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REVIEW: Facing corporate greed and corruption with a sprinkling of levity in Lyric Stage’s ‘Urinetown: The Musical’

Posted on October 19, 2024 by The Sleepless Critic

I went in skeptical.

Having been invited to see this show years ago when a friend was in it, the title and premise lacked a certain initial appeal. Yes, the show is about what the title suggests, but as narrator or maybe more like ringmaster Anthony Pires Jr as Officer Lockstock insists, ‘The setting is not Urinetown, just the name of this musical comedy.’ Janie E. Howland’s set is dingy in various shades of brown and littered with broken toilets and grime as undefined shapes pepper the stage.

Anthony Pires, Jr and Paige O’Connor in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

And yet….

The set is a ruined landscape as one would imagine it would be for a musical comedy called Urinetown, but Mark Hollmann’s piano-infused music is suspenseful, foreboding, urgent and bright and Deb Sullivan’s mood-induced lighting design stands out. As serious as some of the issues the show addresses are in a story about urination becoming a privilege for the rich and not a human right, the production’s satirical tone sits somewhere between not to be taken too seriously and a cautionary tale of oppression, corruption and more.

With thought provoking direction by Courtney O’Connor with lively choreography by Christopher Shin, The Lyric Stage Company opened its 50^th anniversary season with musical parody Urinetown: The Musical live and in person at Lyric Stage Company in Boston, Massachusetts through October 20. The action is not limited to the stage and run two hours with a 10 minute intermission. Click here for more information and for tickets.

The cast of Urinetown: the Musical Photo by Nile Hawver

Taking place in an unknown city that suffers from a severe water shortage, Anthony Pires Jr as narrator and Officer Lockstock, Gabriel Graetz as Officer Barrell, and Lisa Yuen as rigid and business minded Penelope Pennywise, must enforce that each city resident pay a fee to urinate passed down by Christopher Chew as President and Owner of Urine Good Company’s Caldwell B. Cladwell. When an incident takes place involving Remo Airaldi as Joseph “Old Man” Strong, Kenny Lee as Strong’s idealistic and determined son Bobby decides to do something about it.

Urinetown boasts a wealth of powerful vocals including Yuen’s stellar rendition of It’s a Privilege to Pee capped off by an astounding finale belt. In rubber boots, fanny pack, and pigtails, Yuen brings depth to Pennywise who is caught between a rock and a hard place not unlike another survivor she portrayed earlier this year in Reagle Music’s South Pacific. Pennywise must do what she thinks she must in fear of the alternative.

Lisa Yuen, Anneke Angstadt and James Turner in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Anthony Pires Jr is charismatic, engaging and a lifeline as Officer Lockstock who alternates between law enforcement and narrating the plot at various interludes. Pires Jr’s self aware humor and sharp comedic timing adds levity to this bold satire that delivers its share of dark moments in a way that does not feel as heavy with Pires Jr at the helm. The Cop Song, a duet with Graetz and Company, offers an inside look of what it’s like to enforce the law here to a cheerful beat.

Kenny Lee and Elliana Karris in Lyric Stage’s ‘Urinetown: The Musical’ Photo by Nile Hawver

Elliana Karris depicts Cladwell’s rich, beautiful, compassionate, and idealistic daughter Hope who believes in change and shares an endearing rendition of Follow Your Heart with Bobby. They are goofy, giddy and share each other’s wide eyed optimism and determination. Kenny Lee is instantly likeable and impressive as Bobby who also longs to make a difference. Paige O’Connor is excellent as precocious, street smart and conflicted Little Sally who shares some funny and fascinating scenes with Lee and Pires Jr throughout the production.

Christopher Chew and the cast of ‘Urinetown: The Musical’ Photo by Nile Hawver

With commanding vocals, Christopher Chew depicts threatening yet humorous adversary Caldwell B. Cladwell. Chew strikes a delicate balance between scathing and corrupt with comic wit. Cladwell could have easily delved into cartoon villainy, but Chew brings enough manipulative chutzpah to songs like Mr. Cladwell and Don’t Be the Bunny to make him a credible and worthy foe.

Musically directed by Dan Rodriguez, Urinetown features not only a number of songs in an array of styles, but also a variety of musical references which includes The Wizard of Oz, West Side Story and Les Miserables. The cast’s moving rendition of Run Freedom Run and the seemingly peppy I See a River are both memorable. As the band plays above the stage, it sheds some light as this skillful production delves into themes such as oppression, socialism, corporate greed, fear, corruption and freedom. It’s also a strong metaphorical satire about something one would hopefully never have to go through.

If you can get past that, The Lyric Stage Company continues Urinetown: The Musical at Lyric Stage Company in Boston, Massachusetts through October 20. Click here for more information and for tickets.

REVIEW: Tom Stoppard’s indelible epic ‘Leopoldstadt’ at the Huntington

Posted on October 4, 2024 by The Sleepless Critic

Flanked with brass and crystal embellishments, a gorgeous Vienna apartment is festively adorned as a beautiful upper class family celebrates Hanukkah….and then Christmas and the Nativity. It is subtle at first, but there lies a divide in this extended Jewish family reaching further than 1899. Over the stretch of 56 years through war, strife, turmoil, heartache and tragedy lays a growing divide that impacts generations and it only gets more complicated.

Directed conscientiously by Carey Perloff, The Huntington and Shakespeare Theatre Company presents Tom Stoppard’s epic Tony Award-winning production of Leopoldstadt live and in person at The Huntington in Boston, Massachusetts through October 13. This multi-generational production is two hours and twenty minutes plus one 15 minute intermission. Click here for more information and for tickets.

Left to right: The cast of Leopoldstadt b. Forefront (L to R): Brenda Meaney and Rachel Felstein
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

The Huntington has recently been presenting family multi-generational productions which include The Lehman’s Trilogy also directed by Perloff about the Lehman Brothers spanning a 163-year period before exploring the world of the Salomon family in Joshua Harmon’s Prayer for the French Republic spanning almost 70 years.

Leopoldstadt is inspired by Stoppard’s own family experiences which span a pivotal time from 1899 to 1955. The show has a large cast which explores resilience, identity, grief, survival, fear, hate, and the struggle with one’s own faith in the face of growing darkness.

The cast of Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

Scenic designer Ken MacDonald impressively reflects transformation over time starting with the opening of the production in an opulent Vienna apartment with built-in bookshelves packed with various selections, a large decorated window with a stellar view of the city, a feast at the dining room table with a real Christmas tree lit with live burning candles. The Merz-Jacobovicz family is decked out in their best in colorful embroidered gowns and classic patterns in velvet and lace as the men dress in timely suits by costumer Alex Jaeger. A portrait of a family celebrating Hanukkah and Christmas on the same day as Phyllis Kay, in a dual role as Eva and here as fascinating Grandma Emilia, uses terms seemingly lightly such as ‘Christianized’ and presenting the tree ‘for the papists.’

Left to right: The cast of Leopoldstadt b. Foreground (L to R): Brenda Meaney, Nael Nacer
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

This extended family is its own melting pot of beliefs and heritage which is often explored through deep discussion between Brothers Nael Nacer as textile manufacturer Hermann and Firdous Bamji as mathematician Ludwig. The conversations intensify as the show progresses between Hermann as a Jew converted to Catholicism and Jewish Ludwig as they explore politics and their stirring reasons behind their demeanors and beliefs as time and turmoil takes hold through two world wars and as a new generation enters the world.

Left to right: Holden King-Farbstein, Joshua Chessin-Yudin, Quinn Murphy, Firdous Bamji
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

Another key figure in the production is Brenda Meaney in a nuanced depiction of Hermann’s complex wife Gretl who is Catholic yet enamored with Jewish tradition and takes part in a scandalous and unpredictable storyline. Samuel Adams is also memorable in a dual role as egotistical and shrewd Officer Fritz and English journalist Percy. However, Mishka Yarovoy is haunting in a dual role as devastated soldier Jacob and Leo who are both replete with loss.

Left to right: Mishka Yarovoy, Nael Nacer, Brenda Meaney
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

This historically significant and symbolic production takes some time to build as does the nature of fascism in its escalating subtlety and the revelations in this production are deep and impactful. The show’s affecting familial layers unfurl with resonance and familiarity as startling details take shape about these critical years including a riveting depiction of The Night of Broken Glass in 1938 infusing Jane Shaw’s stunning sound design, Robert Wierzel’s evocative lighting and Yuki Izumihara’s astonishing projections sure to stay with you long after the production has ended. Leopoldstadt is a timeless and cautionary piece of theatre not to be missed.

The cast of Leopoldstadt
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

Directed conscientiously by Carey Perloff, The Huntington and Shakespeare Theatre Company presents Tom Stoppard’s epic Tony Award-winning production of Leopoldstadt live and in person at The Huntington in Boston, Massachusetts through October 13. This multi-generational production is two hours and twenty minutes plus one 15 minute intermission. Click here for more information and for tickets.

REVIEW: Art in its luster in Boutcher Theatre’s multi-textured ‘Red’

Posted on September 5, 2024 by The Sleepless Critic

Prepare to explore art from all angles.

There’s a moment in Boutcher Theatre’s Red that brings to mind a scene in the popular film, The Devil Wears Prada where Miranda Priestly is teaching her assistant a harsh yet valuable lesson about fashion. Meryl Streep’s Priestly, who is loosely adapted from real life legendary and longstanding Vogue editor Anna Wintour, is tough and in some scenes intolerable, but her expert eye for fashion cannot be denied, even as she is hurling curt remarks and antagonistic slights. In the scene, Priestly describes Anne Hathaway’s Andi’s blue sweater as not just blue nor lapis or turquoise, but cerulean representing an artistic and particular style of fashion.

During an intense scene in Red which focuses on real life abstract impressionist and tough mentor Mark Rothko, Rothko, portrayed charismatically by Dan Kelly, is teaching his assistant, Chloe Olwell as Ken, about embracing art. After Ken describes Rothko’s painting as red, Rothko urges Ken to ‘think more’ after an impassioned speech in which he suggests infusing magenta, crimson, burgundy, maroon and scarlet! Rothko is rigid, arrogant, and mysterious, but knows art. He urges Ken not to just see a painting, but to feel it, love it, and have it wash over you.

Chloe Olwell and Dan Kelly in Boutcher Theatre’s ‘Red ‘ Photo by Bradley Boutcher

Directed insightfully by Bradley Boutcher, Boutcher Theatre presents John Logan’s Red live and in person continuing at the Peabody Black Box Theatre in Peabody, Massachusetts through September 8. The show delves into some adult themes including trauma. Click here for more information and for tickets.

Littered with open art supplies, splattered paint and half done canvases, Boutcher’s red hued scenic design with some pieces from Jessica Algard, creates an authentically sprawling and lived in studio including a cozy couch and a vintage record player playing mostly classical music and occasionally setting the mood within the scene especially notable when the studio is bathed in a haunting blue light. With a mix of formal and paint splotched casual attire, Boutcher’s symbolic costume design with some pieces from Maureen Festa, demonstrates each character’s unique style while also blending into Algard’s scattered and colorful setting.

Red is somewhat of an evolution as Rothko shares his artistic vision with his assistant who admires his work. Rothko candidly shares endless stories on art, literature, and his journey to becoming a successful artist occasionally breaking the fourth wall. He is currently working on an elaborate mural project for a hefty paycheck to be created for a ritzy New York City hotel. Olwell’s Ken is much more than meets the eye when at first attempting to make a good impression wearing professional attire that Rothko barely notices.

Smoking real cigarettes, drinking, and on little sleep in a windowless room, Dan Kelly engagingly infuses a mix of pessimism, rueful, and heady enthusiasm into Rothko and Olwell is a thoughtful, practical and a force not to be underestimated. They share a mentor and assistant relationship and at times worthy adversaries, but as subjects become more personal, there is almost a romantic spark to their increasingly incendiary exchanges as both begin to realize the complexity within each other’s artistic minds to unexpected results.

Logan’s script offers interesting, imaginative and relatable angles in which to appreciate and experience art. At one point, Kelly as Rothko muses, ‘Art is a risky act setting it out in the world.’ What does it really mean to be an artist and what is truly important setting your vision out into the world? The answer may bring new insight into your experience with art as well.

REVIEW: Royalty, loyalty and lies in Dream Role Players’ free production of Shakespeare’s ‘Richard III’

Posted on August 27, 2024 by The Sleepless Critic

‘Now is the winter of our discontent / Made glorious summer by this sun of York’ is a famously optimistic line appropriately stated by Richard, Duke of Gloucester in hopes for a brighter future with a timely reference…but a lot can happen on a Segway.

Elizabeth Ross as Richard Duke of Gloucester in Dream Role Players Production of ‘Richard III’ Photo by Dream Role Players

Co-directed by Mary Parker and Robin Abrahams, Dream Role Players takes a look at how pride goes before the fall in the Shakespeare tragedy Richard III which has been alternating locations between Longfellow Park and Raymond Park in Cambridge, Massachusetts live and in person through September 1. Women and gender minorities reign in this free, part steam punk, part rock n roll condensed production which runs 1 hour and 40 minutes with no intermission. In Longfellow Park, Richard III takes place in an ideal spot in front of the famous Longfellow statue. Click here for more information and where to find this free production.

Laura Liberge and Elizabeth Ross in Dream Role Players production of ‘Richard III’ Photo by Dream Role Players

Though the Dream Role Players are presenting an abbreviated version, Richard III is Shakespeare’s second longest play. Ian McKellen, Al Pacino, and Laurence Oliver have all starred as Richard of Gloucester in various film adaptations over the years.

The battle over a throne can be fraught with violence, cunning, and manipulation much like chess pieces moving on a board. Shakespeare unveils Machiavellian atrocities within some of his most famous works such as Hamlet, King Lear and Macbeth. However, Richard III features arguably one of the darkest and most arrogant Shakespearean villains depicted by Elizabeth Ross as Richard of Gloucester who aims for new heights.

Elizabeth Ross, Sue Downing, and Dayenne CB Walters in Dream Role Players production of ‘Richard III’ Photo by Dream Role Players

While not as familiar with Richard III as with other Shakespearean works, it is easy to spot a great deal of common themes. Richard III was crowned King from 1483 to 1485, but Shakespeare’s Richard III is considered historical fiction containing some factual elements with some liberties taken.

Hannah Baker, Elizabeth Ross and Isabelle Bushkov in Dream Role Players production of ‘Richard III’

Richard III possesses the earmarks common in Shakespeare’s tragedies including a great battle, arrogant musings, conspiring, violence, ghosts, and foreboding dreams while keeping the Shakespearean dialogue intact. This production also infuses contemporary flair including gothic and steam punk costume trends primarily soaked in black and red. Fingerless gloves, spiked crowns, jeans, pinstripes, fishnets, Victorian boots, and ripped stockings are a fraction of Teresa Griffin’s edgy costuming while also featuring symbolic and supernatural detail. Hard rock girl bands dominate the production’s soundtrack to emphasize that edgy vibe.

Dayenne CB Walters, Amelia Smith and Sue Downing in Dream Role Players production of ‘Richard III’ Photo by Dream Role Players

While the production is a bit vague in parts, this version of Richard III seems more lighthearted with some surprising laughs and dark humor for the level of tyranny it depicts, but not bereft of hope delivered in an inspiring monologue by Amelia Smith depicting a few roles including the Earl of Richmond.

Richard III features a few miscreants to keep track of on the path to the throne, but Elizabeth Ross as Richard of Gloucester who had physical disabilities, is the most dastardly and at the same time, the most fun to watch. Ross’s grand gestures, pettiness, sardonic whispers, and conspiratorial musings tucked behind a taunting grin while stylistically riding a Segway is a head turner. Ross also utters one of Shakespeare’s most popular lines, ‘My kingdom for a horse’ and shares some strong scenes with Dani Dorrego as Queen Elizabeth and with Addie Pates as calculating informant Duke of Buckingham.

Hayley Haggerty, Amelia Smith, Elizabeth Ross Dayenne CB Walters and Dani Dorrego in Dream Role Players production of ‘Richard III’ Photo by Dream Role Players

Dayenne CB Walters, who portrayed the big bad Iago in Dream Role Players’ Othello, returns in a dual role including a memorably manipulative Queen Margaret.

The foundation of Dream Role Players is making roles accessible to anyone who dreams of portraying them. Not sure if the dream was an all women and gender minorities cast or the majority of these roles were earnestly sought after by women or a little of both, but a gender bending cast of this nature was featured last year on a park in New York as well as in London.

The cast of Dream Role Players production of ‘Richard III’

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

Posted on March 24, 2024 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, 2024 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, 2023 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, 2023 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, 2023 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, 2023 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.