Since the pandemic started, loneliness has increased exponentially. People have been scrambling to find a fulfilling form of communication since quarantine took effect in 2020 and any miscommunication or absence of a loved one quickly became fear and worry of their well being. Even today, people are still struggling with how best to communicate and see each other in person without the fear of illness. For Aimee and Victoria at the start of the pandemic, communication had to come more from the heart than from the head as they celebrate their anniversary apart.
Natasha Ofili as Aimee and Stephanie Noguras as Victoria Photo courtesy of Olivia Long/Aimee Victoria
Directed aptly by Chrystee Pharris and written by Hannah Harmison and Mikail Chowdhury, Aimee Victoria is a short film created entirely remotely during the pandemic in 2020. The film is approximately 10 minutes long. Click here for more information and how to view this film.
Aimee Victoria explores how Natasha Ofili as Aimee and Stephanie Nogueras as Victoria, a deaf couple, cope with being separated by the pandemic on their first anniversary. As many have difficulty communicating their feelings under the best of circumstances, Aimee and Victoria tackle this obstacle in a sweet depiction of love beyond boundaries.
Stephanie Nogueras as Victoria Photo courtesy of Olivia Long/Aimee Victoria
Through the film’s isolating setting and circumstances, Pharris navigates panic, depression, and struggle in these characters as they readjust to this new way of living. For example, Aimee struggles just to get out of bed at a loss for what is next as so many have felt in the past couple of years.
Natasha Ofili as Aimee Photo courtesy of Olivia Long/Aimee Victoria
Aimee Victoria transcends not only the journey of these two people, but the significance of love beyond any obstacles and expressing to anyone, whether friend, family, or significant other, what is truly important. Finding a way to carry that love with them no matter where they are.
Aimee Victoria is available now on streaming platforms and in theatres. Click here for more information on how to view this short film.
A roaring crowd greeted hip-hop comedic dynamos, Freestyle Love Supreme opening night at the Emerson Colonial Theatre in Boston on Friday, March 18. Packed with plenty of self-proclaimed Freestyle Love Supreme super fans, witnessing this unique, interactive, Tony award-winning production feels more like attending a rock concert. The anticipation leading up to it was palpable and I immediately got the sense I was in for a truly remarkable experience.
L to R: Lin-Manuel Miranda, Kaila Mullady AKA Kaiser Roze, Anthony Veneziale AKA Two Touch and Aneesa Folds AKA Young Nees Photo credit to Joan Marcus
No wonder Freestyle Love Supreme is beloved seeing that the show still features some of the founding cast members since the group started in 2004 and went on to be featured in the self-titled Hulu documentary and on Broadway. Founding member Chris Sullivan AKA Shockwave wows with phenomenal hip hop beats (and seemingly impossible) sound effects, Aneesa Folds AKA Young Nees can perform powerful vocal gymnastics to anything that is thrown Young Nees’s way, and founding member Anthony Veneziale AKA Two Touch is a great and welcoming host. Not only can every cast member deliver clever quips at the drop of a hat, but the show is friendly, interactive, and inclusive.
From L to R: Chris Sullivan AKA Shockwave, Richard Baskin Jr AKA Rich Medway, Anthony Veneziale AKA Two Touch and Aneesa Folds AKA Young Nees Photo credit to Joan Marcus.
Is Freestyle Love Supreme a big party? A resounding yes, but every performance is unique so it is best enjoyed just knowing the basics. Don’t feel pressure to participate, but the more enthusiasm and participation, the better the show. Trust me. Even in masks which Freestyle Love Supreme deems ‘consonant killers,’ the audience is invited to demonstrate what they are saying in creative and amusing ways. It is fun, has heart, and there wasn’t a dull moment.
The show is tailor made for the locals boasting a slew of signature Boston and pop culture references. Listen closely for the inventive and masterful delivery of these brilliant, high-speed rappers. The possibilities are endless. They also aren’t shy about what they say onstage. This may sound a bit like Whose Line is it Anywayand Wayne Brady was part of the cast at one point, but accompanied by an intimate live band, Freestyle Love Supreme is just on another level. For example, one audience member suggested the word, ‘Yankees’ and it was amazing to see how just many ways that one word was demonstrated led by the vocal styling of hilarious Jay C. Ellis AKA Jellis J.
The cast of ‘Freestyle Love Supreme’ Photo credit to Joan Marcus
Freestyle Love Supreme is hilarious, relatable and brilliantly fast-paced, but what makes the show most endearing was not so much the spectacle, but how much the cast does not hesitate to share their personal experiences as each show is shaped into a carefully tailored crowd pleaser. To think for the first time ever, the show’s full set was not delivered by opening night! I can’t imagine having a better time.
Freestyle Love Supreme continues live and in person at the Emerson Colonial Theatre in Boston, MA through April 2. Click here for more information and tickets.
When I first witnessed the hit film Hidden Figures, I was absolutely amazed for a couple of reasons. In the early 60’s, a team of phenomenal NASA mathematicians were so talented that some astronauts including Neil Armstrong refused to board the space shuttle without their astute calculations. The other amazing and frustrating detail is that for all that these African-American women accomplished, I had never heard of them or worse, was never taught about them at school. Hidden Figures stayed with me. These genius mathematicians made such an indelible impact in the world and yet, I was learning about them for the first time in this film.
‘Young Nerds of Color’ cast and creative team Photo credit to Nile Scott Studios
The night before reviewing Young Nerds of Color, I attended an astronomy group meeting that featured a documentary about a rarely predictable phenomenon. A professor claimed he knew when the next supernova would occur. A supernova is when a star explodes and disperses its matter into the galaxy. It turns out the professor made a tragic miscalculation and the supernova never occurred in the documentary. However, Young Nerds of Color depicts two beautiful ones thanks to Andrea Sofia Sala’s innovative lighting while also symbolically illuminating some big and impactful ideas such as the discovery that matter from a supernova is directly connected to eyesight.
Lindsey McWhorter as Portia Long, Daniel Rios Jr as Reinaldo Herrera and DJ Lopez, and Alison Yueming Qu As Chloe Chen Photo credit to Nile Scott Studios
An educational and unconventional play full of discoveries, Young Nerds of Color translates like a flowing and collaborative academic dialogue among geniuses with performances so subtle and convincing that I had to glance back at the program to make sure they were actors and not the actual professionals they are depicting. A show gathered from 60 interviews with real life scientists, cast members deliver their point of view in their own unique style as they discuss the journey to make their ambitions come to life.
Ricardo Engermann as Jim Gates, DJ Thomas, Reinaldo Herrera and DJ Lopez Photo credit to Nile Scott Studios
Sponsored in part by MIT, Young Nerds of Color examines the lives of renowned scientists and engineers from diverse backgrounds whose career dreams were more difficult to achieve than they ever expected even before they discovered that dream. Living in pre-segregated Boston, racism and economic struggles was just a portion of the challenges they faced for being “young nerds of color.” They all collaboratively take on the role of scientist and educator as they share with the audience and usher in the next generation to proceed toward their dreams with cautious optimism.
Lindsey McWhorter as Portia Long and Karina Beleno Carney as Dr Maria Hernandez Photo credit to Nile Scott Studios
Shelley Barish’s straightforward and illuminated set features two double helixes that might also symbolize that long career ladder and periodic table while Nona Hendryx creates memorable compositions with catchy and cosmic-sounding rhythms and original music.
Some of the cast depicts multiple roles and have engaging chemistry as they portray the journey from childhood experiments fueled by curiosity to those dangerous discoveries that can change the world all while presenting themselves in a way that society might accept so they too might thrive. I should have learned about this astounding group before now.
Hidden Figures stayed with me and Young Nerds of Color sure does too.
Underground Railway at Central Square Theater presents Young Nerds of Color arranged by Melinda Lopez live in person through March 20 at Central Square Theater in Cambridge, MA and virtually through April 3. The show is approximately 75 minutes with no intermission. Click here for more information, tickets, and COVID-19 guidelines.
Sure, it’s escapism, but isn’t that what Pretty Woman is all about?
Based on the hit film adaptation starring breakout star Julia Roberts and then megastar Richard Gere, Pretty Woman put a fairy tale spin on a story about a clever prostitute who charms a rich guy. The film is produced by Disney no less and solidly directed by the esteemed Garry Marshall. With natural elegance, pitch perfect comic timing, and tangible chemistry with Gere who she went on to star with in other film projects due to their thriving and bankable chemistry, Julia Roberts instantly became America’s Sweetheart at just 21 years old.
Adam Pascal as Edward and Olivia Valli as Vivian Photo credit to Lexus Broadway in Boston
A lot of big box office movies become musicals, so Pretty Woman was inevitable.
While the musical lacks Roberts and Gere’s tangible chemistry, Pretty Woman the Musical is still a fun adaptation with a few memorable musical numbers and includes the beloved and iconic moments that charged the 90s rom com classic. However, I do wish the show took its time a little more. The scenes and dialogue at times seem rushed, but with a show already two plus hours, that can be understandable. There is a great deal to cover from the music to the wealth of the film’s signature moments, but perhaps subtracting the more forgettable reprises might make up for the patches of rushed pacing.
Olivia Valli and Saleswomen on Rodeo Drive Photo credit to Lexus Broadway in Boston
From colorful street clothes to flowing, runway fashion to majestic gowns that include Vivian’s iconic red dress, costume designer Gregg Barnes exacts the splashy nature and 80s/90s vibe of this fantasy fairy tale. Fashion bursts onto the scene in the flashy number, Rodeo Drive oozing in the elegance of many shoppers’ fondest dreams and can’t help but notice Jessica Crouch as Kit’s amazing and glittery red and gold heels.
Kyle Taylor Parker as Happy Man Photo credit to Lexus Broadway in Boston
One performer who does more of the heavy lifting in this version is Kyle Taylor Parker as Happy Man. He not only carries his excellent and fun-loving charisma to the neon glow of Hollywood Boulevard for What’s Your Dream, a catchy opening number with a tropic tinge, but keep an eye out for Parker to pop up unexpectedly and delightedly in various sequences throughout the production boasting sharp comic wit and dynamic spontaneity.
Olivia Valli, the granddaughter of Frankie Valli, has a lot to live up to and does not do a Julia Roberts impression even through those signature red curls, but she makes the part her own as a goofier free spirit and an even faster-talking Vivian than in Roberts’s memorable performance. Julia Roberts had more of an established elegance in her role, even when she is trying to look tough. Valli has her own unique and bubbly comic timing. She performs a charming rendition of This is My Life, created from one of Vivian’s monologues to Edward. She also delivers a heightened and powerful solo for I Can’t Go Back.
An iconic Rodeo Drive moment in Pretty Woman Photo credit to Lexus Broadway in Boston
Adam Pascal as quiet, powerful, and observant Edward lacks Richard Gere’s subtle charm though he sounds a lot like Gere. His character is developed further than in the film, especially during his insightful solo, Freedom which is a nice addition drawn from Edward’s monologue in the film to Vivian.
Jessica Crouch’s vocal gymnastics with a rock edge as Kit uplifted Luckiest Girl in the World alongside Olivia Valli as Vivian and in the bright and catchy number, Never Give Up on a Dream. Kit’s spitfire persona and shoot-from-the hip attitude is a heightened version of Laura San Giocomo’s benchmark performance, but here Kit is a more established character and given a larger arc than in the film. She and Olivia Valli have a warm camaraderie evident from Kit’s first scene.
Jessica Crouch as Kit and Olivia Valli as Vivian Photo credit to Lexus Broadway in Boston
Jason Alexander has said that his opportunity for George from Seinfeld came from Pretty Woman and it was a hard fought battle for him to play the role of Edward’s lawyer and friend, Phillip Stuckey. However, in this version, Brent Thiessen filling for Matthew Stocke, is more of what director Garry Marshall originally had in mind for Stuckey’s intimidating, slimy, and snarky persona (imagine if Bradley Cooper took this role) and Olivia Valli as Vivian’s updated interactions with him are a little different this time around and more welcoming.
Amma Osei as Violetta and cast Photo credit to Lexus Broadway in Boston
Whether it’s the astounding vocals from Amma Osei as Violetta or the scene’s up close and personal delivery or even Pascal’s beautiful rendition of You and I, which has an unmistakable Bryan Adams influence, the iconic opera scene between Vivian and Edward stands out as is one of the best scenes in the musical.
Lexus Broadway in Boston’s Pretty Woman the Musical continues live and in person at the Citizens Bank Opera House in Boston, Massachusetts through Sunday, January 30. Click here for more information and for tickets.
At just beyond his 25th year, NPR’s popular composer, conductor, and music commentator, Rob Kapilow continues to captivate audiences with his vast musical knowledge, sense of humor, and careful analysis of what makes the best songs tick. Though music styles and genres inevitably change, these classic tunes may make you see your favorite songs in a whole new light.
NPR’s Rob Kapilow and his piano Photo courtesy of Celebrity Series of Boston
Part teacher, humorist, and historian, Kapilow proves once again just how fascinating a song can be through a mix of sophistication and an easy to follow delivery. Click here for more information and how to get access to this virtual production and follow along by downloading the show’s program. The virtual performance includes a short question and answer session. Click here for more on NPR’s What Makes it Great?
Though often speaking to a large audience, Rob Kapilow possesses such a personal, relaxed and friendly quality during his talks, it often feels like a one-on-one session on a baby grand piano. He is so popular with the Celebrity Series crowd that he usually makes a couple of Celebrity Series of Boston appearances per season tackling everything from swing to dance to classical to Broadway music revealing each song’s inherent brilliance.
Rob Kapilow Photo Credit: John Johansen
Calling on a couple of Broadway love songs, Kapilow was accompanied by soprano Emily Albrink and stirring singer, actor, and musician Ben Jones. In a flowing floral dress, Albrink brims with excitement evident is her soaring vocals as she delivers a charming rendition of My Fair Lady’sI Could Have Danced All Night. In a black jacket and tie, Jones masters the complex and emotional weight of Camelot’sIf Ever I Should Leave You with a bold finish. Together, Jones and Albrink depict the playful and lighthearted chemistry for Brigadoon’sAlmost Like Being in Love and Heather on the Hill where at one point, Jones takes Albrink’s hand.
Delving into the Golden Age of Broadway as well as Lerner and Loewe’s dynamic history, Kapilow chose a selection of lighthearted and dreamy songs as well as pivotal numbers from musicals that leads to a character’s imminent transformation. With humor and grace, Kapilow also reveals what each song might have sounded like without its individuality and as he peels back each layer, What Makes It Great? becomes an eye-opening experience.
From classic songs and American Standards such as It’s Almost like Being in Love from Brigadoon to the high-spirited I Could Have Danced All Night from My Fair Lady to a humorous and not to be missed I Remember it Well from Gigi, Rob shows how compulsive American lyricist Lerner of the famed retail stores and poverty-raised and frugal Austrian composer Loewe poured themselves and their imagination into their music to create some real Broadway magic.
What Makes it Great? with Rob Kapilow streams through January 27. Click here for more information and how to access the show. Click here to see what is next during Celebrity Series of Boston’s digital and in person season.
It is a production so engrossing that when it ends, you find yourself asking, “Then what happens?”
This is not to say that this insightful one man production, Mr. Parentis incomplete by any means, but the essence of this thought can be found in Maurice Emmanuel Parent‘s charismatic and absorbing storytelling. This autobiographical and semi-interactive recollection of a life-changing period in Parent’s compelling history features amusing and captivating characters that will keep you invested in his journey, eager to find out what is next.
Seamlessly directed by Megan Sandberg-Zakian, Lyric Stage Company continues the timely production Mr. Parent by Melinda Lopez through February 6 at Lyric Stage Company in Boston, Massachusetts. It will also be available for streaming from February 7 through February 20. This show runs 90 minutes with no intermission. Click here for more information and for tickets.
Maurice Emmanuel Parent Photo by Mark S Howard
Within a colorful and empty classroom by Cristina Todesco, the aptly-named Mr. Parent manages to cover a great deal in its limited time frame from the state education system to struggling families to struggling teachers to desegregation during a pivotal time in Mr. Parent’s life approached with the kind of heart and humor that comes from experience. Inspirational, educational, and complex, Mr. Parent also begs a significant question that many people face every day: How do I pursue my passion while still making a decent living?
Working in the arts, this quest is close to my heart. In order to do what one loves, one may have to supplement that journey with additional job or jobs to make it all work. It is a journey of sacrifice, more than likely a lack of sleep, and an overwhelming desire towards that dream goal, however means it may take to get there. For some, taking this avenue may create another dream realized.
Maurice Emmanuel Parent Photo by Mark S Howard
Maurice Immanuel Parent as himself is a struggling actor hoping to find success, but quickly realizes that doing so requires supplemental income. He finds it in the form of teaching. Having seen him perform as Cardinal Richelieu in Greater Boston Stage Company and Front Porch Arts Collective’sThe Three Musketeers, Parent has a wealth of talent. He is a charismatic presence onstage and it is easy to see the drive and heart he puts into his work. Here, Maurice Emmanuel Parent’s personal account reflects that talent in spades.
Maurice Emmanuel Parent Photo courtesy of Mark S Howard
It has as much heart as adventure from hyena auditions to a sneaky hoodie to recollections of shows he encourages his parents not to see, Parent recounts the unsettled and unpredictable life of teaching and acting which includes plenty of realizations along the way with bite, humor, and in times of distress, unmitigated honesty. For example, in two particularly moving moments, Mr. Parent describes in anguish what it is like to see his bright students from low income families struggle for their basic needs and enduring the scare of a lockdown. He navigates scenario after scenario invoking an intensity and desperation to succeed in a job that he hopes will meet his needs, but wondering if he may be in over his head. Seemingly sterling opportunities almost always have its challenges and Mr. Parent shows that we all have much to learn.
Maurice Emmanuel Parent Photo by Mark S Howard
Lyric Stage Company continues Mr. Parent through February 6 live and in person at Lyric Stage Company in Boston, Massachusetts. Click here for more information and for tickets.
We all just wanted the holiday season to last just a bit longer.
With the uncertainty and bitter temperatures in this New Year just weeks into 2022, it is difficult to part from the bustling excitement of last year’s holiday season. Musicals, plays, concerts, and more burst onto the stage cautiously but assuredly to deliver holiday cheer, some escapism, and to offer new and hopeful insight into what we have all been going through.
Trumpeter Jason Palmer, tenor saxophonist Noah Preminger, pianist Kevin Harris, bassist Max Ridley and drummer Lee Fish continues digital stream for two more months. Photo courtesy of Celebrity Series of Boston
In December, The Jason Palmer Quintet lit up the Arlington Street Church in Boston live and in person amid festively adorned green and gold wreaths while sharing some new music twists to a few beloved Christmas carols. Don’t expect to hear these traditional Christmas carols without some clever and spirited flair.
Trumpeter Jason Palmer, tenor saxophonist Noah Preminger, bassist Max Ridley and drummer Lee Fish Photo courtesy of Celebrity Series of Boston
Infusing music dynamos Duke Ellington and brothers Elvin and Thad Jones into eloquent compositions, The Jason Palmer Quintet arranges what trumpeter Jason Palmer affectionately calls ‘derangements.’ These derangements weave unique and lighthearted spins into traditional carols while each performer has their own chance to shine.
Bassist Max Ridley and drummer Lee Fish caught on camera! Photo courtesy of Celebrity Series of Boston
Some of the concert highlights include an extended and impressive trumpet solo to open the show in the smooth and mid-tempo Sunset and Mockingbird/Christmas Song and Lee Fish’s playful drum solo during Rudolph the Red Nosed Reindeer as the drum beat imitates hooves on a rooftop. It’s a sweeping, quiet build to Rudolph’s catchy chorus. Trumpeter Jason Palmer, tenor saxophonist Noah Preminger, pianist Kevin Harris, bassist Max Ridley and drummer Lee Fish are all so well in sync and it is fascinating to watch them pair off as the instruments ‘chat,’ jam, and gradually build before circling back to that familiar tune with an unexpected flair and flourish.
ChristmasTime is Here is an expressive, rumbling, and fast-paced imagining of Vince Guaraldi’s easygoing classic number. With more hustle, the musicians glide and veer into their own peaks and valleys highlighted by dynamic pianist Kevin Harris tickling the keys under a church sign that reads ‘To the Glory of God.’
Pianist Kevin Harris in action Photo courtesy of Celebrity Series of Boston
What is certain about this quintet is if the viewer listens carefully to their clever compositions, one may detect an extra carol or two within their potent rhythms. For example, stray lyrics to Sleigh Ride can be heard within an eclectic medley of Silver Bells/A Child is Born and Santa Claus in Coming to Town emerges from a rolling and upbeat Greensleeves medley. They certainly kept this enthusiastic audience on their toes.
Celebrity Series at Home is extending the mistletoe and holly with free digital concert, The Jason Palmer Quintet for two more months. Click here to view the concert, more information, and additional selections from Jason Palmer and his quintet.
If there wasn’t enough time to see The Nutcracker over the holidays or even if you have and would like to see more, the Boston Ballet is offering a spin on The NutcrackerDuke Ellington-style choreographed by Boston Ballet dancers right from your home.
With special commentary by jazz-enthusiast Eric Jackson nicknamed the ‘Dean of Boston Jazz Radio’ and host of GBH’s Eric in the Evening who rewinds the clock to take a peek at the inspiration behind Ellington’s timeless, progressive Nutcracker Suite, Boston Ballet along with Boston Ballet II and Boston Ballet School post graduates choreograph a lively program from 2020 that highlights and spins some of the Nutcracker’s best moments with their own vibe.
Viktorina Kapitonova and Tigran Mkrtchyan in The Gift; photo by Brooke Trisolini; courtesy of Boston Ballet
The Gift is a dynamic program where each dancer seems they are being moved by the music more than moving to the music. As much as I am a fan of Boston Ballet’s classic works, there is something even more thrilling when it is infused with upbeat and contemporary flavor.
From sleek and sophisticated flair to casual and carefree fun, Boston Ballet presents this virtual holiday treat The Gift through January 9 which includes behind the scenes footage and runs approximately 50 minutes. Click here for more information and access to the show.
The exuberance and sparkling elegance of Viktorina Kapitonova and Tigran Mktrchyan accompanied by pianist Alex Foaksman bring to life the Snow Queen and King’s triumphant Pas de Deux. All in sepia and crème, they move with a dreamlike sway culminating in a joyful and fanciful reunion. Some other highlights within the striking variety of dances from Duke Ellington’s upbeat and catchy Nutcracker suite include Overture with choreography by Chyrstyn Fentroy as the number explores the mystery behind The Gift as a package hangs overhead and the dancers gradually get swept away by the song. Toot Tootie Toot or Dance of the Reed Pipes with choreography by Gabriel Lorena is a brief sashaying escapade as dancers in flowing skirts strut and prance to Ellington’s light and airy rhythms enhanced by an intricate and memorable collective pose. Peanut Brittle Brigade with chorography by Haley Schwan infuses swing and other dance styles to the beat of Ellington’s bluesy composition.
Boston Ballet in The Gift; photo by Brooke Trisolini; courtesy of Boston Ballet
Arabesque cookie or Arabian Dance with chorography by Haley Schwan, John Lam, Chyrstyn Fentroy, Paul Craig, and My’Kal Stromile, has a bustling rhythm and a retro feel as the number opens with a soloist’s fancy footwork. It has urgency, poise, and athleticism as each soloist slides in shadow to a transforming color backdrop. The Voga Vouty or Russian dance with choreography by John Lam showcases savvy and sophistication steeped in black and white as they perform a striking sequence in a spotlight. Chinoserie or Chinese Dance with choreography by Arianna Hughlett is full of mischievous and lighthearted fun as dancers creep and freestyle to the rhythm of Ellington’s chiming beat parting and uniting in shadow.
The finale culminates in a beloved Boston Ballet location worth waiting for.
The Boston Ballet’s virtual holiday treat The Gift continues through January 9 which includes behind the scenes footage. Click here for more information and access to the show.
For an interactive and engaging show like Urban Nutcracker, experiencing it online last year on its 19th anniversary offered a glimpse into its dazzling style, multi-genre music, and the unique perspective within a classic tale.
However, sitting in the Boch Center’s Shubert Theatre as Urban Nutcracker’s dynamic orchestra traveled down the aisles performing their horn-infused, big band sound on instruments stringed in colorful lights created an authentically immersive experience. This year marks Urban Nutcracker’s 20th anniversary live onstage, an innovative show that not only pays tribute to Tchaikovsky’s classic holiday tale, but to the beauty and spirit of Boston.
Ruth Whitney in Urban Nutcracker Phot credit to Peter Paradise
Click here for an interview with Tony Williams about his dance center and how the Urban Nutcracker began.
Prefaced by festive carols from the likes of Frank Sinatra, Judy Garland, and Nat King Cole, the enthusiastic crowd was more than ready to experience The Urban Nutcracker live and in person again and from the spontaneous cheers from the crowd, showed no sign of disappointment.
As the band settles inside a replica of the Hatch Shell above the stage amid Janie Howland’s amazing scenic design, identifiable landmarks such as the CITGO sign, Massachusetts State House, Green Monster, and Downtown Boston’s Custom House Clock Tower (which comes alive upon closer examination) are set strategically on Boston’s city skyline. The orchestra plays above the performers, delivering rich and funky rhythms inspired by a variety of music styles that match the vast array of festive, eye-popping costumes by Dustin Todd Rennels as cultures from around the world take the stage once more.
Ruth Whitney and Ronnie Thomas Photo credit to Peter Paradise
When Tchaikovsky, Duke Ellington, and David Berger come together for this eclectic score musically directed by Bill Whitney, it takes this timeless tale to the next level. Urban Nutcracker delivers a modern, sparkling, family-friendly vibe which is depicted in the show’s rich colors as a chic and contemporary apartment with a distinctive tree, glimmering cushions, and large and festive bulbs covering the windows is revealed.
What is particularly noticeable this year is the gathering. The variety of children and adults dancing and playing with their new toys as a group come together for an amazing photo with a lengthy selfie stick. The sheer joy of a houseful of children and adults enjoying each other’s company has been something dearly missed.
Selfie stick Photo credit to Peter Paradise
Horn infused jazz, hip hop, and the blues are just a few of the genres explored in this tradition meets contemporary Urban Nutcracker. It was amazing to watch the adults dance with elements of swing and ballet integrated into their steps.
Urban Nutcracker depicts all the classic scenes from Tchikovsky’s production with an inviting twist featuring a diverse, multi-talented cast. In a magnificent coat and top hat, Gianni Di Marco has more than one trick up his sleeve as captivating Drosselmeyer. He not only wows adults and children alike with tricks and presents, but his sweet interactions with Ruby including one point as the duo watch from the balcony provide some of Urban Nutcracker’s most memorable moments.
Drosselmeyer does his magic as children look on. Photo credit to Peter Paradise
Khalid Hill returns and again masters multiple roles including a catchy break dancing, tap and toe tapping routine on the city streets as dancers synchronize beats on trash cans. Ronnie Thomas is excellent as a wiry soldier doll in bright orange and purple as he bends in incredible shapes around the stage as well in an exciting rat battle as the Nutcracker Prince.
Kyre Ambrose and Sophia Garufi as rats and Ronnie-Thomas as Nutcracker Prince Photo credit to Peter Paradise MichaelsRonnie Thomas as Soldier Photo credit to Peter Paradise MichaelsThe Rats Photo credit to Peter Paradise Michaels
The Snow Queen and King, portrayed by Ruth Bronwen-Whitney and Ronnie Thomas, are sophisticated and elegant gliding in a snow-covered landscape of the Boston Common surrounded by luminous snowflake dancers. Thomas also delivers a visually-rich and memorable performance in a duet with Ruth Bronwen-Whitney as Arabian dancers. Spain’s spectacular costumes glitter in a flowing flamenco dance as a bull rider dominates the background while China’s dancers are bursting with color in a spinning fan dance.
Kirsten Glaser leads Spain dance Photo cred to Peter Paradise Michaels.
The Sugar Plum Fairy, performed by Kseniya Melyukhina and Ruth Bronwen-Whitney, has a more traditional look in lilac this year, but nonetheless stands out for a beautiful, upbeat solo and a later performance with Gianni Di Marco during a jazz-infused Nutcracker Suite.
Kseniya Melyukhina in Urban Nutcracker Photo credit Peter Paradise
Several lighthearted performances return to the stage including the athletic hula hoop dancers in Revere Beach with back flips included, a lively and humorous performance featuring skilled, tap-dancing workmen in hardhats and paint-splotched overalls, but a favorite performance of Urban Nutcracker’s answer to Make Way for Ducklings is endearing and heartwarming featuring Michael Oliver Slayton as a tap dancing cop and an adorable, yellow feathered troupe of ducklings led by Simone Wolfhorst.
Urban Nutcracker still offers something for everyone with a unique twist on a classic while still reminding audiences what is truly important this time of year. It is a unique and exciting Boston tribute with surprises along the way.
Tony Williams Dance Center’s Urban Nutcracker continues through December 22. Click here for more information, tickets, and how to support this organization.
Not certain which way is best to tell a love story, but Jason Robert Brown certainly makes a powerful argument by the innovative way this story is told as Lyric Stage Company ’s musical The Last Five Years continues through December 12 at the Lyric Stage Company, 140 Clarendon Street in Boston, Massachusetts. The show is 90 minutes with no intermission.
Directed intuitively by Leigh Barrett with eloquent musical direction by Dan Rodriguez, The Last Five Years describes an ardent romance between a promising writer and an up and coming actress. It’s blissful love at first sight when suddenly, life goes into overdrive.
Jared Troilo as Jamie and Kira Troilo as Cathy Photo by Mark S Howard/Lyric Stage Company
Having seen the 2014 film adaptation of the same name starring Broadway dynamos Jeremy Jordan and Anna Kendrick, I had high hopes for this production and like Jamie Wellerstein and Cathy Hiatt, fell for both immediately. The Last Five Years is a compelling, poignant and multi-dimensional journey of love’s elation, humor, compromise, and struggle as life veers into unexpected directions. The Last Five Years doesn’t hold back in revealing the complex nature of this blossoming relationship, showing its vibrancy and its cracks in equal measure. How do two people stay afloat when life is throwing so many things at them in completely different ways?
Led by Dan Rodriguez on piano, Gregory Holt on Bass, Emily Dahl-Irons on Violin, Tom Young on Guitar, and Kevin Crudder and Javier Caballero on Violoncellos Photo by Mark S Howard/Lyric Stage CompanyThe cast and crew of ‘The Last Five Years’ Photo by Mark S Howard/Lyric Stage Company
Intimately performed in theatre-in-the-round with a seamless six piece band, the beauty in Lyric Stage Company’s The Last Five Years is not only in its wonderful lead casting with married couple Jared Troilo as Jamie and Kira Troilo as Cathy, but in its unique depiction of time and place through a cosmic and multi-functional rotating stage and the engaging way it consistently involves the audience.
Jamie and Cathy are earnest and likable and their faults are seen and met with sympathy, heartache, and a degree of discernment when they don’t perceive their own shortcomings. It’s an intriguing and thought-provoking piece as it explores a kaleidoscope of emotions with intensity and realism and perhaps recognizing yourself in their shoes for a moment or two.
Jared Troilo as Jamie Photo by Mark S Howard/Lyric Stage CompanyJared Troilo as Jamie in The Schmuel Song Photo by Mark S Howard/Lyric Stage Company
Having witnessed amazing Jeremy Jordan as Jamie in the film adaptation, Jared had a lot to live up to, but he captures the essence of Jamie’s endless humor, charm, and determination while adding his own contagious enthusiasm and captivating vocals. He is a gleeful and conspiring storyteller for The Schmuel Song and displays ego and earnest sincerity in If I Didn’t Believe in You. Kira’s soaring vocals depict Cathy’s fragility, sheer determination, and playful optimism in I Can Do Better Than That. Another highlight involves Kira reflecting on A Summer in Ohio, portraying Cathy’s dry sense of humor and insecurity. However, she is the most enchanting in Goodbye until Tomorrow.
Kira Troilo as Cathy Photo by Mark S Howard/Lyric Stage Company
Jenna McFarland-Lord’s enthralling set design and Karen Perlow’s mood-induced lighting reflects two sides of love through its multi-color backdrops such as violet, teal, and purple as well as floating gold rings that shine alone and in pairs.
Jason Robert Brown’s music ebbs and flows much like love from bright to poignant, confident to humbling, and from rueful to triumphant. No matter how love changes, it is always a memorable journey.
Lyric Stage Company presents Jason Robert Brown’s musical The Last Five Years through December 12 at Lyric Stage Company in Boston, Massachusetts. Click here more information and tickets.
