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REVIEW: Greater Boston Stage Company’s ‘Little Shop of Horrors’ blooms a darker green

Posted on June 25 by The Sleepless Critic

This sad little flower shop on Skid Rowe holds a secret.

From John Stone’s playfully ticking sound design to Erik D. Diaz’s fascinating ‘blooming’ set,’ Greater Boston Stage Company makes two things abundantly clear: Don’t feed the plants and everyone’s life should be narrated by a streetwise Greek chorus.

Directed with comic edge by Ilana Ransom Toeplitz and Chris Shin’s zany chorography, Greater Boston Stage Company continues horror comedy rock sci-fi musical, Little Shop of Horrors live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, June 29. This production runs approximately two hours with one intermission. Click here for more information and tickets.

Kayla Shimizu, Stephen Markarian and Bryan Miner in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

Celebrating its 65^th anniversary this year, Little Shop of Horrors embarked on quite a journey to become the cult classic it is today. Originally based on Jack Cullier’s 1932 story Green Thoughts, Little Shop of Horrors was originally a 1960 B movie featuring a then lesser known Jack Nicholson before it was developed into a 1982 stage musical and then a 1986 musical film adaptation featuring Rick Moranis, Bill Murray and John Candy. The musical also introduced sadistic dentist Orin, portrayed by Steve Martin in the film.

It’s a seemingly simple tale about young love on Skid Rowe in a fledgling flower shop that houses a curious and unique breed of plant. Some critics have compared it to the daring tone of the cult classic, ‘Rocky Horror Picture Show,’ but Little Shop of Horrors is usually delivered with a more subtle brand of campy charm.

This wild tale is headlined by the sweet and sassy sounds of female Greek chorus trio Chiffon, Crystal, and Ronnette who pop up in the most unexpected places during the production. With few exceptions, the music, with lyrics by award-winning composer Alan Menken, have a catchy, rock n’ roll vibe including tunes that pay tribute to 60s girl groups.

Becky Bass, Corlandt Barrett and Pearl Scott in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

From casual street garments to flashy glam by Chelsea Kerl, these three dazzling vocalists certainly know how to make an entrance. Cortlandt Barrett as Chiffon, Becky Bass as Crystal and Pearl Scott as Ronnette are a tough, humorous, and street-smart trio who unveil the real ins and outs of Skid Rowe through harmony, kicking it off with the catchy signature track, Little Shop of Horrors and especially showing off their mellifluous vocals for Skid Rowe (Downtown).

The set of Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

With haunting and ominous illumination by Corey Whittemore, Erik D. Diaz combines creepy and dilapidated featuring vintage brick storefronts, beaten up garbage cans, a weathered Mushnik Florist sign, and an eerie projection screen splashed with blood at center stage. What Diaz does with the set is vivid, remarkable and transformative right down to its carefully timed shop bell. Set in the 1960s, Little Shop of Horrors is packed with 50s and 60s references such as I Love Lucy, Howdy Doody, Donna Reed, and Betty Crocker.

The cast of Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

The show has a gift for funny and ironic contrasts with a cast that has increasingly complicated motives. Wearing black-rimmed glasses, a baseball cap and a sweater vest, William David Kay stepped in for Stephen Markarian offering an earnest portrayal as Seymour, a sympathetic yet conflicted botanist. Anxious and occasionally clumsy, Kay emphasizes Seymour’s inherent, inescapable loneliness as he struggles to remain forthright and honest as the show progresses. He shines in the darkly tender number Grow for Me and in his awkward adoration for trusting, insecure and frequently unlucky Audrey, portrayed sweetly with a light accent and plucky charm by Kayla Shimizu. In a particularly comical moment, Seymour warmly hopes to take Audrey to “a fancy dinner at Howard Johnson’s.”

Photo of Kayla Shimizu, Stephen Markarian* and Bryan Miner* by Nile Scott Studios.

Shimizu’s lovely soprano vocals carry a lullaby or a soulful belt beautifully. She shares her simple, 50s domestic dreams in a funny and tender rendition of Somewhere That’s Green and with Seymour in a powerful rendition of Suddenly Seymour.

Stephen Markarian* Audrey II and Kayla Shimizu Photo by Nile Scott Studios.

Disheveled and desperate in colorful and busily patterned suits, Bryan Miner is wonderful as worn and frustrated flower shop owner, Mr. Mushnik. Tightly wound and barely holding onto hope, Miner’s Mushnik is especially clever with William David Kay as Seymour for the manipulative and comical calypso-infused number, Mushnik and Son. Mushnik may be too smart for his own good.

Audrey II, Stephen Markarian* and Bryan Miner* in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

I’ve seen a few versions of Little Shop of Horrors and this is the edgiest production I have seen. Jared Troilo works overtime to portray a number of satirical characters that are impressively goofy and fun. Troilo is next level sinister in a no-holds-barred performance as Orin, a belligerent, gyrating, narcissistic biker dentist punctuated by a berating sneer and a glottal “dull” utterance. It occasionally crosses the line from darkly funny to disquieting and overdone.

Becky Bass, Pearl Scott, Cortlandt Barrett and Jared Troilo in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

However, the real spectacle is Audrey II, the sly and soulful plant that changes everything. Anthony Pires, Jr. boasts versatile and grimly wise vocals as well as a gift for pleading exemplified in the rock number, Feed Me. Inventively manipulated by Sydney Grant, Audrey II is a comical and extraordinary specimen right down to bright colors and shiny, dangling teeth. Audrey II is handled in such an innovative, natural, and humorous way, the results are truly captivating.

Audrey II, Kayla Shimizu and Stephen Markarian in Greater Boston Stage Company’s ‘Little Shop of Horrors’ Photo by Nile Scott Studios

Greater Boston Stage Company’s Little Shop of Horrors continues live and in person through Sunday, June 29 at the Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information, tickets, and for details about the Little Shop of Horrors raffle.

REVIEW: Not too late to see Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’

Posted on June 18 by The Sleepless Critic

When it comes to music, Carol King triumphs.

Carole King, one of the most successful songwriters of the latter part of the 20^th century, hits the ground running after showcasing her songwriting talent for the first time walking into the studio at age 16. This is not the average biopic where the protagonist has to overcome some sort of terrible tragedy or failure, but a woman on the move from the very start.

Olivia Palmer and Shad Hanley in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’ Photo credit Robert Pascucci

Showcasing a library of hits before Carole even considers performing her own songs, Beautiful brings on the nostalgia of passing generations from the chic retro clothes to the distinctive music style. It is a sweeping musical from a songwriter’s perspective with few low notes and anyway, why not pack a show with hits and a lighter story that just might leave you smiling?

With uplifting direction and chorography by Deanna Dys, Reagle Music Theatre of Greater Boston kicks off their 56^th summer season with Beautiful: The Carole King Musical through Sunday, June 22 live and in person at the Robinson Theatre in Waltham, Massachusetts. Beautiful: The Carole King Musical runs 2 hours and 30 minutes with one intermission. Click here for more information and for tickets.

Just moments after Olivia Palmer as Carole makes contact with that baby grand piano for a ruminating rendition of So Far Away, Scenic designer Derek McLane’s detailed rolling, dual level sets framed by a latticed gold border transports Carole Klein into her Brooklyn home where she first started writing. Franklin Meissner Jr.’s energetic lighting often works with Mindy Cimini’s lively Music Direction to the beat ranging from infectious pop to rock to romantic ballads. Dys makes the most of Reagle’s space using split scenes divided by a piano as performances take place anywhere on the stage.

The cast of Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carol King Musical Photo credit Robert Pascucci

Portrayed by Olivia Palmer throughout the show, Carole is introspective yet dreamy while seemingly more than ready for her life to take off. Palmer captures the essence of Carole’s ambition, shyness, anxiousness, tenacity, self deprecating demeanor, and brilliance having skipped two grades in school. Her resonant vocals are an impressive tribute to Carole’s full trademark voice. With a thick Brooklyn accent, cynical sass and sensibility, Jennifer Bubriski is amusing as Genie Klein, Carole King’s mother, who cuts a deal with Carole in order for Carole to pursue her dreams.

Dominating this musical journey is some of the most popular music of the 20^th century and at times, it can feel like a showcase of the music of the era more than Carole’s story. It just goes to show just how deeply influenced the music scene was by Carole King’s songwriting and that of her peers.

The Shirelles in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carol King Musical’ Photo credit Robert Pascucci

Beautiful offers a peek into how some of these classic songs hit the charts. Some of the standout harmonies include Noah Colvin, Brandon Howard, Kenny Lee, and Martinez Napoleon as The Drifters delivering a refreshing mellifluous rendition of On Broadway and The Drifters with Shad Hanely as Gerry Goffin for a soulful Up on the Roof. Palmer and the ensemble also perform a unique and riveting rendition of Chains. A rollicking mix of hits including There Goes My Baby, Splish Splash and Yakety Yak encompasses the sensational 1650 Broadway Medley as a glittering display of guitars, scripts, music sheets, and sound systems hang in the background.

Shad Hanley, Olivia Palmer, Harley Seger and Luke Hawkins in Reagle Music Theatre of Greater Boston’s ‘Beautiful The Carole King Musical’ Photo credit Robert Pascucci

From shimmering gowns to some of the era’s most popular and colorful fashion trends, Allejo Vietti’s costume design dazzles with Deanna Dys’s lively choreography which infuses some of the dance moves and crazes of each era.

Beautiful: The Carole King Musical is full of moments of light humor and endearing chemistry among the cast. With smooth and euphonious vocals, Shad Hanley portrays idealistic, intense, and flirtatious Gerry Goffin. Hanley and Olivia Palmer as Carole share some sparks even though Carole never feels deserving of such attention and Hanley’s portrayal as Gerry delivers intensity in both his brightest and darkest, most restless moments. They complement each other and their duet, Take Good Care of My Baby is particularly sweet.

Shad Hanley, Olivia Palmer, Harley Seger, Luke Hawkins and Jim Sorensen in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’ Photo credit Robert Pascucci

With soaring vocals, Harley Seger as confident, independent, supportive yet driven Cynthia Weil and Luke Hawkins as hypochondriac Barry Mann make an engaging comic duo. Hawkins performs a raw and remarkable rendition of We’ve Got to Get Out of This Place. Jim Sorensen is also impressive as seemingly hardnosed, inventive, yet open minded Don Kirshner, who always knows talent when he sees it.

Reagle Music Theatre of Greater Boston kicks off their 56^th summer season with Beautiful: The Carole King Musical‘s through Sunday, June 22 live and in person at the Robinson Theatre in Waltham, Massachusetts. Click here for more information and for tickets.

REVIEW: Vivid dreams of what could be in Gloucester Stage Company’s affecting ‘The Glass Menagerie’ by Tennessee Williams

Posted on June 18 by The Sleepless Critic

This is a memory play.

This description speaks volumes about legendary playwright Tennessee Williams’ autobiographical and deeply personal play, The Glass Menagerie. De’ Lon Grant serves as narrator, the protagonist Tom and perhaps Williams himself focusing on the dysfunctional Wingfield family, the delicate nature of life, and the hope of what the future holds. This memory play was the first of its kind and Tennessee dedicated it to his sister in real life.

De’Lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Exquisitely directed by Doug Lockwood, Gloucester Stage presents their 46^th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28. The show runs two hours and 25 minutes including one 10 minute intermission. Click here for more information and for tickets.

Adrienne Krstansky and Liza Giangrande in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

There is a certain magic in The Glass Menagerie, even as dreams and reality collide. Taking place during the Great Depression in the 1940s, hope and illusion inhabit a cramped apartment in Saint Louis, Missouri even as dusty dining room chairs are uncovered in a dank room. Thin, translucent curtains, dining room chairs and a square of iridescent light shine in this space as De’lon Grant as Tom, Liza Giangrande as Laura, and Adrienne Krstansky as Amanda make themselves at home. Jenna McFarland Lord’s amazing set design infused with Aubrey Dube’s rich and crucial sound design is a breath of fresh air and holds a surprise which will not be revealed here.

Nia Safaar Banks successfully rewinds the clock to this vintage era with floral tea length dresses, wide brimmed hats, suspenders, and page boy hats. Amanda Fallon blends inviting and haunting illumination to this production which is often moody, veering from the evocative red flash of dancehalls to soft and luminous candlelight casting vivid shadows in the background.

Patrick O’Konis and De’lon Grant in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

In a long coat and brimmed hat, Grant weaves in and out of his dual role charismatically recalling Wingfield history and recollections while playing his part as Tom as the play unfolds. The Glass Menagerie’s small cast holds challenging and meaty characters steeped in deeply rooted flaws. Some of the family and societal issues that are brought up in Williams’ timeless work, The Glass Menagerie could have been written yesterday. Working as a workhouse shipping clerk, Tom has grander dreams and secretly struggles as the man of the house since his adored father left the family. Liza Giangrande portrays Tom’s helpful, quiet, anxious, sweet and imaginative sister Laura who has lived with a disability her entire life. Pretty and slight with delicately braided hair, Giangrande delivers a meaningful performance as Laura exuding quiet strength in this sympathetic character as she struggles between escaping the world and a longing to fit in.

Liza Giangrande and Patrick O’Konis in Gloucester Stage Company’s ‘The Glass Menagerie’ Photos by Shawn Henry

Patrick O’Konis is enchanting as Jim O’Connor who dreams of a life beyond working in a factory with Tom. Easygoing and ambitious, O’Konis makes quite an impression with Amanda and Tom while sharing some endearing moments with Laura.

At the center of the family is Adrianne Krstansky as Tom and Laura’s chatty, bubbly and yet anxious and controlling mother, Amanda Wingfield. Visibly shaking at times and fiddling with her clothes, Krstansky delivers a brilliant and unsettling performance as Amanda who veers from sing song excitement and fixation to alarm and paranoia handing out backhanded compliments. Dwelling on past charms and occasionally reminiscent of Blanche in A Streetcar Named Desire, Amanda fixates on her days of prosperity when she was the bell of the ball. Ruminating on symbolic jonquils, she nitpicks, fusses, plots, plans and worries over her children’s success and happiness hoping to find Laura a husband.

De’Lon Grant, Lia Giangrande and Adrienne Krstansky in Gloucester Stage Company’s ‘The Glass Menagerie’ Photo by Shawn Henry

Boasting raw and compelling characters, The Glass Menagerie is an affecting drama that mixes relatable humor, cruelty, regret, and generational trauma, but also joy, sweetness and amazement. Strong are the ties that bind. It is poignant, hopeful and it unveils a certain beauty in this family’s unwavering strength in these hard times.

With exquisite direction by Doug Lockwood, Gloucester Stage presents their 46^th anniversary summer season with Tennessee Williams’ classic drama The Glass Menagerie live and in person at Gloucester Stage Company in Gloucester, Massachusetts through June 28. Click here for more information and for tickets.

REVIEW: Love is in the air with Lyric Stage’s immersive ‘Hello, Dolly!’

Posted on June 17 by The Sleepless Critic

It’s Dolly’s world and we just live in it.

Commanding the stage and the audience is pitch perfect Aimee Doherty as conspiring Dolly Levi who sings for her supper as a successful matchmaker. A shrewd businesswoman, Dolly sees what life can hold for everyone else in Yonkers and beyond, but her confidence wanes when it comes to a second chance at love.

Aimee Doherty* (Photo by Mark S. Howard)

With innovative direction by Maurice Emmanuel Parent, uplifting Music Direction by Dan Rodriguez and buoyant choreography by Ilyse Robbins, Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22. This immersive musical’s action is not limited to the stage and runs approximately two hours and 30 minutes with one intermission. Click here for more information and for tickets.

Having seen other versions of Hello, Dolly! before, I’ve always been impressed by the charm of fast talking and resourceful Dolly Levi. However, this particular production integrates modern and classic elements by having Dolly Levi not only at the cast’s service, but yours as well. Making a bustling entrance, Doherty passes out her business card to members of the audience and occasionally shouts out her services as the musical progresses and she always makes a sale.

Aimee Doherty* and Joshua Wolf Coleman* (Photo by Mark S. Howard)

It also infuses modern elements without losing the Golden Age atmosphere while satirically commenting on outdated ideas of a woman’s role in society. At one point, Joshua Wolf Coleman as Horace Vangergelder quotes one of his late wife’s expressions, ‘Marriage is a bribe to make a housekeeper think she is a householder.’ Hello, Dolly! delivers a bit of tongue in cheek humor through clever bits of improvisation from a contemporary perspective.

Stephen Caliskan, Aimee Doherty*, Sophie Shaw and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

Janie E. Howland cleverly makes the most of the space and the expansive nature of New York through multilevel staging, a worn sign of Yonkers on one side of the stage and Grand Central on the other punctuated by a sprawling map on New York on the ground. Images of the Statue of Liberty and the sparkling George Washington Bridge stands out in the distance while a glittering gold and black wrought iron staircase sits center stage adorned with Dolly’s signature white feather.

From tap to ballroom to a polka to lithe and athletic choreography, Robbins keeps this musical showcase lighthearted and lively especially demonstrated through a humorous Waiter’s Gallop, the patriotic Motherhood March, the elegance of Dancing, Put on Your Sunday Clothes and the its dazzling title track.

Aimee Doherty* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

With contagious steely eyed conviction and unrelenting confidence, Aimee Doherty shines as Dolly Levi who can hustle with the best of them. Her first velvet maroon and black gown, one of many stylish gowns of the Victorian era, shares some similarity to Mary Poppins, another dynamo problem solver who can make anything happen. Boasting an array of feathers, detailed parasols, lace, sequins, fans, boots, bustles and three piece suits, but costume designer’s Kelly Baker’s sharp and meticulously detailed floral hats are showstoppers.

Michael Jennings Mahoney*, Joshua Wolf Coleman*, and Max Connor (Photo by Mark S. Howard)

Doherty shares some amusing scenes with Joshua Wolf Coleman as gruff and old fashioned rich widower Horace Vandergelder who often do not see eye to eye as Dolly has been hired to find him a match. Coleman demonstrates old fashioned practicality through the upbeat It Takes a Woman. Meanwhile, Max Connor as Barnaby and Michael Jennings Mahoney as Cornelius work for Horace and make a naïve and humorous duo, longing for adventures of their own. Kristian Espiritu delivers a dreamy rendition of Ribbons down my Back and shares giddy chemistry with Mahoney as Cornelius. With flabbergasted facial expressions enough to make you laugh, Mark Linehan is a bit of a scene stealer as hilariously snooty frazzled head waiter Rudolph.

Jackson Jirard and Mark Linehan* (Photo by Mark S. Howard)

The show is also campy and the over the top excitement can be fun, but might not work for everyone. Hello, Dolly delivers a number of madcap high jinks, but also genuine heart in the cast’s earnest search for love. Featuring a few characters who are widowed, it is just as much about matchmaking as it about a second chance at love. Having not seen this musical for many years, this wistful aspect seems more prominent in all of its adventurous optimism. Doherty delivers a stirring rendition of Before the Parade Passes Me By with a building hopefulness and authenticity longing to truly embrace life again.

Kristian Espiritu,* Michael Jennings Mahoney* and the cast of ‘Hello, Dolly!’ (Photo by Mark S. Howard)

Lyric Stage’s Hello, Dolly may inspire you to forget your troubles for little while and immerse yourself in Dolly’s world. Mahoney as Cornelius at one point also delivers a tender rendition of It Only takes a Moment and wondrously proclaims, ‘Isn’t the world full of wonderful things?’ It just might help you notice them too.

Lyric Stage Company of Boston continues Golden Age classic musical Hello, Dolly! live and in person through Sunday, June 22. Click here for more information and for tickets.

REVIEW: Notes on greed and scandals in Central Square Theater’s thought provoking ‘Mrs. Warren’s Profession’

Posted on June 15 by The Sleepless Critic

Let the negotiations begin. This is big business and with cigar in hand, Vivie Warren thinks she is ready for anything.

Set Designer David R. Gammons designates a perfect place for negotiations for the head and heart using a long conference table in a board room for this rich and enigmatic drama.

With sharp direction by Eric Tucker, Bedlam, Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. This production lasts two hours with one 15 minute intermission. It boasts open captions that come in handy during the performance and the content has some adult themes. Click here for more information and for tickets.

What is Mrs. Warren’s profession?

Herein lays one of a few mysteries among this group of complex and formidable characters who are keeping a few secrets of their own. Condescending and at times, downright smug, Barlow Adamson steps into the expensive shoes of Sir George Crofts who declares himself a friend of Vivie’s mother, Mrs. Warren. The show’s fascinating opening scene features Adamson and Luz Lopez as Vivie in an intellectual exchange proving that Vivie can certainly hold her own. Even through Adamson’s humorous mansplaining, Vivie is a female force to be reckoned with.

Barlow Adamson and Luz Lopez in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession is primarily steeped in at times heavy, but steadily shrewd and satirical comedy and social commentary. Adamson impressively portrays Crofts with a mix of sardonic wit and charisma as he carefully sizes up seeming competitors including Nael Nacer as kindly Praed, Wesley Savick as alarmed and tight lipped Reverend Samuel Gardner, and Evan Taylor as young, impulsive and perhaps loose cannon Frank Gardner. Nacer as Praed and Adamson as Crofts embark in cagey and captivating exchanges while smirking and belligerent Taylor as Frank cuts his father, Savick as Reverend Gardner down to size when Frank is not shamelessly flirting with both Mrs. Warren and Vivie. Each man approaches Vivie and Mrs. Warren with their own motivations knowing that these strong willed women are also limited by a woman’s oppressive place in society.

Melinda Lopez, Wesley Savick, Nael Nacer, Evan Taylor, Luz Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Just three years after the publication of Henrik Ibsen’s Hedda Gabler, George Bernard Shaw published Mrs. Warren’s Profession in 1893. These works feature women ahead of their time fighting against the limitations of a woman in that era. Creating tension and isolation, Tucker seamlessly blends the classic with the contemporary through a notably vintage piece of staging reminiscent of Hedda Gabler where the whole cast is present, but not part of the action taking place onstage. In this pivotal scene, the negotiation table doubles as a stage as Jeff Adelberg’s moody and rhythmic multipurpose lighting gauges time is money as stock market projections flash above the stage.

Nael Nacer Evan Taylor Melinda Lopez and Barlow Adamson in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession delves into status, conspiracy, hypocrisy, morality and complex family dynamics wrapped up in a couple of significant mysteries that directly affect the complicated relationship between absentee mother Mrs. Warren and her daughter, Vivie. Costumer Leslie Held puts the cast in their business finest with the exception of Sam in a vestment, callow Frank and Vivie. Standing out in a braid and classic business casual attire, Lopez’s poker faced Vivie might be at the negotiation table, but she is ultimately in it for more.

Melinda Lopez and Evan Taylor in Central Square Theatre’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Luz Lopez portrays idealistic Vivie, a modern, unwaveringly sensible, and fiercely independent and innately mature woman who is meeting with her mother and woman of the hour, Mrs. Kitty Warren, depicted with critical yet measured affection by Melinda Lopez, for the first time in many years. Vivie feigns a certain indifference to her mother, but feels displaced and lonely. Though Kitty attempts to be more than cordial, Vivie keeps her mother at arm’s length for reasons that gradually unfold. Bickering, mincing words, and pressing each other’s buttons, Melinda and Luz skillfully navigate their unstable mother and daughter dynamic which veer from a cold handshake to hospitable and then changing once again as guilt and promises are stealthily presented amidst negotiations.

Melinda Lopez and Luz Lopez in Central Square Theater’s ‘Mrs. Warrens Profession’ Photo by Nile Scott Studios

Mrs. Warren’s Profession is considered a classic play and much of the quick witted content can be translated with ease into today’s society. Suspenseful and intriguing, these chilling revelations may not be as scandalous as they might have been in 1893, but no less impactful, especially as negotiations go awry.

Nael Nacer and Wesley Savick in Central Square Theater’s ‘Mrs. Warren’s Profession’ Photo by Nile Scott Studios

Central Square Theater presents George Bernard Shaw’s satirical drama Mrs. Warren’s Profession live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 29. Click here for more information and for tickets.

REVIEW: The title is everything and more! Catch American Repertory Theater’s ‘Two Strangers (Carry a Cake across New York)’

Posted on June 12 by The Sleepless Critic

Two people with seemingly nothing in common, one wedding cake, and several pieces of luggage lead to a string of possibilities in this delightful spin on a romantic comedy.

I will admit, I didn’t want it to end.

Imaginatively directed and choreographed by Tim Jackson, American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. This fabulous production runs two hours and 10 minutes including one intermission. Click here for more information and for tickets.

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hall

On December 2, two strangers meet at a New York City airport unaware that their futures are connected. That is until Sam Tutty as naïve and perpetually optimistic Brit Dougal discovers that Christiani Pitts as cynical New Yorker Robin is Dougal’s ride from the airport. How they become connected to an expensive wedding cake is where the plot thickens.

Scenic and costume designer Soutra Gilmour cleverly makes innovative use of a pile of strategically placed luggage on a conveyer belt which multitasks as a coffee shop, hotel room, a dance club packed with a string of shimmering disco balls, and several other surprises that will not be revealed here. The rotating conveyer belt is a brilliant addition to the production that translates into multiple uses in various settings. Along with Music Director Jeffrey Campos working in conjunction with Sound Designer Tony Gayle and Cody Spencer, lighting designer Jack Knowles brings it all to life with the playful, flourishing and multicolored neon brilliance of Times Square to each of the onstage band’s rhythmic beat. It is one of the most inventive sets I have seen in a long time.

Sam Tutty in Two Strangers (Carry a Cake Across New York). Photo: Nile Scott Studios and Maggie Hal

Sam Tutty evokes an innate charisma as Dougal, a guileless and irresistible British charmer who is visiting New York City for a wedding. Tutty’s Dougal is a movie loving, excitable, sincere, rose colored glasses, speak out of turn and puppy dog kind of charming that if Dougal does not win the girl, he will surely win over the audience. Dougal is only in New York for 48 hours to see his absentee dad get married and it is back to England. With a characteristic vibrato, Tutty expresses Dougal’s dreamy excitement for adventure in a duet with Pitts in New York and hopeful optimism in a reflective rendition of Dad.

Christiani Pitts is also terrific as cynical New Yorker Robin who is holding back a secret. While Dougal seems to love life and charges at its possibilities with fun loving enthusiasm, Robin approaches life financially-hanging-on-by-a-thread hampered by a complicated family life struggling to make ends meet in more ways than one. Robin sees the world just as it is and is more concerned about surviving it than taking it all in as exemplified in Pitts’s solo rendition of What’ll it Be.

Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

What these two do have in common is they are lost and trying to find their place in the world and within their family. They also have a lot more to learn about each other than they realize as demonstrated in their contemplative duet Be Happy.

If you think you know how this romantic comedy musical will turn out, Two Strangers holds plenty of surprises up its sleeve and brings a refreshing new take to the romcom. Leaving behind any shallow or empty plotlines that some romantic comedies are culpable, Two Strangers deliver a self aware and satirical approach to these scenarios through dialogue and song. It is a wink to past romantic comedies while also veering into new territory offering authentically exhilarating and stirring moments.

Sam Tutty and Christiani Pitts in Two Strangers (Carry a Cake Across New York). Photo: Joel Zayac

Much of that is due to the crackling chemistry between Christiani Pitts and Sam Tutty who banter, tease, joke, disagree and reflect on the their individual lives and their views on the future. Their irresistible affinity towards each other is endlessly entertaining and creates beautiful harmony in several duets, but especially for their humorous (and a little naughty) duet, On the App.

Two Strangers (Carry a Cake across New York) boasts catchy and unique pop-infused melodies that these leads seem to master effortlessly with charm, style and finesse. Pitts lends fluttering vocals and a mix of anxiousness and rising hopefulness to the powerful ballad This Year. Pitts also masters the a cappella and vocal gymnastics of the hysterical and hilarious number, The Hangover alongside Tutty.

Amusing, original, feel good and inventive, make time to witness how this heartfelt story unfolds! Two Strangers (Carry a Cake across New York) stands as one of my favorite productions this year.

American Repertory Theater (A.R.T.) presents Jim Barne and Kit Buchan’s romantic musical comedy, Two Strangers (Carry a Cake across New York) live and in person at the Loeb Drama Center in Cambridge, Massachusetts extended through Sunday, July 13. Click here for more information and for tickets.

REVIEW: Featuring a solid cast, North Shore Music Theatre’s ‘Waitress’ freshly bakes humor and heart in and out of the kitchen

Posted on June 11 by The Sleepless Critic

North Shore Music Theatre’s heartwarming and meaningful musical Waitress shows life’s most important answers can be found in a pie.

Mixed with Kevin P. Hill’s innovative direction, Ashley Chasteen’s uplifting chorography, and Milton Granger’s mellifluous music direction, North Shore Music Theatre serves up musical dramedy Waitress live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 15. This immersive production runs 2 hours and 35 minutes with a 15 minute intermission and the action is not limited to the stage. Click here for more information and for tickets.

he cast of WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Since screenwriter Adrienne Shelly brought Waitress to the big screen in 2007 starring Keri Russell as Jenna, Waitress has enjoyed an enduring history. With book by Jessie Nelson, music and lyrics by Grammy award-winning and Tony award-nominated singer-songwriter Sara Bareilles, Waitress has since been adapted into a musical and debuted on Broadway in 2016 before going on a national tour and in 2023, hit theatres as a filmed stage musical starring Bareilles as Jenna.

Full of heart, Waitress strikes a delicate balance between the sweetness and sobering realism of life, delving into the lives of a group of colorful and comical individuals who dream of a better life. Baker and waitress Jenna, portrayed with humble and self deprecating charm by Christine Dwyer, expresses her moods and philosophies through the humorous titles she gives to Joe’s daily Diner Pie of the Day. When Jenna finds herself pregnant, she quickly realizes that it’s time for a change. Impressive songs range from catchy to reflective and numbers like Opening Up to the soft melodious whispers of What’s Inside are sure to stay with you long after the show is over.

Maggie Elizabeth May (Dawn) and the cast of WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

What makes North Shore Music Theatre unique is its theatre-in-the-round staging and director Kevin P. Hill makes the most of the aisles and multiple platforms to deliver an encompassing experience. The ensemble not only depicts diner customers, but often surrounds the stage lending musical accompiament and interacting with the action onstage. From a bright chrome neon sign, chalkboard easel listing pies, and linoleum flooring to worn recipes and a mouthwatering Diner menu, scenic and lighting designer Jack Mehler’s rising and sliding set pieces shift seamlessly to occasionally portray multiple scenes simultaneously from various locations around the theatre with the majority of Waitress set inside picturesque Joe’s Pie Diner. Glancing at the appetizing selections and hearing about Jenna’s incredibly creative and delectable pie ingredients made me long for lunch or dessert and inspiring me to bake my own pie.

Christine Dwyer (Jenna) and Brandon Kalm (Dr. Pomatter) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Christine Dwyer delivers an inspiring and relatable vulnerability as Jenna. Dwyer portrays Jenna’s complex web of emotions and generational trauma with a blend of dark humor and a note of optimism. Her voice is as rich as the pies she bakes and her intense rendition of She Used to Be Mine is one of the show’s greatest highlights. Her awkward exchanges, humorous misunderstandings, and beautiful harmony with handsome and geeky Brandon Kalm as Dr. Pomatter are prevalent in the playful It Only Takes a Taste which is one of three duets, flirtatious Bad Idea and a tender rendition of You Matter to Me.

Dressed in a plaid shirt, worn jeans, and work boots, Matt DeAngelis is a standout as gruff and manipulative Earl. With a guttural growl punctuating his rock n roll vocals for You will Still be Mine, DeAngelis seems to relish in the role through dark humor and creative in the character’s thoughtlessness.

Matt DeAngelis as Earl in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Brandi Chavonne Massey delivers a great deal of comic relief as outspoken and wise cracking waitress Becky, especially in Massey’s sharp exchanges with Arnold Harper II as Cal. Passionate, direct, and sympathetic, Massey shines in the soaring number, I Didn’t Plan It.

Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

In bright red glasses, Maggie Elizabeth May portrays waitress Dawn with her own magnetic and giddy comedic timing. Dreamy and shy, Dawn deems herself ‘a woman of many passions’ and is enchanting performing the yearning number, When He Sees Me as imaginary suitors line up to meet her. Alongside Courter Simons as scene stealing Ogie, they are a comedic force to be reckoned with. Dawn, Becky, and Jenny are a compelling trio making marvelous harmony together for A Soft Place to Land.

Maggie Elizabeth May (Dawn), Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Gleeful and goofy with a habit of over sharing, Courter Simmons is confident and awkwardly charming with a bungle of flawless, unsuppressed energy as Ogie, especially during the steadfast number, Never Getting Rid of Me.

Courter Simmons (Ogie) and Arnold Harper II (Cal) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

In a colorful suit and tie, Keith Lee Grant is curmudgeonly eloquent as difficult customer and diner owner, Joe. A complicated and perceptive storyteller, his conversations and rapport with Jenna are full of humor and openness, especially during a bright and spirited rendition of Take it from an Old Man. Speaking to the uplifting spirit of this engaging production, Joe proclaims, ‘Baking a pie is a magical experience.’

Christine Dwyer (Jenna) and Keith Lee Grant (Joe) in WAITRESS at North Shore Music Theatre thru June 15. Photo©Paul Lyden

Life is a little sweeter with North Shore Music Theatre’s Waitress continuing live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 15. Click here for more information and for tickets.

REVIEW: Innovatively illustrating rage and star crossed love, Boston Ballet closes its season with Jean-Christophe Maillot’s moving ‘Roméo et Juliette’

Posted on June 6 by The Sleepless Critic

Rage, passion, confrontation, betrayal, longing, death and young love are just a few of the compelling elements of this classic Shakespearean love story that has fascinated generations.

Having made its world premiere almost 30 years ago and set in Verona, The Boston Ballet evokes playfulness, blossoming love, visceral rage and shattering tragedy into Jean-Christophe Maillot’s Roméo et Juliette step by step while delivering new insight to this star-crossed tale.

Sangmin Lee and Seo Hye Han in Jean-Christophe Maillot’s Roméo et Juliette Photos by Gabriel Lorena

With captivating staging by Noelani Pantastico, evocatively choreographed by Jean-Christophe Maillot and embellished by Sergei Prokofiev’s lush, triumphant and striking rhythms, Boston Ballet concludes its current season with Jean-Christophe Maillot’s Roméo et Juliette live and in person at Citizens Opera House in Boston, Massachusetts through Sunday, June 8. This powerful production runs 2 hours and 15 minutes including a 20-minute intermission. It may be helpful to read the summary inside the program for deeper insight into this aesthetic tale. Click here for more information and for tickets.

Cinematic elements in Jean-Christophe Maillot’s ‘Roméo et Juliette’ with conductor Mischa Santora and orchestra Photo by Rosalie O’Connor

Dominique Drillot infuses contemporary cinematic elements into this production through a translucent and multitasking hazy screen which unveils the production’s opening credits featuring a cast of characters alongside a white building symbolizing the Montague and Capulet Houses. Drillot’s meticulous lighting ranges from isolated streams to haunting fragments in foreboding and suspenseful tones.

Jean-Christophe Maillot’s Roméo et Juliette is brought to life with pristine white sliding backdrops and a transforming corridor by scenic and costume designer Ernest Pignon-Ernest makes way for the bold, flowing and Italian Renaissance-inspired costumes in velvets, silks, gold lame and sophisticated masks with a contemporary edge.

Sangmin Lee, Seo Hye Han Patrick Yocum and cast in Jean-Christophe Maillot’s Roméo et Juliette Photo by Gabriel Lorena

This well paced production runs the gamut of emotions right from the start immediately illustrating both conflict and love in every form including naïve, unscathed, willful, endless and true love delivered by Seo Hye Han as Juliette and Sangmin Lee as Roméo . Jean-Christophe Maillot’s Roméo et Juliette focuses on two clans at war between the Capulets and the Montagues. When Sangmin Lee as Roméo Montague sets his eyes on Seo Hye Han as Juliet Capulet, it is love at first sight. Then things take an unforeseen turn.

Sangmin Lee and Seo Hye Han in Jean-Christophe Maillot’s Roméo et Juliette Photo by Gabriel Lorena

Having seen Shakespeare done in various capacities, this ballet interpretation of this dramatic tale is raw, playful and at times spellbinding. One does not have to be a Shakespeare fan or know Shakespeare to comprehend this production’s nuanced interpretation. It depicts playful camaraderie within the Montague clan through improvisation and sweeping movements as well as the turmoil, tension, and sheer rage between houses through fight choreography led by Capulet leader Lasha Khozashvili as threatening and tempestuous Tybalt. Khozashvili is an imposing, mocking and antagonizing figure whose charisma will immediately draw you in much to the dismay of Patrick Yocum in a larger role as Friar Laurence. Huddled in a corner or slicing the air in angular and fluttering movements and faltering gestures, Friar empathetically feels the anguish and stinging torment of adolescence and uncontrolled emotions grappling with two acolytes portrayed by forceful bookends Gearóid Solan and Sam Stampleman as well as the violence just beyond his reach brewing between these two houses.

Patrick Yocum and Seo Hye Han in Jean-Christophe Maillot’s Roméo et Juliette Photo by Gabriel Lorena

Classic and contemporary dance blend together at times delivered in freeze frame and slow motion during celebration and tense moments. The women are strong, confident and glamorous and the men are often instigators when they are not at play. The production boasts some warm and comical moments and an underlying flirtatious tone through teasing and seemingly improvisational gestures.

The Masked Ball in Jean-Christophe Maillot’s Roméo et Juliette Photo by Gabriel Lorena

Viktorina Kapitonova grandiosely depicts Juliette’s life of the party mom Lady Capulet, but Lady Capulet is much more than she seems in a memorably harrowing scene taking place later in the production. Daniel R. Durrett is another standout as Mercutio. Durrett is teasing and playful with dark undertones as Roméo’s best friend and shares some mischievousness with Ángel García Molinero as handsome and earnest Benvolio.

Viktorina Kapitonova as Lady Capulet in Jean-Christophe Maillot’s Roméo et Juliette Photo by Gabriel Lorena

The playful intimacy between Han and Lee blossoms and intensifies as the production progresses. Passionate Roméo and virtuous Juliette not only share some amorous love scenes, but genuine humor in their mutual admiration. The way they intertwine and their mirrored movements shift as one, reflecting their delightful chemistry. The pas de deux during the innovative and iconic balcony scene is joyful and resplendent as they tumble and frolic. When Roméo takes his hand away and Juliette takes it back, it is teasing but also illustrates an irresistible force bringing them together.

Alexis Workowski and Seo Hye Han in Jean-Christophe Maillot’s Roméo et Juliette Photo by Gabriel Lorena

In layered garments, Alexis Workowski gives a compassionate performance as Nurse who shares such a lovely and impish rapport with Seo Hye Han’s Juliette. Workowski is protective and more maternal than Juliette’s own mother and it is moving to witness her unwavering belief in Roméo and Juliette’s love despite their names and backgrounds. It is a belief that could prevent a lot of suffering onstage and off.

Seo Hye Han in Jean-Christophe Maillot’s Roméo et Juliette Photo by Gabriel Lorena

Featuring a spirited and charismatic cast, parting is such sweet sorrow as Boston Ballet presents Jean-Christophe Maillot’s Roméo et Juliette in three acts live and in person through Sunday, June 8 at Citizens Opera House in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Summer love is luminous in The Huntington’s ‘The Light in the Piazza’

Posted on June 3 by The Sleepless Critic

Summer in Italy brings certain charms, especially when it comes to love punctuated by a brilliant light.

Meaningfully directed by Loretta Greco paired with Daniel Pelzig’s joyous choreography, The Huntington continues heartwarming musical, The Light in the Piazza through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. This bilingual production in English and Italian runs two hours and 10 minutes including an intermission. Click here for more information and for tickets.

Based on Elizabeth Spencer’s 1960s novella of the same name, The Light the Piazza was quickly adapted into a sweeping romantic film in 1962 starring George Hamilton and Olivia de Havilland. The film offers further details into the plot and answers a few questions left by the musical, but the musical more than makes up for it through Adam Guettel’s riveting Tony award-winning Opera-inspired score and collection of English and Italian songs. The Light in the Piazza debuted on Broadway in 2005 and was the winner of two Tony Awards including Lead Actress in a Musical.

Sarah-Anne Martinez and Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Set in Florence, Italy in 1953, a mother and daughter embark on an extraordinary vacation through Florence when a surprising incident leads to an encounter with Joshua Grosso as awestruck Fabrizio. It is quite the meet cute surrounded by Andrew Boyce’s detailed gold and marble architecture and an amiable ensemble. Yuki Izumihara’s lifelike projections combine with Andrew Boyce’s captivating sliding set design to revel in this beautiful country’s works of art, iconic buildings, church settings and the Italian countryside. These surroundings are exquisite and yet not overdone as gold frames hang aloft elegant Italian furniture which includes an elaborate bookcase, swaying silk curtains, lacy tablecloths and a vintage rolling gold lap tray.

Much of the musical explores the idea of feeling understood through the heart rather than the head. Through anguish, joy, humor, protectiveness and passion, this talented cast display stirring and powerful vocals in a remarkable journey while intensely expressing what each of them hold in their hearts. It is also a musical that explores love of all kinds as faith is put to the test.

Sarah-Anne Martinez is instantly enchanting as exuberant Clara. Martinez wows with her gorgeous rendition of The Beauty Is and shares immediate and endearing chemistry with Grosso as Fabrizio. Grosso simply dazzles in his rendition of Il Mondo Era Vuoto. Martinez’s wide eyed sincerity and Grosso’s benevolent charm blend harmoniously for Say it Somehow, The Beauty Is reprise and Passeggiata, a playful duet between Grosso and Martinez practicing a beloved Italian tradition on a revolving stage.

Joshua Grosso and Sarah-Anne Martinez in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

The cast occasionally confides in the audience as Emily Skinner as Clara’s mother Margaret withholds a secret about Clara. Skinner evokes the weight of her tormented decisions through her emphatic hesitancy, protectiveness and gentle compassion. Clara shares a special bond with her mother, but also one that can be strained and conflicted.

Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

William Michaels as Signor Naccarelli and Rebecca Pitcher as Signora Naccarelli share great comic timing (at times sardonic) and are a complicated pair. Alexander Ross as Fabrizio’s charismatic brother Giuseppe brings lively humor to American Dancing and Rebekah Rae Robles is also impressive as mysterious Franca.

Greco’s immersive direction applies subtle and comical scenarios alongside the main plot to broaden this enchanting world such as kids playing together, doves flying overhead, a woman selling flowers or discussions among the clergy. The Light in the Piazza contains some twists and turns while maintaining its optimistic yet underlying seriousness.

The cast of The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Soaring vocals, a wonderful cast, a splendid Italian setting, and an affecting family tale combine for an incandescent event at the Huntington.

Witness a powerful tale of love, beauty, faith and much more with The Light in the Piazza continuing through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Wheelock Family Theatre’s ‘The Prom’ delivers humor and frivolity into an inspired true story

Posted on May 29 by The Sleepless Critic

This time I chose comfort over a frilly dress for this Prom.

Similar to Maureen Keiller’s diva-esque Dee Dee Allen, my prom style resembled Allen’s stylish jumpsuits. It is one of Zoë Sundra’s many festive, glittering and characteristic-defining costumes displayed in this production, especially highlighted by Janis Hudson as Angie in a sparkling and show shopping red dress. I felt like I fit right in.

Gary Thomas Ng*, Janis Hudson, Maureen Keiller*, Elias Robles, Davron S. Monroe* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

With lighthearted direction and occasionally sashaying choreography by Larry Sousa as well as upbeat Music Direction by Jordan Oczkowski, Wheelock Family Theatre at Boston University rolls out the red carpet for musical comedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8. Wheelock Family Theatre boasts open captions that come in handy during the performance which runs two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Since The Prom premiered on Broadway in 2018, it was adapted into a Netflix film that boasted an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry. It has been brought to the stage locally over the last few years. Inspired by a true story, anxious Emma, earnestly portrayed by Siri Manju, invites a date to the Prom with none other than Annie Parrinello as popular perfectionist Alyssa, the daughter of the head of the Parent Teacher Association. However, their high school will not allow them to attend the prom together. Once a group of egocentric Broadway celebrities get wind of this human interest story, they decide to make a difference in this small Indiana town.

Annie Parrinello & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana. It delivers humorous moments ranging from silly to satirical with a sincere and underlying message about helping others.

The Prom boasts strong vocals from an amiable cast and lauded local talent. Maureen Keiller brings ego and attitude as Dee Dee Allan, a self absorbed award-winning actress. Keiller’s powerful belt is on full display for It’s Not About Me and The Lady’s Improving. Along with soaring vocals by Davron S. Monroe as warm and charismatic actor Barry Glickman, Gary Thomas NG as no nonsense and frazzled PR rep Sheldon, Elias Robles as openhearted Trent, and Janis Hudson as inspirational Angie Dickinson, these seemingly shallow thespians share some comical moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lauren Velasco O’Donovan, Arabella Hardgrave & Ensemble in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

SeifAllah Salotto-Cristobal’s soft and cheerful multicolored lighting cleverly divides high school and theatrical scenes by illuminating vintage stage lights for celebrity numbers. James Rotondo’s rolling and colorful set design are mainly set inside James Madison High School halls using some projections to transform settings from a 711 store front to a hotel to an Applebee’s.

David Jiles Jr.* & Maureen Keiller* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone. It is positive throughout, even in the face of Emma’s most difficult challenges. Siri Manju’s chiming vocals in the forlorn and self effacing number Just Breathe is a compelling revelation as well Manju’s sweet rendition of Unruly Heart while Jennifer Bubriski’s tight lipped delivery proves fitting for tough and controlling antagonist Mrs. Greene. Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Janis Hudson & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom contains a wealth of welcome, inside Broadway references as well as symbolic choreography during the pivotal number, Tonight Belongs to You and It’s Time to Dance reflecting how the tide turns during the production. Janis Hudson shines during the Fosse-inspired Zazz, an uplifting rendition delivering sparkle and encouragement. Manju shares a touching rapport with both Hudson and Monroe, sure to make you smile.

As David Jiles Jr. as serious, compassionate and theatre loving Principal Hawkins reflects, “A distraction is momentary. An escape helps you heal.” The Prom tells a complex and message driven story while also providing a temporary glittering escape from the realities of life.

The full cast and crew of ‘The Prom’ Photo by Nile Scott Studios

Wheelock Family Theatre at Boston University rolls out the red carpet for musical dramedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8. Click here for more information and for tickets.