REVIEW:  Lyric Stage Company’s unleashes a powerful ‘Trouble in Mind’

Wiletta has always longed to be a famous actress, but at what cost?

With shrewd direction by Dawn M. Simmons, Lyric Stage Company presents Trouble in Mind by Alice Childress, part of Lyric Stage Company’s 50th season, live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, February 4.  The show is 2 hours and 20 minutes including one intermission and the action is not limited to the stage.  Click here for more information and for tickets.

The Cast of Trouble in Mind Photo by Nile Hawver

Sound designer Aubrey Dube’s jazz-inspired soundtrack rewinds the clock to the late 50’s.  Connected by a spiral staircase, Shelley Barish’s vintage two floor set features elegant and colorful mid century-inspired furniture pieces, gold and burgundy trim, and scattered hanging crystal chandeliers and yet is also true to any backstage theatre rehearsal setting, including a realistic red glowing exit sign hanging over a backstage door, dressing rooms, and a gleaming ghost light.

The cast of Trouble in Mind Photo by Nile Hawver

Some of Rachel Padula-Shufelt’s vintage costumes include a mix of muted and bold colors as well as lively patterns that not only reflect each character’s distinct personalities, but the action in the scene.  One scene has McConnia Chesser as Millie Davis and Patrice Jean-Baptiste as Wiletta presented in rich colors to stand out while Allison Beauregard as Judy Sears is adorned in smart suits in softer pastel patterns.  

What is particularly fascinating about Trouble in Mind is Alice Childress’s meaty and layered script.  It is an intriguing production that tackles racism, truth, censorship, stereotypes and much more taking place in New York City in 1957.  A play within a play, this engaging and multifaceted cast rehearses backstage for a divisive production called Chaos in Belleville as the underlying tension of this seemingly happy theatre group builds.  When things start to get real, that is where the real story unfolds.

MaConnia Chesser, Patrice Jean-Baptiste, and James Turner. Photo by Nile Hawver

The cast has sharp dramatic and comedic skills to navigate the often swiftly changing tone of this production and delves into the nature of Broadway theatre.   At the center of this tale is seasoned actress Wiletta, depicted with a mix of cheerfulness and hearty determination by Patrice Jean-Baptiste.  Wiletta eagerly shares her ambitions privately, but hesitates to pursue her loftier dreams in the interest of remaining a working Black actress.  Jean-Baptiste shares a warm rapport with Robert Walsh as supportive Irishman Henry who works for the production.  Their nurturing understanding of one another is a particular highlight.  Jean-Baptiste also confides in young actor John Nevins, portrayed by Kadahj Bennett, who also longs to succeed in show business.

James Turner, Davron S. Monroe, Patrice Jean-Baptiste, and Allison Beauregard. Photo by Nile Hawver

 Allison Beauregard portrays naïve ingénue Judy Sears with an array of nervous chatter behind a pretty face.  She longs to say and do the right things, but at times, Judy cannot seem to get out of her own way.   Beauregard does an impressive job depicting this enigmatic character’s nuances as each situation changes. 

The cast of Trouble in Mind Photo by Nile Hawver

Barlow Adamson as firm and condescending director Al Manners is not unlike other complex characters that Adamson has aptly captured.  Manners feels over worked and underappreciated which fuels some of his impatience, belittling nature and frankness.  Adamson navigates the shifting atmosphere of each rehearsal and has a powerful effect on each of the cast members.  From Bill Mootos as self conscious Bill O’Wray to MaConnia Chesser as wealthy, humorous and seemingly confident Millie, Adamson more often than not, stirs the pot.

Cautious, wise, and experienced Sheldon, depicted by Davron S. Monroe, at first seems an understated character, but Monroe later makes a sudden and indelible impression in one of the most memorable and stirring scenes in the production. 

Davron S. Monroe Photo by Nile Hawver

Trouble in Mind was created in 1955 and yet much of the themes are alarmingly relevant today.  Some of Trouble in Mind can be unsettling with veiled barbs, underlying tension, disdain, slights, and grim humor behind a smile, but the authentic reactions and self awareness are riveting to witness.  At one point, Manners states, ‘What is Truth?  Truth is simply whatever you can bring yourself to believe, that is all.’  Some familiar food for thought.

With shrewd direction by Dawn M. Simmons, Lyric Stage Company presents Trouble in Mind by Alice Childress, part of Lyric Stage Company’s 50th season, live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, February 4.  The show is 2 hours and 20 minutes including one intermission and the action is not limited to the stage.  Click here for more information and for tickets.

REVIEW:  Fueled by sardonic wit and intense humor, The Huntington’s ‘The Art of Burning’ crackles

Cutting sarcasm, sardonic wit, and a feigned smile does little to contain Patricia’s smoldering rage lurking just beneath the surface. No question Patricia has every reason to harbor resentment considering what she is going through affects her entire family. As a painter, it is important for Patricia to express her mounting feelings through art, but what if the pain is so deep that not even a canvas can exorcise that anger?

Directed methodically by Melia Bensussan, The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. The show is 85 minutes with no intermission, contains adult themes, and is not appropriate for children. Click here for more information and tickets.

Adrianne Krstansky, Michael Kaye, and Rob Barkhordar in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning takes an unconventional look at love and all of its side steps, misunderstandings, and complications. It also delves into betrayal, divorce, survival, and all of the lingering emotions simmering just below the surface. With dark humor that can be disquieting at times, The Art of Burning explores the complexity of human relations including a few of its vast repercussions.

Rom Barkhordar and Vivia Font in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

Jane Shaw’s haunting score and Aja M. Jackson’s vivid lighting enriches scenic designer Luciana Stecconi’s paradoxical, gleaming, and seemingly modest scenery set against a striking and evocative frame. Jackson’s lighting is crucial for each inventive scene change while the foreboding score keeps the tension rising throughout the production. Kara Harmon’s bold costume design not only reflects each character’s distinct personality, but plays a pivotal role in the show’s mounting tension.

The Art of Burning is also fueled by a powerful cast highlighted by Adrianne Krstansky’s captivating portrayal of Patricia and Clio Contogenis, who makes an impactful impression as conflicted Beth. Krstansky achieves a delicate balance between a strong and sympathetic woman who, for the most part, is holding her own in spite of her circumstances when she is not taking takes things a bit too far. The complexity of that balance still makes her likable even at her lowest points. Patricia’s sardonic wit and realism is nearly bereft of any boundaries. She seems to have lost her inhibitions long ago somewhere in the turmoil of her discoveries.

Michael Kaye and Laura Latreille in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com


Contogenis weaves in some of Krstansky’s biting humor and pensiveness as Patricia’s daughter as she faces her own unique challenges along the way. These issues are handled delicately and with vulnerability. Rom Barkhordar portrays Jason, a character with some misplaced optimism and a certain lack of empathy and yet Barkhordar weaves in a subtle obliviousness that Jason can almost be forgiven for. He has some meaty scenes with Krstansky and Contogenis that would be concerning if they were not so humorous. Mark, portrayed by Michael Kaye, seems to depict the onlooker and voice of reason, but things are much more complicated than they appear. Some sobering aspects of Mark and Charlene’s marriage are incredibly relatable and humorous. Kaye and Laura Latreille as capricious Charlene have a fascinating dynamic onstage. Vivia Font takes a memorable turn as Katya as she wrestles with the weight of her decisions.

Snodgrass’s witty, poignant, and intermittently humorous dialogue makes a strong statement about the state of our contemporary world and exposes some hard realities. The truth is people are all a little lost but even at its bleakest times, love may still find a way through it all.

Clio Contogenis and Adrianne Krstansky in ‘The Art of Burning’ Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson@photoshelter.com

The Art of Burning by Kate Snodgrass is available live and in person at the Calderwood Pavilion in Boston, MA and virtually through February 12, ending just days before Valentine’s Day. Click here for more information and tickets.

REVIEW: Tensions run high at sea in Moliere in the Park’s searing ‘pen/man/ship’

Aboard a whaling ship in 1896, two powerful forces cross paths that could cause a disaster of their own doing.  Christina Anderson’s pen/man/ship is a rich, quietly tense production that deepens within the intriguing script’s discourse and reflections and flows into the production’s dark setting.  Self-righteousness, dominance, and trust carry heavy weight as Anderson’s multi-faceted characters become more complex as the plot thickens.

Skillfully directed by Lucie Tiberghien in English with French subtitles, Moliere in the Park’s theatrical film, pen/man/ship continues live streaming for free through April 24.  RSVP is required and the show is two hours with a five-minute intermission.  Click here for more information and how to stream the show.

Aboard the Ship in ‘pen/man/ship’ Photo courtesy of Moliere in the Park

Capturing the illusion of being on a ship without the cast actually being on one is no easy feat, but attractive visual illustrations by Rocco DeSanti and effective sound effects by Daniel Williams depict large groups and cast members sitting side-by-side do not look out of place or jarring to the flow of the story.  Subtle technical details such as the gentle sway of the ship seem natural with the cast aboard.  One particularly innovative moment shows Jacob reflected in a mirror next to Ruby to make it appear as if he is standing in front of her.  The film flows so well from scene to scene without the quirks that zoom can sometimes cause. 

Kevin Mambo as Charles Photo courtesy of Moliere in the Park

Widow Charles Boyd (Kevin Mambo) and his son Jacob (Jared McNeill) embark on their first maritime voyage to Liberia when Jacob meets seasick Ruby Heard (Crystal Lucas-Perry) and is immediately attracted to her mysterious ways.  Mambo as Charles pens reflections on his voyage by candlelight but his real motivations are unwritten. 

Pen/man/ship boasts an impressive cast including Kevin Mambo as obstinate, domineering, and manipulative Charles and Crystal Lucas-Perry as mysterious, headstrong, blunt, and stubborn Ruby sterling in their portrayals.   Both of these strong characters are more alike than they care to admit.  Mambo and Lucas-Perry are eloquent in their discourse and both have a commanding presence in their own unique way.  Their slights and verbal exchanges become riveting as the show progresses.  One is persuaded by faith and the other by facts, but both seem too emotionally invested for that to be entirely true.

Jared McNeill as Jacob Photo courtesy of Moliere in the Park

Jared McNeill delivers an amiable performance as modest, shrewd, loyal, and sympathetic Jacob who struggles with his heart and his head.  McNeil and Lucas-Perry’s chemistry is earnest, yet complex and McNeill and Mambo have a warm and wary father and son camaraderie.  McNeill is particularly shrewd at seamlessly evoking his inner conflict with Mambo, evident right across McNeill’s face.

Bearded and dressed as a crew member faithful to the period, Postell Pringle portrays humble, fair-minded, and altruistic crew member Cecil.  Pringle has a welcoming presence as Cecil who often defuses tension as the show progresses.  Forthright, experienced, and respectful, he is well-spoken and has the discernment to navigate each character just as well as any ship.

Postell Pringle as Cecil and Crystal Lucas-Perry as Ruby Photo courtesy of Moliere in the Park

Pen/man/ship is a thought-provoking exploration of what motivates people who have the best intentions and how stubbornness, isolation, and fear can wield an ugly course and a stunning revelation. 

Moliere in the Park’s theatrical film, pen/man/ship continues live streaming for free through April 24.  Click here for more information and how to stream this free show.

REVIEW: SpeakEasy Stage Company and Front Porch Arts Collective delivers a no holds barred, twist-filled ‘Pass Over’

The setting could be anywhere.  However, that feeling of impending doom cannot be shaken as SpeakEasy Stage Company and Front Porch Arts Collective presents the twist-filled, semi-interactive, and award-winning Pass Over by Antoinette Nwandu continuing through Sunday, February 2 at the Calderwood Pavilion in Boston, Massachusetts.  This show is not appropriate for young children for explicit language and adult themes.  Pass Over is an hour and a half with no intermission.  Click here for more information and tickets.

Directed cleverly by Monica White Ndounou, Pass Over is part absurdist drama that tackles a number of social issues including racism and police brutality and weaves them together into a culturally meaningful narrative. Its theatre-in-the-round and semi-interactive setting helps pull the audience into the drama and never lets go.

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Hubens “Bobby” Cius and Kadahj Bennett in SpeakEasy Stage’s production of ‘Pass Over’ Photo by Nile Scott Studios

Alternating swiftly from humorous to harrowing,  Pass Over mixes the real with the seemingly imagined, often leaving you wondering whether what you are seeing onstage is actually happening.  Kathy A. Perkins’s lighting and pulsing sound by Anna Drummond seamlessly navigates the distinct, intense mood of this piece.

This suspenseful tale comes with simple staging by Baron E. Pugh and Wooden Kiwi Productions with only a nondescript lamp post and chain link fencing.  Anything more than that would be distracting.  Costume designer Chelsea Kerl keeps Kitch and Moses local with Red Sox caps and Celtics gear.

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Hubens “Bobby” Cius and Kadahj Bennett in SpeakEasy Stage’s production of ‘Pass Over’ Photo by Nile Scott Studios

The joint charisma of the two main characters is what hinges on the show’s credibility and they have that in spades.  The magnetic camaraderie, natural rhythm, and gift for physical humor between pensive Moses, portrayed by Kadahj Bennett, and funny, fast-talking Kitch, portrayed by Hubens “Bobby” Cius, gives this show its intriguing vibe as they joke, dream, plot, and wait on a deserted street corner.  They keep each other strong as they dream of rising up to their full potential and escape what is holding them back.  “Pass Over” means freedom.

Lewis D. Wheeler’s over-the-top performance enhances the palpable tension in this production.  As Mister, he plays an intricate part and takes on more than one role in this thought provoking tale.  In a beige suit and panama hat while carrying a wicker basket, Mister’s back story faintly resembles little red riding hood as he creates an impossible situation.

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Lewis D. Wheeler in SpeakEasy Stage’s ‘Pass Over’  Photo by Nile Scott Studios

Without being preachy, Pass Over delivers a powerful message while exploring some of the darker, hypocritical sides of human nature and treats its serious themes with sensitivity.

SpeakEasy Stage Company and the Front Porch Arts Collective present Pass Over through Sunday, February 2 at the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in the South End of Boston, Massachusetts.  Click here for more information and tickets and here to learn more about the Front Porch Arts Collective. The Children and Bright Star still coming up as part of SpeakEasy Stage Company’s 2020 season.