The Huntington

REVIEW: The Huntington’s ‘Prayer for the French Republic’ a contemplative family drama

Posted on by The Sleepless Critic

How does one live in fear?

Two linked tales unfold at times simultaneously onstage.  Having recently presented the epic multi-generational play, The Lehman’s Trilogy, The Huntington explores the world of the Salomon family whose stock in trade is selling pianos in Joshua Harmon’s Prayer for the French Republic.  Though a piano sits center stage, it is less about the family business, but about this French Jewish family’s experiences over the years residing in Paris at a pivotal time in 1944 and 2016.  The Salomon Family has resided in Paris for five generations.  Fear may change its face over the years, but somehow remains the same.

With shrewd direction by Loretta Greco, The Huntington presents Joshua Harmon’s Prayer for the French Republic continuing through October 8.  The show is two hours and 50 minutes with one ten minute intermission and contains adult content.  Click here for more information and for tickets.

Left to right: The cast of Prayer for the French Republic; photo by T Charles Erickson

Andrew Boyce’s chic and moving turntable scenic design complete with crown molding, distinctive gold framed paintings, cozy fireplace, and canapé sets a signature Parisian tone as a vintage piano sits center stage.  After two starting revelations, Prayer for the French Republic unravels two tales delving  into loneliness, family, fear, love, grief, and the hardships and persecution the Jewish face, questioning the meaning behind ‘Republic for all.’

Left to right: (foreground) Tony Estrella; (background) Peter Van Wagner, Phyllis Kay; photo by T Charles Erickson PRAYER FOR THE FRENCH REPUBLIC By Joshua Harmon The Huntington Theatre 09/06/23 Directed by Huntington Artistic Director Loretta Greco Lighting Design: Christopher Akerlind Costume Design: Alex Jaeger Scenic Design: Andrew Boyce PRAYER FOR THE FRENCH REPUBLIC is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. http://www.concordtheatricals.com T Charles Erickson Photography Photograph © T Charles Erickson tcharleserickson.photoshelter.com

The show has an enigmatic air tied together by Tony Estrella who acts a narrator and family member.  As Estrella sets up the audience for what is next and weaving in and out of the narrative, his semi-interactive and complex role as Patrick paints him as antagonist, thoughtful narrator, and brother with a frank and natural delivery. 

Left to right: Amy Resnick, Tony Estrella; photo by T Charles Erickson PRAYER FOR THE FRENCH REPUBLIC By Joshua Harmon The Huntington Theatre 09/06/23 Directed by Huntington Artistic Director Loretta Greco Lighting Design: Christopher Akerlind Costume Design: Alex Jaeger Scenic Design: Andrew Boyce PRAYER FOR THE FRENCH REPUBLIC is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. http://www.concordtheatricals.com T Charles Erickson Photography Photograph © T Charles Erickson tcharleserickson.photoshelter.com

The show explores some traditional Jewish customs and is a study in ancestry as Amy Resnick as Marcelle takes a moment to explain this strong willed family tree.  Carly Zien is a bit of a scene stealer and delivers a crackling performance as witty, moody and seemingly unstable Elodie, Marcelle and Charles’s daughter.  Zien’s fast talking and frank delivery as Elodie offers equal amounts horror and humor as she explains the frustrating state of the world to Talia Sulla as bright eyed, lively, well meaning but increasingly outspoken Molly.  Molly’s cheery disposition is refreshing to orderly and increasingly tense psychiatrist Marcelle depicted keenly by Amy Resnick and the mother and daughter dynamic is thrust into overdrive as Resnick and Zien butt heads on almost every issue. Nael Nacer steps in as fair minded Charles for this performance and Joshua Chessin-Yudin depicts headstrong, sympathetic and unassuming Daniel, Elodie’s brother.  Chessin-Yudin and Sulla share some endearing scenes as they wrestle with the other’s point of view. 

Left to right: Talia Sulla, Joshua Chessin-Yudin; photo by T Charles Erickson

Contentions within the family and the future are laid out in a piece of clever staging as their dining room table steadily shifts.  Another noteworthy incident builds prickling tension and silent trauma as Molly overhears an argument in the next room with only Sulla’s face visible in the shadows.  Phillis Kay as Irma and Peter Van Wagner as Adolphe make a disquieting yet charming couple, but it is Jared Troilo as Lucian with Jesse Kodama/Will Lyman as Pierre Solomon who makes the greatest impact with a startling revelation that presses for more questions than answers.

Left to right: Phyllis Kay, Jesse Kodama, Jared Troilo; photo by T Charles Erickson

Prayer for the French Republic is contemplative and direct with its share of lighter moments as both tales converge to beg the question:  How do we move forward?  How to move forward in the face of fear?

With shrewd direction by Loretta Greco, The Huntington presents Joshua Harmon’s Prayer for the French Republic continuing through October 8.  The show is two hours and 50 minutes with one ten minute intermission and contains adult content.  Click here for more information and for tickets.

REVIEW:  The Huntington’s epic generational saga ‘The Lehman Trilogy’ a wealth of ideas within a whirlwind of talent

Posted on by The Sleepless Critic

It all begins with a dream. 

Spanning over 150 years and three generations, The Lehman Trilogy’s vast and epic saga infused with Mark Bennett’s melodic retro-inspired original music featuring solo musician Joe LaRocca enhances a trilogy of versatile, pliable, dynamic, and unforgettable talent in three chapters embodying a wide range of characters on their able shoulders.  Timed perfectly in the month of July, three Bavarian Jewish immigrant brothers take on America searching for the perfect business venture that personify their vision starting in Montgomery, Alabama and beyond.

Based on a true story and the bestselling book of the same name with fascinating direction by Carey Perloff, The Huntington continues Stefano Massini’s The Lehman Trilogy live and in person at The Huntington Theatre through Sunday, July 23.  The production is three hours and 35 minutes with two intermissions.  Click here for more information and for tickets.

Joshua David Robinson, Firdous Bamji, Steven Skybell ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Decked out in top hats and tailored black suits embroidered with symbolic imagery on the back by Dede Ayite, it is difficult to fathom how these three actors navigated such an extensive yet detailed story including narration, mastering accents, contorting faces, changing mannerisms, and role changes at the drop of a hat all while making it look so seamless.  It is even difficult to imagine such an epic production has been performed twice in one day as scheduled occasionally during the production’s run.   

From meager beginnings to extraordinary meaning that spring to life as Steven Skybell as determined and confident Henry Lehman disembarks from a ship with only a mere suitcase in his possession in awe of America.  It sounds like a story shared by many immigrants with nothing but a dream, but it’s the chutzpah, persistence and the resilience in everything that makes this particular tale shine.  Business through love, children, and every chaos in-between to attempt what seems impossible.  Points in history that transformed the United States and yet Lehman stands unrelenting to their dream.  Each vision altered to suit what is needed next in the world.

Joe LaRocca, Steven Skybell, Firdous Bamji ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

What stunning innovation can spring from a modest factory!  Sara Brown’s unassuming wooden warehouse metaphorically transforms through lifelike, mesmerizing and moving projections including illuminating rain, peerless rooftops, and surprising entryways created imaginatively by Jeanette Oi-Suk Yew and fueled by lighting designer Robert Wierzel.

Steven Skybell, Firdous Bamji ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Also noteworthy are the clever scene transitions especially in the third chapter such as the pop of a champagne bottle to the start of a race.  It is in these careful details by Carey Perloff that keep up the show’s swift pace. 

The show has a sleek sophistication and insightfulness that translate into lessons about navigating life itself.  It is lengthy but justified in the expansive history of these visionary brothers.  The real draw is not only the talent, but the evolution of this narrative tale.  One valuable life lesson is it is not in failure, but how to respond to it that really matters.  Mastery leaves no room for shortsightedness, but thrives on evolution and the answer to every problem is there.  One just needs to spot it.

Firdous Bamji, Joshua David Robinson ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

 Steven Skybell as inquisitive, bright eyed and headstrong Henry Lehman, Joshua David Robinson as strategic Emanuel Lehman, and introduced with a sheepish half smile Firdous Bamji as Mayer Lehman form a trilogy of talent.  They navigate these challenging roles with humor, discipline, and fervor and it is astounding to witness these actors onstage exchanging different countenances of various ages and genders, taking over narration, and moving the stories like, not by accident, a well oiled machine.  However, the tale is also infused with all the humor, heart, camaraderie and determination demonstrated in groundbreaking and strategic fashion that never becomes ineffective or silly.  It is smart, moving and detailed in a way that relates to anyone who has tried, failed, and has resolved to start again.

Firdous Bamji, Joshua David Robinson ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Based on a true story and the bestselling book of the same name with fascinating direction by Carey Perloff, The Huntington continues Stefano Massini’s The Lehman Trilogy live and in person at the Huntington Theatre through Sunday, July 23.  The production is three hours and 35 minutes with two intermissions.  Click here for more information and for tickets.

REVIEW: Searching for answers in The Huntington’s ‘Joy and Pandemic’

Posted on by The Sleepless Critic

Medicine and faith and faith versus fear as a pandemic is looming. 

These powerful topics should all be more than vaguely familiar in this day and age.  However, the most recent pandemic is not when Taylor Mac’s Joy and Pandemic takes place though from its urgent dialogue, it all seems like yesterday.

Directed meditatively by Loretta Greco, The Huntington presents the World Premiere of Taylor Mac’s Joy and Pandemic live and in person as well at Calderwood Pavilion in Boston, Massachusetts through Sunday, May 21.  It is also available digitally through June 4.  The show is two hours with one 15 minute intermission.  Click here for more information and for tickets.

Stacy Fischer, Breezy Leigh, and Ryan Winkles of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.

Joy and Pandemic delves into a number of topics and it is not surprising that this production is running through and beyond Mother’s Day.  It has an increasing intensity around the pandemic of 1918 in Philadelphia, but it also focuses on the shaping and influence mothers have on their daughters.  What about doubt?  What if a mother casts a shadow over what is right and wrong?

Though the show can meander and its formal dialogue is a bit muddled at times, Joy and Pandemic presents some important viewpoints that tip the scales on what is important in times of crisis.  It is not preachy and delves into extreme behavior of those who make decisions strictly based on faith who might benefit from a bit more common sense. 

Joy and Pandemic is about a passionate, independent and hardworking Christian Science mother and artist named Joy, her new husband Bradford and her excitable, impressionable and eccentric daughter Pilly.  They are running a fine arts school for children and plan to have an open house on the same day the town is holding a parade, even through whispers of the Spanish flu to the dismay of Joy’s mother in law Rosemary. 

Arnulfo Maldonado’s transformative, layered, and eye opening scenic design is strewn with paintbrushes, framed art work, shelves full of assorted pottery and art books as crown molding and retro wallpaper adorn the walls and brass, vintage chandeliers hang overhead.  Just as impressive is the astounding sound effects and presentation of the parade with booms and pops by Fan Zhang and lighting by Jen Schriver.   Zhang also effectively rewinds the clock with American Standards by Nat King Cole, Ella Fitzgerald, and Frank Sinatra.

Stacy Fischer and Ryan Winkles of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.

Even while exploring themes like faith, illness, medicine, life, and death, the cast manages to bring some occasional and much needed relatable humor to the production.  Marceline Hugot brings gravitas and hardnosed practicality as Joy’s mother in law Rosemary and Ryan Winkles is formidable as Joy’s mysterious husband Bradford.  Due to a portion of the show’s clever casting, it is best not to say more except that Stacy Fischer, Ella Dershowitz, and Breezy Leigh fit smoothly into their perspective roles.  Joy and Pandemic is not so much about joy itself though it does touch upon it outside its moments of intensity, poignancy, and insightful dialogue.  Somewhere along the way lies hope. 

Stacy Fischer and Breezy Leigh of The Huntington’s production of Taylor Mac’s Joy and Pandemic; photo: T Charles Erickson. Running from April 21 to May 21, 2023 at the Calderwood Pavilion at the BCA, South End.

The Huntington presents the World Premiere of Taylor Mac’s Joy and Pandemic live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, May 21 and will continue streaming through June 4. Click here for more information and for tickets.

REVIEW: The Huntington’s bold and savory comedy, ‘Clyde’s’ serves up the works

Posted on by The Sleepless Critic

Talk about mouthwatering fare.

Don’t arrive to Clyde’s hungry as Lynn Nottage’s illustrative script is not only a feast for the senses, but Clyde’s is where the sandwich is undeniably king in every sense of the word.  For a group of enigmatic employees struggling to get out from under a scant Pennsylvania trucker stop, the sandwich is the key to all things great.  However, with a tyrannical boss at the helm, Clyde has plenty to say over whom or what reigns supreme.

Harold Surratt as Montrellous and April Nixon as Clyde in Lynn Nottage’s Tony award nominated play Clyde’s Photo by Kevin Berne

Directed intuitively by Taylor Reynolds, The Huntington, in a co-production with Berkeley Repertory Theatre, presents captivating, Pulitzer Prize-winning and Tony award-nominated dramedy Clyde’s through Sunday, April 23 live and in person at the Huntington Theatre in Boston, Massachusetts.  The show is one hundred minutes with no intermission.  Click here for more information and for tickets.

Clyde’s is a fascinating, no holds barred yet comedic look into the hectic lives of Clyde’s employees and the mysterious reasons why they are there.  Nottage’s sterling script balances the heartache of home life and arduous work when the cards are stacked with the dream of pursuing perfection. 

Louis Reyes Mcwilliams as Jason and Cyndii Johnson as Letitia in Lynn Nottage’s Tony Award nominated play, ‘Clyde’s’ Photo by Kevin Berne

The cast does an amazing job collaboratively building surprising comedic moments within a show rife with tension and serious themes.  Harold Surratt epitomizes wise and discerning Montrellous as he poetically describes the art of the sandwich with ‘intangible grace and aromas’ and deems artichokes as ‘grace notes.’   Surratt, unconventional in multicolored and kaleidoscopic garments, portrays amiable Montrellous as the calm within a fiery storm.   Surratt’s warm smile and soothing vocals can charm almost anyone into discovering the joy in life’s simplicity.  Wesley Guimaraes as sous-chef Rafael share some of that optimism and grace striving to achieve the peace that Montrellous seemingly exudes.  Guimaraes shares some refreshing, playful, and flirtatious scenes with Cyndii Johnson as Letitia on prep.  Their remarkable chemistry is a highlight of the production.  Johnson enthusiastically captures the outspoken, fast talking, and sympathetic Letitia who is both caring yet not to be trifled with while Louis Reyes McWilliams searingly portrays guarded Jason, building his own tension with every careful move.

Cyndii Johnson as Letitia and Wesley Guimarães as Rafael in Lynn Nottage’s Tony award- nominated play ‘Clyde’s’ Photo by Muriel Steinke

However, the prime source of unease can be found in Clyde, a force to be reckoned with depicted glacially by April Nixon.  From Montrellous’s unique ensembles to Leticia’s exuberant headscarves, costume designer Karen Perry creates incredible and vampy ensembles that exude Nixon’s egotistical, booming, and militaristic Clyde.  Tiger prints, multicolored, scalloped sleeves, sparkling pumps, and astounding incandescent wigs by Megan Ellis help bring out Nixon’s spicy Clyde in and out of the kitchen.  Nixon’s gusto is evident from the very first scene, channeling the kitchen’s mood under Clyde’s manicured fingertips.

April Nixon as Clyde and Harold Surratt as Montrellous in Lynn Nottage’s Tony award-nominated play ‘Clyde’s’ Photo by Kevin Berne

Aubrey Dube’s catchy and upbeat sound design fuel this bustling and rustic kitchen designed by Wilson Chin.  Plants, boom box, storage boxes, utensils, silver gleaming fridge, grill, Tupperware, and to go boxes are reminiscent of the authentic clutter out of The Bear or Kitchen Nightmares.  The flashy and vibrant monument sign, fueled by lighting designer Amith Chandrashaker, work spectacularly with the show’s memorable score and its fast paced setting.

As Montrellous muses, ‘over complication obscures the truth’ so take a trip to Clyde’s for a bold and powerfully- charged dramedy where aspiration is never off the menu.

The Huntington, in a co-production with Berkeley Repertory Theatre, presents captivating, Pulitzer Prize-winning and Tony award-nominated comedy Clyde’s through Sunday, April 23 live and in person at the Huntington Theatre in Boston, Massachusetts.  The show is one hundred minutes with no intermission.  Click here for more information and for tickets.

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

Posted on by The Sleepless Critic

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.