This weekend

REVIEW:  Searching for reconnection in Central Square Theater with Front Porch Arts Collective’s world premiere of Mfoniso Udofia’s intensely heartfelt ‘Her Portmanteau’

Posted on by The Sleepless Critic

Sundays are Abasiama’s good day. 

It is on a Sunday that Jade A. Guerra as Iniabasi arrives to New York from Nigeria to reunite with family she has not seen in many years.  However with a misunderstanding from the start, reconnecting will prove to more of a challenge than anyone could have imagined.

Profoundly directed by Tasia A. Jones, Central Square Theater with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia‘s Her Portmanteau, the fourth production in the Ufot’s  nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Central Square Theater in Cambridge, Massachusetts through Saturday, April 20.  This intense bilingual production in English and Ibibio runs 90 minutes with no intermission.  It is fascinating to see how these families progress over these nine plays, but you can witness and enjoy one without having seen the others.   Click here for more information and for tickets.

Victoria Kanyike and Jade A. Guerra in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Scenic designer Shelley Barish emphasizes family with an Ufot personal touch displaying framed family photos and gold embellishments around Adiaha’s New York City apartment in January 2014.  Having seen Ufot’s second production The Grove, it was wonderful to see the progression in the Ufot Family from the earlier production in 2009 evident in the set such as Kimberley’s portraits lying by the door.  This stylish apartment is enlivened with splashes of vibrant color in the kitchen and living room as well as gold ropes surrounding it as if symbolically anchoring it in place.  Arshan Gailus’s urgent and at times roaring scenic design emphasizes the family’s building tension, making their surroundings occasionally overwhelming.  However, the family silences are more deafening that any outside activity.  Enclosed in this city apartment, the past is bound to come out.

Jade A Guerra and Patrice Jean-Baptiste in Central Square and Front Porch Arts ‘s Collective ‘Her Portmanteau’ Photo by Maggie Hall Photography

Her Portmanteau continues to build Udofia’s rich characters in each piece and from the moment Jade A. Guerra as serious and direct Iniabasi appears, though she is in the same room as her mother and half sister, they seem continents away.  At first, you wonder if this is due to a language barrier or something more.  Iniabasi is as short, awkward and defensive as Lorraine Victoria Kanyike as Adiaha is thoughtful, chatty and earnest in making Iniabasi comfortable.  Kanyike and Guerra share some notably humorous moments as they struggle to understand each other sharing quips and slights comparing their contrasting upbringing.  With an occasional nervous chuckle, Kanyike’s Adiaha exhibits anxious and yet it is interesting to witness charisma and confidence in Adiaha who has clearly come into her own while Patrice Jean-Baptiste depicts Abasiama, their loving yet complicated mother. 

Victoria Kanyike and Patrice Jean-Baptiste in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Family tension and strain is palpable right from the start and it is intriguing to watch this impressive cast try to break it in a mix of humorous, intense, and painfully relatable moments.  Jean-Baptiste exhibits a carefully executed mix of excitement, curiosity and apprehension as she searches for avenues of reconnection while still dealing with her own struggles and trauma with quiet and harrowing strength.  Patricia Jean-Baptiste and Guerra share stirringly complex scenes in their strained conversations and Udofia’s moving dialogue.  Rooted in love, anger, brokenness and resentment, they misunderstand each other in vast and impactful ways searching to a sense of belonging speaking from different worlds and yearning for middle ground. 

Patrice Jean-Baptiste and Lorraine Victoria Kanyike in Central Square Theater and Front Porch Arts Collective’s ‘Her Portmanteau’ Photo by Maggie Hall Photography

Her Portmanteau is a remarkably moving chapter about family.  It contains struggles and conflict as well as surprising and heartwarming discoveries that were simply wonderful to watch unfold.

Central Square Theatre with Front Porch Arts Collective continues the world premiere of Mfoniso Udofia ‘s Her Portmanteau live and in person at Central Square Theatre in Cambridge, Massachusetts through Saturday, April 20.  Click here for more information and for tickets.

REVIEW: Boston Lyric Opera’s ‘Carousel’ illuminates in the darkest of times

Posted on by The Sleepless Critic

Anne Bogart establishes an immensely creative way to establish this carousel, but this one is enclosed behind a steel cage.

Under Anne Bogart’s symbolic direction, Shura Baryshnikov’s blend of sweeping and playful ballet-inspired choreography and beautifully conducted by David Angus, Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts.  The action is not limited to the stage and runs 2 hours and 50 minutes with one intermission.  Click here for more information and for tickets.  It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

Edward Nelson as Billy and Brandie Sutton as Julie in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Based on the 1909 Hungarian play Liliom, Rodgers and Hammerstein’s Carousel has stood the test of time as a classic musical with themes that have resonated with audiences and adapted in a number of ways over its 80 year history.  It debuted right here on Boston’s Colonial Theatre stage for its pre-Broadway run on March 27, 1945 and Gordon MacRae and Shirley Jones starred in its 1956 critically-acclaimed film adaptation.  It has also been revived onstage a number of times over the years, but its most acclaimed stage revival occurred in 1994.  This dark and provocative depiction won multiple Tony Awards including Best Revival of a Musical, Best Choreography, Best Scenic Design, Best Musical Direction and a Best Actress win for Audra McDonald as Carrie Pepperidge.

However, I am most fond of it because I was part of a traditional college production as Mrs. Mullin.   Dressed in a thick fur coat, leather maroon skirt and fishnet stockings, Boston Lyric Opera’s Sarah Heltzel holds her own as widow and carousel owner Mrs. Mullin.  Streetwise, lovelorn and more than a little manipulative, Heltzel puts up a tough front that can barely conceal her true feelings for Edward Nelson as complicated and charismatic carousel barker Billy Bigelow.

Set in coastal Maine, Carousel tackles what has been considered controversial themes when it was released in 1945.  Its portrayal of domestic violence, generational trauma and family pressures are some of the darker issues of this musical, but strength, faith, support and community stand just as tall in this production.

Olivia Moon dances at a celebration in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

Earon Chew Nealey and Haydee Zelideth collaborate to showcase wildly modern and vibrant wigs and shimmering costumes which include carousel workers dressed from a glimmering butterfly to elaborate horses.  The script features a few subtle changes, but mostly sticks to the essence of the traditional production 80 years ago. Minor changes can make a big difference such as Jamie Barton’s rendition of When You Walk through a Storm instead of ‘hold your head up high,’ as Nettie’s building vocals advises ‘Keep your head up high.’  However, terms such as ‘scallywag,’ ‘riff raff,’ ‘pollywog’ and ideas such as mill workers having to be back for curfew in a boarding house sounds somewhat awkward within the contemporary glow of the production.

Carrie (Anya Matanovič) and Julie (Brandie Sutton) share a moment in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

 Sara Brown’s mostly barebones set features a multipurpose wooden platform, winding staircase and a rustic wooden set with beach grass, a plant is fittingly and symbolically capable of weathering any storms or conditions.  Brian H Scott’s multicolor lighting embellish these exuberant costumes, the rippling coastline, and its intense moments punctuated by an animated lit halo illuminated above the cast serving various purposes throughout the production. 

Anya Matanovič as Carrie and Omar Najmi as Enoch in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

The orchestra swells and the cast delivers soaring harmonies and rich and flawless vocals.  In denim cut off shorts, sparkling stockings and boots, soprano Brandie Sutton depicts mysterious Julie Jordan and in pink hair and an exuberant fuchsia tutu, soprano Anya Matanovic bursts with joy as Carrie Pepperidge.  Cool and collected Julie with dreamy and transparent Carrie is the envy of all friendships.  These are two strongly bonded women and their compelling and excitable camaraderie unfailingly lift each other up, look out for and support each other in every victory and heartache. 

Edward Nelson as Billy Bigelow charms the crowd in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a black beard and orange suspenders, tenor Omar Najmi portrays staunchly traditional, practical yet big dreamer Enoch Snow.  If you think Carrie has dreams, Enoch’s are bigger.  Enoch is confident of his strengths and Matanovic’s Carrie clearly adores him.  They embark on some sweet moments and humorously curious misunderstandings.

Boston Lyric Opera’s 80th anniversary production of CAROUSEL. Photo by Nile Scott Studios

In a white cowboy hat, black leather vest, tattered black jeans and multicolor hooded sweatshirt, baritone Edward Nelson strikes a chord in a powerful performance as prideful, defensive and contemplative Billy Bigelow.  Nelson not only masters the inflection and intensity of the character especially in a humorous and stirring transformation for Soliloquy, but also captures Billy’s conflicted and anxious demeanor.  Nelson shares some of that conflict with mysterious Sutton in a touching rendition of If I Loved You which isn’t love at first sight, but gently unfolds through song as the ensemble looks on.  They are a consistent presence as stage hands making blossoms fall, workers and community members who are never far away.

Abigail Marie Curran (as Louise) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a flowing black skirt and tied blouse, Abigail Marie Curran as misguided Louise is luminous expressing liveliness, longing, and loneliness in each delicate, athletic and dynamic step.  In fatigues and work boots, baritone Markel Reed delivers some comical moments in slick and tricky Jigger who does little to conceal his shady motivations, especially during Blow High, Blow Low.

Markel Reed (as Jigger Craigin) and Edward Nelson (as Billy Bigelow) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

In a billowing polka dot skirt and vibrant purple hair, mezzo soprano Jaime Barton is inviting as nurturing, wise and discerning Nettie.  Barton is as playful in June is Busting out All Over and This was a real Nice Clambake as Rodgers and Hammerstein’s appetizing lyrics burst forth in succulent glory.  When You Walk through a Storm is a masterpiece and Barton delivers it tenderly.

Nettie (Jamie Barton) and the townspeople post-clambake in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios

It was a remarkable experience to revisit this beloved musical and Bogart’s latest vision does little to affect the show’s inherent story or the timeless message of hope and resilience in the darkest of times.

Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts.   Click here for more information and for tickets.  It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.

REVIEW:  Exploring the world of the sick, American Repertory Theater’s intense ‘Night Side Songs’ not just a lullaby

Posted on by The Sleepless Critic

It’s a shock that will take you out of your world.

Then reality sets in.

With stirring direction by Taibi Magar and musically directed by Alex Bechtel, American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8.  Communal, meaningful and creative, this interactive theater in the round experience runs approximately one hour and 40 minutes with no intermission.  It contains strong language and adult themes.  Click here for more information and for tickets.

It explores the news everyone dreads.  Finding out you are sick. 

Witnessing its 41st performance, this intimate cast depicts a number of characters in different scenarios while occasionally engaging the audience in a casual atmosphere.  It time jumps from the 12th century to the present day while addressing the calendar date the performance takes place and is dedicated to the sick, healthcare workers and caregivers by blending themes about relationships, sickness, mortality, and grief through acting, song and sing-along utilizing improvisation along the way. 

Robi Hager in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs immerses itself into uncomfortable and harrowing territory with patches of hope and beauty that will either be fascinating and draw you in and never let go or hope it’s all over soon.  It may not be for everyone, especially if you are squeamish about certain aspects of illness but have no choice but to get through it.  Much like being sick can be.

Mary Testa in A.R.T.’s world-premiere production of Night Side Songs. Produced in Credit: Nile Scott Studios

This warm and dedicated group showcases a number of scenarios, but the main storyline centers around Yasmine who discovers she has cancer at 41 years old in Worcester, Massachusetts.  Brooke Ishibashi delivers a raw and heartrending performance as Yasmine who must navigate her life in an entirely different way in an attempt to get well while facing obstacles in her path.  Mary Testa offers wit and self deprecating humor as Yasmine’s well meaning but overbearing and anxious mother Desiree who assures Yasmine that they come from a family of miracles.  Isibashi shares some endearing moments with Jonathan Raviv as warm and nurturing Frank.

Brooke Ishibashi and Jonathan Raviv embrace in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Each performer delivers affecting and inviting vocals and their solo performances are the most memorable.  The onstage musicians also interact with the performers and audience and the songs by The Lazours are an eclectic variety ranging from catchy to cathartic to ballads.  Some of the highlights in the therapeutic sing-along include Let’s Go Walking, Into the Sky and the poignant Will You Let me Know.

Jordan Dobson in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Night Side Songs approaches this handful of tales with dark humor, absurdity, science and realism peppered with relatable scenarios.  It can be uneven in tone at times.  How can anyone not relate to overwhelming and unexpected medical bills and drug side effects, but a song showcasing how people inaccurately make assumptions how someone gets sick in The Reason comes off more condescending than sincere and funny.  Illness is filled with fear and uncertainly.  People just don’t know what to say.

Jonathan Raviv in A.R.T.’s world-premiere production of Night Side Songs. Credit: Nile Scott Studios.

Part unconventional love story and part tragedy, Night Side Songs expresses appreciation for the little things in life and relies more on camaraderie and community than faith and optimism while traveling to some grim places. It is informative offering coping methods with the unexpected and it is important to have a show like this to bring support and solidarity in times like these, but however I was moved, I was still left uncomfortable.

American Repertory Theater in association with Philadelphia Theatre Company continues Night Side Songs live and person at Hibernian Hall in Boston, Massachusetts through Sunday, April 20 after previously taking the stage at the Cambridge Masonic Temple in Cambridge, Massachusetts through April 8.  Click here for more information and for tickets.

REVIEW:  Greater Boston Stage Company’s zany ‘The Play that Goes Wrong’ has the right idea

Posted on by The Sleepless Critic

‘Come rain, come sleet, the show must go on!’

Singin’ in the Rain’s Donald O’Connor as Cosmo uttered this classic line from the beloved 1952 film which has been inspiring theatres for generations.  Greater Boston Stage Company’s The Play that Goes Wrong shows that rain and sleet are just a tip of the iceberg in a laundry list of all that can go wrong and you’ll be sure to delight in witnessing many of them here.

No matter what, the show must go on.

Buckle up for a bumpy ride courtesy of the Cornley Polytechnic Drama Society as they deliver an unconventional whodunit production that has Paul Melendy as an inspector engraving crime scene notes into a flower pot not to mention a dog missing somewhere on the premises!  If this all seems preposterous, that is just a glimpse into the inspired laughs at Haversham Manor in The Play That Goes Wrong.

The cast of Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

Methodically directed by Tyler Rosati, Greater Boston Stage Company continues The Play That Goes Wrong by Henry Lewis, Jonathan Sayer, and Henry Shields continuing at Greater Boston Stage Company in Stoneham, Massachusetts through Saturday, April 19. This semi-interactive production is not limited to the stage and runs approximately two hours with one intermission. Click here for more information and tickets.

The Play That Goes Wrong is a British farce that first hit the London Stage in 2012 before it went on to make its way around the globe.  This award-winning whodunit play-within-a-play became so popular that it bore BBC’s The Goes Wrong Show lasting two seasons including holiday specials.

Sarah Gazdowicz, Liam Grimaldi and Paul Melendy in Greater Boston Stage Company's 'The Play that Goes Wrong' Photo by Maggie Hall Photography
Liam Grimaldi and Paul Melendy in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

After some interactive, pre-show comedic antics by Ceit Zweil as resolute stagehand Annie, Paul Melendy as Cornley’s warm yet befuddled director Chris sets the stage for what this enthusiastic and determined acting troupe has in store for its audience. What makes The Play That Goes Wrong particularly entertaining is just how well timed the cast must collaboratively be in order to make this type of auspicious theater.

Ceit Zweil and Sarah Morin in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

From an unpredictable corpse portrayed stealthily by Stewart Evan Smith to the various degrees of hysterics demonstrated by Sarah Gazdowicz and Ceit Zweli as well as various cast members’ feigned composure under fire, The Play That Goes Wrong runs the gamut from missed cues to an utterly sinking ship.  Zweli as stagehand Annie and Jeff Mahoney as baffled yet undeterred Duran Duran fan sound man Trevor are wonderful as they take the heat at times for guffaws from subtle to catastrophic in a perplexed malaise.

Mark Linehan, Ceit Zweil and Paul Melendy in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

With a sophisticated air adorned in an elegant and cascading dress, Gazdowicz as Sandra flails and flaunts with poise and urgency determined to portray Florence. She shares some frivolous moments with Liam Grimaldi who is occasionally overexaggerated as bad actor Max.   Sarah Morin as Denise demonstrates propriety and shrewdness in her deadpan delivery of occasionally tongue tied Butler Perkins while Mark Linehan delivers wit and gravitas as Robert who contributes to the clever sight gags and a wealth of hilarious improvising.

Sarah Gazdowicz, Liam Grimaldi and Paul Melendy in Greater Boston Stage Company's 'The Play that Goes Wrong' Photo by Maggie Hall Photography
Liam Grimaldi and Paul Melendy in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

Costume designer E. Rosser captures the madcap essence of the British, upper crust atmosphere from various patterns and mismatched plaids to dapper three piece suits including a signature Inspector trench coat while Peter Colao and Danielle Ibrahim’s innovative and extraordinary set design brings in as many laughs as the cast’s humorous antics.  Accompanied by James Cannon’s cryptic and humorously misguided sound design and Katie Whittemore’s standout and suspenseful lighting, Haversham Manor’s elegant bookcase, classic wooden grandfather clock, brick fireplace, a functioning elevator, velvet sofa and second floor study all seem to have a life of their own in this delightful show.

Ceit Zweil, Sarah Gazdowicz, Paul Melendy and Mark Linehan in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

Though a few of the running gags can go on a bit too long, The Play that Goes Wrong is a fun way to let loose and enjoy a lighthearted production where flustered cheeks become the norm and to find out just how far this entertaining group will go to for an uproarious good time.

Paul Melendy and Mark Linehan in Greater Boston Stage Company’s ‘The Play that Goes Wrong’ Photo by Maggie Hall Photography

Greater Boston Stage Company presents The Play That Goes Wrong by Henry Lewis, Jonathan Sayer, and Henry Shields continuing through April 19 at Greater Boston Stage Company in Stoneham, Massachusetts.  Click here for more information and tickets.

REVIEW:  Love reigns supreme in The Huntington’s whimsical ‘The Triumph of Love’

Posted on by The Sleepless Critic

Witness impassioned lovers and the loved overwhelmed.

Directed shrewdly by Loretta Greco,  this is the language of love in Pierre Carlet de Chamblain de Marivaux’s French romantic farce, The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6.  This whimsical tale runs two hours and 15 minutes with one intermission and Joanna Strapp stepped in for Marianna Bassham as  Léonide for this performance. This production is also available to stream. Click here for more information and for tickets.

The cast of The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

The Triumph of Love waxes poetic about love and then some in this elaborate love story that contains as many declarations of love as lighthearted comedy.  Though The Triumph of Love was written in 1732, it contains insightful ideas, humor, and a classic storyline that connected with its era just as effectively as it does a contemporary audience in delightful ways.

If love is a battlefield, Alison Altman as confident, passionate, and outspoken Léonide is a commander.  In a layered and juicy love story,   Princess Léonide pursues naïve and sheltered Agis, portrayed nobly by Robert Kellogg, who is sequestered in Hermocrate’s country retreat.  However, in order to get close enough to Agis, Altman and Avanthika Srinivansan as her humorous maid Corine must disguise themselves as men and execute a delicate, devious, absurd and yet brilliant scheme to win her true love by using all the wiles she knows how.

Left to right: Allison Altman, Rob B. Kellogg in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Junghyun Georgia Lee’s serene scenic design boasts a lovely garden landscape embellished with lemon trees, florals, vine covered walls, and a stone bench while Fan Zhang intertwines classical and contemporary French flair to Zhang’s original music and sound design.  The painted skyline fades from turquoise to pastels to aquamarine through Christopher Akerlind’s romantic lighting expressing the progression of the day.  Lee also demonstrates 18th century French fashion beautifully in elegant silk gowns with petticoats, fingerless gloves, colorful cravats, refined vests and boots as well as finely detailed frock coats with gold embellishments and multicolor garments.

Left to right: Marianna Bassham, Allison Altman, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Led by Alison Altman as Princess  Léonide whose complex character is somewhat of an antihero,  The Triumph of Love champions a remarkable cast and Marivaux’s script offers each character an opportunity to shine during the production.  Occasionally addressing the audience,  Altman’s relentlessly determined Léonide has some earmarks of both hero and villain.  She is conscious of her power to influence and manipulate while pulling the strings of each character for love’s sake.  Resisting her charms is near impossible and Altman masters this multidimensional character with finesse though you may be occasionally torn about her decisions.

Left to right: Marianna Bassham, Nael Nacer in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Altman’s Léonide shares enchanting chemistry with nearly everyone, but her brief encounters with Kellogg as Agis are sweet and splendid.  They are adorable together and it’s easy to root for this pair.  The plot thickens pretty quickly and most of this lighthearted farce is not meant to be taken seriously.  

Strapp  as Léontine and Nael Nacer as Hermocrate portray virtuous and staunchly reasonable siblings who have shut out the world with their nephew Agis to pursue the intellectual life.  The entire cast delivers sharp comic timing and while Vincent Randazzo as Harlequin get his share of laughs, Strapp and Nacer’s moments of exasperation, panic and self aware humor is first rate as exemplified in one instance where Nacer looks around and softly wonders, ‘Why am I standing here?’  With realizations so innocent and captivating, it won’t take you long to love them both. 

Left to right: Patrick Kerr, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll

Statements such as ‘God forbid there should be love in that house’ and  ‘Perhaps if I could be hilarious for awhile, I could amuse myself to death’ are just a couple of the hilarious quips uttered by Vincent Randazzo as Harlequin, Hermocrate’s valet.  Rambunctious and mischievous, Randazzo’s frank delivery and gossipy nature are only outdone by his comical facial expressions.  With Patrick Kerr as practical gardener and straight man Dimas, they make a wonderfully humorous duo.   

Madcap and absorbing, bring love to the front lines with The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This production is also available to stream.  Click here for more information and for tickets.

REVIEW:  Life’s meaning through theatre in Harbor Stage Company’s witty ‘My Dinner with André’

Posted on by The Sleepless Critic

Dinner with a friend or a long lost and former long time mentor can have its moments. 

However, when it’s co-written by multitalented comic, character, and voiceover actor Wallace Shawn and actor, director and playwright André Gregory, it becomes an intriguing venture into the power of theatre.

Harbor Stage Company presents an original adaptation of My Dinner with André live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, March 30.  This production is 90 minutes with no intermission.  Click here for more information and for tickets.

Jonathan Fielding and Robert Knopf in Harbor Stage Company’s ‘My Dinner with André ‘ Photo by Joe Kenehan

The “inconceivable” villain Vizzini in film classic The Princess Bride, the voice of Rex the dinosaur in the Toy Story series, and Young Sheldon’s eccentric physics mentor are just a few of Wallace Shawn’s most popular roles.  Though My Dinner With André was created before these later successes, this critically acclaimed 1981 indie film starring Shawn and Gregory in the title roles gained its own cult following, especially among theatre lovers.  Wallace’s voice and presence is always distinctive and the writing in this piece offers glimpses of that intellectual charm, wit and humor in little moments of life’s realizations and nuances.  However, it should be noted that these two characters are not necessarily patterned after this co-writing duo, even if they are named after them.

Harbor Stage Company received special permission from Wallace Shawn and André Gregory to adapt this film to the stage for the first time in the United States and it translates beautifully.  It transforms it into theatre within a theatre experience and this adaptation is so naturally done, that it is hard to imagine that Dinner with André was not originally a stage production.   

Set in a stylish corner booth enhanced by John Malinowski’s soft and atmospheric lighting, Evan Farley elegantly creates an authentic upscale restaurant ambiance.  Framed reflective mirrors above the colorful booth and fine details of the embossed crown molding complete this inviting set design as classical music including Satie’s Gymnopédie plays gently in the background.

Jonathan Fielding portrays anxious out of work actor Wallace who is dreading having dinner at a fancy French restaurant in New York City with Robert Knopf as André, mainly because Wallace is not sure what to expect.  What transpires is a sophisticated three course meal that dives deep into life’s mysterious meaning, city life, the art of theatre, the artists’ past experiences, and philosophizes about what is truly important as the next adventurous course is served.  Their exchanges on humans and robots seem timeless as if this production was written yesterday.

Robin Bloodworth, Jonathan Fielding and Robert Knopf in Harbor Stage Company’s ‘My Dinner with André ‘ Photo by Joe Kenehan

My Dinner with André makes thought provoking observations on theatre and how it applies to and reflects reality and the conversation often veers into an unexpected direction which could come off  as awkward had not been for the skilled instincts of these two actors and their observance and self aware comic timing.  Gregory tells outlandish stories about his life experiences and experiments and how it relates to theatre.  Wallace seems a little more guarded and the bemused look on Fielding’s face as Andre’s stories get more bizarre perhaps reflects the audience’s amazement among those anticipating a twist.

While Fielding’s Wallace is frank and forthright with a casual charisma as he engages the audience, Knopf’s charisma lies in his intimate and confiding demeanor with Fielding and warm exchanges with Robin Bloodworth as the attentive waiter. André seems more of an adventurer in search for greater meaning while Wallace is contented in the little things.  Knopf can certainly hold an audience in his deep and animated exchanges with Fielding and their good natured debating is always done with mutual respect. 

Cut out all the noise and have dinner with André, especially if you love theatre.  My Dinner with André blends insightful banter, witty dialogue and subtle humor into a memorable reunion among friends.

Harbor Stage Company presents an original adaptation of My Dinner with André live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, March 30.  This production is 90 minutes with no intermission.  Click here for more information and for tickets.

REVIEW: Featuring a stellar cast, a riveting and indelible ‘Parade’

Posted on by The Sleepless Critic

A blanket and balloon have never held greater meaning under Georgia’s magnolia trees and endless sunshine.

Taking place nearly 50 years after the Civil War in 1913, Max Chernin depicts Leo Frank, a quiet and disciplined Jewish Brooklynite who is working hard to build a life in Georgia with his Southern wife Lucille, portrayed by Talia Suskauer, when one harrowing night changes everything.  Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime. 

When truth is set aside, where is there to turn?

Winner of two 2023 Tony Awards for Best Revival of a Musical and Best Direction of a Musical by Michael Arden with evocative choreography by Lauren Yalango-Grant and Christopher Cree Grant, the national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23.  Based on a true story, this riveting production runs 2 hours and 30 minutes including one intermission.  Click here for more information and for tickets.

Max Chernin (center) and company in the National Tour of PARADE, photo by Joan Marcus

It is particularly significant that Parade is on tour in Boston due to Massachusetts’ foundational roots including its Cradle of Liberty nickname, but also timely because Parade’s Boston run occurs through Purim, a Jewish festival rooted in the Book of Esther celebrating a historic Jewish triumph over oppression.

This captivating musical is based on a gripping true story and evokes a wide range of emotions.  Like a parade, it spectacularly unfolds with an opening drum roll of The Red Hills of Home boasting gorgeous harmonies, splendor and Michael Arden’s acclaimed and seamless direction as well as Dane Laffrey’s moving and sweeping scenic design.   

Adorned in vivid bunting as lights descend from the ceiling, Dane Laffrey’s elaborate and rolling set transforms from a wide open field into a wooden courtroom blending Sven Ortel’s descriptive projection design of dramatic and documentary-style elements revealing historical photos of the real people, places and newspaper headlines as crucial dates trace the events of the story.  Billowing clouds and colorful landscapes stand out vividly between the black and white footage.  Susan Hilferty and Mark Koss impressively capture the essence of the era in pastels, frills, smocks, three piece suits, newsboy caps, parasols, and brimmed hats.   

The National Touring Company of PARADE, photo by Joan Marcus

Having seen Jason Robert Brown’s The Last Five Years, Brown has a gift for articulating a vast range of complex emotions and glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and from rueful to optimistic.  The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought provoking.

Max Chernin and company in the National Tour of PARADE, photo by Joan Marcus

Featuring a large and stellar cast of approximately 30 people with many of them portraying more than one role, I was blown away hearing the depth and resonance of this particular array of amazing and occasionally a cappella vocals under Charlie Alterman’s magnificent music direction.  Chernin’s vocals have a unique beauty as he embodies Leo’s stark loneliness and deft humor in How Can I Call this Home.  With gravitas and sincerity, Chernin is excellent as Leo as he shares his thoughts in melodious vocals and quiet candor especially during his remarkable ballad, It’s Hard to Speak my Heart.  He has elevating chemistry with Talia Suskauer as spirited and resourceful Lucille and they create powerful harmony for the lively and optimistic duet It’s Not Over Yet and a stunning rendition of All the Wasted Time.

Talia Suskauer and Max Chernin in the National Tour of PARADE, photo by Joan Marcus

Jack Roden is mesmerizing as Frankie Epps, especially during a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmonies to foreboding of a boy maturing in an instant.  Roden and Olivia Goosman as exuberant Mary Phagan share some endearing scenes for the catchy The Picture Show.

Olivia Goosman, Jack Roden and company in the National Tour of PARADE, photo by Joan Marcus

Griffin Binnicker shines as charismatic yet contentious Tom Watson as he leads the urgent Hammer of Justice and Michael Tacconi is notable as scandal thirsty reporter Brett Craig desperate to revive his career in the darkly playful hymnal Real Big News.

The National Touring Company of PARADE, photo by Joan Marcus

Parade’s layered and stirring choreography is demonstrated in the hypnotic turn and parallels of The Factory Girls to the mischievous spring of Pretty Music with impressive Chris Shyer as slick Governor Slaton jubilantly spinning ladies across the dance floor.  Another highlight is the clanking rhythms and chilling choreography of Feel the Rain Fall with Ramone Nelson’s commanding vocals as mysterious Jim Conley and the telling and satirical number Where will you Stand when the Flood Comes.

Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE, photo by Joan Marcus

Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking.  A haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of storytelling that is sure to stay with you long after the production is over. 

Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus

The national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23.  Click here for more information and for tickets.

REVIEW:  Her struggle for power in Apollinaire Theatre’s ‘Hedda Gabler’

Posted on by The Sleepless Critic

It’s becoming quite a day and Hedda Gabler has just about had enough.

Intolerant, impatient, and excruciatingly bored, Parker Jennings brings spark to Hedda Gabler, an entitled general’s daughter who settled for her husband because she felt like she was running out of options.  Some of Parker’s best moments depict the phony and tight smile forcing its way across her lips in public before glowering when no one is looking.

Directed by Danielle Fauteux Jacques, Apollinaire Theatre Company continues Hedda Gabler live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, March 16.   Henrik Ibsen’s classic psychological thriller runs approximately one hour and 45 minutes with no intermission.  Click here for more information and for tickets.

The cast of Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Gazing out into Hedda’s world from one solitary angle, it becomes clear that the audience is limited exclusively to Hedda’s single-minded perspective in this dark tale.  Set in the 1890s, Hedda Gabler focuses a full day inside the drawing room of the Tesman villa in Kristiania, Norway.  Joseph Lark-Riley’s tense and chilling sound design infused with a mix of ominous and soft flickering lights by Danielle Fauteaux Jacques enlivens some of the idle chatter and gossip exchanged during the production.  Lark-Riley also delivers a sophisticated set full of dainty flowers, bookcases, and a vintage piano sitting center stage as cast members alter the set from scene to scene.  Elizabeth Rocha’s delicate and finely detailed costumes reflect the Victorian era in distinguished three piece suits, florals, silks, and extravagant lace.

Parker Jennings as Hedda and Conall Sahler as Tesman in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Each character is either onstage or sitting on the sidelines, but the most significant impact is Parker as Hedda’s constant presence even prior to making her first appearance.  She is always looming in the background within the audience’s vantage point needing our constant attention.

After just returning from a six month honeymoon, newlyweds Conall Sahler as sweet and well meaning yet tedious academic Tesman and Parker Jennings as Hedda are hosting a visit with Paola Ferrer as kindly and uncomfortably intrusive, but perhaps not by societal standards, Julianna.  Earnest, kindhearted and generous, Julianna has a strong bond with her nephew Tesman and strives to make him happy. 

Paola Ferrer as Julianna and Conall Sahler as Tesman in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

Having never read or seen this Ibsen classic before, Hedda Gabler takes a bit to get going, but nothing quite prepares you for Parker’s instantly unsettling entrance.  In a white ruffled sundress, Parker is certainly a vision as Hedda and can barely muster a smile for Ferrer’s Julianna even in the face of Julianna’s warm generosity. 

Hedda Gabler is a psychological thriller from the perspective of Hedda Gabler who sees her world as monotonous and it seems the most scandalous parts of the production take place outside this villa and merely discussed by members of the cast.  Ibsen’s classic is a brilliant portrait of a selfish and shrewd narcissist and the show has suspense, but if the audience is witnessing Hedda’s world from her perspective, the production’s more stagnant scenes seem meant to appear that way.  Even with Cristhian Mancinas-Garcia as cunning Brack and Joshua Lee Robinson as impressionable Lovborg, the stakes do not seem as convincingly high as they should be. 

Cristhian Mancinas-Garcia as Brack, Joshua Lee Robinson as Lovborg, and Ann Carpenter as Berta in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

A juggernaut of outbursts and fury, Parker’s Hedda is pivotal to this role because she carries the brunt of the tension and Parker has quite a challenge to keep this tension teetering and unstable.  Disappointed in Tesman and their life together, Hedda longs for an act of spontaneous beauty and will stop at nothing to stir up thrills in her life, whatever the cost.

Parker Jennings as Hedda and Kimberly Blaise MacCormack as Thea in Apollinaire Theatre Company’s ‘Hedda Gabler’ Photo: Danielle Fauteux Jacques

This period piece squarely delves into the limitations of a Victorian woman.  Expected to get married, have babies, and settle down into a subservient existence, Hedda wishes for something more and sets her own path way ahead of her time.  

Apollinaire Theatre Company continues Hedda Gabler live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, March 16.   Henrik Ibsen’s classic psychological thriller runs approximately one hour and 45 minutes with no intermission.  Click here for more information and for tickets.

REVIEW:  Family dynamics in The Huntington’s world premiere of Mfoniso Udofia’s ‘The Grove’

Posted on by The Sleepless Critic

What comes before you is not as powerful as what comes next.  Forging ahead has never been more difficult for Adiaha in The Grove.

Abigail C. Onwunali in The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

With skillful direction by Awoye Timpo and captivating choreography by Adesola Osakalumi, The Huntington presented the world premiere of The Grove, the second of Ufot’s  nine-play family cycle, live and in person at The Calderwood Pavilion in Boston, Massachusetts through Sunday, March 9 and is currently available to stream online.  This intriguing bilingual production in English and Ibibio runs 1 hour and 45 minutes with one intermission.  The Ufot Family Cycle features three Ufot Nigerian-American family generations.   Click here for more information and how to steam this production.

The cast of The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

Jumping from 1978 in The Sojourners to Worcester, Massachusetts in 2009, The Grove explores family roots, identity, and more as Adiaha’s struggles under the anxiety of facing her extended family as she carries a secret that she fears is against her Nigerian heritage and will ruin her family’s expectations.

Lit brilliantly by Reza Behjat, a silvery, translucent and multipurpose carousel backdrop not only serves as an extension into other scenes, but as a mysterious window into another world which features allegorical figures and inspiration for Abigail C. Onwunali as introspective perfectionist Adiaha Ufot, the eldest daughter in the Ufot household.  The production opens to the Ufot family cooking and meticulously housecleaning to prepare for Adiaha’s master’s degree graduation under the direction of Ufot’s father and patriarch Disciple, depicted with righteous enthusiasm by Joshua Olumide.  A grandfather clock, wooden stove, living room with sofa and chairs provide a portion of Jason Ardizzone-West’s sleek and innovative set.

Janelle Grace and Ekemini Ekpo of The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

The Grove has a strong cast sharing a tight family bond, each holding their own deep convictions within an umbrella of expectations.  In spite of his Disciple’s objections, Amani Kojo as Adiaha’s little brother Ekong Ufot dares to embrace the world around him and adopt American culture.  Kojo as determined Ekong seems an unconventional voice of reason within the family remaining vigilant under his father’s pressure.

Left to right: Janelle Grace, Joshua Olumide, Abigail C. Onwunali, and Patrice Jean-Baptiste in The Grove; directed by Awoye Timpo; photo by Marc J. Franklin

 Olumide as Adiaha’s orthodox father Disciple, a PhD scholar himself, staunchly urges his oldest daughter Adiaha forward through higher education in hopes of marrying her off so she can carry on Nigerian tradition in her own family.  Disciple’s insistent nature and urgency reverberates with Onwunali’s Adiaha as she anxiously follows another path weighed down by the fear of disappointing him.  Onwunali encapsulates this role in her pleading demeanor exemplified by her nervous and short answers attempting to tow the line for her family and what is expected of her.  Adiaha’s plight to be who her family wants and her own dreams are being squashed within and it is impossible not to feel for this young woman. 

Left to right: Paul-Robert Pryce, Makuda Steady, and Joshua Olumide in The Grove; directed by Awoye Timpo; photo by Marc J. Franklin

Aisha Wura Akorede as Toyoima Ufot shares a credible sibling rapport with Onwunali as Akorede delivering teasing yet tough love.  Akorede brings lightheartedness and some laughter as the subject matter intensifies.

Patrice Johnson Chevannes is impressive as conflicted Abasiama, exhibiting Abasiama’s struggles and trauma with quiet and harrowing strength as a traditional Nigerian wife and mother in a sly and powerful scene with Adiaha.  Abasiama also shares some amazing scenes with Disciple recalling their long and complex history.

Abigail C. Onwunali and Patrice Johnson Chevannes in The Huntington’s production of Mfoniso Udofia’s The Grove, directed by Awoye Timpo; photo by Marc J. Franklin. Running February 7 – March 9, 2025 at the Calderwood Pavilion at the BCA (527 Tremont St, Boston, MA, 02116).

Adiaha’s outlet into herself is through her writing as mysterious voices and shadows, depicted vividly by Ekemini Ekpo, Janella Grace, Patrice Jean-Baptiste, Dayenne Walters, and Chibuba Bloom Osuala, are a driving force and play a uniquely powerful collaborative role in this production.

A journey of discovery, The Grove delivers a familiar storyline in a distinctive and fascinating manner.  Its artistry, symbolism and multi-layered style of storytelling embellish every aspect of the production into a new and refreshing experience.

The Huntington presented the world premiere of The Grove at The Calderwood Pavilion in Boston, Massachusetts through Sunday, March 9 and is currently available to stream online.  Click here for more information and how to steam this production.

REVIEW:  Far from home in American Repertory Theater’s innovative world premiere of ‘The Odyssey’

Posted on by The Sleepless Critic

Ten years have passed and Penelope holds onto hope her King will return while life marches on.

Actress and playwright Kate Hamill has offered new perspectives to various works including Jane Austen’s beloved novels Pride and Prejudice, Sense and Sensibility and Emma.  Hamill darkly re-imagines Homer’s epic Greek mythology poem and plays an exciting role in American Repertory Theatre’s world premiere of The Odyssey which is as innovative as it is thought provoking.

Directed imaginatively by Shana Cooper, American Repertory Theater continues its world premiere of Kate Hamill’s The Odyssey live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Sunday, March 16.  This epic production has adult themes, violence and runs three hours including two intermissions.  Click here for more information and tickets.

Members of the cast in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

I’m not a big fan of mythology, but who could forget the treacherous and conflicted journey of war-addled Odysseus as he perilously embarks on his journey home consumed by nightmares and at one point, even forgetting himself. 

Three hours may sound like a lengthy stretch of time, but this gripping tale picks up immediately into Odysseus’s perilous and monumental journey. It is a good idea to get a refresher on the tale before attending the production.  Homer’s The Odyssey is considered one of the most influential and most read mythological works of all time and Hamill’s reimagining mixes classic with the contemporary that delivers not only occasional moments of relatable humor but enhances the poem’s universal moral focus.

Members of the cast face Polyphemus in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

The Odyssey unfolds with Sibyl Wichersheimer’s dual level, Grecian and ship-inspired set featuring beige textured walls, hanging buoys, colorful and stylistically embroidered artwork, wicker and wood set pieces, and pristine tensile structured sails scattered throughout the stage.  Lighting and projection designer Jeanette Oi-Suk Yew with puppeteer Abigail Baird take inspiration from Greek illustrations for luminous shadow projections  who are often larger than life and transforming the set from a ship teetering in a storm to Hades itself or skillfully navigating shadows to augment a powerful giant and its threatening eye.

Wayne T. Carr, Kate Hamill, Alejandra Escalante, and Nike Imoru in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall

Led by Wayne T Carr, who is impressive as traumatized, tormented and yet resourceful commander King Odysseus of Ithaca, sacrifices, betrayals, and illusions are just a tip of the iceberg in Odysseus’s treacherous journey to find his way home as the Moirai, portrayed by Alejandra Escalante, Kate Hamill, and Kristian Espiritu, visit Odysseus’s dreams, nightmares and eat away at his conscience.  The Moirai have great chemistry and share a few darkly comical moments while they advise, taunt, discern and engage the audience while guiding Odysseus in his next step depending on his prideful wrongdoings.  The trio takes on  several roles throughout the production ranging from pivotal characters to adorable wild animals.

Alejandra Escalante, Kate Hamill, Nike Imoru, and Wayne T. Carr in The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

Overwhelmed and weighed down by his past, Carr illustrates Odysseus’s harrowing conflict through tragedy and despair after fighting in the Trojan war while agonizing over seeming impossible choices and yet, it is difficult not to root for him even as he follows the wrong path.  Jason O’Connell portrays a number of roles including Odysseus’s right hand man, Pilates and they share an intense and notable moment about prayer, miracles and blessings in Odysseus’s struggle as Odysseus looks on helplessly.  Carr manages to keep Odysseus’s plight sympathetic throughout his journey which quite literally includes the stuff of Hades.

Kate Hamill and Wayne T. Carr in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

Kate Hamill relishes her role as legendary trickster and temptress sea witch Cerce and is one of the most fascinating characters in the production.  Candid and condescending, Hamill brings to life Cerce’s provocative nature and possesses sharp and darkly comic timing as she tows the line between deceit, truth and cruelty while pushing others to the brink.

Keshav Moodliar, Chris Thorn, Wayne T. Carr, and Nike Imoru in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

Army vests, cargo pants, boots, fatigues, furs, sunglasses, embroidered capes, detailed gowns and majestic shawls are just a portion of An-Lin Dauber’s edgy and dynamic wardrobe.  Chris Thorn, Benjamin Benenfant and Kesev Moodliar portray a trio of raunchy, rugged and power hungry reveler suitors who relentlessly pursue Andrus Nichols as Penelope as they think the king is dead.  However, Moodliar as Amphinomus is kind to conflicted Penelope, as she raises Carlo Albán as her son Telemachus to become a warrior, despite his misgivings.  Nichols depicts a raw strength, shrewdness and fortitude as Penelope and she holds onto hope for her King’s return.

Andrus Nichols and Wayne T. Carr in A.R.T.’s world-premiere production of The Odyssey. Credit: Nile Scott Studios and Maggie Hall.

American Repertory Theater continues its world premiere of Kate Hamill’s The Odyssey live and in person at the Loeb Drama Center in Cambridge, Massachusetts through Sunday, March 16.  This epic production has adult themes and runs three hours including two intermissions.  Click here for more information and tickets.