tchaikovsky | The Sleepless Critic

REVIEW: A ferocious song of desire in American Repertory Theater’s musical, ‘Black Swan’

Posted on June 27 by The Sleepless Critic

“Attack it! Attack it!”

In Darren Aronofsky’s 2010 psychological thriller horror film Black 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.

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.

REVIEW: Boston Ballet’s ‘The Sleeping Beauty’ remains a regal and enchanting achievement

Posted on June 3 by The Sleepless Critic

When an invitation goes awry…

An unexpected hero, an insulted fairy, true love, and a terrible curse make up this enchanting and haunting fairy tale classic as Boston Ballet proudly presents The Sleeping Beauty. Unfolding with elegant and athletic choreography by Marius Pepita and Sir Frederick Ashton, The Sleeping Beauty has returned to Boston for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. This production runs two hours and forty-seven minutes with two intermissions. Click here for more information and for tickets.

Boston Ballet in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

A full house gathered inside the Citizens Opera House as Mischa Santora conducted Tchaikovsky’s famous and dramatic music score, transporting the enthusiastic crowd into a world of royalty, betrayal, innocence, a few familiar fairy tale faces, and a dose of magic. Disney’s popular animated adaptation possesses some similarities to this captivating tale, but Boston Ballet delivers more to the story. You may even find yourself humming along to the instrumental refrain of the iconic number, Once Upon a Dream.

At the center of The Sleeping Beauty is Ji Young Chae who is radiant as delightful and charming Princess Aurora. A triumph of delicate yet athletic grace, her poised and lithe body masters a few of ballet’s most difficult dance moves with impeccable balance including an array of arabesques that garnered particular applause. Seokjoo Kim, Francisco Schilereff, Tyson Ali Clark and Lawrence Rines Munro as prince suitors are enraptured by Chae’s playfulness, charisma, and charm. Chae as Aurora accepts their roses with a flourish.

Ji Young Chae in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Based on Russia’s Imperial Ballet’s 1890 production, The Sleeping Beauty remains a visual treat, boasting ornate costumes in a wide array of intricate patterns with picturesque and multi-dimensional set design by David Walker richly illuminated by Brandon Stirling Baker. From ornate, lush and colorful rural backdrops in gold, red, and green to the enchanting Renaissance era costumes, each scene is a wonder to behold. Wearing glimmering tiaras and dressed in sparkling pink, green, yellow, and blue, the gracious fairies made up of Lauren Herfindahl, Alexandria Heath, Kyra Muttilainen, Emily Aston, and Evelina Godunova floated, frolicked, and twirled, each displaying their own unique personalities. Muttilainen as the whimsical and tip toeing Woodland Glade Fairy and Godunova performing a joyful, skittering and humorous dance as energetic Golden Vine Fairy were particular highlights.

Chisako Oga in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

With a cruel and mocking laugh arriving in a dark, glimmering carriage was Haley Schwan as treacherous Carabosse. Accompanied by a group of monstrous henchmen performed by Ethan Collins, James Cunningham, Alexander Mockrish, and Clay Murray, Schwan displays vindictiveness as an insulted fairy in a mesmerizing array of sharp and rigid movements.

Chyrstyn Fentroy in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Tchaikovsky’s uplifting score hits a crescendo as Emma Topalova appears as the serene and captivating Lilac Fairy. In this adaptation, The Lilac Fairy acts as a guide, her warm presence, quick thinking and commanding courage setting her apart. Her charismatic and skillful performance was most evident among her lively lilac fairy attendants in a glorious display of fouettes, plies, and pirouettes. Topalova was also endearing in a compelling scene with Jeffrey Cirio as Prince Desire. Cirio has a regal and noble air, gallantly leaping with joy at Aurora’s image. Ji Young Chae as Aurora and Jeffrey Cirio as Prince Desire exhibit many tender and playful moments and perfectly complement each other in a fancifully-driven dance including extraordinary fish dives, swept up in love.

Ji Young Chae and Jeffrey Cirio in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

The Sleeping Beauty delivers many magnificent performances within this large cast taking on multiple roles. From a wild and thrilling duet from Layla Porter as Little Red Riding Hood and Lawrence Rines Munroe as the Wolf to humorous feline flirtation from Emily Aston as The White Cat and Spencer Wetherington as Puss ‘N Boots, many beloved fairy tale characters were presented in a joyous celebration.

Chisako Oga and Derek Dunn in Marius Petipa’s The Sleeping Beauty by Liza Voll, courtesy of Boston Ballet

With two intermissions, The Boston Ballet offers a photo friendly display located in the lower lobby. The Boston Ballet closes its season with The Sleeping Beauty for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Boston Ballet’s ‘Swan Lake’ returns as magnificent as ever

Posted on March 5, 2025 by The Sleepless Critic

Swan Lake has stood the test of time for generations and it is no mystery why. Steeped in regal splendor, Swan Lake is a visually-stunning portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest. Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.

Viktorina Kapitonova and Lasha Khozashvili in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

With seamless music direction by Mischa Santora, Tchaikovsky’s magnificent score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet continues Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 16. This four-act performance is two hours and 35 minutes, including one 20 minute intermission. Tickets are going fast. Click here for more information and tickets.

Von Rothbart in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after noble Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake. Swan Queen Odette, portrayed with sorrowful fragility by Chyrstyn Fentoy, catches his eye and it is love at first sight. It soon becomes clear that the swans were once women cursed by cunning sorcerer Von Rothbart, depicted menacingly by Lasha Khozashvili. Khozashvili is mesmerizing as Rothbart as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.

Pas de Trois in The Castle Gardens in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Elaborate headpieces, rich furs, flowing and glittering pastel garments, parasols, colorful garlands, exquisitely feathered tutus, plumes and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight and an orange crescent moon by lighting designer Mark Stanley. Seághan McKay’s evocative and timely projection images embellish the show’s pivotal moments.

Swans rising in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Marked by intricate precision, Mikko Nissinen’s choreography is ballet at its finest. Kyra Muttilainen and Haley Schwan are visually-stunning rising gracefully out of the mist. A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe and identical strokes. The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist. It still stands as one of the beautiful displays of ballet I have ever seen.

Perfect precision in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

In the castle gardens, dancers whimsically gather together in a feast dance toasting with goblets and joyfully present the prince with rich garlands. My’Kal Stromile is a highlight as Seigfried’s Tutor, marking this joyous occasion with amicable exchanges with Prince Seigfried and amusing moments including stirring after falling asleep during the festivities. While the castle garden illustrates a rural, picturesque and almost dreamlike setting, an equally opulent crystal ballroom with vast ceilings lit in red later depict a livelier surroundings as trumpets sound and a grand and dynamic lineup of guests gather to charm the kingdom including princesses, Czardas, and Neapolitans.

Prince Seigfried and Odile in Mikko Nissinen’s Swan Lake; Photo courtesy of Boston Ballet

Patrick Yocum shines as Prince Siegfried evoking loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance. Light and dark in Tchaikovsky’s Swan Lake is demonstrated brilliantly by Fentroy in a complex dual role. Fentroy glides and seems to float delicately across the stage as guarded Odette, her vigilant moments, statuesque beauty and downcast demeanor enrich her mysterious and chaste presence. Tingling violin resonates in Tchaikovsky’s emotive score as Fentroy and Yocum share a hesitant and sweet encounter. He tenderly lifts and embraces her at every turn. With sharp and bold movements, Fentroy also masters her dual role as mysterious and confident Odile, cleverly manipulating Odette’s movements with a soft smile. At one point, Yocum’s Prince Seigfried attempts to grasps her hand as he did with Odette, but Odile coyly pulls her hand away. Enthralled, Yocum takes her hand playfully and yet, almost possessively in an exhilarating dance.

Swan Lake remains a mesmerizing and beloved tale of tender grace and passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s 2010 Academy award-winning Black Swan. Mikko Nissinen’s Swan Lake is a dance celebration amid resplendent visuals and boasting a riveting classic tale for an epic and unforgettable experience.

Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 16. Tickets are going fast. Click here for more information and tickets.

REVIEW: With a mix of joy, reflection, and sweet surprises, The Holiday Pops’ milestone 50th year continues to make the season bright

Posted on December 22, 2023 by The Sleepless Critic

From hymnal to classical to Santa to the Grinch, The Holiday Pops offers something for everyone and makes it easy to alleviate the stress of the season and happily embrace what truly matters.

Celebrating a milestone 50^th year and the welcome return of the all-volunteer Tanglewood Festival Chorus, The Holidays Pops delivers a tapestry of classical and beloved Christmas carols, spiritual hymns, as well as holiday traditions through art and illustrations which always includes an annual visit from a surprisingly innovative and always jolly Santa Claus. Boston Pops conductor and host, Keith Lockhart garners warmth and reflective holiday cheer weaving in a certain classic Grinch quote by Dr. Seuss, a highly anticipated sing-along, and maybe even a dancing Maestro.

12.1.23 Keith Lockhart conducts Holiday Pops 2023 (Hilary Scott)

Sponsored by Fidelity Investments, led by Keith Lockhart, and ideal for the whole family, The Holiday Pops continues at Boston Symphony Hall through Christmas Eve. The show runs two hours including an intermission. Click here for more information and tickets.

Elegantly adorning the intrinsically-detailed gold balconies with twinkling lights on thick, festive wreaths is just a sampling of the stunning surroundings inside Symphony Hall. The stage spontaneously comes to life from illuminated gifts to lighted Christmas trees to glimmering dancing snowflakes.

12.1.23 Baritone Andrew Garland performs Vaughan Williams’ Fantasia on Christmas Carols with the Holiday Pops (Hilary Scott)

This beautiful performance delivered equal doses of contemplative material and lightheartedness with the first half fanciful and spiritual. Among the many highlights, Baritone Andrew Garland grandly delivered an eloquent and soaring rendition of Fantasia on Christmas Carols by Ralph Vaughan Williams.

12.1.23 12 Days of Christmas with the Tanglewood Festival Chorus (Hilary Scott)

With a generation bombarded with CGI and AI, The Holiday Pops thrilled audiences with author Jan Brett’s colorful, authentic and imaginative illustrations. Accompanied by seamless orchestration by the Boston Pops, the audience absorbed themselves in a Jan Brett children’s book that offers a rich new vision of Tchaikovsky’s classic, The Nutcracker. Among the memorable images was a fire breathing dragon, reindeers that have antlers with lighted candlesticks, dancing bears, and Santa in a headstand wearing a bucket hat.

12.1.23 Tribute to Harry Belafonte at Holiday Pops (Hilary Scott)

The evening also contained a moving tribute to EGOT Winner, activist, and musician Harry Belafonte not only honoring Belafonte’s calypso-inspired classic tunes, but his impressive activism featuring various pictures and video of his part in the March on Washington, supporting Martin Luther King Jr, and his work with UNICEF.

The Pops delivered a captivating gospel tribute in Swahili called The Good News Voyage arranged by David Coleman which contained Go Tell it on the Mountain. In the second half of the show, The Holidays Pops presented a Jewish song sung in Hebrew, Tikkun Olan (Heal the World), a riveting rendition expressing the yearning and urgency to heal and repair the world ‘Pray for peace and justice/For the sake of peace/heal the world’ as the tempo accelerated into a powerful crescendo.

12.1.23 Santa Claus with Keith Lockhart (Hilary Scott)

Brimming with beloved classic Christmas carols and guest appearances by Santa and more, the second half of Holiday Pops was a vibrant, yuletide spectacle joyfully kicking off with Sebesky’s Frosty All the Way, a jazz-infused medley featuring Jingle Bells, Frosty the Snowman and more. The brass ensemble spinning their instruments was among the playful sights as they performed this catchy and airy collection of carols.

12 Days of Christmas

Boston Pops’ charming signature versions of Sleigh Ride are always clever, cheeky, and increasingly full of madcap high jinks and the 12 Days of Christmas show that anything can happen among illuminated dancing snowflakes. The Holiday Pops also presented a special annual reading of Clement Clarke Moore’s Twas the Night before Christmas, read briskly by enthusiastic special guest WBZ News journalist Matt Shearer to mark its publication nearly 200 years ago before Santa arrived. While bulbs glow to the beat, the jolly Tanglewood Festival Chorus delivered A Merry Little Singalong in Santa hats and ears which included Rudolf the Red-Nosed Reindeer, Walking in a Winter Wonderland, and more.

Holiday Pops concluded with the tender Let There Be Peace on Earth, as Earth shone overhead, brilliantly conveying the quiet hope for the coming New Year.

REVIEW: Lyric Stage Company delves into musical genius Rachmaninoff’s chaotic mind in mesmerizing ‘Preludes’

Posted on January 19, 2023 by The Sleepless Critic

Ever wondered if legendary musicians would still be who they are if they lacked any vices or instabilities? Would they still achieve that same level of success or become even greater?

Some of the most extraordinary musicians also endured turmoil in their lives whether through external circumstances or within the depths of their very being. Most come to the general consensus that the artist simply wouldn’t have that level of genius without everything that came with it. For Russian composer, pianist, and conductor Sergei Rachmanioff, he endured quite a battle on his journey to greatness and his music continues to live on.

Dan Prior and Aimee Doherty in ‘Preludes’ Photo by Mark S. Howard

Directed profoundly by Courtney O’Connor, Lyric Stage Company presents Dan Malloy’s musical Preludes through Sunday, February 5 live and in person at Lyric Stage Company in Boston, Massachusetts. The production is approximately 2 hours with a 15 min intermission. Click here for more information and tickets.

Preludes references Rachmaninoff’s classic works, but the word itself describes what happens before an important event. It delves head first into Rachmanioff’s massive struggle to create which included fear of failure, Marfan syndrome, and mental instabilities that led to his historical writer’s block. Dan Rodriguez’s music direction combined with Andrew Dunkan Will’s complicated, vivid, and occasionally manic sound design illustrates the turmoil and genius of a musician on the brink of something bigger, but struggling to pull through.

Preludes boasts a fascinating cast including Will McGarrahan taking on multiple roles during the production. Wringing his hands, frustrated, and utterly exhausted, Dan Prior embodies frazzled and despondent ‘Rach,’ his world seized by hesitation and regret delivered cleverly in the opening number Your Day. Rachmaninoff battled life through music, but both can become blaringly stringent. Battling all these limiting factors, Rach freezes. Music Director Dan Rodriguez performs double duty depicting the mood setting musical side of pianist Rachmanioff with earnestness and peaks of humor and charm. Keyboardists Bethany Aiken and Mindy Cimini enhance this complex score that keeps up with the chaos of Rach’s mind and the reality surrounding it.

Prior’s subtle yet searing performance delves into a defeated man reaching for a lifeline through therapist Dahl, depicted skillfully by Aimee Doherty with a contemporary vibe in a Pink Floyd T-shirt, black glasses and edgy depth. Doherty’s inquisitive and unorthodox methods may be the calm in the storm. Kayla Shimizu is relatable as steadfast, optimistic, and maybe in over her head Natalya. Shimizu brings a smooth and natural ease to the number Vocalize as well as a powerful and painfully honest rendition of Natalya as she struggles in her limited understanding of Rach’s condition. Shimizu and Prior bring compelling chemistry and connection in their moving rendition of Not Alone.

Dan Prior, Aimee Doherty, Dan Rodriguez and Anthony Pires Jr in ‘Preludes’ Photo by Mark S. Howard

Enhanced by Karen Perlow’s mind bending lighting, Preludes is at times trippy and often teetering between daydream and reality. Highlighted by amazing and intricate choreography, Anthony Pires Jr as Chaliapin slides into an entrancing and catchy Loop with finesse and charisma while blending elegant vocals between jarring beats. It is a standout number that may ruminate long after the show is over. Taking on multiple roles and delivering inspiring and thought provoking pearls of wisdom is Will McGarrahan who portrays a number of dynamic historical figures. McGarrahan’s commanding voice, distinct characterizations, and dark comedic timing make him a treat to watch each time he appears onstage.

Kayla Shimizu, Anthony Pires Jr, Dan Prior, Will McGarrahan, and Dan Rodriguez in ‘Preludes’ Photo by Mark S. Howard

Scenic Designer Shelley Barish’s insightful circular staging moves fluidly with the performers with a piano set perfectly at center stage accented by lilacs, ordered blocks of vibrant colors, and an ever changing, mood-induced colored backdrop. The scalloped trim and soft lighting from various hung fixtures add an eclectic elegance as does the eye popping vintage couch and ottoman.

In some ways, Rachmaninoff’s struggles also made him distinctive. He had Marfan Syndrome which is a genetic disorder that affects the connective tissue of the body and organs. It is a very difficult way of life, but also gave him unusually long fingers. Much of his work is difficult to play because he could reach the piano keys more easily than the average person. This weakness was also a strength and part of what made him seem destined for greatness.

Lyric Stage Company presents Dan Malloy’s musical Preludes through Sunday, February 5 live and in person at Lyric Stage Company in Boston, Massachusetts. The production is approximately 2 hours with a 15 min intermission. Click here for more information and tickets.

REVIEW: Mikko Nissinen’s ‘Swan Lake’ returns in riveting and enchanting splendor

Posted on June 4, 2022 by The Sleepless Critic

Mikko Nissinen’s Swan Lake will enchant you from the start.

Swan Lake has stood the test of time for generations and it is no mystery why. Seeped in regal splendor, Swan Lake is a visually-striking portrait of elegance and grandiosity similar to another one of Tchaikovsky’s classics, The Nutcracker. Both known for their iconic scores, mystical elements, and magnificent presentation, but Swan Lake’s sophisticated splendor, dark charm, intricate choreography and mirror image story of true love sets it apart from the rest. Like The Nutcracker, Swan Lake has a universal appeal and memorable qualities that even those who don’t care for ballet will still enjoy Swan Lake.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Rosalie O’Connor, courtesy of Boston Ballet

With seamless musical-direction by Mischa Santora, Tchaikovsky’s majestic score navigates a classic tale of love, torment, betrayal, magic, and unbridled joy as Boston Ballet rises out of Mikko Nissinen’s Swan Lake continuing live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Performed in memory of John W. Humphrey, Swan Lake has returned to the Boston Opera House for the first time since Mikko Nissinen re-imagined the ballet in 2016. This four-act performance has one intermission. Click here for more information and tickets.

Taking a mysterious and thrilling tone from the start, Swan Lake is a fanciful tale involving sought-after Prince Siegfried, portrayed with zest and charm by Patrick Yocum, who sets his sights on a flock of swans drifting over a misty and enchanted lake. Swan Queen Odette, portrayed with graceful fragility by Lia Cirio, catches his eye and it is love at first sight. It soon becomes clear that the swans were once women cursed by sorcerer Von Rothbart, depicted menacingly by Tyson Clark. Tyson Clark as Rothbart is an incredible and unpredictable force as he athletically and perilously tears through the mist as Prince Siegfried vows to set Odette free.

Golden-braided, ornate headpieces, flowing pastel garments, parasols, garlands, exquisitely feathered tutus and pristine crowns are just a glimpse into Robert Perdziola’s opulent and meticulously-detailed, handmade costumes that enrich the lush and picturesque royal garden setting as well as the haunting mirror image and mystical lake bathed in luminous blue moonlight by lighting designer Mark Stanley.

Marked by such precision, Mikko Nissinen’s choreography is ballet at its finest. Emily Entingh and Sage Humphries are visually-stunning rising gracefully and beautifully fluttering out of the mist. A gathering of cygnets demonstrate perfect synchronicity as they glide in lithe, delicate strokes. The swans are ethereal and immaculate as they simultaneously rise exquisitely out of a swallowing mist. It still stands as one of the beautiful displays of ballet I have ever seen.

Boston Ballet in Mikko Nissinen’s Swan Lake; photo by Gene Schiavone, courtesy of Boston Ballet

In the castle gardens, dancers whimsically join together in a feast dance with goblets and joyfully present the prince with rich garlands. While the castle garden depicts almost a dreamlike setting, an equally opulent ballroom with vast ceilings lit in red later depict a livelier setting as a grand and dynamic lineup of guests gather to charm the kingdom including princesses, czardas, and Neapolitans.

Patrick Yocum is impressive as Prince Siegfried as he evokes loneliness and melancholy in an emotive and carefully-executed variation and then later in a flawless and joyful dance as if floating across the stage. Light and dark in Tchaikovsky’s Swan Lake is demonstrated impeccably in Lia Cirio in a complex, dual role. As guarded Odette, her every move diligent and yet her statuesque beauty and downcast demeanor enrich her mysterious and powerful presence. Tingling violin resonates in Tchaikovsky’s emotive score as Cirio and Yocum share a hesitant and sweet encounter. He tenderly lifts and comforts her at every turn. Cirio can craftily engage an audience and masters her dual role as mysterious and confident Odile. That striking look she gives reminded me of the fire she brought to her 2020 performance in Boston Ballet’s Carmen. Cirio’s cunning smile and playful charisma gleam as Yocum takes her hand playfully and yet, almost possessively in a spellbinding and exhilarating dance.

Swan Lake is such a haunting and beloved tale of tender grace and arduous passion that, like The Nutcracker, it has been adapted in various forms for stage and screen over the years including Darren Aronofsky’s Academy award-winning Black Swan. Mikko Nissinen has adjusted a few scenarios in Swan Lake since its re-imagining in 2016, but only for its betterment to create an even more thrilling, illuminative and memorable experience.

Mikko Nissenen’s Swan Lake continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, June 5. Swan Lake will then stream from the comfort of your home from June 9 through June 19. Click here for more information and tickets.

REVIEW: Tony Williams’ ‘Urban Nutcracker’ makes a vivid and engaging return to the stage for its 20th anniversary

Posted on December 22, 2021 by The Sleepless Critic

The thrill is back.

For an interactive and engaging show like Urban Nutcracker, experiencing it online last year on its 19^th anniversary offered a glimpse into its dazzling style, multi-genre music, and the unique perspective within a classic tale.

However, sitting in the Boch Center’s Shubert Theatre as Urban Nutcracker’s dynamic orchestra traveled down the aisles performing their horn-infused, big band sound on instruments stringed in colorful lights created an authentically immersive experience. This year marks Urban Nutcracker’s 20^th anniversary live onstage, an innovative show that not only pays tribute to Tchaikovsky’s classic holiday tale, but to the beauty and spirit of Boston.

Ruth Whitney in Urban Nutcracker Phot credit to Peter Paradise

Featuring the City Ballet of Boston, The Brooklyn Ballet, Phunk Phenomenon Dance Complex, the Northeast School of Ballet, and Revels, Tony Williams Dance Center’s Urban Nutcracker is available for a limited engagement continuing through December 22 at the Boch Center Shubert Theatre in Boston, Massachusetts. The show is approximately 2 hours with one 15 minute intermission. Click here to for more information and for further details about the Tony Williams Dance Center.

Click here for an interview with Tony Williams about his dance center and how the Urban Nutcracker began.

Prefaced by festive carols from the likes of Frank Sinatra, Judy Garland, and Nat King Cole, the enthusiastic crowd was more than ready to experience The Urban Nutcracker live and in person again and from the spontaneous cheers from the crowd, showed no sign of disappointment.

As the band settles inside a replica of the Hatch Shell above the stage amid Janie Howland’s amazing scenic design, identifiable landmarks such as the CITGO sign, Massachusetts State House, Green Monster, and Downtown Boston’s Custom House Clock Tower (which comes alive upon closer examination) are set strategically on Boston’s city skyline. The orchestra plays above the performers, delivering rich and funky rhythms inspired by a variety of music styles that match the vast array of festive, eye-popping costumes by Dustin Todd Rennels as cultures from around the world take the stage once more.

Ruth Whitney and Ronnie Thomas Photo credit to Peter Paradise

When Tchaikovsky, Duke Ellington, and David Berger come together for this eclectic score musically directed by Bill Whitney, it takes this timeless tale to the next level. Urban Nutcracker delivers a modern, sparkling, family-friendly vibe which is depicted in the show’s rich colors as a chic and contemporary apartment with a distinctive tree, glimmering cushions, and large and festive bulbs covering the windows is revealed.

What is particularly noticeable this year is the gathering. The variety of children and adults dancing and playing with their new toys as a group come together for an amazing photo with a lengthy selfie stick. The sheer joy of a houseful of children and adults enjoying each other’s company has been something dearly missed.

Selfie stick Photo credit to Peter Paradise

Horn infused jazz, hip hop, and the blues are just a few of the genres explored in this tradition meets contemporary Urban Nutcracker. It was amazing to watch the adults dance with elements of swing and ballet integrated into their steps.

Urban Nutcracker depicts all the classic scenes from Tchikovsky’s production with an inviting twist featuring a diverse, multi-talented cast. In a magnificent coat and top hat, Gianni Di Marco has more than one trick up his sleeve as captivating Drosselmeyer. He not only wows adults and children alike with tricks and presents, but his sweet interactions with Ruby including one point as the duo watch from the balcony provide some of Urban Nutcracker’s most memorable moments.

Drosselmeyer does his magic as children look on. Photo credit to Peter Paradise

Khalid Hill returns and again masters multiple roles including a catchy break dancing, tap and toe tapping routine on the city streets as dancers synchronize beats on trash cans. Ronnie Thomas is excellent as a wiry soldier doll in bright orange and purple as he bends in incredible shapes around the stage as well in an exciting rat battle as the Nutcracker Prince.

Kyre Ambrose and Sophia Garufi as rats and Ronnie-Thomas as Nutcracker Prince Photo credit to Peter Paradise Michaels

The Snow Queen and King, portrayed by Ruth Bronwen-Whitney and Ronnie Thomas, are sophisticated and elegant gliding in a snow-covered landscape of the Boston Common surrounded by luminous snowflake dancers. Thomas also delivers a visually-rich and memorable performance in a duet with Ruth Bronwen-Whitney as Arabian dancers. Spain’s spectacular costumes glitter in a flowing flamenco dance as a bull rider dominates the background while China’s dancers are bursting with color in a spinning fan dance.

Kirsten Glaser leads Spain dance Photo cred to Peter Paradise Michaels.

The Sugar Plum Fairy, performed by Kseniya Melyukhina and Ruth Bronwen-Whitney, has a more traditional look in lilac this year, but nonetheless stands out for a beautiful, upbeat solo and a later performance with Gianni Di Marco during a jazz-infused Nutcracker Suite.

Kseniya Melyukhina in Urban Nutcracker Photo credit Peter Paradise

Several lighthearted performances return to the stage including the athletic hula hoop dancers in Revere Beach with back flips included, a lively and humorous performance featuring skilled, tap-dancing workmen in hardhats and paint-splotched overalls, but a favorite performance of Urban Nutcracker’s answer to Make Way for Ducklings is endearing and heartwarming featuring Michael Oliver Slayton as a tap dancing cop and an adorable, yellow feathered troupe of ducklings led by Simone Wolfhorst.

Urban Nutcracker still offers something for everyone with a unique twist on a classic while still reminding audiences what is truly important this time of year. It is a unique and exciting Boston tribute with surprises along the way.

Tony Williams Dance Center’s Urban Nutcracker continues through December 22. Click here for more information, tickets, and how to support this organization.

Tony Williams Dance Center’s ‘Urban Nutcracker’ an immersive heartfelt letter to Boston in 2020

Posted on December 17, 2020 by The Sleepless Critic

2020 has made an indelible impact on our society affecting family life, schools, businesses, the arts, and the very nature in which we live. When Urban Nutcracker returned for its 19^th season in 2019 and took the stage at Boch Center’s Shubert Theatre, it delivered dazzling style, live, multi-genre music, and the thrill of a classic tale with a unique perspective. It was one of the many inventive performances taking the stage at Shubert Theatre or at any venue in Boston during the holiday season.

Seeing it now evokes an air of wistfulness. Being a lover of city life in Boston for decades, seeing it now makes me long for Boston’s exciting streets, sit in the Boston Common, walk through Faneuil Hall in its crowded, bustling glory, and watch people marvel at the lights and holiday spirit of the city. Make Way for Ducklings, the Duck Boats, the Boston Harbor, live music at the Hatch Shell, and the crowds filing into Fenway Park are a memory this year. Especially at this glorious time of year, the warmth of the holidays in phenomenal Boston fills this city-lover’s mind with nostalgia and an enduring fondness for its boundless energy and heart. How it is missed.

Filmed in 2019 at the Boston’s Shubert Theatre and featuring the City Ballet of Boston, Tony Williams Dance Center’s Urban Nutcracker continues streaming for free for its 20^th anniversary through Christmas Eve. Click here to see the show and more information on Tony Williams Dance Center.

Nutcracker Prince portrayed by Tony Tucker battles Haissen Booth as the Rat King Photo credit to Peter Paradise Michaels/Urban Nutcracker

The dynamic orchestra is the first to set the show’s immersive tone as they greet the setting audience traveling through the aisles playing their horn-infused, big band sound on instruments stringed in colorful lights. As the band settles inside a replica of the Hatch Shell above the stage amid Janie Howland’s amazing scenic design, identifiable landmarks such as the CITGO sign, Massachusetts State House, and Downtown Boston’s Custom House Clock Tower are set strategically on Boston’s city skyline. The orchestra plays above the performers, delivering a robust sound in a plethora of music styles that match the cornucopia of festive costumes by Dustin Todd Rennels and Rebecca Cross as cultures from around the world unite onstage.

Gianni Di Marco as Drosselmeyer and Juliet Brown as Ruby and the cast Photo credit to Peter Paradise Michaels/Urban Nutcracker

When Tchaikovsky, Duke Ellington, and David Berger combine for the eclectic score musically directed by Bill Whitney, it is a journey of unfettered entertainment. Urban Nutcracker has a modern, relaxed, family-friendly vibe which is depicted in the show’s bright and jubilant colors, an urban-chic apartment with a distinctive tree, and the dance styles intonate a party that could happen anywhere in the city today especially as kids gather for a picture using a selfie stick.

Urban Nutcracker depicts all the classic scenes from Tchikovsky’s production with an inviting twist featuring a diverse, multi-talented cast. In a magnificent coat and top hat, Gianni Di Marco is captivating as wise, charismatic and exuberant Drosselmeyer. He not only wows adults and children alike with tricks and presents, but his sweet interactions with Ruby, portrayed by enchanting Juliet Brown and Stella Kotter, provide some of Urban Nutcracker’s most memorable moments.

Khalid Hill dazzles in multiple roles, but his tap dancing shines most on the city streets as dancers synchronize beats on trash cans. Ronnie Thomas is excellent as a funky soldier doll bouncing and coasting around the stage.

Ruth Whitney and Joe Gonzalez as The Snow Queen and King Photo credit to Peter Paradise Michaels/Urban Nutcracker

The Snow Queen and King, portrayed by Ruth Whitney and Joe Gonzalez, is the picture of elegance surrounded by luminous snowflake dancers and a glittering view of the Boston Common. Gonzalez also delivers a visually-rich and daring performance in a duet with Ruth Whitney as Arabian dancers.

Betsy Boxberger Khalil stuns as the Sugar Plum Fairy not only in a beautiful, upbeat solo but in a later performance with Joe Gonzalez and Gianni Di Marco during a jazz-infused Nutcracker Suite. The lifts themselves are spectacular.

Betsy Boxberger Khalil as Sugar Plum Fairy Photo credit to Peter Paradise Michaels/Urban Nutcracker

Several fun performances included athletic hula hoop dancers featuring Kendra Frank, a high-energy performance featuring skilled, tap-dancing workmen, Urban Nutcracker’s amusing answer to Bo Peep, but Urban Nutcracker’s answer to Make Way for Duckling featuring Michael Oliver Slayton as a tap dancing cop and an adorable troupe of ducklings led by Simone Wolfhorst, is a favorite, an unforgettable and endearing performance.

Oliver Slayton as Officer Michael and Simone Wolfhorst as Mrs. Mallard and her Ducklings Photo credit to Peter Paradise Michaels/Urban Nutcracker

Urban Nutcracker offers something for everyone without being boxed into any particular music taste while also delivering a timeless message of the season. It also pays unparallel tribute to Boston and if you are feeling nostalgic for the city, make sure to see this show.

Tony Williams Dance Center’s Urban Nutcracker continues streaming for free through Christmas Eve 2020. Click here for more information, how to access the show, and how to support this organization.

REVIEW: Boston Ballet’s ‘The Sleeping Beauty’ is a regal, dazzling achievement

Posted on May 17, 2018 by The Sleepless Critic

An unexpected hero, an insulted fairy, true love, and a terrible curse make up the enchanting and haunting fairy tale classic as Boston Ballet proudly presents The Sleeping Beauty. Unfolding with elegant and athletic choreography by Marius Pepita and Sir Frederick Ashton, The Sleeping Beauty has returned to Boston for a limited run by popular demand through Saturday, May 19 at the Boston Opera House in Boston, Massachusetts. Click here for more information and for tickets. Click here for a closer look at more of Boston Ballet’s upcoming performances.

A full house including a wealth of excited children gathered inside the Boston Opera House as Ming Luke conducted Tchaikovsky’s famous and dramatic music score, transporting the enthusiastic crowd into a world of royalty, betrayal, innocence, a few familiar fairy tale faces, and a dose of magic. Disney’s popular animated adaptation possesses a few similarities to this captivating tale, but Boston Ballet delivers more to the story. At the center of The Sleeping Beauty was raven-haired Lia Cirio as regal and elegant Princess Aurora, a triumph of athletic grace, her limber body mastering a few of ballet’s most difficult dance moves with impeccable balance, an arabesque garnering particular applause.

Lia Cirio and Boston Ballet in Marius Petipa’s The Sleeping Beauty; photo by Liza Voll Photography, courtesy Boston Ballet

Based on Russia’s Imperial Ballet’s 1890 production, The Sleeping Beauty is a visual treat, boasting finely-detailed costumes and a multi-dimensional set design by David Walker. From ornate, lush and colorful backdrops in gold, red, and green to the enchanting Renaissance era costumes, each scene is a portrait to behold. Wearing wreathed tiaras and dressed in sparkling pink, green, yellow, and blue, the gracious fairies made up of Dawn Atkins, So Jung Lee, Maria Baranova, Maria Alvarez, and Emily Entingh floated, frolicked, and twirled, each displaying their own unique personalities. The energetic yellow fairy was a particular highlight, performing a sweet, joyful, and humorous dance.

Boston Ballet in Marius Petipa’s The Sleeping Beauty; photo by Liza Voll Photography, courtesy Boston Ballet

With a cruel, mocking laugh and appearing in a dark, glimmering carriage was Dalay Parrondo as treacherous Carabosse. Accompanied by a group of monstrous henchmen performed by Tyson Clark, Derek Drillon, August Generalli, and Christian Pforr, Dalay delivered an electrifying performance as an insulted fairy in a haunting display of sharp, rigid movements.

Kathleen Breen Combes and Boston Ballet in Marius Petipa’s The Sleeping Beauty; photo by Liza Voll Photography, courtesy Boston Ballet

Tchaikovsky’s uplifting score hit a crescendo as Rachel Buriassi appeared as the Lilac Fairy. In this adaptation, she acted as a guide, her quick thinking and courage setting her apart. Her skillful performance was most evident among her lively, energetic lilac fairy attendants in a glorious display of fouettes, plies, and pirouettes. She was also impressive in a compelling scene with Lasha Khozashvilli as Prince Desire. Lia Cirio as Aurora and Lasha Khozashvili as Prince Desire had instant chemistry and perfectly complemented each other in a dream-like dance, swept up in love.

The Sleeping Beauty delivers many magnificent performances within this large cast, many taking on multiple roles. From a fascinating, thrilling duet from Maria Alvarez as Little Red Riding Hood and Alexander Maryianowski as the Wolf to a humorous, feline flirtation from Emily Entingh as The White Cat and Irlan Silva as Puss ‘N Boots, many beloved fairy tale characters took the stage in a joyous celebration.

With two intermissions, The Boston Ballet also offers an opportunity to learn more about ballet through The Warm Up, an interactive, photo friendly display located in the lower lobby. Boston Ballet presents The Sleeping Beauty through Saturday, May 19 at the Boston Opera House. Click here for more information and follow the Boston Ballet on Twitter and Facebook.

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REVIEW: Moving and visually stunning, ‘Soaring Wings: Journey of the Crested Ibis’ took flight in Boston

Posted on January 21, 2018 by The Sleepless Critic

The richest beauty comes from a striking, beloved bird as The Boch Center Shubert Theatre debuted the Shanghai Dance Theatre’s ethereal and historical tale, Soaring Wings: Journey of the Crested Ibis in Boston from January 11 and 12. The show is part of China Arts and Entertainment Group’s Image China and has been touring all over the world since 2014. A few of Image China’s featured past performances include The Legend of Mulan, Confucius Dragon Boat Racing, and the Peking Opera. Click here for more information about Boch Center’s upcoming events.

Soaring Wings, January 11-12, 2018 at the Boch Center Shubert Theatre (11)

Crested Ibis Photo courtesy of China Arts and Entertainment Group’s Image China

With elements similar to Tchaikovsky’s Swan Lake, Soaring Wings is a majestic celebration of nature’s harmony with man and how delicate that relationship can be. From harp-infused, mystical rhythms and horn-infused intensity composed by Guo Sida to the distinct, elegant choreography by Tong Ruirui, Soaring Wings delivers a stunning portrait of love, camaraderie, and what comes of neglect in a tree-lined utopia.

Soaring Wings, January 11-12, 2018 at the Boch Center Shubert Theatre (13)

Courtesy of China Arts and Entertainment Group’s Image China

Written by Luo Huaizhen, directed by Ton Ruirui, and starring Zhu Jiejing and Wang Jiajun, Soaring Wings is part love story, part environmental awareness, and part historical account of the Crested Ibis, China’s sacred bird of good fortune, from its first appearance centuries ago to what has become of them today. The simple and beautiful setting under a low hanging, multi-branched tree entangled with a mist covered lake is a vision to behold and prefaces the grace and charm of these spectacular birds as a group of explorers look on. Wearing intricately detailed, lacy costumes accented by a feather plume and dainty red slippers, the dancers move in simultaneous elegance. They joyfully chirp, prance, float, twinkle, and expressively cock their head while outstretching their wide, magnificent wings under streaming, multi-colored lights.

Soaring Wings, January 11-12, 2018 at the Boch Center Shubert Theatre (7)

The ‘flock’ of Crested Ibis Photo courtesy of China Arts and Entertainment’s Image China

Zhu Jijng and Wang Jiajun possess an instant, sweet fascination with each other as man and bird. Their intimate dance and the radiant joy they exude from each other is a captivating centerpiece of the performance. Divided into three parts, the stark contrast between the warmth and jarring indifference that develops in its characters and the symbolic relevance of a floating, single feather drives this altruistic tale. As visually stunning as its universal message, Soaring Wings: Journey of the Crested Ibis embodies the power of kindness and the importance of harmony in an ever changing world.

Zhu Jiejing and Wang Jiajun with cast Photo courtesy of China Arts and Entertainment’s Image China

Zhu Jiejing and Wang Jiajun Photo courtesy of China Arts and Entertainment’s Image China

Zhu Jiejing and Wang Jiajun dance Photo courtesy of China Arts and Entertainment’s Image China

Click here for more information about China Arts and Entertainment Group’s Image China and here for more about Boch Center’s upcoming events.