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REVIEW: Ambition and betrayal take center stage in Dream Role Players production of Shakespeare’s classic ‘Othello’

Posted on March 24 by The Sleepless Critic

Alarming what whispers and rumors can create.

With moving direction by Alan White, Dream Role Players continues William Shakespeare’s classic production, Othello live and in person at Chelsea Theatre Works at the Black Box Theatre in Chelsea, Massachusetts through Saturday, March 30. This show is general admission with pay-what-you-can options and is not suitable for children. It is their first play performed in an indoor setting and runs two hours and 45 minutes including one 15 minute intermission. Click here for more information and for tickets.

Dayenne CB Walters and Luis Negrón in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi

Set in Venice in the 1570’s, Shakespeare’s Othello focuses on General Othello, in a searing depiction by Vincent Ernest Siders, who is madly in love and secretly marries Elisabet “Lisa” Ober as Desdemona to Eric Cheung as Desdemona’s father Brabantio’s fury and dismay that she married a Moor. Othello also promotes Dom Carter as Cassio to be his lieutenant instead of Dayenne CB Walters as Iago and thus begins stealthy acts of treachery.

Elisabet “Lisa” Ober and Vincent Ernest Siders in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi

From distinguished uniforms decorated with silver and gold adornments and dapper suits to colorful flowing dresses, costume designer Atlas Mendoza carefully illustrates each character’s distinctive traits. It was particularly notable to see Iago’s bright red socks hidden just underneath Walters’s suit to indicate that things are not all that they seem. Lighting designer Richie DeJesus not only creates mood-induced lighting that hints at the mood of each scene, but the simple staging which includes four multipurpose chairs and later an elaborate bed leaves plenty of room for this interactive cast to shine in performances that are not limited to the stage.

Dom Carter and Vincent Ernest Siders in Dream Role Players ‘Othello’ Photo credit to Sushmita Udoshi

Dream Role Players provide opportunities for individuals to perform their dream roles and Othello boasts an enthusiastic cast who skillfully sinks their teeth into their performances. With a sly smile, Luis Negrón offers a fervent portrayal of Rodrigo particularly in heated discussions with Dayenne CB Walters as conniving Iago. Walters epitomizes Iago with shifting eyes while displaying disquieting and calculated practicality. Walters brilliantly plots and schemes while displaying masked charm and manipulative glee.

Dom Carter and Dayenne CB Walters in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi

Dom Carter is amiable as sympathetic and gentlemanly Cassio as he shares some mystifying chemistry with Vidisha Agarwalla as Bianca while Candis Hilton is impressive as mysterious and independent-minded Amelia. It is endearing to watch Elisabet “Lisa” Ober as strong willed, adoring, and gentle Desdemona who shares boisterous and captivating chemistry with Siders as Othello, but the most riveting encounters occur between Siders as Othello and Walters as Iago. Siders is a towering and charismatic presence as Othello with rich and powerful vocals who is as suave and lovable as he is intimidating. Matched by Walters as elusive Iago, the two enact a game of cat and mouse with a mounting intensity that left me at the edge of my seat.

Dream Role Players ‘Othello’ Full Cast Photo credit Sushmita Udoshi

REVIEW: New York City Indie Theatre Film Festival Short Films: Reilly Anspaugh and Daniel Rashid’s ‘Chauncey,’ Michael Quinn’s ‘Brooding,’ Rachel Handler’s ‘Unlucky in Love’ and more

Posted on February 23 by The Sleepless Critic

The eighth annual New York City Indie Theatre Film Festival returned this year and ran from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53^rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and to see the winners of the festival.

Lindsey Hope Pearlman in ‘Placemat’ Photo by Lindsey Hope Pearlman

Lindsey Hope Pearlman and Sean Welski’s Placemat

Sometimes life can become a mundane daily grind.

Fueled by an upbeat and ultramodern score by Andrew Lynch, Lindsey Hope Pearlman as Lindsey fantasizes about a rich and exciting existence. Wearing glasses and a blue and yellow floral blouse by Elizabeth May, Placemat takes a humorous look at finding excitement in the little things with an effective twist.

Reilly Anspaugh and Daniel Rashid’s Chauncey

Zoe has a new boyfriend, but is also hiding a secret.

A different take on a coming of age tale blended with rom-com energy fueled by Daniel Rashid’s vintage, playful and catchy soundtrack, Chauncey is a charming story featuring Reilly Anspaugh, Daniel Rashid, Miya Kodama and Doug Tompos about what it is to reveal the real you and some things one does not have to outgrow.

Overdue

Two people facing a tough time encounter each other in a bar. Louis Robert King’s bluesy soundtrack and Jeanine Bartel and Howard Hendrix Powell’s playful chemistry make this production shine. Directed insightfully by Melissa Skirboll, Overdue boasts a myriad of meanings for two people searching for hope.

Anna Capunay’s Your Silent Face

Sometimes music can create change. Your Silent Face focuses on a Peruvian mother, depicted by Anna Capunay, who is struggling with the decisions happening within her family. Though the production addresses trauma, mental illness and depicts some family turmoil, Your Silent Face expresses each character’s point of view in a balanced manner. The production is lightened by the upbeat and retro rhythms of the Bootblacks.

Michael Quinn’s Brooding

Brooding is a searing drama and horror story about a talented nature photographer named Tara who is struggling. Her boyfriend Matthew, portrayed with a mix of stoicism and concern by Joseph Basquill, wants to get to the bottom of it. With an eerie sound design by Bailee Herrera, music by Griffin Robillard, and sound mixing by Devin Greenwood, Brooding has squeamish and haunting moments boasted by the cold stare, exhaustive mood swings and explosive temper notably portrayed by Hadley Durkee as Tara with an ending difficult to see coming.

Kwame Berry’s Ursula

Presented at first as a True Hollywood Story, Ursula is a drama about grief and trauma as a family fights over what to do with the family house.

Tiffany Adams depicts tough and driven screen star Ursula with finesse and LaVeda Davis makes a brief but lasting impression as Ms. Tate. Based on Kwame Berry’s Ursula: A Dysfunction in Two Acts, Kwame Berry’s complex portrayal as quiet, sympathetic, and mysterious Dominic make the character easy to root for as the production progresses. With an eerie and foreboding score by Vin Scialla and Darius James, Ursula is presented with originality, intrigue and a thought provoking revelation.

Rachel Handler’s Unlucky in Love

With upbeat direction by Catriona Rubenis-Stevens, Unlucky in Love is a lighthearted musical foray into one small town flash mob planner’s search for love with engaging narration by Imani Barbarin as Lucy Loveless. Rachel Handler as sensible Lisa Edmunds and Lashi as Wendy Lindell share breezy chemistry with a meaningful conclusion.

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

Posted on December 22 by The Sleepless Critic

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

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

12.1.23 Keith Lockhart conducts Holiday Pops 2023 (Hilary Scott)

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

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

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

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

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

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

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

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

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

12.1.23 Santa Claus with Keith Lockhart (Hilary Scott)

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

12 Days of Christmas

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

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

REVIEW: The Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

Posted on November 20 by The Sleepless Critic

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton. Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history. Very likely taking place at the historic Old South Meeting House which is also celebrating its 300^th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard.

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis, Phillis in Boston offers a unique and heartfelt perspective of this courageous woman. In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries. Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it. Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae. S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream. Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley. Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest. With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

REVIEW: ‘Zebra 2.0’ at New Ohio’s ICE Factory boasts an unconventional meet cute with fascinating zip

Posted on August 1 by The Sleepless Critic

One is nicknamed Zebra and another knows everything there is to know about Zebras….except how Zebras feel.

Zebra 2.0 is technological ice breaker and a breakthrough unlike any other. An interesting meet cute for the modern age, AnomalousCo, Wistaria Project, and Romanian Cultural Institute’s sci-fi rom com Zebra 2.0 was presented at New Ohio Theatre’s ICE Factory in NYC and is now streaming through August 12. The show runs for 1 hour and 30 minutes. Click here for more information and how to stream the film.

Alina Mihailevschi and Tim Craig in ‘Zebra 2.0’ Photographer: Jarrett Robertson

A computer and a woman meet in a lab. She calls it Al and Al nicknames her Zebra 2.0. As Al coordinates a line of numbers, inquisitive Zina, energetically depicted by Alina Mihailevschi, realizes that Al, portrayed with intellectual charm by Tim Craig, have much more in common than either of them realized. Zebras are only the beginning.

Zebra 2.0 has an enchanting way of delving into various topics such as the environment, biology, science, books, music, immigration, standardized tests, employment, and the nature of being human in a clever and fascinating manner. Though Zina only chance meets Al as she cleans up a laboratory, her friendly and candid conversations with Al spark some compelling results. Written by Saviana Stanescu and directed by Jeremy Goren, Zebra 2.0 combines method and sentiment into a sweet, intense, and astute production with resounding messages about humanity. Tim Craig is impressive, gradually molding Al into a charismatic and sympathetic character and Mihailevschi epitomizes lonely, zealous, friendly, rebellious, and imaginative Zina who longs for knowledge and dreams of a better life.

Tim Craig and Alina Mihailevschi in ‘Zebra 2.0’ Photographer: Jarrett Robertson

John Jannone, Michi Zaya, and Amy Liou’s luminous projection and video, Duncan Davies’s incredible multicolor lighting and Ras Badejo’s epic music and sound combine to make Al into a dazzling, fervent, and a powerful entity that blurs fantasy and reality inside a pristine, windowless, and futuristic space by Xinan Helen Ran. These special effects display some of the most exciting scenes in the production only second to Craig and Mihailevschi’s humorous and engaging chemistry that just might deliver greater meaning than anything Al can calculate.

Written ambitiously by Saviana Stanescu with elevated direction by Jeremy Goren, AnomalousCo, Wisteria Project, and Romanian Cultural Institute’s sci-fi rom com Zebra 2.0 was presented at ICE Factory in NYC and is now streaming through August 12. The show runs for 1 hour and 30 minutes. Click here for more information and how to stream the film.

REVIEW: Sisterhood is the new black in Hub Theatre Company of Boston’s vivacious ‘Love, Loss, and What I Wore’

Posted on August 1 by The Sleepless Critic

Call this cast a girl squad and a sisterhood.

With potent direction by Paula Plum and based on the bestselling memoir by Ilene Beckerman, Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5. This show is 90 minutes with no intermission and pay-what-you-can tickets are available. It occasionally contains adult and unfiltered language. Purchase a drink during this show and Club Café also offers a full menu. Click here for more information and for tickets.

Lauren Elisa, June Kfoury, Barbara Douglass, Evelyn Holley, and Nettie Chickering in Hub Theatre’s ‘Love, Loss, and ‘What I Wore’ Photo credit to Tim Gurczak

The name Nora Ephron must ring a bell. She was a famous award-winning rom-com journalist, writer, and filmmaker best known for 1983’s Silkwood, 1989’s When Harry Met Sally as well as 90s rom com classics Sleepless and Seattle and You’ve Got Mail before co-writing the screenplay for Julie and Julia in 2009. Ephron’s signature style tackled the seriousness of life with a lighthearted demeanor and always found some relatable humor along the way. With her sister Delia, Nora lends that empowering humor and charm to Love, Loss, and What I Wore.

June Kfoury, Evelyn Holley, Nettie Chickering, Lauren Elias, and Barbara Douglass in ‘Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

One of the greatest strengths of Love, Loss and What I Wore is the ensemble’s beautiful camaraderie. Love Loss and What I Wore has a gift for eloquently associating fashion with life’s bittersweet challenges. Portraying several ages while sharing that walk down memory lane is Nettie Chickering, Barbara Douglass, Lauren Elias, Evelyn Holley, and June Kfoury. Dressed in chic black by Kat Lawrence, they allow their vibrant experiences to take center stage. From fashion faux pas to that eternally favorite garment, five women lay bare their fondest memories and insecurities. It is a love letter to growing up and growing older in all of its wonder and complications.

Nettie Chickering in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

To an array of lighthearted club hits between scenes, this dynamic group share silly, sad, courageous and important stories with collaborative flair and wistfulness. They dance, grieve, conspire, tease, support and relate to each other all while discussing everything from relationships to family to roommates to the trials and tribulations of being a woman in a fun loving and deeply personal manner. A few lighter moments include witnessing Lauren Elias and her hilarious and empathetic comments about carrying a purse, Douglass’s wise and humorous motherly advice, and the sheer joy and supportive manner in which these women appreciate each other’s company. However, what stirs the production the most is contained in this group’s most significant challenges. The stories they share are raw, honest, at times rueful, and may seem familiar as well.

June Kfoury in Hub Theatre’s ‘Love, Loss, and What I Wore’ Photo credit to Tim Gurczak

With Talia Elise’s dazzling lighting powering a bright and cheerful set which includes glowing string lights, a luminous neon hanger, shimmering disco ball, multicolor boas, and an illustrated clothing rack by Justin Lahue and Maggie Shivers plus a wonderful dose of nostalgia, Love Loss and What I Wore is a captivating experience into life’s surprises and how to discover what is truly important.

Hub Theatre Company of Boston presents Nora Ephron and Delia Ephron’s semi-interactive production of Love, Loss, and What I Wore live and in person at Club Café in Boston, Massachusetts through Saturday, August 5. This show is 90 minutes with no intermission and pay-what-you-can tickets are available. It occasionally contains adult and unfiltered language. Click here for more information and for tickets.

REVIEW: It’s a great time for sleuthing at Greater Boston Stage Company’s ‘Clue: On Stage’

Posted on June 12 by The Sleepless Critic

During a dark and stormy night, a group of strangers are required to gather in a mysterious mansion under puzzling circumstances. The real reason for the gathering is just one of many twists and turns in this famous dark and comedic murder mystery.

Last year, Ryan Reynolds announced he would star in a new Clue film reboot for 20^th Century Studios which, like a lot of reboots, seems unnecessary since the 80’s film Clue is an enduring cult classic. The popular Parker Brothers board game (now owned by Hasbro) has been revamped a number of times as a board game and has been translated into various forms of entertainment including a live Scavenger Hunt and interactive dinner theatre. This is one mystery that people have been anxious to solve for generations. Having seen the 80’s film many times over as well as played the popular board game, this is the first time seeing it done live onstage.

The Players of ‘Clue: On Stage’ Photo credit to Nile Scott Studios

Directed mischievously by Weylin Symes, Greater Boston Stage Company continues Sandy Rustin’s Clue: on Stage live and in person at Greater Boston Stage Company in Stoneham, MA through June 25. Clue: on Stage is family friendly, but after all, a black comedy murder mystery which has its dark turns. The violence is not gruesome, but like the Parker Brothers board game, probably most appropriate for kids ages 8 and up. This show is 90 minutes with no intermission. Click here for more information and for tickets.

Clue is a great murder mystery farce, but it really takes a cohesive cast led by famous butler Wadsworth to make this production simmer. Recent Elliot Norton Award winner Paul Melendy is just the man for the job not only bringing a unique twist to resourceful Wadsworth, but by fostering a new take on the character as does Bryan Miner as Mr. Body. Tim Curry will always be THE Wadsworth, but Melendy makes this refreshing interpretation his own while keeping Curry’s core characteristics still intact right down to his playful eyebrow lift and smirking grin.

Paul Melendy as Wadsworth and Maureen Keiller as Miss Peacock Photo credit to Nile Scott Studios

Whether in moments of scheming or over thinking, the cast has compelling chemistry as funny and fascinating adversaries. Genevieve Lefevre makes a mischievous Yvette while Jennifer Ellis is pitch perfect as Miss Scarlet creating a wonderful balance of sophistication and dry humor. Maureen Keiller portrays chatty, nervous, and panicky Miss Peacock. Wearing signature black glasses, Miss Peacock’s character could be interpreted as shrill and abrasive, but Keiller’s distinct comic timing makes Miss Peacock one of the funniest parts of the production.

L to R: Paul Melendy as Wadsworth Bill Mootos as Colonel Mustard and Genevieve Lefevre as Yvette Photo credit to Nile Scott Studios

In a classic mustache, Bill Mootos brings comic wit to somewhat dim witted Colonel Mustard while Mark Linehan as Professor Plum and Stewart Evan Smith as squeamish Mr. Green both bring an enigmatic quality to their characters.

Sara Coombs is a good Mrs. White, but would have liked Mrs. White to be less soft spoken and more humorously cryptic. From stern to silly, Katie Pickett juggles a number of memorable roles as the story unfolds.

Paul Melendy as Wadsworth, Stewart Evan Smith as Mr. Green and Genevieve Lefevre as Yvette Photo credit to Nile Scott Studios

Whether in Miss Peacock’s spectacular blue and green glittering dress, Colonel Mustard’s military garb, Miss Scarlet’s vampy red dress, Yvette’s classic French maid costume, Wadsworth’s coat and tails or Mrs. White’s jet black furs, costume designer Deirdre Gerrard creates an elegant and vintage look authentic to each of the character’s iconic personas.

Paul Melendy as Wadsworth and Jennifer Ellis as Miss Scarlet Photo credit to Nile Scott Studios

Keeping its vintage 50s charm, Clue on Stage’s set by scenic designer Katy Monthei injects some similarities to the 80s film cult classic from the haunting and soft glow at the iconic mansion’s enigmatic front door to the comical and sophisticated portable set pieces. Lighting designer Jeff Adelberg and sound designer Caroline Eng work overtime to seamlessly and simultaneously up the ante on suspense, humor, and drama through the evolving lighting from foreboding to revealing to flashing to playful while the sound design transforms from sinister to lively to jolly.

The show’s innovative blocking and moving staging is a riot as it cleverly makes the most of every inch of the space with its transformative style and the cast’s ‘athletic’ movements choreographed by Alexander Platt and Cait Zweil.

Sandy Rustin’s fun and comical script is no rehash of the film adaptation, but delivers fresh humor without leaving out some of the iconic quotes and scenes from the 80s film. Revisiting Clue was such an entertaining experience that I would gladly see it again.

Greater Boston Stage Company continues Sandy Rustin’s Clue: on Stage live and in person at Greater Boston Stage Company in Stoneham, MA through June 25. This show is 90 minutes with no intermission. Click here for more information and for tickets.

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

Posted on April 19, 2023 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: Down True Repertory Theatre’s winding and thought provoking ‘Rabbit Hole’

Posted on March 31, 2023 by The Sleepless Critic

Grief is just love with nowhere to go.

It can be getting too close while saying too much and then not enough. Holding on too tight or letting go too fast. What to do not knowing what to do and finding where to meet in the middle.

Starring and insightfully directed by Victoria Bond, True Rep Theatre’s latest production was David Lindsay-Abaire’s Pulitzer Prize and Tony award-winning play, Rabbit Hole which was onstage for one weekend only from Friday, March 24 through Sunday, March 26 at the Beal House in Kingston, Massachusetts. Hope Floats in Kingston partnered with True Repertory Theatre for Rabbit Hole. Click here for more information and for more about True Rep Theatre.

Victoria Bond as Becca and Julie Butler in True Rep’s ‘Rabbit Hole’ Photo credit to True Repertory Theatre

Rabbit Hole examines the aftermath of an unimaginable tragedy for a struggling family and all who are connected to it on a journey through loss. It explores a variety of ways in which conflict can arise from miscommunication, loneliness, and the uncertain future. It also has moments of humor, but Lindsay-Abaire’s meaty script seems to have metaphorically placed everyone on their own grieving life raft as each individual attempts to keep each other afloat.

Songs by Al Green, Florence and the Machine, Matt Alber, Damien Jurado and Gary Jules are just a few of the artists that enhance the show’s complicated beauty and the semi-immersive set draws the audience further into its engrossing content. The Beal House, without a bad set, features a functioning kitchen which flows seamlessly through each of True Rep’s distinctive productions. Colin Gaynor’s sweet vocals lends to the show’s stirring sound design.

Rabbit Hole features an intimate cast that delivers powerful and intense performances and it is difficult to imagine these actors not feeling emotionally depleted after each show. Victoria Bond both directs and stars as Becca, a normally levelheaded wife devastated over the sudden death of her young son.

Some of Rabbit Hole’s eloquence is that it does not take place prior to a tragedy, but months later on a day not unlike any other day. This renowned play is a mass of subtle intricacies that seem small, but pack a wallop. With a somewhat slumped walk and a reticent and sullen voice, Bond melts into the role of an anxious and irritable perfectionist Becca with ingenuity and a creeping tension just below the surface. It is a relatable portrait of a worn mother struggling to hold on while searching for a way forward.

Victoria Bond as Becca and Donald Sheehan in ‘Rabbit Hole’ Photo credit to True Repertory Theatre

Donald Sheehan depicts Becca’s husband Howard who is coping with his son’s death differently. With a feigned smile and with greater openness than his wife, Sheehan treads carefully for Becca’s sake. Having seen the 2010 film of the same name, Howard was depicted as less likable than in this production. However, Sheehan brings patience and greater understanding of his wife’s needs to the role, though their marriage is not without conflict. Sheehan and Bond’s complicated relationship ebbs and flows unsteadily.

On a lighter note, Julie Butler portrays Becca’s tough, aimless, but caring sister Izzy. With blue, pink, and red hair and bold fashion sense, Butler’s blunt and edgy charm makes for some entertaining and comedic moments. Butler has great chemistry with each dysfunctional family member and is a breath of fresh air within the show’s heavier content. Lisa Caron Driscoll as Becca’s chatty and nagging mother Nat makes it easy to see where Izzy gets her outspoken demeanor. However, Nat is also a pillar of strength and though Nat’s grief seems buried deep, Driscoll impressively unravels this multi-layered character inch by almost unendurable inch.

Lisa Caron Driscoll as Nat and Victoria Bond as Becca Photo credit to True Repertory Theatre

Patrick McCarthy depicts sympathetic Jason with humbleness and an innate sincerity. Through a shared persistence, McCarthy and Bond poignantly develop a bizarre and bittersweet connection on this heartrending journey.

True Rep Theatre’s latest production was David Lindsay-Abaire’s Pulitzer Prize and Tony award-winning play, Rabbit Hole which was onstage for one weekend only from Friday, March 24 through Sunday, March 26 at the Beal House in Kingston, Massachusetts. Hope Floats in Kingston partnered with True Repertory Theatre for Rabbit Hole. Click here for more information and for more about True Repertory Theatre.

REVIEW: SpeakEasy Stage Company offers a shrewd and exceptional ‘Fairview’

Posted on March 7, 2023 by The Sleepless Critic

Mama is about to have a birthday bash no one will soon forget.

Prepared by Yewande Odetoyinbo as Beverly and Dominic Carter as Dayton who delivered playful and endearing chemistry previously seen in Lyric Stage Company’s production The Light, SpeakEasy Stage Company’s brilliant production of Fairview is an impactful and evolving show that has so much to say, but yet so little should be said before witnessing it. Its humor ranges from conventional to absurd to acerbic and should be watched, understood, and thought over.

Yewande Odetoyinbo and Dom Carter. Nile Scott Studios

SpeakEasy Stage Company presents Jackie Sibblies Drury’s Pulitzer prize-winning Fairview live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, March 11. Powerfully directed by Pascale Florestal, Fairview boasts an excellent and dynamic cast. Fairview runs one hour and 45 minutes with no intermission and contains adult themes. Click here for more information and tickets.

Lyndsay Allyn Cox, Yewande Odetoyinbo, and Victoria Omoregie. Nile Scott Studios

Amid an Obama family portrait on the left and a Langston Hughes poem on the right with upscale furniture and a dangling crystal chandelier overhead by Erik D Diaz, the production opens to an inviting and seemingly affluent household as Beverly, attempting to quell her nerves, begins to dance while peeling a carrot for Mama’s birthday dinner. Soon joined by Dayton, Lyndsay Allyn Cox as Beverly’s sister Jasmine and Victoria Omoregie as Beverly and Dayton’s daughter Keisha, Fairview reveals a dysfunctional family gearing up for a big night for Mama. Beverly’s only wish is for everything to be perfect.

Fairview addresses the nature of observing and perspective in a unique, palpable and unpredictable manner and it is quite a wild ride to its astonishing conclusion, so be still and observe. This may be unlike anything witnessed before onstage and most assuredly worth the journey.

SpeakEasy Stage Company presents Jackie Sibblies Drury’s Pulitzer prize-winning Fairview live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, March 11. Fairview runs one hour and 45 minutes with no intermission and has adult themes. Click here for more information and tickets.