The Wiz | The Sleepless Critic

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

Posted on January 12, 2020 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

SC: What shows do you still dream of doing?

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

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

SC: What has been your most challenging musical?

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

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

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

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

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

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

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

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

Photo courtesy of the Company Theatre

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

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

Review: Packed with inspiring music, Lyric Stage Company and Front Porch Arts Collective’s ‘Breath and Imagination’ soars

Posted on December 14, 2018 by The Sleepless Critic

It often takes a village to become great. In Daniel Beaty’s Breath and Imagination: The Story of Roland Hayes, lyric tenor and composer Roland Hayes embarks on a tremendous journey from a shy, sulky church boy to the trials and sacrifices that were made in order for him to become an established singer. He was often plagued by insecurity and faced backlash in many forms, but the heart of this piece lies in the ones who believed in him even when he wasn’t sure how to proceed, ultimately proving, as the production proclaims, “pain and promise make you great.”

Co-produced by Front Porch Arts Collective, directed by Maurice Emmanuel Parent, and musically directed by Asher Denburg, Lyric Stage Company proudly presents this interactive, uplifting musical helmed by a stellar cast, Daniel Beaty’s Breath and Imagination: The Story of Roland Hayes continuing through Sunday, December 23 at 140 Clarendon Street in Boston, Massachusetts. This is a 90-minute musical with no intermission. Click here for more information and for tickets.

Front Porch and Lyric Stage Breath and Imagination Asher Denburg and Davron S. Monroe

Music Director Asher Denburg and Davron S. Monroe Photo courtesy of Lyric Stage Company of Boston

Packed with impressive performances, Breath and Imagination is an important musical, especially fitting for Boston since Roland Hayes is the first soloist of color to perform at Symphony Hall. Accompanied by a grand piano sitting in front of an illuminated, sliding paneled backdrop, this interactive, concert musical draws the audience into the performance with its small and mighty cast.

If I thought Davron S. Monroe was terrific in Lyric Stage’s Kiss of the Spider Woman or on the Company Theatre stage in the powerful musical, Ragtime, nothing could quite prepare me for the magnificent performance he delivers as lyric tenor and composer Roland Hayes. Not only does Monroe beautifully depict Roland Hayes’s journey as he matures from a humble childhood in a wool cap to adulthood in bow tie and tails, he also shows Hayes’s progressive vocal maturity, his powerhouse vocals rising to new, complicated heights as he masters everything from spiritual hymns to internationally-renowned classical works.

Guiding him on this audacious journey is his no nonsense, strict, and faith-filled mother, Angel Mo’, portrayed by Yewande Odetoyinbo in a captivating performance that makes it easy to see where Roland Hayes gets his inspired vocal chops. Odetoyinbo as Angel Mo’ is fierce yet humble, a quick witted woman in a shawl who shows Hayes what is truly important in life and song. She reflects the pain of her past and the weight of the immense obstacles in front of her, but consistently holds her own with faith and love.

Front Porch and Lyric Stage Breath and Imagination - Davron S Monroe, Yewande Odetoyinbo and Nile Scott Hawver

Davron S. Monroe as Roland Hayes, Yewande Odetoyinbo as Angel Mo.’ and Nile Scott Hawver Photo courtesy of Lyric Stage Company of Boston

Odetoyinbo and Monroe teamed up earlier this year in Lyric Stage’s spring musical, The Wiz and their sweet chemistry make it no surprise they are collaborating again. Much of this musical tackles the highs and lows of their relationship as he makes his way into the world.

Rounding out this stellar cast is Doug Gerber as Mr. Calhoun and Nile Scott Hawver, who portrays multiple roles seamlessly from a preacher to a teacher, his enthusiasm makes way for some exciting, touching, and humorous moments.

Front Porch and Lyric Stage Breath and Imagination - Asher Denburg, Doug Gerber, Nile Scott Hawver, Davron S. Monroe and Yewande Odetoyinbo

Asher Denburg, Doug Gerber, Nile Scott Hawver, Davron S. Monroe and Yewande Odetoyinbo Photo courtesy of Lyric Stage Company of Boston

Enjoy the Lyric Stage Company and The Front Porch Arts Collective’s compelling musical, Breath and Imagination: The Story of Roland Hayes at 140 Clarendon Street in Boston, Massachusetts through Sunday, December 23. Click here for more information and tickets. Follow The Lyric Stage on Twitter and Facebook for their upcoming productions and more.

REVIEW: Park the car at the Company Theatre for their bustling, meaningful musical ‘Ragtime’

Posted on August 3, 2018 by The Sleepless Critic

Oh, how that music rolls along. Much like the show’s polished Ford Model T, Company Theatre’s Ragtime the Musical hums like a well oiled machine, driven by its marvelous music, veering into life’s complicated pursuit of happiness.

Composed of an energetic, 15 piece live orchestra led by Music Director Steve Bass, this bustling, message-driven musical portrays America through many different sets of eyes, an America full of expectations, hope, and disappointment. Many looked to America for answers and some discovered it was not quite what they expected. Some realized the answers were there all along, and some took their comfortable world for granted. As each impressive note swells, another day dawns to face fears, work harder, and support your neighbor. You might even find yourself singing a new song.

Company Theatre kicked off their 40^th season with Ragtime the Musical on Friday, July 27 and continuing Sunday, August 19 at the Company Theatre in Norwell, Massachusetts. Click here for more information and for tickets.

Company Theatre Ragtime through August 19

Courtesy of Company Theatre for the Arts

Ragtime the Musical explores America from many different perspectives from Eastern European immigrants, people of Harlem led by a successful jazz musician, and the upper-class residents of New Rochelle, New York. Much of Ragtime is a historical story told. Narrated with gravitas in part by Jeffrey Sewell as Younger Brother, the catchy, rich, and stirring vocals combined with the complex, interweaving tale is the real magic of this piece. With a cast brimming with sensational voices, Ragtime delivers one spine-tingling song after another.

With the bulk of the cast frequently onstage, costume designer Brianna Plummer carefully orchestrates a bold statement into each costume, painting her own distinct portrait from white lace and pearls to bowler hats and colorful suits faithful to the era. Behind a white parasol and a string of pearls, Paula Markowitz portrays privileged, yet compassionate New Rochelle resident, Mother. Markowitz’s silvery soprano vocals soar with the heartfelt numbers, Goodbye, My Love and Back to Before. It is a privilege to see Markowitz depict her character on a transformative journey, torn between her pensive pauses and her impulsiveness.

With a firm, bearded frown, Peter S. Adams portrays seemingly controlling Father as unyieldingly practical, astute, and always driven by what he thinks are good intentions. Adams and Markowitz have a familiar chemistry that takes on the earmarks of an old married couple. They move together with a comforting predictability. Adams’s melodious, rich vocals are especially poignant during the number, New Music.

Peter S. Adams as Father and Owen Veith as The Little Boy with cast in the number, ‘What a Game’ Photo courtesy of Company Theatre for the Arts

Owen Veith portrays their chatty, wise, and precocious Little Boy. Not only is he an adorable addition to the cast, but Veith has some real comic timing as he innocently spouts out truth at the most inconvenient times.

Michael Hammond delivers warmth and enthusiasm as Jewish immigrant, Tateh. He is a seemingly jubilant hard worker, often hiding his pain. He has a sweet compatibility with Hannah Dwyer as The Little Girl as they discover a new world and is especially charming during the imaginative number, Gliding.

(L to R) Barbara Baumgarten, Cristian Sack, Hilary Goodnow, Brenna Kenney, Finn Clougherty, Jillian Griffin, with Hannah Dwyer as Little Girl and Michael Hammond as Tateh Photo courtesy of Zoe Bradford

Introduced fittingly by the infectious tune Henry Ford, The Ford Model T is something to behold and is its own character. With working headlights, the Ford Model T is suburb, much like the character driving it. Last seen as the Wizard in Lyric Stage Company’s The Wiz, Davron S. Monroe as Model T owner and successful Harlem jazz musician Colehouse Walker Jr. embodies the role with charisma, dignity, and sympathetic earnestness. One could also listen to his velvety vocals all day. Arielle Rogers delivers a moving performance as Sarah, punctuated by her pained, heart rendering version of Daddy’s Son. Together, they perform a magnificent version of Wheels of a Dream. Get in the car, park it at Company Theatre, and witness that magic.

Company Theatre 'Ragtime' Colehouse Walker Jr and cast

Devron S. Monroe as Colehouse Walker Jr. in ‘Ragtime’ with cast Photo courtesy of Company Theatre for the Arts

The show is not without its moments of satirical humor delivered by over the top, flirtatious showgirl, model, and actress Evelyn Nesbit, portrayed with a wink and a smile by Sarah Kelly. Along with James Fernandez as spectacular Hungarian immigrant illusionist Harry Houdini, these two historical figures shine the light on what the world aspires to.

Company Theatre’s Ragtime the Musical continues through Sunday, August 19 at Company Theatre for the Arts, 30 Accord Park Drive in Norwell, Massachusetts. Click here for more information, tickets, and how to support Company Theatre’s future. Also follow Company Theatre on Facebook, Instagram and Twitter to learn all about their milestone 40^th season.

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

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

Posted on July 13, 2018 by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

Company Theatre's original production, 'Paragon Park'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Company Theatre's musical, Spring Awakening

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

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

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

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

SC: What shows do you still dream of doing?

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

SC: What has been your most challenging musical?

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

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

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

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

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

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

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