Theatre

REVIEW: Superstition, Marilyn Monroe, dancing and an inevitable bond in Theater Uncorked’s unconventional musical ‘Blood Brothers’

Posted on by The Sleepless Critic

For Mrs. Johnstone, life went awry  as soon as the dancing stopped.

With ominous direction by Audrey Seraphin, sharply choreographed by Audrey Johnson with Gina Naggar’s musical direction, Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts.  This poignant production is two hours and 50 minutes including one intermission.  Click here for more information and for tickets.

Sehnaz Dirik Lauren Casey and Kate Funderburk and cast in ‘Blood Brothers’ Photo by Gary NG

Two households sit side by side.  One adorned in floral stained glass and expensive trim while the other door stands weathered and chipped with a dated floral arrangement hung from the door by Leonard Chasse.  However, these two households will connect through an inescapable bond that neither household can possibly shake.

Sehnaz Dirik in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Twins separated at birth is a story that has been told before, but this particular tale is introduced as the stuff of legend.  Taking place in Liverpool, England from the 50s through the 80s,  Blood Brothers is a musical about two households separated by social class.  Sehnaz Dirik portrays fanciful and pregnant Mrs. Johnstone whose husband leaves her and their children.  Now, a single mother trying to make ends meet, Mrs. Johnstone works for the wealthy Lyons family as their house keeper while Mrs. Lyons struggles to have children.  When Janet Pohli as petty and unhappy Mrs. Lyons finds out Mrs. Johnstone is expecting twins, a manipulative plan slowly starts to take shape.

Blood Brothers doesn’t seem to fit squarely as a musical and would work just as well as a play.  The show’s unconventional elements deliver a folk pop flair and the story is shared like a cautionary tale as characters sing at odd moments.  Blood Brothers is a well cast production that depicts individuals of all ages with Janet Pohli as a particular standout in a commanding performance behind a meek smile as Mrs. Lyons, a woman who is not to be underestimated.

Janet Pohli and Zach Fuller in Theatre Uncorked ‘Blood Brothers’ Photo by Gary NG

James Honaker interestingly portrays her preoccupied workaholic husband Mr. Lyons who always seems half here and halfway back to work.  It’s fascinating to watch them circle one another, interested in everything around them but each other.

Chris Edwards seamlessly steps into a number of roles which include some nefarious characters that haunt the production, but his main role is that of the mysterious narrator.  Edwards pops up and lurks out of the shadows, especially when the production is about to take a dark turn.  Edwards steps into each of these roles with ease infusing foreboding vocals and haunting reprises.

Dirik also aptly depicts tormented Mrs. Johnstone who is forced to make an impossible choice for the sake of her family and performs the lion’s share of the vocals aside from Edwards.  Dirik expresses vulnerability and melancholy in her resonating vibrato without the malice she has exhibited in previous roles.   

As for these legendary twins, Michael Mazzone as mischievous Mickey and Zack Fuller as shy and straight laced Eddie connect as carefree kids in a tale that spans decades.  Seeming opposites, but share an instant connection like a missing link in impressionable Eddie’s life.  The wide eyed gall in Mickey and his charming family seem to fill a void for this lonely and studious child.  

Bold and fun loving, Lauren Casey shines as lovestruck Linda for Mickey.  Casey’s gleaming smile and gentle  demeanor with a bit of a tough streak is charismatic and charming.  She also shows a great rapport with the rest of the cast and they run around the neighborhood on adventures.

Zach Fuller Michael Mazzone and Lauren Casey in Theater Uncorked’s ‘Blood Brothers’ Photo by Gary NG

Blood Brothers covers a great deal of topics including social class inequality, recession, family, and heartbreak while tackling the sins that could come back to haunt you.  The show spans decades and it at times seems long, but has its share of bright and moving moments of two families tied together by fate.

Michael Mazzone and cast in Theater Uncorked ‘Blood Brothers’ Photo credit Gary NG

Theater Uncorked presents the Willy Russell musical, Blood Brothers live and in person through Sunday, November 23 at the BCA Plaza Theatre in Boston, Massachusetts.  Click here for more information and for tickets.

REVIEW:  Superpowers, grunge and dragons in SpeakEasy Stage’s zany indie-rock musical ‘Lizard Boy’

Posted on by The Sleepless Critic

In a musical world of grunge and dragons, Lizard Boy stands alone.

Unforeseen circumstances bring together a quirky trio of characters and onstage multi-instrumentalists when Keiji Ishiguri as introverted, anxious and well meaning Trevor leaves his apartment hideaway once a year.  Longing for real connection and a possible love interest in Peter Dimaggio as goofy, friendly and squeamish Cary, Trevor reluctantly practices a little faith over faith.  However, so much can happen just stepping out your front door.

From left: Chelsie Nectow, Keiji Ishiguri, Peter DiMaggio Photo by Benjamin Rose Photography

Blending dark humor, fantasy, mythology, sci-fi, action and horror with harmonious musical flair, Lizard Boy takes an earnest look at isolation, trauma, and loneliness. It is going to take a lot more than a simple song or even an apocalyptic event to unleash Trevor’s true reasons for staying home or the inexplicable sting in Trevor’s back.

With Book and Lyrics by Justin Huertas, rhythmically directed by Lyndsay Allyn Cox and creatively Musically Directed by Violet Wang, SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22.  With Playwright Justin Huertas in the audience during the performance I attended, this edgy production contains adult content and humor and runs 100 minutes with no intermission.  Click here for more information and for tickets.

Illustrated with comic book-inspired chalk drawings, colorful graffiti and band posters scattering the walls, Set Designer Qingan Zhang’s intriguing set provides a hint of the 90s though it takes place in the present day.  Sean Doyle’s mighty sound design can be overpowering at times, but there is a zing to the show’s perpetual harmonious rhythms (including the banging of a guitar case, carefully timed lightning and instruments that double as weapons) in a world where dragons really do exist.  After all, this Lizard Boy musical has scales…get it?  Clever. 

From left: Keiji Ishiguri, Peter DiMaggio, Chelsie Nectow Photo by Benjamin Rose Photography

Costume designer Zoë Sundra delivers a daring rock vibe which includes spandex, eye liner, furs, racer pants, flannels, graphic tees, and chained red booties.  With a blend of satirical and upbeat indie-rock tunes in unconventional rhythms using various instruments including a kazoo and the ukulele, Lizard Boy’s soundtrack is delivered with zeal and humor as this skilled trio must contend with each other for the sake of their world.  

From left: Chelsie Nectow, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

A portion of the tunes are delivered in a stream of consciousness fashion infused with pop culture references such as Ishiguri’s Trevor’s title track.  Tambourine-tinged The Whoa Song boasts catchy and powerful harmonies you may be humming after the show is over.  Clelsie Nectow depicts manipulative, relentless and occasionally unhinged Siren with raw prowess while delivering seething vocal rhythms faintly resembling Evanescence’s Amy Lee for A Terrible Ride.  Peter DiMaggio and Keiji Ishiguri showcase their improvisation skills and vulnerability with Cary’s Song and Things I Worry About.

From left: Peter DiMaggio, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

Though the plot can veer a bit too outlandishly at times, Lizard Boy is a wild musical journey with action, comic book violence, a resounding message and a few revelations in a world where true superpowers can come from the unexpected of places.

SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22.  Click here for more information and for tickets.

REVIEW:  Arlekin Players Theatre’s mesmerizing ‘The Dybbuk: Between two worlds’ returns

Posted on by The Sleepless Critic

Someone is laughing. 

Its cadence echoes into a peerless and infectious glee that troubled Khonen, depicted by Andrey Berkovskiy, finds irresistible.  It does not take long to see that Khonen will go to the ends of the earth and beyond seeking that voice chiming in its ethereal splendor.

Unique, haunting, funny, charming, spiritual, and exceptionally creative, The Dybbuk: Between two worlds remains a mesmerizing must-see theatrical experience.

I never use the term ‘must see’ lightly, but it nonetheless fits this particular production in all of its unexpected and immersive twists and turns set exclusively inside a Jewish synagogue.  Brimming with unconventional creativity and cultural tradition, The Dybbuk is a spectacular journey and a dark tale steeped in meticulously timed and atmospheric special effects as it unveils a thrilling and enchanting piece of ancient Jewish folklore.

Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues the Elliot Norton Award-winning The Dybbuk: Between two Worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16.  This semi-interactive and well timed theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission.  Click here for more information and for tickets. 

The Dybbuk:  Between two worlds tackles love, marriage, faith, life, death, grief and the in between as well as the significance of a synagogue that still stands after all the turmoil it has endured.  As the play observes describing a synagogue, ‘The walls are damp with tears.’  A synagogue can be the center of sorrow or great joy and community, but above all, it is a sanctuary of hope when all seems lost.

Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova

What makes this production so exciting, beautiful and so downright impressive is this complex and powerful classic tale is wrapped in a riveting experience. The Dybbuk is a grand and exhilarating journey, but it also depicts sweet moments of simplicity from Andrey Berkovskiy as restless Khonen and Yana Gladkikh as innocent Leah with finesse.  Both characters shine in their perspective roles but Berkovskiy’s wondrous curiosity, playfulness, mischievousness, passion and anguish boast a spellbinding charisma.  While his good intentions radiate in the smallest of gestures, Berkovskiy’s wide eyed wonder of this world and his boldness are often at odds as he agonizes over his fate.   In long braids and ribbons, Gladkikh as sweet Leah demonstrates a beautiful vulnerability and conflict in her delicate and porcelain like features infused with a soothing and melodious voice that she also uses to sing.  Gladkikh’s Leah is delightful, innocent, romantic, and naïve sharing with Berkovskiy a captivating, giddy, and endearing playfulness in a situation that is eternally complicated.

Deb Martin Photo by Irina-Danilova

This enthusiastic cast blends intensity and humor and although this is an ancient tale, Golyak strings together elements of the traditional and the contemporary. Wearing a string of pearls and a black dress, Deb Martin commands the stage as Leah’s grandmother with a rigid frame yet bold and heightened awareness.  Shrewd and protective with a dry sense of humor, Martin as Frade is not to be underestimated while Robert Walsh brings broad cynicism and dark humor to stubborn Sender.

Robert Walsh in ‘The Dybbuk’ Photo by Irina-Danilova

The Dybbuk’s immersive and unpredictable setting is fueled by ingenious creativity in Jeff Adelberg’s luminous lighting design in shadows and glowing stars seamlessly paired with Fedor Zhuravlev’s robust and occasionally manually created sound that animates this dark, mystical and ancient world filled with rustic crystal chandeliers and scaffolding that sit beneath a vast skylight by scenic designer Igor Golyak with Sasha Kuznetsova.  The Dybbuk’s emotive light and sound deliver an ominous quality, humor, and awe-inspiring surprise nothing less than magical.  The transformation of a simple piece of plastic is just a sample of the inventive flair that helps to piece together this often poetic tale.

Anna Furman, Olga Aranova, and Yana Gladkikh Photo by Irina-Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16.  Click here for more information and for tickets. 

REVIEW:  Creativity underway in ‘Tick, Tick…BOOM!’ at Umbrella Arts Center

Posted on by The Sleepless Critic

Jon feels he is nearing the end of an era…his 30th birthday.

Creatively directed and choreographed by Ilyse Robbins with lively music direction by Jordan Oczkowski, Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM! Live and in person at Umbrella Arts in Concord, Massachusetts through Sunday, November 23.  This introspective and humorous musical journey runs 90 minutes with no intermission.  Click here for more information and for tickets.

Once a 2004 Off-Broadway musical, Tick, Tick…BOOM! was translated into a 2021 award-winning Netflix film adaptation directed by Lin-Manuel Miranda and scored an Academy award-nomination for Andrew Garfield  before taking the stage at numerous theater companies worldwide.  While creatively runs wild in the Netflix film, the Umbrella Arts musical is where you find the spark.

Anthony Pires Jr.* Vanessa Calantropo and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Set in January 1990, Tick, Tick…BOOM! Is a fascinating semi-autobiographical rock musical about Jonathan Larson, a struggling writer and composer living in New York City years before he created his hit rock musical, RENT.  A writer writes about what one knows and so much of this story offers glimpses into Larson’s inspiration for that wildly-successful musical.

However, this is about the struggle and this musical is brimming with it.  The painstaking work of creativity and all that could go wrong illuminates Tick, Tick…BOOM! as Larson struggles to keep it all together to achieve what at times seems impossible, especially in New York City.  Tick, Tick…BOOM! is not only about Jonathan Larson’s frantic life, but it is also an ode to the artist and the struggle to live that extraordinarily competitive dream while just skirting out and skimming by trying to get a chance.

Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Erik Diaz’s barebones set symbolically offers a different approach to this production featuring dual level scaffolding (also featured in Rent) a weathered apartment balcony, staircase and a NYC skyline. It may symbolically stand as a work in progress much like this particular period in Jon’s life.  However, Johnny Shea who delivers Jon’s detailed narration stretches the imagination to conjure up each setting such as a stainless steel kitchen, butcher block table, vast views and a luminous city skyline in a purple mist, part of Ben Rush’s warm and atmospheric lighting.

Anthony Pires Jr.* and Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

At its creative center is likable narrator and lead Johnny Shea who is instantly earnest, introspective and charming as the frenetic Larson on the eve of Larson’s 30th birthday.  The unconventional, imaginative, and quick-thinking Larson divides his time between writing, composing and working at the Moondance Diner.  However, music and writing naturally pours out of Larson’s soul and he is often consumed by it at the expense of everything else. 

For forward-thinking Larson, turning 30 is a looming chasm that soaks up every ounce of his time until that odious deadline demonstrated in the urgent and memorable number, 30/90.  Shea as Larson considers turning thirty as the end of youth, but it is certainly not too old to accomplish remarkable things.  Perhaps Larson always felt like he was running out of time.

This often lighthearted musical features a dynamic, infectious, and multi-dimensional soundtrack about living in your 20s in New York City and how life evolves.  RENT’s influence is unmistakably evident in the catchy and humorous number featuring Anthony Pires Jr. as Michael and Shea in No More which also reflects the strong camaraderie between best friends Michael and Jon.  It is also easy to recognize the roots that will develop Larson’s future work in Shea’s tender number Why. 

Anthony Pires Jr.* and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Inside the Moondance Diner, Sunday features beautiful harmonies and clever quips.  Vanessa Calantropo as Susan and Shea as Jon deliver a flirty duet with Green Green Dress.  Therapy is a fantastic and humorous number about the miscommunication of love and the chipper and lighthearted Sugar is great fun.  Johnny Can’t Decide harmoniously and pensively depicts the agonizing struggle living in the uncertainty of your dream or being practical which is a prevalent theme throughout the production.

With rich vocal arrangement and orchestrations by Stephen Oremus, this intimate onstage band can impressively jam and the musical’s small and mighty cast interacts with the band while delivering rich and powerful harmonies along this uninterrupted musical journey. With the exception of Shea as Jon, Anthony Pires Jr. as Michael and Vanessa Calantropo as Susan smoothly and humorously capture many other roles as Jon allows his story to unfold.  Calantropo especially stands out for the soaring number, Come to Your Senses. 

Anthony Pires Jr.* Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Tick, tick BOOM! explores the little victories, the larger victories, and the gut-wrenching defeats in Larson’s personal and professional world.  However, what is genuinely important becomes poignantly clear and what truly inspires his work changes as the musical progresses.

Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM live and in person through Sunday, November 23 at Umbrella Arts Center in Concord, Massachusetts.  Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company’s infectiously charming but muddled ‘Murder for Two’

Posted on by The Sleepless Critic

A surprise party goes awry and one ambitious investigator is on the scene.

With fast paced direction by Tyler Rosati and versatile music direction by Bethany Aiken, Greater Boston Stage Company continues murder mystery musical farce Murder for Two live and in person through Sunday, November 9 live at Greater Boston Stage Company in Stoneham, Massachusetts. This semi-interactive whodunit two hander is 90 minutes without an intermission.  Click here for more information and for tickets.

Jared Troilo in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios

Katy Monthei’s vintage mansion setting creates a homey atmosphere which includes dated wallpaper, cluttered bookshelves, several mismatched lamps, various knickknacks on scattered shelving, Egyptian rugs, framed portraits and a sleek black piano all framed by incandescent theatrical bulbs. 

Jared Troilo is “aw shucks” charming as determined and inventive New England police officer Marcus who dreams of one day being promoted to detective.  What better way to impress his boss than to solve this small town murder mystery of who murdered famed novelist Arthur Whitney.

One of the brightest spots of this production is Troilo and Will McGarrahan’s sublime turns on the piano. Whether competing or complementing each other while making some amazing music together, this multi-talented duo sure know how to captivate an audience. Their madcap piano workings are creative and thrilling.  As they tickle the keys at brisk and elegant paces, the rhythms work with Cost’s dazzling lighting to elevate the show’s playful suspense and navigates the show’s various moods, new thoughts, and each of McGarrahan’s frequent transformations into various murder suspects from toddler to elder.  

Will McGarrahan in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios

The brisk musical elements boast vaudeville and vintage Broadway flair while satirizing the nature of musical theatre.  For example, a cell phone ringing onstage is hilariously mistaken for an audience member’s rudeness. 

It is also greatly entertaining watching this comedic duo share great chemistry occasionally making each other laugh and other times barely holding it together during the production’s sillier moments.  It is no small task to put a show on of this caliber and both rise to the occasion. Troilo is a straight man Dean Martin to McGarrahan’s Jerry Lewis as McGarrahan slips into various accents, mannerisms, and rapidly poses as numerous suspects using merely a prop or piece of wardrobe separating each distinct character thanks to Chelsea Kerl’s jocular costume design from a multicolor scarf to a feather boa to a pink tutu and even a cocktail umbrella.

Will McGarrahan and Jared Troilo in Greater Boston Stage Company’s Murder for Two’ Photo by Niles Scott Studios

However, the show’s infectious charm cannot entirely make up for and a muddled murder mystery plot.  Using only this dynamic duo, it is still difficult to picture the scene of the crime and not enough distinction separating the various suspects.  Picturing multiple people in the room and the blocking at times doesn’t quite make sense and would be better understood with more than two people.  When Greater Boston Stage Company presented the one man Sleepy Hollow classic, its narration seemed to drive the story more clearly and perhaps that is what is missing here.

This production is far funnier than suspenseful and not to be taken seriously and perhaps this is all part of the joke, but it became difficult and a little frustrating visualizing this intriguing murder mystery you are also trying to solve alongside Marcus.

Jared Troilo and Will McGarrahan in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios

Jared Troilo and Will McGarrahan are two bright talents and such likable characters and yet, following the plot is a challenge to say the least.  If you can put that aside, Murder for Two features a wonderfully likable and impressive duo for an amazing and lighthearted evening.

Greater Boston Stage Company continues murder mystery musical farce Murder for Two live and in person through Sunday, November 9 live at Greater Boston Stage Company in Stoneham, Massachusetts.  Click here for more information and for tickets.

REVIEW: North Shore Music Theatre’s ‘The Cher Show’ turns back time radiating with empowering style

Posted on by The Sleepless Critic

This musical biopic seems by the numbers until three Chers materialize to infuse a clever and adventuresome twist.

Much like Cher herself, The Cher Show is a spotlight driven, bawdy, and spirited look at Cher’s upbringing and career and how Cherilyn Sarkisian overcame her shy demeanor to become what she proudly proclaims ‘a warrior goddess.’ 

Bathed in dazzling, spotlight-soaked flair and a marvelous rising and bejeweled spinning stage by Jack Mehler, Star, depicted with Cher’s absorbing dry humor and distinct husky contralto vocals by Sara Gettelfinger, emerges in sequined black donning signature high heels and risqué style, but she is definitely not alone.  Turning back time is a thrill when two other Chers share the spotlight and help navigate her life based on all she knows now.

The cast of THE CHER SHOW in the Tony Award-Winning costumes designed by Bob Mackie playing at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

With Kevin P. Hill’s vibrant direction and an array of slinky and dynamic choreography by Sara Andreas, North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts.  The theatre-in-the-round production runs 2 hours and 45 minutes with one twenty minute intermission, the action is not limited to the stage and contains some adult themes.  Click here for more information and tickets.

Angie Schworer as (Georgia Holt) and Madeline Hudelson (Babe) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Cherilyn was not always one to bathe in the limelight and at nearly 80 years old, she has quite the story to tell.  As chatty and anxious Babe, depicted with mellifluous vocals and fretful naiveté by Madeline Hudelson, Cherilyn often felt like an outsider due to her dyslexia, half-Armenian heritage and unconventional looks.  Hudelson’s confidence appears only in bursts as self consciousness takes over.  However, Angie Schworer, fabulous as Cher’s confident firecracker mother Georgia, is a constant source of strength, sage advice and beauty.  Georgia advises, ‘The song will make you strong.’  To anyone who loves music, no truer words were ever spoken.

Charissa Hogeland (Lady) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden

In feathers and sequins, Schworer also makes a grand cameo as a legendary celebrity that will not be revealed here.  Andrew Tufano also delivers a memorable performance as Rob Camilleti.

Cher fulfills most people’s two fondest wishes in this musical.  Not only can Gettelfinger’s Star turn back time, but accompanied by Hudelson as Babe and Charissa Hogeland as Lady, Star can turn to her other selves to revisit her past.  A trio of Chers who interact, are aware of each other, and support each other do not just provide a wealth of comedic and heartfelt moments, but breaks the pesky rules of a classic biopic in an inspired and spectacular way.  Gettelfinger, Hogeland, and Hudelson share an admirable bond where anything can happen which comes in handy as Cher was required to grow up fast in this sink-or-swim industry.

Brenton Cosier (Gregg Allman) with Sheila Jones in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Mehler’s glitzy and sequin-fringed set displays an immersive array of projections which includes 60s petal-inspired illustrations, Vegas pizzazz, an opulent mansion, Broadway theatre, and western flair enhanced by chandeliers and authentic Sonny and Cher logos.

Starting out with her own sewing machine, Cher always set her own bold and risqué fashion standard before later joining forces with the legendary visionary and controversially-daring fashion designer Bob Mackie, who originates the Broadway and tour costumes seen in this musical.  Dan Fenaughty, who depicts a trio of roles in this production, is memorable as Mackie complete with clever quips and a mischievous gleam, especially during Ain’t Nobody’s Business.  Magnets are used to accommodate the numerous fashion styles and quick changes throughout the production. The Cher Show’s costume coordinator Rebecca Glick and wig and hair designer Rachel Padula-Shuflet presents these ostentatious costumes in all of its nostalgic, feathered, and sparkling runway glory.   

Dan Fenaughty (Bob Mackie), Charissa Hogeland (Lady) and Ben Broughton (Sid the Censor) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Frankie Marasa 5th is in on the joke as good humored Sonny Bono at first with self deprecating charm, a gradual magnetic charisma and a quirky sense of humor.  Fast talking with shrewd business sense, Marasa 5th shares endearing yet complicated chemistry and half of an impressive deadpan comedic duo with each Cher.  One of the best moments of the musical is with Hudelson’s Babe and their powerful rendition of I’ve Got You Babe which was met with a roar from the audience.  He also shines in Little Man and later for All I Ever Need is You. 

Frankie Marasa 5th (Sonny Bono) and Charissa Hogeland (Lady) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

The Cher Show’s quick pace features a wide array of nostalgic hits over six decades including the catchy harmony of Da Doo Ron Ron, Be My Baby, and The Shoop Shoop Song as well as It’s All or Nothing, a poignant Bang Bang (He Shot Me Down), Believe and Heart of Stone.  Gettelfinger, Hogeland, and Hudelson form a powerhouse trio as they recall Song for the Lonely.  However, Gettelfinger truly shines with soaring vocals for The Way of Love.  The drum-infused and Fosse-inspired The Beat Goes On is also a sleek standout as well as the sultry and athletic chorography featuring Milena Comeau in The Dark Lady.

Madeline Hudelson (Babe) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

You don’t have to be a fan of Cher to appreciate her journey. The Cher Show lightheartedly celebrates her remarkable career and variety of hits, but is also an honest and frank depiction of her insecurities, challenges, and fears within her failures and triumphs.  Through it all, Cher’s strength relentlessly shines through as the beat goes on.

Charissa Hogeland (Lady) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts.  Click here for more information and tickets.

REVIEW:  Shadow Play in Actors’ Shakespeare Project’s ‘Macbeth’

Posted on by The Sleepless Critic

The white coats are not to be trusted.

Ominously directed by Christopher V. Edwards and boasting MacKenzie Adamick’s searing sound design, Actors’ Shakespeare Project continues William Shakespeare’s Macbeth live and in person at the Dorothy and Charles Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, October 26.  This classic production is not limited to the stage, is semi-interactive, and runs approximately two hours and 25 minutes including one intermission.  Click here for more information and for tickets.

Omar Robinson and Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth.’ Photo by @benjaminrosephotography

Set during the dire 1960s Cold War, this is a production built in shadows playing on the walls, materializing from hidden corners and creeping along the stage.  With an alarming array of red glare and sparks, Elmer Martinez’s eerie lighting design not only enhances Adamick’s affecting sound design, but embellishes Macbeth’s menacing plot focusing on a Scottish general named Macbeth, portrayed with charismatic cunning by Omar Robinson, who is enticed by power when he is told he is destined to be king.  Alongside Brooke Hardman who impressively depicts traumatized, bitter and ruthless Lady Macbeth with a fiery vengeance, this dangerously ambitious duo set out to fulfill their seeming destiny.  What make Robinson and Hardman’s joint performances stand out is in the love and the inner turmoil Robinson as Macbeth and Hardman as Lady Macbeth share in the soft and crumbling moments that manages to elicit a consistent element of sympathy during their mounting struggles.

Claire Mitchell, Amanda Esmie Reynolds, and Jade Guerra in Actors’ Shakespeare Project’s ‘Macbeth’ Photo Photo by @benjaminrosephotography

In Marissa Wolf’s mix of elegant and edgy retro-style uniforms, costumes and wigs, Jade Guerra, Amanda Esmie Reynolds, and Claire Mitchell form a diabolical trio who administer various forms of agony rather than casting spells.  They participate in their own form of dark treachery in collective actions that manipulate various characters.  They are gleeful and petty as psychedelic and harrowing projections by Sue Rees emphasize their psychological and hallucinogenic hold on others.  Bold, darkly funny, and chilling, the weird sisters are unsettling whether they are quietly observing, swarming a character or plotting their next move. 

Many cast members aptly depict dual roles and Mitchell and Reynolds alongside Chingwe Padraig Sullivan also make a dangerous impact during the production.

Jesse Hinson, Omar Robinson, and Dennis Trainor Jr. in Actors’ Shakespeare Project’s ‘Macbeth’ Photo by @benjaminrosephotography

Jesse Hinson portrays a dual role warmly as Macbeth’s right hand man Banquo and as an enigmatic doctor sporadically appearing during the production.  It is easy to see the easy camaraderie between Hinson and Robinson as they consult and confide in each other.   

Actors’ Shakespeare Project always had a talent for articulating Shakespeare’s dialogue with precise authenticity and a contemporary edge.  With Actors’ Shakespeare Project’s Romeo and Juliet, the expressive nature and the contemporary veil over the dialogue worked well and had a natural flow. 

However, this Macbeth doesn’t land as well leaving little to interpretation during a brief tangent that spells out and struggles to connect an array of cultural references during a distracting Porter scene. In the middle of the Cold War, this tangent yanks me out of the illusion and breaks the fourth wall which made it difficult to reconnect to the action after this contemporary detour.

Shakespeare’s Macbeth is an incredibly powerful tale and stands as a classic for a reason.  It has stood the test of time with a gripping plot, resonating lessons and impactful moments potent enough to allow its content and rising shadows speak for themselves.

Jesse Hinson and Brooke Hardman in Actors’ Shakespeare Project’s ‘Macbeth’ Photo by @benjaminrosephotography

Actors’ Shakespeare Project continues William Shakespeare’s Macbeth live and in person at the Dorothy and Charles Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, October 26.  Click here for more information and for tickets.

REVIEW:  The plot remarkably thickens inside Company Theatre’s scintillating romantic comedy ‘The Cottage’

Posted on by The Sleepless Critic

Well, that escalated quickly.  One bold move brings an awful lot to light inside this English summer cottage and it’s not quite the morning after anyone was expecting.

Playfully directed by Michael Hammond, Company Theatre continues Sandy Rustin’s romantic comedy, The Cottage live and in person at the Company Theatre in Norwell, Massachusetts.  This quick paced production is not limited to the stage, contains some mature humor and runs approximately two hours with an intermission.  Click here for more information and for tickets.

The cast of Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford

The Cottage debuted onstage in 2013 and though this production is set in England, it toured domestically until it made its Broadway debut in 2023 directed by Jason Alexander.  Though it takes place in the 1920’s, this amusing production also dryly comments on some aspects of the 20s from a contemporary perspective.

Tackling love and marriage, The Cottage centers on Emilee Leahy as relentlessly optimistic and fanciful Sylvia who is enjoying a summer affair in 1923 with Joe Rich as distinguished barrister Beau, but this tale is much more than a romantic love triangle. This engaging comedy picks up immediately and the plot thickens so quickly, I was concerned the show would run out of steam early.  However, The Cottage has a wealth of twists and turns in store and it is amazing how much people learn from one another when things truly hit the fan.

Emilee Leahy in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford

Matching coordinated day hats and coats, flowing silk garments, three piece suits, suspenders and lace embellishments are just a few of the glamorous 20s pieces from Kiera O’Connor’s upscale costume design.  Sally Ashton Forrest’s swing jazz-inspired sound design and Ryan Barrow’s ornate and detailed art deco dual level set stylishly rewinds the clock to 1923 complete with rotary phone, Victrola, piano, wooden stairwell, delicate silk flowers, rural paintings and family portraits on vintage pastel floral wallpaper, glamorous furniture and multicolor Persian rugs.  Dean Palmer Jr.’s warm pastel-toned lighting embellishes the cottage’s welcoming charm and dramatically heightens the impact of each revelation as the tale unfolds.

Joe Rich in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford

This engaging cast boasts great comic energy and work well together with Rustin’s sharp and quick-witted script.  In all of its comic and escalating chaos, this capable cast kept it together with finesse.  With singsong vocals, naiveté and a flower blossom in her hair, Emilee Leahy shines as Sylvia who is not to be underestimated.  Leahy especially demonstrates a charming depth to Sylvia as her confidence is shaken.  Joe Rich as Beau and Timothy Pick as good humored Clark share considerable rapport and lighthearted banter.  Rob Gullicksen brings thrill to unpredictable Richard while Elizabeth Nelson-Childs as formidable Marjorie and Jaqueline Hausman as game loving Dierdre are also impressive in their contrary roles.  Each role also manages a degree of sympathy even among this group of flawed and insecure characters.  

Rob Gullicksen, Emilee Leahy and Joe Rich in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford

Lies and misjudging is just a portion of this romantic comedy’s intensifying plot and this beloved cottage contains its own share of secrets.  Overall, it is a fun, flirty and lighthearted production and it is refreshing to see something not to be taken too seriously.   

Company Theatre continues Sandy Rustin’s romantic comedy, The Cottage live and in person at the Company Theatre in Norwell, Massachusetts.  Click here for more information and for tickets.

REVIEW:  Thinking outside the box in American Repertory Theater’s artistic autobiographical comedy, ‘300 Paintings’

Posted on by The Sleepless Critic

What happens after a dream doesn’t go quite as planned?  For Sam Kissajukian, it’s finding another one.

Created and skillfully performed by dynamic Australian talent Sam Kissajukian, American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25.  This cleverly executed production runs 90 minutes with no intermission.  Click here for more information and for tickets.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings carefully balances insight and humor in a zig zag autobiographical and educational journey about making a new start when your initial dream goes awry.  Allowing the audience into his captivating methodology and thought patterns, Sam intimately reflects on this time with a step-by-step skewed and spontaneous comic logic that might be farfetched if it wasn’t for his unwavering confidence.  Warmly yet dryly tracing out his often outlandish and complex ideas, you will marvel at his resourcefulness as Sam reflects upon his choices in the aftermath of his decisions. For example, Sam takes apart the art of doing business through the Museum of Modernia in such an interesting and unpredictable manner that one might wonder why no one has ever thought of that before.  As Sam reflects, ‘A manic person will never do something the way you expect them to do it.’ 

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

Part comedy and part fascinating art exhibition, this personal portrait has a sense of urgency as it tackles art, comedy, business, and mental health with sincerity and self deprecation while keeping the majority of his zany storytelling lighthearted and humorous.   

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings also contains a sense of adventure, gusto and discovery as the story unfolds behind these 300 Paintings.  As Sam states, ‘No one would ever expect’ and I do think that is a deft description of this entire journey.  With a mix of humor and surprise, Sam shows that discovering what you are meant to do is as significant as the journey toward it.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25.  Click here for more information and for tickets.

REVIEW:  Kindness and the little things in SpeakEasy Stage’s dramedy ‘Primary Trust’

Posted on by The Sleepless Critic

Kenneth’s visits to Wally’s Tiki Bar mean much more to him than just the two-for-one Mai Tais.

Quietly profound and inviting, Primary Trust is a unconventional journey about a lonely townie named Kenneth, performed with humble charm and simmering yearning by David J. Castillo, whose outlook on life is about to be shaken.

Arthur Gomez and David Castillo in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

With multilayered direction by Dawn M. Simmons, SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11.  This intriguing production runs approximately 100 minutes with no intermission.  Click here for more information and for tickets.

What I love most about Eboni Booth’s sharp and rapid fire script is that it is upbeat and funny while evoking a wide spectrum of emotions within its snappy dialogue.  Anna Drummond’s urgent sound design keeps the pace of Booth’s charged and lively script as it veers from one quick witted scenario to the next.  This small cast is more than up for the challenge enhancing the unique and often changing essence of this production.

David Castillo Luis Negrón and Arthur Gomez in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

A show without set changes, Shelley’s Barish’s compelling scenic design holds small town charm divided into sections including an island-inspired Tiki Bar with colorful leis and hale illuminated by Christmas lights as part of Karen Perlow’s soft atmospheric lighting, a stack of oversized books with bookcases, a large bank sign with a large wad of cash and a cozy park bench with lamppost.

Set in the cheery small town of Cranberry, New York (with a population of 15,000) and a hint of Our Town familiarity, Castillo as Kenneth lives a life of simplicity and certainty spending his days with Arthur Gomez as Kenneth’s encouraging and supportive only friend Bert.  In glasses, jeans and a cardigan, Gomez delivers unassuming charisma and infuses warmth, optimism and enthusiasm into Bert’s candid and charming demeanor.  However, there is a lot more to wise Bert than keeping Kenneth company.  Sharing an endearing camaraderie and insightful dialogue, Gomez’s Bert is a source of security for Kenneth who is carrying a lot more than a lonely life on his shoulders.

Arthur Gomez and David Castillo in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

One would think connection might come naturally in a small town, but not for Kenneth.  With a nervous laugh, at times jittery demeanor, and a vast imagination, Castillo is excellent as Kenneth who confides in the audience and you can’t help but feel protective and a friend to him as he shares his setbacks and challenges while shyly appreciating the little things in life.

David Castillo and Janelle Grace in SpeakEasy Stage’s ‘Primary Trust’ Phot by Benjamin Rose Photography

Janelle Grace and Luis Negrón nimbly capture multiple roles during the production ranging from local townie to significant figures driving Kenneth’s story.  Luis Negrón transforms into each role so impressively, it may take a moment to catch on while Grace demonstrates amazing and occasionally frenzied comic timing stepping into each role.

Whether Kenneth is sharing a moment of understanding with Negrón or a joyful chance moment with Grace, Primary Trust demonstrates humanity and compassion in each authentic moment.

Primary Trust holds a few important twists and turns best experienced as the story unfolds.  Boasting an inherent depth, it has delightfully amusing moments that help smooth over the heavier elements and dark humor in Booth’s perceptive script without diminishing their significance.  Make no mistake Primary Trust will make you laugh as often as you might be moved.

David Castillo as Kenneth in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11.  Click here for more information and for tickets.