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REVIEW: Greater Boston Stage Company explores two notorious figures in historical comedy, ‘Founding F%!#ers’

Posted on May 8, 2025 by The Sleepless Critic

Did the Boston Massacre really start over a snowball?

Not exactly, but colonists who threw snowballs at British soldiers did escalate growing tension leading up to this historical event. It is one of many wildly staged ideas explored in Greater Boston Stage Company’s Founding F%!#ers, a historical comedy which dives into the lives of laidback renegade Vermonter Ethan Allen and meticulous Connecticut-born military officer Benedict Arnold through the American Revolution. These notorious and egotistical individuals cross paths shortly after the Boston Massacre and would become frenemies, but they also might share a lot more in common than they would ever care to admit.

Olivia Dumaine and the cast of Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

History buffs, prepare to be entertained. Boasting Will McGarrahan’s candid and compelling narration, Greater Boston Stage Company delivers a historical comedy whose two strong leads face missteps and misfortune worse than witnessing poor Stewart Evan Smith and Jules Talbot as soldiers enduring the throes of a punishing Boston winter.

Stewart Evan Smith and Jules Talbot in Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Directed with a contemporary comical edge by Weylin Symes, Greater Boston Stage Company presents the world premiere of Conor Casey’s Founding F%!#ers live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, May 18. The production is approximately two hours with one intermission. Click here for more information and for tickets.

Rumor, gossip, spies, backstabbing, conspiracies and tall tales all come to a head in a story that looks back on events with the full knowledge of how these events were bound to turn out. It is also full of local references and colonial fare making Massachusetts the ideal spot to debut this world premiere production with Vermont running a close second.

Marge Dunn and Jules Talbot in Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Plans take shape and also go humorously awry with brief contemporary references such as Hamilton interspersed throughout the play. Iconic moments in history are played out under McGarrahan’s capable narration, which keeps the show from becoming an arduous history lesson. Never preachy, McGarrahan is a wonderful and animated narrator, also peppering his performance with occasional candid reactions to the action before stepping in later as John André. André is a cunning individual that I would have like to have known better.

The cast personify a number of roles as the show progresses such as Jeff Mitchell portraying sweet Rosie the barmaid and John Adams. Within Jenny S. Lee’s multiple roles, Lee’s pivotal role as resourceful Peggy Burr brings mischievous intrigue.

Jenny S. Lee and the cast of Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Corey Whittemore’s warm lighting illuminate Katy Monthei’s sliding rustic wooden colonial set. Deirdre Gerrard’s exacting costume design includes a combination of New England and period colonial pieces with accessories such as leather hats, white wigs, gold buttons, suede, lace, fringe and makeshift mustaches.

Dressed in a suede fringe jacket, William Johnston depicts laidback renegade Ethan Allen, head of the Green Mountain Boys, with a combination of charisma and the ability to spin a good yarn. Allen is dodgy, impulsive and often inebriated and Olivia Dumaine as Allen’s trusty and reasonable cousin Seth Warner does an admirable job in steadying Allen’s spontaneity.

Marge Dunn Olivia Dumaine and William Johnston in Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Marge Dunn does double duty as Fight Captain and Benedict Arnold, boasting a serious and commanding demeanor longing to rise up the military ranks. Arrogant and orderly, Arnold insists on following the rules of engagement until something unexpected takes shape. They share an interesting and unpredictable rapport and it is good fun to anticipate whether they are finally in agreement or about to double cross each other. They are both impressive in these roles as they get under each other’s skin and to watch them make the decisions that lead to their ultimate fate.

William Johnston and the cast of Greater Boston Stage Company’s Founding F%!#ers Photo by Maggie Hall Photography

Founding F%!#ers is plenty informative and not edgy as the title may suggest, even as they are embarking on exaggerated battles with a good dose of physical and satirical humor from Quebec to West Point and beyond. While it may run a bit long at times, the show has a lot to cover and does so with a combination of action, comedy, silliness…and irony. I guess hindsight really is 20/20.

Greater Boston Stage Company presents the world premiere of Conor Casey’s Founding F%!#ers live and in person at Greater Boston Stage Company in Stoneham, Massachusetts through Sunday, May 18. Click here for more information and for tickets.

REVIEW: A lively cast highlights SpeakEasy Stage Company’s ‘Jaja’s African Hair Braiding’

Posted on May 8, 2025 by The Sleepless Critic

‘Be kind, for everyone you meet is fighting a hard battle.’

It is a popular expression that will hold profound meaning to a group of designers in Jaja’s African Hair Braiding.

Today is a special day in this Harlem salon. The store owner, Jaja is getting married and before MaConnia Chesser as charismatic and outspoken Jaja makes her grand entrance, this salon buzzes with excitement, commotion, confiding, gossip, venting and conflict as steamy July temperatures show no sign of cooling off and the air conditioner hits a snag.

From left: Dru Sky Berrian, MarHadoo Effeh, Kwezi Shongwe, and Crystin Gilmore Photo by Nile Scott Studios

Directed with pizzazz by Summer L. Williams, SpeakEasy Stage Company continues Jocelyn Bioh’s dramedy Jaja’s African Hair Braiding through Saturday, May 31 at the Calderwood Pavilion in Boston, Massachusetts. This production is approximately 90 minutes with no intermission. Click here for more information and for tickets.

Set in 2019, behind these vividly painted graffiti double doors emblazed with ‘Jaja’s African Hair Braiding’ holds an impressive salon by Janie E. Howland featuring an array of identical salon chairs and overhead lights and includes meticulous details such as hazy steam fogging the mirrors, torn posters, and litter collecting out the doors.

While Jaja makes her big plans, this group of West African immigrant designers are holding down the salon and making plans of their own. Dru Sky Berrian makes a captivating entrance as Jaja’s anxious and cheerful daughter Maria who comically vents about already having a day of all days before the shop even opens. Maria helps out at the salon and although Jaja envisions Maria’s life in a lucrative profession, Maria has set her sights on other dreams. Well intentioned and earnest, sympathetic Berrian is the heart of the show.

From left: Dru Sky Berrian and MaConnia Chesser Photo by Nile Scott Studios

Crystin Gilmore portrays veteran designer Bea who has an ax to grind, particularly with younger designer, Ndidi, portrayed by Catia, who is there temporarily because the shop that Ndidi worked at burned down. Bea is appalled and claims Ndidi is stealing her customers. Catia is cool and collected as Ndidi who relishes this opportunity to grow her business. Gilmore’s Bea is glamorous, feisty, candid and frank as she shares the know-it-all vision she had of running this salon…if her plans had not gone awry.

From left: (foreground) Crystin Gilmore, Dru Sky Berrian, and Catia. (Background) MarHadoo Effeh, Hampton Richards and Kwezi Shongwe Photo by Nile Scott Studios

Customers and designers alike confide their stories and struggles as hair braiding is quite an extensive process handled expertly under Williams’ meticulous direction. This animated group holds compelling conversations, support each other, dance joyously, share juicy gossip, fight over the television remote and quietly tolerate what it is to be in customer service.

From left: Catia and Yasmeen Duncan Photo by Nile Scott Studios

Ashley Aldarondo and Yasmeen Duncan champion multiple roles as customers, each distinctive and range from delightfully gleeful to intolerably fussy as designers force a smile across their lips and a poker face in numerous relatable scenarios. It was particularly wonderful to watch Duncan pose and twirl teasingly in the mirror with her new Beyonce braids. Joshua Olumide encapsulates various roles from diligent socks salesman to turning up the charm as a promising love interest and a philandering husband.

From left: MarHadoo Effeh and Hampton Richards Photo by Nile Scott Studios

Vivid pinks, oranges and greens are only a fraction of costumer Danielle Domingue Sumi’s bold tones and stylish African patterns lending to each character’s vibrant personalities. Although these characters shine as individuals, the most fascinating moments come from their collective reactions from playful and horrified looks to synchronized cheers as this important day unfolds.

The cast of Jaja’s African Hair Braiding Photo by Nile Scott Studios

Jaja’s African Hair Braiding has its share of twists and turns, tackling societal and community issues including up to date matters of immigration. However, is also hopeful production that demonstrates the tight bond among this lively cast offering unwavering support, especially in the face of immense challenges.

SpeakEasy Stage Company continues Jocelyn Bioh’s Jaja’s African Hair Braiding through Saturday, May 31 at the Calderwood Pavilion in Boston, Massachusetts. This production is approximately 90 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Witness the quiet beauty inside The Umbrella Stage Company’s stirring ‘The Spitfire Grill’

Posted on May 7, 2025 by The Sleepless Critic

From Liza Giangrande’s first few haunting verses sung as Percy as her eyes brim with tears, it is easy to see that The Spitfire Grill is going to be something special.

Liza Giangrande as Percy. Photo by Jim Sabitus

According to the Bible, Gilead is a mountainous region east of the Jordan River and considered a place of asylum and refuge. After spending five years in prison, Percy places her hopes in the remote and mysterious town of Gilead, Wisconsin, but its residents find it a ghost town suited only as a place for leaving. However, Gilead may still have a few surprises in store.

Based on the 1996 film by Lee David Zlotoff, warmly directed by Ilyse Robbins, and with haunting music direction by Jack Cline, The Spitfire Grill musical continues live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, May 18. This production is approximately two hours with one intermission. Click here for more information and for tickets.

Kerry A. Dowling* as Hannah, Sean Donnelly as Joe and Liza Giangrande as Percy. Photo by Jim Sabitus

Blending acoustic and fiddle-infused melodies from an intimate band conducted by James Haupt, The Spitfire Grill boasts a wide range of driving folk rhythms such as Shoot the Moon, swift catchy melodies such as Out of the Frying Pan and luminous harmonies in Colors of Paradise.

Costumer Kelly Baker captures a deep woods ambiance in earth tones and layered clothing, denim, flannels and hiking boots. Karen Perlow’s haunting and revelatory lighting brings stirring character to enigmatic Gilead. Prison bar shadows, a gleaming moon, twilight skies, soft glowing lanterns and prism shaped forest patterns illuminate Janie E. Howland’s dual level rustic wooden Spitfire Grill diner complete with a cozy kitchen and scattered appliances, living room, dining space and a faded staircase leading up to the bedrooms. This set has worn character detailed in its red faded Spitfire Grill sign.

Liza Giangrande as Percy, Christie Lee as Effy, and Kerry A. Dowling* as Hannah. *Indicates a member of Actors Equity Association. Photo by Jim Sabitus

Featuring a powerful cast, The Spitfire Grill is a well paced musical that exudes a quiet beauty focusing on ordinary people with haunting regrets longing for a new start. Everyone knows everyone which is quite advantageous for Catherine Lee Christie as nosy town gossip Effy who is always starved for news as demonstrated in Somethings Cooking. Though Christie’s Effy could seem malicious, her incorrigible curiosity and humorous know-it-all demeanor seems to stem from boredom imagining Gilead as an exciting town.

Liza Giangrande as Percy, Kerry A. Dowling* as Hannah, and Shonna McEachern* as Shelby. *Indicates a member of Actors Equity Association. Photo by Jim Sabitus

Kerry A. Dowling depicts practical and business minded Spitfire Grill owner Hannah who hires Percy to tend to the kitchen. Course, frank yet introverted, Hannah has a secret from her past she has kept for years. Hannah has been struggling to sell The Spitfire Grill for a decade, but Percy may have come up with a new way to lure buyers Hannah’s way. Dowling’s Hannah and Giagrande establish a genuine rapport while they both quietly carry burdens from their past.

A charismatic actress with a dynamite vocal range, Liza Giangrande is brilliant as relentlessly hopeful Percy who is determined to reestablish herself as demonstrated in the sneakily and humorously frazzled number Out of the Frying Pan, emphasized with some impressive vocal gymnastics. However, Giangrande is simply riveting for the revelatory number Sunrise/Shine.

Shonna McEachern* as Shelby, Liza Giangrande as Percy, and Kerry A. Dowling* as Hannah. *Indicates a member of Actors Equity Association. Photo by Jim Sabitus

Giangrande develops a sweet rapport with Shonna McEachern as Shelby delivering soaring harmony for Colors of Paradise. McEachern has a lovely vocal range and offers a stirring rendition of Wildbird. Giangrande’s Percy is under Sean Donnelly’s parole supervision as Sheriff Joe Sutter who has his own dreams beyond the wide woods of Gilead.

Anthony Pires, Jr. delves into the role of discouraged and traditional Caleb who feels aimless and frustrated with his life longing to get a foothold as demonstrated in a potent rendition of Digging Stone while Cristhian Mancinas-Garcia is memorable as The Visitor.

Shonna McEachern* as Shelby, Liza Giangrande as Percy and Anthony Pires, Jr. as Caleb. Photo by Jim Sabitus

The Spitfire Grill tackles loneliness and isolation, but also has its share of memorably heartwarming, frank and comical moments. Steeped in quiet beauty, it is an uplifting musical that captures hope and meaning while shedding light in the darkest of places.

The Spitfire Grill musical continues live and in person at Umbrella Arts Center in Concord, Massachusetts through Sunday, May 18. Click here for more information and for tickets.

REVIEW: ‘Mean Girls The Musical’ kind of makes fetch happen

Posted on May 4, 2025 by The Sleepless Critic

As is the custom in this Mean Girls girl world, it was Wednesday and I work pink…fuchsia to be exact.

As a big fan of the 2004 hit film Mean Girls featuring Lindsey Lohan and Rachel McAdams, I couldn’t wait to revisit the famous catch phrases which became part of the pop culture landscape in this musical adaptation and it did not disappoint. While some of them are straight out of the 2004 film, other phrases are delivered slightly differently.

Mean Girls the Musical is mostly faithful to the 2004 film with some exceptions with some story elements expanded, enhanced or changed. Seeing the musical is a new experience.

Pictured (L- R): Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), MaryRose Brendel (Karen Smith) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

With nimble direction and sharp choreography by Casey Nicholaw, Mean Girls the Musical continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, May 4 before it continues on its national tour. This production is two hours and 30 minutes including one intermission. Click here for more information and for tickets.

Since the release of the 2004 film, Mean Girls the Musical ran on Broadway from 2018 through 2020 before the commercial success of the 2024 musical film starring Angourie Rice as Cady and Broadway’s Reneé Rapp as Regina.

Pictured (L- R):Mary Rose Brendel (Karen Smith), Maya Petropoulos (Regina George), Kristen Amanda Smith (Gretchen Wieners) Photo by Jenny Anderson, 2023

Having never witnessed either the Broadway musical or the 2024 musical film, it was exciting to see this story unfold in a different genre from an updated perspective acknowledging the widespread use of social media. In 2004, North Shore High School student wrote in an actual Burn Book. It was a wild thought to consider how that might be imagined online, but fortunately, The Burn Book has not changed. Cells phones, social media and autocorrect are integrated into the musical’s enhanced plot.

From shimmering mirror reflections to vibrant and detailed backdrops, scenic designer Scott Pask’s rolling set unfolds at a thrillingly agile pace as montages of classrooms transform in simultaneous desk twirls. Kenneth Posner’s animated lighting can largely be considered its own character enhancing the musical’s quick pace through unique and changing patterns overhead in time to John Clancy’s upbeat orchestrations while at times lending to the humor in key scenes.

While some aspects of the musical do not quite live up to the 2004 film, other aspects are done better. This cautionary tale, introduced by Joshua Morrisey as Damian and Alexys Morera as Janis, begins with Katie Yaomens as adorably quirky, awkward and anxious new student Cady who has moved to Illinois from Kenya after being homeschooled her entire life. Boasting soaring vocals and expanding on Cady’s fearless and adventurous Kenyan spirit in the enchanting song, It Roars, Yaomens brings naiveté and earnestness with a certain charisma as Cady that you can’t help but root for her success. Yaomens further glows with optimism alongside José Raúl as Aaron Samuels in the number, Stupid with Love. However, Cady learns that high school is much more complicated than she could have imagined.

Pictured (L -R): José Raúl (Aaron Samuels) and Katie Yeomans (Cady Heron) Photo by Jeremy Daniel, 2025

Yaomens shares some compelling scenes with Morrisey and Morera as they open Cady’s eyes to an entirely unfamiliar new way of life – high school. This trio builds amiable and playful camaraderie as the show progresses. Joshua Morrisey turns on the charm portraying theatrical Damian. From excellent tap dancing to show choirs to harmonious backup vocals to dance breaks, Morrisey is exuberant delivering funny and sage advice about impulsiveness we can all learn from in the insightful number, Stop and the value of finding your place in Where do you Belong with Alexys Morera as Janis and Yeomans as Cady. In fish net stockings, rhinestone denim shorts and bleached hair, Morera portrays an edgier Janis with finesse for Apex Predator and in the revealing number, I’d Rather Be Me.

Kristen Amanda Smith’s excitable and fast talking Gretchen is a bit too much at once and would benefit slowing down a bit, but Smith delivers some fabulous vocals, especially for the empathetic number, What’s Wrong with Me, diving into Gretchen’s insecurities and expanding on her character. Geekier and more energized, Kabir Gandhi’s iteration of Kevin G lacks the suave and smooth demeanor from the 2004 film which is missed. MaryRose Brendal is hilarious as dimwitted but not to be underestimated Karen and shines in the Halloween-inspired number, Sexy.

Joshua Morrisey (Damian Hubbard) and Tour Company of Mean Girls Photo by Jeremy Daniel, 2025

What made Rachel McAdams as Queen Bee Regina so appealing are those little glimpses of insecurity and weakness under that plastic facade. Maya Petropolos as Regina has real Valley girl bite, arrogance, and a deranged power over others demonstrated in a commanding rendition of My Name is Regina George, but that vulnerability is never truly explored.

Pictured (L-R): Katie Yeomans (Cady Heron) and Kristen Seggio (Mrs. George) Photo by Jeremy Daniel, 2025

It was genius to triple cast Kristen Seggio as frank and quirky Ms. Norbury, zoologist Mrs. Heron and “cool mom” Mrs. George. Seggio is so talented at portraying each distinctive character, it was difficult to believe they were depicted by the same person. Seggio portrays Ms. Norbury a bit quirkier while blending a similar nonchalant frankness that Tina Fey is famous for. Dialing down “cool mom” Mrs. George was a real benefit to the character while still cradling her signature large margarita peppered with umbrellas. Mean Girls the Musical expands on Mrs. George’s character during the sympathetic number, What’s Wrong With Me, bringing new dimension to this amusing character.

The students form a collective army of Regina’s minions and followers on the path to popularity which is reflected in Casey Nicholaw’s sharp choreography. Whether dancing while swinging bright red lunch trays for the captivating number, Where do You Belong, as jungle creatures gathering around the watering hole, but in this case, a fountain at the mall or as partiers in Whose House is This, Nicholaw’s lively chorography reflects the students’ hive mind mentality with each scene. Edgy and creative, costumer Gregg Barnes boasts an extraordinary array of innovative ensembles from sexy to shimmering to edgy to imaginative costumes which include transformers and sexy corn.

MaryRose Brendel (Karen Smith) and the Tour Company of Mean Girls Photo by Jenny Anderson, 2023

It was a lot of fun to see Mean Girls as an engaging musical and witness new elements in this lighthearted story while it also provides additional lessons surviving ‘girl world.’ In today’s world, we can all use a few more pointers.

Mean Girls the Musical continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, May 4 before it continues on its national tour. Click here for more information and for tickets.

REVIEW: Thinking outside the box is part of the appeal of ‘Class Dismissed’

Posted on May 1, 2025 by The Sleepless Critic

‘It’s easier to imagine the end of the world than the end of capitalism.’

This quote from philosopher Frederic Jameson is one of many reflections studied in this energetic and satirical experimental theatre work, Class Dismissed. This interactive work features a cast of students, teachers and volunteers from the audience. Some of the lighter topics include pillow fights and day drinking.

Director and performer Daniel Irizarry in ‘Class Dismissed’ Photo by Bronwen Sharp

This is no ordinary classroom and the production’s moments of seriousness resonate over the lighter ones. As director and performer Daniel Irizarry states, ‘Knowledge is painfully acquired’ and that resonates on many levels. As in any classroom, pearls of wisdom shine through.

Pepper Binkley in ‘Class Dismissed’ Photo by Bronwen Sharp

Written by Robert Lyons and imaginatively directed by Daniel Irizarry, La Mama Experimental Theatre Club presents ‘Class Dismissed’ live and in person at Ellen Stewart Theatre in New York City through Sunday, May 4. This work runs 95 minutes with one intermission and is also available to live stream. Please bring a book so you may donate it or swap it with an audience member. You can also be a consensual volunteer. Click here for more information and for tickets.

In high socks and pumpkin letterman jackets which is just a glimpse of Hayley Wallenfeldt’s vibrant costumes, these earnest, unconventional and adventurous teachers lend to Florian Stabb’s inventive sound design playing instruments and creating music including makeshift instruments like two skillets and sing a cappella ranging from dance to horn infused rhythms to Italian opera.

Yaraní del Valle Piñero and Rhys Tivey in ‘Class Dismissed’ Photo by Bronwen Sharp

Hallucinating a post-capitalist manifesto, Class Dismissed also focuses on two grad students portrayed by Yaraní del Valle Piñero and Rhys Tivey satirically and at times outlandishly reporting on the state of the world. This creative experimental work can be confusing at times but an intriguing concept and some elements work better than others. As this is interactive and experimental theatre, you won’t see the same show twice and a different artist is featured at every performance. Recent live stream performers were Ji-Young Kim from South Korea’s Seoul Institute of The Arts and Naz Göktan and Efe Çetinel from Bilkent University in Turkey.

Lit-professors Pepper Binkley and Daniel Irizarry explain that they are using two different strategies for two different goals. This work recites as much poetry, prose and noir as it comments on consumerism, pleasure and the established order. You can expect the unexpected in this classroom and these teachers are willing to go to great lengths to deliver a high energy and memorable experience while the students dream about the future.

La Mama Experimental Theatre Club presents ‘Class Dismissed’ live and in person at Ellen Stewart Theatre in New York City through Sunday, May 4. Click here for more information and for tickets.

REVIEW: Actors’ Shakespeare Project envisions a wildly mischievous ‘A Midsummer Night’s Dream’

Posted on April 28, 2025 by The Sleepless Critic

It may not be the lusty month of May yet, but Actors’ Shakespeare Project’s contemporary A Midsummer Night’s Dream has it covered by the time it arrives. This is one wild ride.

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays. It is everything but tragic and can be interpreted in a variety of ways. It features magic, mischief, romantic comedy, action, and it was a perfect way to celebrate Shakespeare’s birthday on April 23.

Eliza Fichter and Dan Garcia in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

With bold direction by Maurice Emmanuel Parent, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts. The show’s action is not limited to the stage with two platforms immersed in the audience and runs 1 hour and 40 minutes with no intermission. Discounted tickets are available. Click here for more information and for tickets.

The Cast of Actors’ Shakespeare Project’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text with some improvisation and pop culture references along the way. Part play within a play, part fantasy, and part comedy, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to desire to true love to romantic comedy gone awry due to some mystical love potions. A Midsummer Night’s Dream is also the source of some of Shakespeare’s most famous reflections on love such as ‘True love does not see with the eyes, but the mind’ and ‘The course of true love never did run smooth.’ Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines can translate seamlessly into a wide variety of contemporary scenarios.

Kody Grassett, Doug Lockwood, and Bobbie Steinbach in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Scenic designer Ben Lieberson’s multilevel and industrial scaffolding not only provides a club atmosphere, but a somewhat blank canvas for lighting designer Brian Lilienthal’s multicolored illumination as a glimmering disco ball hangs overhead. Seth Bodie’s distinctive costumes feature a wide array of 90s and turn of the century looks from refined to over the top in splashy, glimmering, feathered and suggestive club wear to edgy street attire in fringe, pleather and denim to lavish upscale suits. Sound designer MacKenzie Adamick also sets a 90s and 2000s vibe with a mix of original and popular club beats for both comic relief and setting the scene.

ia Giatrelis, Eliza Fichter, Evan Taylor, Doug Lockwood, and Kody Grassett in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, bold, and chock full of passion, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and absorbing characters determined to fight for what they want and aren’t shy about absurdity demonstrated by Doug Lockwood as the enthusiastic and bombastic Nick Bottom along with Bobbie Steinbach as resourceful Quince and a group of madcap and dedicated mechanicals offer more than silly humor before the final curtain.

Bobbie Steinbach and The Mechanicals in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

These mature characters are tougher and have experienced life’s hardships which is a valuable attribute for love is fickle. Michael Broadhurst as Lysander may seem sweet and adoring sharing an endearing chemistry with Thomika Marie Bridwell as Hermia, but Broadhurst also has a chance to explore another side of this character. Athletic Alan Kuang is remarkable as wild, mischievous, and break dancing Puck and his conspiring moments with Dan Garcia as Oberon make for street savvy and cunning pair.

Thomika Marie Bridwell and De’Lon Grant in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

The women in this production are strong, beautiful, and fierce. Eliza Fichter takes on dual roles as powerful Hippolyta as well as glamorous and seductive Titania. Thomika Marie Bridwell is wonderful as headstrong, comically tough and fearless Hermia while Deb Martin is a scene stealer and redefines crazy in love wild eyed Helena. Martin’s physical comedic prowess and the arduous lengths she goes through to get what she wants would be inspiring if she was not so unhinged and she shares some madcap moments with De’Lon Grant as impulsive Demetrius. However, one intense scene between Martin and Bridwell going head to head becomes so hilarious and well executed that it stands as my favorite scene in this production.

De’Lon Grant and Deb Martin in ASP’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

One of the liveliest adaptations I’ve ever seen, Actors’ Shakespeare Project continues A Midsummer Night’s Dream live and in person through Sunday, May 4 at the Mosesian Center for the Arts in Watertown, Massachusetts Click here for more information and for tickets.

REVIEW: Moonbox Productions presents Regina Taylor’s soul stirring ‘Crowns’

Posted on April 25, 2025 by The Sleepless Critic

‘When I’ve done the best I can, I want my crown.’

This is one of a few significant songs led by Lovely Hoffman in a production about faith through grief and much more. Through testimonies, reflections, and soul stirring music, Regina Taylor’s inspiring Crowns explores life’s journey through hats which can make a profound statement, represent a lot of sacrifices, and ultimately stand for something greater.

Mildred E. Walker, Cortlandt Barrett, Mirrorajah, Janelle Grace, Elijah Brown, Kaedon Gray, Cheryl Singleton* in ‘Crowns’
Photographer: Chelcy Garrett

With Regine Vital’s soul stirring direction, Kurt Douglas’s upbeat choreography, and David Coleman’s powerful music direction, Moonbox Productions continues Regina Taylor’s Crowns live and in person at Arrow Street Arts in Cambridge, MA through Sunday, May 4. Perfectly timed around Easter and prior to Mother’s Day, this semi-interactive production is an uplifting 90 minutes with no intermission. It is not limited to the stage and its church atmosphere has a collection benefiting Rosie’s Place. Click here for more information and for tickets.

Hats in ‘Crowns’ Photographer: Chelcy Garrett

One may stay silent and observe, but this show is quite a celebration and the audience is invited to show their enthusiasm and engage in a joyful noise, clap and sing along. The Crowns cast is friendly, warm, welcoming and makes it easy to join in as part of their community. Having attended a previous Moonbox production, it is also comforting that a teleprompter is available to follow and sing along to a vast selection of powerful gospel works.

Mildred E. Walker and Mirrorajah in ‘Crowns’ Photographer: Chelcy Garrett

Demure and delicate or a sparkling showstopper, Crowns show that hats hold greater meaning than an article you place on your head, especially to a group of southern women who have welcomed a young girl from Brooklyn named Yolanda into their church. After Yolanda’s brother in killed, Yolanda is sent to live with Mildred E. Walker as wise Mother Shaw, Yolanda’s grandmother in South Carolina. Mirrorajah portrays Yolanda, a city girl who looked up to her brother and had not had much guidance in her life. Yolanda’s fish out of water experience makes room for compelling comical moments and soul stirring revelations with an excellent cast who takes on various roles as their stories unfold.

The Cast of ‘Crowns’ Photographer: Chelcy Garrett

With gray columns and offstage instrumentalists David Freeman Coleman and Brandon Mayes, Issak Olson’s transformative lighting illuminates the altar in Baron S. Pugh’s modest set design enhanced by a variety of multicolored hats, hat boxes, flowers and vanity mirrors hung on each side of the stage. Eye catching and detailed lace parasols also make a strong impression. Decked out in distinctive hats, E. Rosser and wig designer Schanaya Barrows makes each character stand out sharply dressed in vibrant and bold colors as Yolanda makes her own impression in a colorful jacket and shining shoes.

Lovely Hoffman*, Mirrorajah and Cortlandt Barrett in ‘Crowns’
Photographer: Chelcy Garrett

Crowns is a collection of music, stories, testimonials, traditions and reflections exploring the meaning behind ‘hattitude’ while delving into cultural, ancestral and historical context including segregation. From how to wear a hat to what type of hat to wear, structure, fabric, etiquette and significance, each character has an original reflection on how their hats made an impact in their lives and to those around them.

Kaedon Gray, Lovely Hoffman* and Janelle Grace in ‘Crowns’ Photographer: Chelcy Garrett

The entire cast which includes Cortlandt Barrett, Janelle Grace, Lovely Hoffman, Cheryl D. Singleton, Mildred E. Walker and Kaedon Gray boasts soaring vocals as well as irresistible charm in their lively and witty dialogue. Mirrorajah delivers a moving performance as leery yet curious Yolanda, especially as she proclaims, ‘I don’t know how a dead soul can rise again’ and shines in the upbeat number I’ve Got Joy like a Fountain. Dressed all in white, Walker as Mother Shaw exuberantly sings, In the Morning, blends beautiful harmony for Ol Ship of Zion and delivers an amazing a capella rendition of Take me to the Water with the cast. Lovely Hoffman as Velma’s rendition of His Eye is on the Sparrow also boasts incredible harmony as well as the spiritual Wade in the Water featuring the cast. It is difficult to choose standouts when they are all so brilliantly done.

Mirrorajah and company in ‘Crowns’ Photographer: Chelcy Garrett

Eshe O Baba is Yoruba for ‘Thank you father’ which is a significant phrase in Crowns. Fueled by love, experience the wonder of Crowns.

Moonbox Productions continues Regina Taylor’s Crowns live and in person at Arrow Street Arts in Cambridge, MA through Sunday, May 4. Click here for more information and for tickets.

REVIEW: Love, the illusion and CAKE in Lyric Stage Company’s world premiere of ‘The Great Reveal’

Posted on April 23, 2025 by The Sleepless Critic

What is any party without cake?

However, at this gender reveal party in 2020, the cake is part of the problem and striving to make people happy only gets more complicated.

Paige Clark, Arthur Gomez, Antonia Turilli and Jupiter Lê in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

Directed thoughtfully by Bridget Kathleen O’Leary and Charlotte Snow, Lyric Stage Company continues the world premiere of The Great Reveal by David Valdes live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, April 27. If you agree that a party is not complete without cake, there are festive and delicious cake bites available at concessions. This dramedy is approximately 100 minutes with no intermission and the action is not limited to the stage. Click here for more information and for tickets.

Antonia Turilli and Jupiter Lê in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

A lit floral arch trellis stands out in Baron E Pugh’s festive scenic design which includes pink and blue streamers, shiny embellishments and gold décor that adorn Christopher and Lexi’s Massachusetts backyard deck. E. Rosser’s costumes are equally festive and cheerful in sparkling dresses, colorful jumpsuits, zip up Henley, tuxes and casual attire. Kai Bohlman’s at times ethereal and acoustic sound design lends to the production’s ambiance ranging from the beach to other special occasions.

It is stressful enough hosting a party, but having one during the height of the pandemic is a different story and Paige Clark as high strung and controlling Lexi is feeling it tenfold. Lexi is fixated about everything looking perfect, especially for social media. While Lexi is determined to craft the illusion, she loses sight of what is truly important. However, whatever frustration about illness, exposure, creating perfection online and who to let into their Covid bubble take a back seat to a greater reveal between these two couples.

Paige Clark and Arthur Gomez in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

While Lexi is a planner, her husband Chris seems to prefer to go with the flow. Arthur Gomez as laid back Christopher tries to be reassuring, but is also feeling the strain. Linus and Dosia are a trans couple and while Antonia Turilli as Linus’s composed girlfriend Dosia was invited to make the cake and is dreading this party, Jupiter Lê as workaholic Linus wants to make his sister Lexi happy, but also has his own reasons for attending.

The Great Reveal has more than a few silly moments which can be a relief from the production’s more serious content. Gomez has sharp comic timing and shares some amusing scenes with Antonia Turilli who deadpans impressively well. Clark and Lê share affection, but a stronger sibling rivalry as they struggle to understand each other. This foursome exhibits a strong rapport and a familial bond well before even becoming family, especially in their quieter moments together.

Arthur Gomez and Antonia Turilli in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

There are many reasons to not care for a gender reveal party and as a person without children, I am also not a particular fan of them. Gender reveals can be smug, over the top and may come with a lot of questions about what the future holds. The show is not without political tension yet focuses more on finding common ground and understanding in divided relationships. As Turilli’s Dosia often says as part of Dosia’s meditation mantra, ‘Love is a choice I make daily.’ I’m sure sometimes it is daily and other times with people we love, it is a minute to minute challenge.

Antonia Turilli and Paige Clark in Lyric Stage Company’s ‘The Great Reveal’ Photo by Mark S. Howard

Funny, insightful, and relatable, The Great Reveal explores these two couples and all they have been through as their bond is tested. Through squabbling, sibling rivalry, hurtfulness, pettiness and turmoil, it is important to remember what brought everyone together in the first place and what a meaningful future can hold. Loving the cake is a start.

Lyric Stage Company continues the world premiere of The Great Reveal by David Valdes live and in person at Lyric Stage Company through Sunday, April 27. This dramedy is approximately 100 minutes with no intermission and the action is not limited to the stage. Click here for more information and for tickets.

REVIEW: ‘Riverdance’s 30th Anniversary: The New Generation’ combines mesmerizing visuals and fancy footwork to a show stopping rhythm

Posted on April 20, 2025 by The Sleepless Critic

‘Tall and straight my mother taught me. This is how we dance.’

Flourishing Celtic landscapes, glimmering international city sidewalks, star studded cosmic atmospheres, and mystical seaside sunsets as well as a journey frolicking through roaring fire, threatening lightening, and changing seasons are just a few of the spectacular settings that unfold through driving rhythms while integrating other forms of captivating dance along the way. Accompanied by a partial onstage orchestra, Riverdance is as innovate and imaginative as ever marking three decades of sparkling toe tapping zeal and ethereal vocals with memorably dramatic flair.

Audaciously directed by John McColgan and composed by Bill Whelan, Riverdance 30^th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country. The show is approximately two hours including one intermission. Click here for more information and for tickets.

Whether battling the elements or showing off their skillful steps, Fergus Kirkpatrick and Olivia Nachtigal are among the leads in this enthusiastic and daring dance troupe as drummer Mark Alfred, fiddler Haley Richardson, saxophonist Emma McPhilemy, and Cathal Croke on Uilleann Pipes with Michael O’Gorman’s immersive sound design combine to deliver a mix of modern and traditional Irish works through Ireland and beyond.

Whether performing solo or playfully challenging other band members and the dancers, these harmonious instrumentalists set the varying tone from serene ballads to rhythmic beats. Richly narrated with Celtic history and poetry as angelic vocals lift, Riverdance has a unique way of building excitement through razor sharp Ceili formations and urgent melodies. Adorned regally in silvery tiaras, detailed velvet flowing dresses, tailored shirts vests and tights by Joan Bergin, the dancers exude confidence exacted in heads held high and the militant precision of their movements gathering in rows, circles and two hand reels.

Riverdance Countess Cathleen with lead dancer Maggie Darlington

In Firedance, Rosio Dusmet commands the stage swirling in a shimmering red gown as fire surrounds her and the flames progressively turn blue to a driving beat. Adventurous, freeing and empowering, Dusmet’s amazing performance is equal parts grace, athleticism, and charisma flowing through the scene.

Alan Farquharson’s fantastical and compelling set design with innovative motion graphics by Cosmo AV and Andrew Voller’s stellar lighting in scrupulous perfection enhance tappers Darmesh Patel and Kenji Igus who perform to rollicking rhythms in street clothes with Fergus Kirkpatrick showing off their skills under the bright city lights. In Trading Taps, they all demonstrate fantastic footwork with charm and exuberance to rousing applause and stands as a particular highlight of this production.

Riverdance, Amy Mae Dolan and Will Bryant

Through a variety of dynamic rhythms, Riverdance’s 30^th Anniversary: The New Generation is a whimsical, thrilling and visually splendid journey steeped in Celtic charm while integrating other forms of dance that keeps it refreshing and imaginative. Having seen it for the first time and watching it with someone who has witnessed it since Riverdance began, it remains a joyous and impressive experience for the whole family.

Riverdance 30^th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country. The show is approximately two hours including one intermission. Click here for more information and for tickets.

REVIEW: Roots run deep in The Huntington’s powerful ‘Don’t Eat the Mangos’

Posted on April 16, 2025 by The Sleepless Critic

Family takes care of family.

Tensions run high when three tightly bonded but very different sisters join together to care for their ailing parents. However, one sister’s harrowing secret will change everything.

With stirring direction by David Mendizábal, The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27. This bilingual production contains strong language, adult content and runs 1 hour and 45 minutes with no intermission. Though the production is mostly delivered in English, you may enjoy it more thoroughly if you are familiar with Spanish. Click here for more information and for tickets.

Left to right: Evelyn Howe, Jessica Pimentel, Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Set in Puerto Rico in 2019, Tanya Orellana’s impressive scenic design unveils a seemingly functional house complete with a laundry room, yard, and a towering mango tree hovering over a portion of the house. An eclectic mix of dishes and items scattered in the kitchen and stacked on built in shelves create a natural, lived in atmosphere with a dated fridge and latticed wooden embellishments. This is just a portion of this extraordinary cement house that details subtle signs of mold and wear and tear on the family home. The house rotates from scene to scene unveiling the action in each room.

Left to right: Jessica Pimentel, Susanna Guzmán in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Jake Rodriguez creates an effective and occasionally immersive sound design most notably when a storm knocks the power out. The flash and crash blended with Cha See’s flickering bulbs, illuminating candles and startling lightning makes for a wild event. Alexandra Buschman-Román and Jason Stamberger’s mystical original music amplifies the production’s mercurial changes in mood from foreboding and suspenseful to catchy and lighthearted with music compositions infusing dance genres such as bomba and flamenco.

Left to right: Jessica Pimentel in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Jessica Pimentel as organized loan officer Ismelda, Yesenia Iglesias as married and family oriented middle sister Yinoelle, and Evelyn Howe as activist professor Wicha know their roles when it comes to their parents. While Ismelda lives with her parents, Yinoelle and Wisha assist where they can when they come to visit. Zoë Sundra costumes reflects each character’s individuality through sharp and stylish costumes in vibrant patterns and tropical designs from sharp pant suits to colorful crocs to denim and athleisure.

Left to right: Yesenia Iglesias in Don’t Eat the Mangos; directed by David Mendizábal; photo by Marc J. Franklin

Not only does this trio share their joys, sorrows, and annoyances, but their snappy sibling rapport occasionally inspires harsh comments and resentment that cut deep and to the quick. It is as if they are so tightly bonded that they can’t help but occasionally step over the line. José Ramón Rosario portrays their ailing and temperamental father Papi who had a stroke and is bedridden dealing with other medical issues. With startling outbursts, Rosario exudes an implied dominance as Papi and even as he sits in his wheelchair, he commands immediate attention ringing a bell for any and all of his needs. Susanna Guzman depicts instantly likeable, headstrong and realist Mami who has been battling cancer. Ismelda is evidently overwhelmed, overwrought but dedicated tending to their parents and while her two siblings are helpful, Papi prefers Ismelda to handle things. With slumped shoulders and tightly wound tendencies, Pimentel exemplifies Ismelda’s anxiety, the weight of her worries and the pressure to do right by her family.

Don’t Eat the Mangos delves into many dark places including abuse, trauma, PTSD, and fanaticism. It approaches tough subjects with dark humor that can provide relief and some of it is just heartbreaking. It also offers some very funny and relatable family humor exploring cultural traditions, complications and challenges growing up in this Puerto Rican family. It has many tense moments, but its heartwarming connection between the sisters is among the production’s brightest spots. This is especially evident in a moment when the three sisters are trying to piece together a song from their childhood. The scene is brought together in a beautifully organic way and reflects the true nature of the lifelong bond between these siblings.

The production also delivers more than a few stunning revelations. Susanna Guzman as Mami and José Ramón Rosario as Papi also hold their own in an escalating, powerful and alarming scene. Guzman’s Mami may be ailing, but she is a force to be reckoned with.

The Huntington continues Ricardo Pérez González’s tragicomedy Don’t Eat the Mangoes live and in person at Calderwood Pavilion in Boston Massachusetts through Sunday, April 27. Click here for more information and for tickets.