 35th Anniversary concerts, we will once again perform a vocal work that includes a chorus and vocal soloists. For the 30th anniversary, it was Alban Berg’s opera Wozzeck and for the 35^th anniversary, Benjamin Britten’s War Requiem.

The 40th Anniversary concert features Michael Tippett’s A Child of Our Time with Chorus pro Musica and soloists soprano Sarah Pelletier, mezzo-soprano Krista River, tenor Charles Blandy, and bass Sumner Thompson. The NEP celebrates another anniversary as this same piece, also with Chorus pro Musica, was performed 25 years ago this season under Ron Feldman’s music direction.

JD: This year also marks NEP’s 20^th anniversary under the direction of award-winning Music Director and Maestro Richard Pittman. Not only has he led the orchestra to a number of honors, but he has conducted orchestras all over the world and founded a distinguished ensemble, Boston Musica Viva. Please tell me about how his presence enriched the NEP over the years.

AT: Dick is a widely recognized and often honored conductor both in the U.S. and Europe. He founded the Boston Musica Viva, an ensemble widely regarded as one of the best contemporary music ensembles in the world, 47 years ago. He has enriched the NEP with his broad and deep knowledge of contemporary classical music and the high standards he applies to his repertoire selection. He selects only the ‘best’ of contemporary classical music which not only utilizes as many instruments and musicians within each piece, but accommodate our part-time musicians. Program selection is a balancing act! The programming and training he provides leads to the orchestra’s musical growth and retention of them as well as higher quality performances often recognized by reviewers as equivalent to professional orchestras.

Composers are happy and honored to have the NEP select their compositions for performance due to Dick’s relationship with them. The composers often attend the performance and speak to the audience about their composition and sometimes the process of composing it, enriching the concert experience. Composers also sometimes attend a rehearsal, which further enriches the musicians’ experience and training.

JD: This season features fanfares from former composers-in-residence. This particular concert features Melospiza melodia from two-term composer-in-residence, Richard Cornell, who wrote this specifically for the anniversary.

AT: Yes, Richard Cornell used song of the sparrow as his inspiration for this piece.

JD: NEP features Michael Tippett’s A Child of Our Time, which is inspired by what happened in Nazi Germany in the 1930s and is a significant work against oppression in the world. Why this particular work? I understand that it resonates especially with today’s world.

AT: When Maestro Pittman selected A Child of Our Time a year ago, he had no prescience for how relevant its statements would be to the current political environment. While it is explicitly a statement against oppression, it also progresses into a statement about tolerance, thus making it currently relevant on both dimensions. It is serendipity, it is so relevant, and we hope it will leave its impact on the audience.

New England Philharmonic presents the 40^th Anniversary Concert: A Child of Our Time at the Tsai Performance Center at Boston University on Saturday, March 4 at 8 p.m. Click here for tickets, how to become a subscriber, and more information.

The New England Philharmonic thrives on the support of the community. Click here to support the NEP, volunteer, and sign up for their newsletter for upcoming performances and more.

Celebrity Series of Boston’s 78th season boasts big shows and return of Stave Sessions concert series

Posted on February 3, 2017 by The Sleepless Critic

Having kicked off another sensational season with the return of Pianos in Boston, Celebrity Series of Boston’s 78^th season has been offering a broad spectrum of captivating performances in their 41 show lineup including the debut of the Vertigo Dance Company, the Berliner Philharmoniker led by conductor Sam Rattle, as well as Argentine cello star, Sol Gabetta with French pianist Bertrand Chamayou. Celebrity Series of Boston is taking audiences through the winter and spring with mesmerizing performances by Yo-Yo Ma, The Art of Elegance with Kristin Chenoweth, KODO’s 35^th anniversary, and the return of the concert series, Stave Sessions. Click here for more information and the full calendar.

Presented on the Berklee College of Music campus and sponsored by Susan and Michael Sonis, Margaret Eagle, and Eli Rapoport, Celebrity Series of Boston offers five consecutive nights of dynamic, live music in jazz, classical, indie, Moroccan, and contemporary flavors. Each night has its own unique feel and takes place from Tuesday, March 21 through Saturday, March 25 at 8:30 p.m.

Stave Sessions with YMusic on Tuesday, March 21 Photo courtesy of Celebrity Series of Boston

Stave Sessions – Melissa Aldana on Wednesday, March 22 Photo courtesy of Celebrity Series of Boston

Stave Sessions – Tigue on Thursday, March 23 Photo courtesy of Celebrity Series of Boston

Stave Sessions – InnovaGwana also on Wednesday, March 23 Photo courtesy of Celebrity Series of Boston

Stave Sessions – Darcy James Argue’s Secret Society on Thursday, March 24

Stave Sessions – Blonde Redhead featuring Acme on Saturday, March 25 Photo courtesy of Julien Bourgeois

On Tuesday, March 21, the music festival kicks off with YMusic, a group that combines pop and classical styles followed by award-winning tenor sax player Melissa Aldana on Wednesday, March 22. Electrifying, 18-piece big band orchestra Darcy James Argue’s Secret Society takes the stage by storm on Thursday, March 23 and Tigue and Innov Gnawa combine Moroccan gnawa music with a contemporary percussion trio on Friday, March 24. The final night features indie music group, Blond Redhead featuring Acme on Saturday, March 25. A festival pass gains access to all five shows.

Click here for the full list of performances and for tickets. Subscriptions and gift cards are also available. Celebrity Series of Boston thrives on support from the community. Click here for a variety of ways to support Celebrity Series of Boston.