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REVIEW: Fueled by powerhouse performances, Lyric Stage’s ‘All My Sons’ a riveting and indelible tale

Posted on 5 Days Ago by The Sleepless Critic

Come closer.

A little bit closer.

Now you have some idea how close I was leaning forward in my seat, entangled in the rising and palpable tension in Lyric Stage’s All My Sons.

Having never witnessed any iteration of All My Sons before watching Lyric Stage’s gripping production, it was immediately clear why Arthur Miller’s multilayered Post World War II tale is a classic brimming with universal truths. Having recently witnessed the dated 1948 film of the same name, it also became clear to me that Lyric Stage’s All My Sons is so jaw droppingly good, I would gladly see it again.

Directed meticulously by Scott Edminston, Lyric Stage Boston has extended Arthur Miller’s drama All My Sons live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 25. This excellent production runs two hours and 20 minutes with a 15-minute intermission. Click here for more information and for tickets.

Julian Hirshfield and Bill Moots in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

At one time in history, everyone knew their neighbors. They stopped by unannounced. They watched over each other’s children. They bonded like family. They shared their stories, dreams, and hardships…even if relationships became strained.

Scenic designer Janie E. Howland produces an ideal and picturesque 1940s suburban setting at the Keller household with a wraparound porch and white picket fence, surrounding terrace, window garden and cushioned porch swing. Fallen leaves surround the house and the finer details in Karen Perlow’s moody and suspenseful lighting offers glimpses of a tree’s reflection off the second floor window. Taffeta, chiffon, silks, and floral patterns accented with a string of pearls, plaids and distinct 40s patterns shape Chelsea Kerl’s nostalgic costumes. Oleg Smirnov delivers a contemplative and soothing guitar-tinged sound design as secrets and revelations gradually come to light.

Bill Mootos and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Taking place approximately over a 24-hour period in 1947, Mark Sousa as Chris Keller approaches Bill Mootos as his father Joe, to reveal Chris is hopelessly in love with Josephine Moshiri Elwood as Annie. Annie is not only a childhood neighbor Chris grew up with, but his brother, Larry’s girlfriend who has been reportedly missing in action for three years. As Chris attempts to convince his father to let Larry go, Larry’s memorial tree had fallen the night before and Laura Marie Duncan as Chris’s mother Kate insists that it is a sure sign that Larry is still alive.

Laura Marie Duncan and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Not only does this entire cast exude a natural and familial rapport, but each character leaves a lasting impression. Neighbors come by unannounced and visit with a natural affinity for one another. Mootos delivers a remarkable and multilayered performance as Joe who seamlessly fluctuates between charming and a seemingly easygoing neighbor and family patriarch torn between the happiness of one son and the hope that the other will return and a cagey and ambitious businessman recently exonerated for a crime he may or may not have committed.

Sousa is remarkably well cast not only in his tenacious performance as Chris, but his resemblance to Mootos. Their tense familial chemistry makes it easy to see them as father and son.

Josephine Moshiri Elwood and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Elwood’s Annie is warm, pleasant and cheerful, but Elwood genuinely shines evoking Annie’s lurking anguish caught in the middle of a family she grew up with. She shares some particularly memorable scenes with Laura Marie Duncan as complicated Kate and Allison Beauregard makes a lasting impression as Sue in a brief yet pivotal scene with Elwood.

Allison Beauregard and Josephine Moshiri Elwood in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Laura Marie Duncan is enthralling as Chris’s mother and gifted homemaker Kate Keller who is incredibly skilled at taking characters under her wing and charismatically making them feel at home. Warm, energetic yet distraught over her missing son, she fusses, but yet there is something more. Duncan is exquisite, especially in a pivotal scene with Quinton Kappel who makes an impact as a seething and determined George. Nurturing and influential, Duncan as Kate expertly disarms George with careful words and an easy embrace. It is a wonder to witness.

Josephine Moshiri Elwood, Bill Mootos, Laura Marie Duncan and Quinton Kappel in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

All My Sons is a multilayered and mysterious tale that contains timeless and complex reflections in a post World War II world, the longing for normalcy, grief and complicated relationships and family conflict. It also boasts humor, an amazing cast, rich characters, gripping scenes and mounting tension that rise to an unpredictable conclusion. It is a show that stayed with me long after the production was over.

Mark Sousa, Laura Marie Duncan, Bill Mootos, and Josephine Moshiri Elwood in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Lyric Stage Boston has extended Arthur Miller’s All My Sons live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 25. Click here for more information and for tickets.

REVIEW: Path of a trailblazing woman in Central Square Theater’s fascinating ‘Eleanor’

Posted on 16 Days Ago by The Sleepless Critic

Many stories start with love but this one opens with betrayal.

Mark St. Germain’s Eleanor plants one foot inside the past and the other experiencing today’s world from the Rose Garden’s lush greenery in Hyde Park, New York where President Franklin Delano Roosevelt and Eleanor Roosevelt are buried. Donning a classic stylish blue gown, hat and pearls by costumer Rachel Padula-Shufelt, Paula Plum delightfully embodies Eleanor Roosevelt who is more than ready to share her side of the story many years later.

Thoughtfully directed by Bryn Boice, Central Square Theater continues Mark St. Germain’s Eleanor live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, October 11. This enlightening one-woman production boasts valuable captions and runs approximately 90 minutes with no intermission. Click here for more information and for tickets.

Paula Plum in Central Square Theater’s ‘Eleanor’ Photo by Nile Scott Studios

Enhanced by Mackenzie Adamick’s serene sound design and light designer Karen Perlow’s warm and inviting tones, set and projection designer Justin LaHue recreates Hyde Park’s stately and peaceful Rose Garden on a tiered set which includes a birdbath and park bench utilized during the production. Dynamic projections enliven tall green hedges from sweatshops to vintage New York to ocean waves to a comprehensive and illuminated family tree.

The role of a First Lady is undoubtedly an uphill battle, especially a traveling one. Hub Theatre Company explored the distinctive plight of America’s First Ladies in their short play 46 Plays for America’s First Ladies. Eleanor Roosevelt was both a traveling and trailblazing First Lady who faced a wealth of challenges and stood up for her beliefs in the face of many forms of adversity.

Exuding determination, humility, humor and insecurity, Paula Plum remarkably engages the audience exacting Eleanor’s distinct mannerisms as well as her wisdom, quips, insights, anecdotes and recollections while tying in observations of today. Plum’s Eleanor is endearing, charismatic and funny while candidly sharing minor details such as her favorite song to stirring revelations about her past. It is a detailed and deeply personal account diving into her hardships growing up, criticisms throughout her life and her lack of self esteem and loneliness suspecting Franklin Roosevelt may not be what she expected.

Delving into domestic and political squabbles, the issues of the day, family dynamics, revelations, love, motherhood and much more, Plum seamlessly navigates Eleanor as well as other roles Eleanor recalls along the way including frank and cigar smoking Roosevelt secretary and New Yorker Louie Howe and Franklin Roosevelt’s opinionated mother with finesse and without distraction. For example, never flummoxed and ever the professional, Plum, upon encountering boisterous rhythms just outside the theatre during the performance and without missing a cue, cleverly adlibbed whimsically as Eleanor, “Don’t you love the beat?”

Without being preachy or overtly political, Eleanor is a fascinating, educational, inspiring and enriching biographical memory play helmed by Paula Plum’s tremendous performance as Eleanor. While Eleanor knows she has passed away, Plum breathes new life into Eleanor’s indomitable spirit and somehow this First Lady is here again.

Central Square Theater continues Mark St. Germain’s Eleanor live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, October 11. Click here for more information and for tickets.

REVIEW: Commonwealth Shakespeare Company vividly envisions a spirited ‘A Midsummer Night’s Dream’ on Boston Common

Posted on August 5 by The Sleepless Critic

Summer love is alive and well in vivid color on Boston Common.

Featuring a strong cast of renowned local performers and vocalists, Commonwealth Shakespeare Company captures the look and vibrant color of love in William Shakespeare’s classic A Midsummer Night’s Dream.

With intricate direction by Steven Maler, Commonwealth Shakespeare Company rings in their thirtieth season with William Shakespeare’s classic comedy A Midsummer Night’s Dream for free live and in person through Sunday, August 9 on the Common in Boston, Massachusetts. Though Amy Rubin’s set is partially likened to a children’s playground, this night production is not for children. The action is not limited to the stage, boasts valuable captions and runs 2 hours and 40 minutes with an intermission. I witnessed the production on CSC’s ASL night on August 2. Click here for more information and reservations.

De’Lon Grant* (Theseus) and Nora Eschenheimer* (Hippolyta). Photo Credit: Nile Scott Studios.

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 featuring magic, mischief, romantic comedy, music, action and much more.

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text while infusing 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. Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines translate seamlessly into a wide variety of contemporary scenarios.

Nora Eschenheimer* (Titania) and The Company of A Midsummer Night’s Dream. Photo Credit: Nile Scott Studios.

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.’ Scenic designer Amy Rubin also emblazons Shakespeare’s immortal words about mortals and fools into the very fabric of the production’s multi-tiered and industrial scaffold set. Rubin certainly provides the wow factor in a heart shaped and layered set which is a cross between a playground and a night club complete with slide and ball pit as a glimmering disco ball hangs overhead. Maximo Grano de Oro illuminates this wild landscape with active and multicolored glee as the flashing lighting pursues the actors to the beat of the production’s contemporary music. Costumers Brooke Stanton and Rachel Padula-Shufelt mix glimmering Athenian-inspired costumes with 80s and steam punk flair. The ensembles range from refined and upscale in achromatic classic suits to splashy, florescent, glimmering, tinsel and feathered club wear which includes fringe jackets, cowboy boots, ornamental robes, fingerless studded gloves and bejeweled gold caps. The constantly playful and bold neon fairies seem pulled right out of a 80s night club in glowing ethereal wings and combat boots. Sound designer Ted Kearnan brings a contemporary vibe with a mix of original and popular upbeat rhythms built for comic relief as well as setting the scene.

Nick Cearley as Puck in Commonwealth Shakespeare Company’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, roguish and often lighthearted, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and compelling characters often hysterically determined to fight for what they want and will do whatever it takes for a laugh demonstrated by Paul Melendy as slick and bombastic Nick Bottom from exacting accents to integrating a well placed Shrek reference. Putting on a lovely Romanian accent, thick beaded necklace and large red glasses while wielding a ridiculous plastic sword, Karen MacDonald is delightfully unrecognizable as resourceful and charismatic Quince among a group of madcap and dedicated mechanicals including Brooks Reeves as a knitting Robin Starveling who offer more than their fair share of silly humor and bright ideas before the final curtain.

Brooks Reeves (Robin Starveling), Michael Broadhurst* (Francis Flute), Paul Melendy* (Nick Bottom), Karen MacDonald* (Petra Quince), Alex Leondedis (Snug), and John Kuntz* (Snout). Photo Credit: Nile Scott Studios.

Some of this robust cast takes on dual roles which impressively shows off their range. Jaime José Hernández as love struck Lysander shares jubilant adoration and endearing chemistry with Meghan Carey as sweet Hermia, but also has a chance to explore another side of this character. In spiked hair and glimmering Athenian gear, Nick Cearley keeps the mischief flowing as prankster Puck conspiring with De’Lon Grant who adds gravitas to Theseus and Oberon for a string of seemingly harmless pranks.

De’Lon Grant* (Oberon) and Nick Cearley* (Puck). Photo Credit: Nile Scott Studios

Nora Eschenheimer takes on dual roles as sophisticated Hippolyta as well as commanding and seductive Titania. Carey is charming as headstrong Hermia while Annika Burley is comically relentless as crazy in love and wildly frustrated Helena going to arduous lengths to get what she wants. Burley’s Helena shares impetuous moments with Hernández as Lysander and Jack Greenberg as impulsive Demetrius navigated by carefully timed choreography. Another highlight shows off Burely and Carey’s sharp comic wit during another confrontation when love goes awry.

Annika Burley (Helena) with Jaime José Hernández* (Lysander) and Jack Greenberg*(Demetrius). Photo Credit: Nile Scott Studios.

Though the production can be a bit lengthy, Commonwealth Shakespeare Company’s A Midsummer Night’s Dream is a fun way to spend a summer evening under the stars. This vivacious production continues live and in person through Sunday, August 9 on the Boston Common. Click here for more information and reservations.

REVIEW: Retail therapy takes on new meaning in Hub Theatre Company of Boston’s lighthearted comedy ‘Buyer and Cellar’

Posted on July 29 by The Sleepless Critic

“Well, hello gorgeous.”

What does an unemployed and rather desperate actor and a wealthy multi-talented celebrity have in common?

They share a kit kat bar and a dream.

Exploring the psyche of the have and have nots, Jonathan Tolins’s fictional one man comedy, Buyer and Cellar brings to light the weighty and wild world of excess on the journey of discovering what is truly important.

Victor L. Shopov in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo credit Lauren Elias

With lighthearted direction by Daniel Bourque, Hub Theatre Company of Boston continues Buyer and Cellar live and in person at Club Café in Boston, Massachusetts through Saturday, August 1. The action is not limited to the stage and runs approximately 100 minutes with no intermission. Pay-what-you-can tickets are available. The production occasionally contains adult and unfiltered language. Purchase a drink during this show and Club Café offers a full menu. Click here for more information and for tickets.

Victor L, Shopov in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo by Lauren Elias

Buyer and Cellar is a fictional tale, but is based on real life aspects of Barbara Streisand’s life drawn from Streisand’s book, My Passion for Design which sits on a lighted pedestal. Streisand’s book offers insight into her legacy and the story behind building her dream home. While the show revolves around Barbara Streisand, you do not necessarily need to be a fan to appreciate this production.

From Funny Girl to Yentl, sound designer Gage Baker weaves inflections of Streisand’s most memorable film theme songs into the playful and whimsical sound design. Under a sparkling disco ball, Club Café always offers a little extra in its vibrant space and Justin Lahue takes full advantage of that space through the tiered set and surrounding projections scattered throughout Club Café’s back room. A variety of projections include some of Streisand’s most coveted and iconic ensembles, store fronts, book racks and a peek into the architecture from the book. Two vintage wardrobe stands ostentatiously adorned and topped off with a pink feather boa situated side by side for colorful ambiance and a sophisticated chair and ottoman is a wink to Barbara’s style.

One of the most fascinating aspects and the center of this production is that Barbara Streisand built a shopping mall in the cellar of her Malibu mansion in the late 2000s.

Yes, really. It’s mindboggling to think Streisand has that many possessions and all the more intriguing are the eccentric stories behind them. With a wealth of pop culture references and self aware humor, Victor L. Shopov amicably portrays down-on-his-luck California actor Alex More who has had just about enough working for Disneyland and is looking for his big break. Central Casting arranges a bizarre new opportunity in which Alex is tapped by gravelly throated estate manager Sharon to become the shopping mall’s very first employee. Confusion, havoc, mystery and even monotony ensue on the job before Alex is face-to-face with Streisand herself.

Shopov is a candid and engaging storyteller infusing animated and eccentric voices emphasizing various mannerisms and avoiding impressions. He perfects a mix of imaginative and real life voices with flair including a humorous and exacting take on Barbara delicately sampling a morsel of food with her incomparably long nails. Navigating between awestruck, sarcastic, earnest and dubious, Shopov’s Alex takes this amusing and outrageous journey through Streisand’s wonderland through panic and in stride. However, nothing beats Shopov’s hilarious talent for narrating and delivering commentary on one particular film that won’t be revealed here.

Victor L. Shopov and Barbara in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo by Lauren Elias

Buyer and Cellar is a funny tale about another side of a legend. One may long to be rich. However, not everything is what is seems, even for someone who seems to have it all.

Hub Theatre Company of Boston continues Buyer and Cellar live and in person at Club Café in Boston, Massachusetts through Saturday, August 1. Click here for more information and for tickets.

REVIEW: Things more than go bump in the night in gripping ‘Paranormal Activity’

Posted on July 23 by The Sleepless Critic

Full Disclosure: I saw Paranormal Activity Live on Stage alone.

Not necessarily a fan of horror with few exceptions, my interests lean more towards thought-provoking science fiction or a psychological thriller. I was hesitant as I arrived at Emerson Colonial Theatre facing a black curtain, but left riveted by the production’s depth, intensity, and a truly remarkable cast.

Paranormal Activity can be chilling, but is also rooted squarely in the human condition with a great deal of darkly relatable humor and lots of twists and turns. It lured me in and never let go.

Superbly directed by Felix Barrett, Levi Halloway’s Paranormal Activity Live on Stage continues its pre-Broadway run through Thursday, July 30 at Emerson Colonial Theatre in Boston, Massachusetts. For the squeamish, this intense and immersive production is not gory. It does contain explicit language, some dark themes and runs two hours and 20 minutes with one intermission. Click here for more information and for tickets.

Cher Álvarez and Travis A. Knight in Paranormal Activity. Photo by Teresa Castracane Photography.

Metal, alternative and hard rock 90s music from musicians such as Soundgarden revs up the audience before the production begins. Paranormal Activity Live on Stage is considered a new story from the original film which inspired six sequels. A seventh film sequel has an anticipated 2027 release date. The original film latched onto the clunky, grainy and less polished amateur film style of The Blair Witch Project which enjoyed great success at the time.

However, the stage production greatly improves on the film predecessor in multiple ways. The film has a grainy home video quality, but this production is all encompassing and in vibrant color. Having witnessed the original film, the Paranormal Activity play is more effective, allowing the audience to experience multiple scenarios at once led with sterling timing by lighting designer Anna Watson. Scenic and costume designer Fly Davis crafts an elaborate and functional dual level house which includes five detailed and sophisticated rooms featuring a modern kitchen, hanging plants and a smart flat screen television. Illusion designer Chris Fisher, the illusionist behind Harry Potter and the Cursed Child on Broadway, creates plenty of riveting moments that will have you fully invested in what will happen next.

Cher Álvarez in Paranormal Activity. Photo by Kyle Flubacker.

Contributing to the production’s unfettered tension, Gareth Fry’s mesmerizing sound design ranges from a steely and hollow hum to sudden rings to what can be likened to a deafening and reverberating wind tunnel.

This engaging cast is so in sync and polished that they will make you almost forget you are watching a horror stage play. Cher Álvarez as Lou Singer and Travis A. Knight as James Singer are incredibly charming as a newly married couple who have just moved into a house in London. Playful with a dynamic sense of humor, Álvarez and Knight demonstrate a heartwarming and genuine connection as they embrace and warmly support each other.

Shannon Cochran is impressive as James’s religious and pushy southern mother who only wants what is best for her son and Eva Kaminsky is captivating as an eerie and insightful famous podcaster Etheline Cotgrave.

Paranormal Activity boasts many darkly funny moments while also delving into serious issues such as depression, trauma, secrets, marital challenges, spiritual warfare and much more with a wealth of unpredictable twists and turns. At one point, this fully invested audience (including me) was at the edge of our seats rooting on the characters and united in the action. Although I came alone to the production, I did not feel alone with this intense and excited crowd.

Isn’t that what live theatre is all about?

Levi Halloway’s Paranormal Activity Live on Stage continues its pre-Broadway run live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Thursday, July 30. Click here for more information and for tickets.

REVIEW: Not only the coat dazzles in North Shore Music Theatre’s inspiring ‘Joseph and the Amazing Technicolor Dreamcoat’

Posted on July 17 by The Sleepless Critic

The only thing more magnificent then Joseph’s dream coat is the tale behind it.

Joseph and the Amazing Technicolor Dreamcoat has been entertaining audiences for close to 60 years with its exuberant story fueled by Academy Award-winning duo Andrew Lloyd Webber and Tim Rice’s uplifting and versatile music. An interactive, endearing, and humorous production, Joseph and the Amazing Technicolor Dreamcoat offers a wide spectrum of music genres for any taste and all ages including calypso and rock and roll which accompanies this unique retelling of a sacred tale of treachery and unceasing hope.

Meticulously directed and dynamically choreographed by Gerry McIntyre with lively music direction by Robert L. Rucinski, Bill Hanney’s North Shore Music Theatre continues family-friendly musical, Joseph and the Amazing Technicolor Dreamcoat live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, July 19. This semi-interactive production is not limited to the stage and is exceptionally navigated within its theatre in the round staging. It runs 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

Olivia Valli (Narrator) and Youth Choir in “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Based on the Book of Genesis and set in the land of Canaan and Egypt, Joseph and the Amazing Technicolor Dreamcoat unconventionally explores the incredible journey of Joseph and his brothers as Joseph faces strife from the most unexpected places as he discovers his destiny. It is immensely a collaborative ensemble piece featuring an enthusiastic cast led by Olivia Valli as Narrator who not only shares Joseph’s tale with the audience, but the surrounding energetic youth choir gathered onstage.

Eric Jordan Young (Jacob) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Bursting with vibrantly designed costumes mixing the traditional with the contemporary, costumer Rebecca Glick not only rises to the occasion, but makes a distinct, daring, and memorable impression in each ensemble and most notably in Joseph’s striking coat. From glimmering headdresses to traditional Jewish and Egyptian garb to shimmering and brightly colored designs that recall another defining era, the costumes are consistently remarkable. Set designer Baron E. Pugh leans on Egyptian influence featuring the Egyptian Eye of Horus while José Santiago’s lighting design enhances the show’s kaleidoscopic vision in multi-colored lights and innovative sets which takes full advantage of the theatre in the round staging.

Olivia Valli (Narrator) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

With rich vocals and an unassuming demeanor, Nikita Burshteynr warmly portrays humble, naive and forthright Joseph. Burshteynr’s soothing, heartrending and sympathetic vocals master signature numbers such as Any Dream Will Do and Close Every Door.

Nikita Burshteyn as Joseph in “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Joseph may have a dazzling coat, but the narrator holds her own decked out in Rebecca Glick’s enviable wardrobe. Clever, cheerful and a charismatic silvery soprano, Valli is a compelling Narrator not separate from the plot and it is delightful to watch her relaxed charm provide amusing asides, offer advice and occasionally act as the production’s conscience while sweetly interacting with the beaming Youth Choir.

Carefully arranged as a coordinated rainbow in pinks, greens, purples, blues, yellows and reds, the Youth Choir’s angelic and lively voices bring exuberance while accompanying Joseph and the narrator to a heartwarming Any Dream Will Do and endearing harmony to a memorable candlelit rendition of Close Every Door.

Brent Thiessen (Pharaoh) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Charming and funny whether rejoicing or scheming, the united choreography between Joseph’s eleven brothers reflects their tight knit bond especially during a country themed tune with the wives, One More Angel in Heaven featuring Brady Miller who possesses great comic timing chewing the scenery as Reuben. Another lively number that highlights the brothers’ united front is Benjamin Calypso, a catchy rendition delivered energetically by Rendell DeBose as Judah who at one point takes part in a conga line.

The cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Rock n roll royalty takes a comedic turn in the show’s rollicking number, Song of the King, featuring Brent Thiessen as Pharaoh. Theissen convincingly captures the essence of a certain king not to be revealed here. Naomi Kakuk dazzles with sleek athleticism as Mrs. Potiphar in a racing rendition of Potiphar.

Naomi Kakuk (Mrs. Potiphar) with Eric Jordan Young (Potiphar), and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Unveiling a world in rich and glorious color, Joseph and the Amazing Technicolor Dreamcoat may be a tale of long ago, but stirs in contemporary touches such as disco balls, sunglasses and soft serve ice cream in amusing and unlikely places to appeal to a younger audience as well as an era-inspired tribute to the original Joseph. It contains valuable life lessons on faith, jealousy, suffering, betrayal, and resilience for dreamers that can be solemn at times, but with far more uplifting and whimsical moments, it’s difficult to feel down for long.

North Shore Music Theatre continues family-friendly musical, Joseph and the Amazing Technicolor Dreamcoat live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, July 19. Click here for more information and for tickets.

REVIEW: Featuring a superb comedic pair, chaos ensues with boundless creativity in Arlekin’s exceptional ‘Delirium’

Posted on June 30 by The Sleepless Critic

“If it’s not the pandemic,” Chulpan Khamatova as Her sadly reflects, “It’s war.”

Set in contemporary war-torn Russia, two very different battles are occurring in and outside this small apartment.

A bubbling aquarium with a single roaming fish sits front and center and plays an important role in this extraordinary piece of brilliant comedy set in a world of chaos. From the first few moments with Andrey Burkovskiy as Him who makes even single handedly entering an apartment entertaining, I knew I was about to see something extraordinarily special.

Andrey Burkovskiy and Chulpan Khamatova (and a fish!) in Arlekin’s ‘Delirium’ Photo by Olga Maturana

Masterfully adapted from Romanian-French playwright Eugène Ionesco‘s Frenzy for Two and directed by Igor Golak, the Elliot Norton award-winning Arlekin Players continue their world premiere of absurdist play, Delirium live and in person for a limited time at the Calderwood Pavilion in Boston, Massachusetts through Thursday, July 2. This semi-interactive one act production runs approximately 80 minutes with no intermission. The action is not limited to the stage. Click here for more information and for tickets.

Burkovskiy demonstrated his vast talents for visual comedy and slapstick humor in small doses in Arlekin’s previous award-winning The Dybbuk, but here Burkovskiy really gets to show off his deadpan comedic skills alongside critically-acclaimed Russian actress Chulpan Khamatova as Her.

Andrey Burkovskiy and Chulpan Khamatova in Arlekin’s ‘Delirium Photo by Olga Maturana

From a polka dot dance floor to streaming spotlights to flashes of sudden darkness, lighting designer Jeff Adelberg and inventive sound designer Denis Zabiyaka work together seamlessly navigating sound effects and the spontaneous underlying intensity of this production. Jan Pappelbaum’s dual level industrial set with metallic columns and scaffolding hold a variety of meticulously placed multi-purpose props including mattresses, a parasol and a scratched mirror to help illustrate their longtime relationship which is not without its ebbs and flows inside this small apartment. In purple tights, sparkling black heels, a leopard patterned fur coat and a sequin dress, Khamatova rocks her distinct ensemble thanks to chic costumer Sasha Ageeva. Burkovskiy complements Khamatova beautifully in a black tuxedo adorned with large purple flower in the lapel.

Delivering energetic performances with sporadic doses of self aware humor and razor sharp comedic timing, Burkovskiy and Khamatova are a suburb comedic match. Khamatova is capricious, thoughtful, flirtatious and fiery while Burkovskiy is a romantic yet practical gentleman. They bicker, belittle, and lament yet their petty arguments are wildly eccentric and creative showcasing an absurdly passionate and wild bond. Never on the same page until it counts. They are also witty, playful, chaotic, imaginative, endearing funny and feed off each other so well that it is easy to forget they are in the throes of war just outside their makeshift window. I could watch them all day.

“The world is upside down,” Khamatova muses and much like this quick witted production, things change on a dime.

Delirium is as unpredictable and funny as it is stirring and startling. I was incredibly moved by the boundless creativity, the complicated emotions, and the timely significance of this entire production. It’s definitely worth it.

Take time to see the world premiere of Arlekin’s absurdist play, Delirium live and in person for a limited time at the Calderwood Pavilion in Boston, Massachusetts through Thursday, July 2. Click here for more information and for tickets.

REVIEW: A profound portrait of discovery and overcoming in Arts Emerson and Front Porch Arts Collective’s ‘In Old Age’

Posted on June 27 by The Sleepless Critic

“I’m living big inside the right now.” Abasiama enthusiastically exclaims.

Abasiama has come a long way in the seven plays so far in the UFOT Family Cycle and we have now arrived at the penultimate production, In Old Age. As with each of the previous productions, it is never without its surprises.

Profoundly directed by Dawn M. Simmons, Arts Emerson continues Front Porch Arts Collective’s world premiere of Mfoniso Udofia‘s In Old Age, the eighth production in the Ufot’s nine-play family cycle which explores three Ufot Nigerian-American family generations, live and in person at Emerson Paramount Center in Boston, Massachusetts through Sunday, June 28. This groundbreaking two hander bilingual and family friendly production in English and Ibibio runs 1 hour and 45 minutes with no intermission. Having seen Ufot’s second production The Grove, the fourth production of Her Portmanteau, and the fifth production of Kufre and Quay, it was wonderful to see the progression in the Ufot Family, but you can witness and enjoy one without having seen the others. Click here for more information and for tickets.

Abasiama (Ebony Marshall-Oliver) in the Front Porch Arts Collective’s production of IN OLD AGE. PHOTO by Nile Scott Studio

Ever wise and humorous, Ebony Marshall-Oliver is lovely as Abasiama Bassey who has now found herself a widow. Her husband passes away prior to the events of In Old Age and proclaims, “She has no man and she needs no man.” However, Abasiama is flabbergasted to learn that her daughter hires Marvin Bell as Azell Abernathy to renovate the family home as a surprise. Toyoima encourages Abasiama to let Azell know how he can help, but that proves to be more complicated than it seems.

Marvin Bell as Azell Abernathy in the Front Porch Arts Collective production of IN OLD AGE. PHOTO Nile Scott Studios

Infused with a UFot personal touch, scenic designer Jeffrey Peterson emphasizes roots and foundation in Abasiama’s longtime family home in Worcester, Massachusetts. Boasting an impressive towering wood frame and brick backdrop, this house is set on foundational brick blocks featuring remnants of past productions including a gold grandfather clock and an old wood burning stove. Costumer Chloe Moore creates a variety of ensembles for Marshall-Oliver and Bell that reflect each of their distinct personalities and how radiantly their style changes as the production progresses. Sound designer Arshan Gailus with lighting designer Eduardo Ramirez reflect a fluctuating peacefulness and sudden intensity through a variety of spontaneous instances over the course of a few days.

Marshall-Oliver as Abasiama Bassey and Bell as Azell Abernathy are quite a captivating pair to watch through their heated and humorous exchanges and candor and the way they observe each other. In a plaid flannel shirt and work boots, Bell is a natural as seemingly charming, practical and enthusiastic chatterbox Azell while Marshall-Oliver is deeply relatable and endearing as a reserved and anxious widow who is coming into her own while attempting to overcome her insecurities and put aside her urge to remain set in her ways. “What is outside should never enter inside” and “It is like everything has its own kind of beauty” is just a couple of the pearls of generational wisdom and observances reflected by Abasiama.

Ebony Marshall-Oliver as Abasiama in the Front Porch Arts Collective production of IN OLD AGE.

Like in other UFot productions, In Old Age contains surprising and welcome elements of the spiritual and supernatural ingrained into this insightful and moving tale. Though both characters have both lived through remarkable stories, In Old Age shows there is still so much more to tell.

Ebony Marshall-Oliver as Abasiama in the Front Porch Arts Collective production of IN OLD AGE. PHOTO Nile Scott Studios

REVIEW: A ferocious song of desire in American Repertory Theater’s musical, ‘Black Swan’

Posted on June 27 by The Sleepless Critic

“Attack it! Attack it!”

In Darren Aronofsky’s 2010 psychological thriller horror film Black Swan, Nina’s ballet instructor urges Nina to show him a side to her that she has never known. It’s the side that lets go.

American Repertory Theater’s musical Black Swan may be a bit different than the movie in some respects, but the message remains the same.

With Sonya Tayeh’s taut direction and dynamite choreography and Or Matias’s foreboding music direction, American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12. The action is not limited to the stage and this mature production within a production runs approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

Melanie Moore and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

The arts can be brutal, competitive and fickle. Especially with the art of ballet, it requires a unique kind of discipline, sacrifice and determination under the constant pressure of perfection.

Black Swan started out as a 2010 Academy award-winning psychological thriller horror film featuring a stellar cast that included Natalie Portman as Nina, Mila Kunis as Lily, Winona Ryder as Beth and the incomparable Barbara Hershey as Nina’s mother Barbara. It’s a mesmerizing yet unsettling film loaded with literal and figurative twists and turns through the eyes of sweet dancer Nina whose reality sporadically becomes skewed as the film progresses.

In the process of making the film, Natalie Portman and Mila Kunis endured rigorous training and followed a strict diet. Kunis had never danced in her life. Both trained for four months on an intense schedule seven days a week and five hours a day which also included Portman swimming a mile every day. Portman lost 20 pounds from her already tiny frame and Kunis tore a ligament, dislocated her shoulder and has visible scarring from training. Kunis also vowed she will never dance again and it was the hardest thing she had ever done.

Based on Jen Silverman‘s book of this musical, a story by Andres Heinz and the Academy Award-winning psychological thriller horror film, this world premiere musical boasts some lighter and more humorous moments while its intensity is laid out from the first scene featuring ambitious characters consistently competing with each other. They are driven by the arduous drive to survive, succeed, and gain power. It is no wonder that the lyrics and dialogue in this new musical are rife with powerfully visceral action words such as tear, scratch, scrape, twist, elongate, crack and attack as the dancers rehearse on a grueling three week deadline for a new production. It makes the audience feel this painstaking process.

Amber Iman and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

For those who have not seen the brilliant yet disquieting film, the film and musical are not a musical for the faint of heart. They explore the dark crevices of mental illness and obsession while emphasizing the struggle and ferocious determination it takes to become the best.

However, the Black Swan musical does not just speak to the art of ballet, but the savage journey one takes to become the best at their craft which often involves relentless focus, determination and sacrifice.

AMP featuring Marissa Todd’s vast and layered Scenography accompanied by Chris Fisher and Skylar Fox’s masterful illusion design exacts a ballet studio with moving Barres, a regal gala featuring a tremendous and glimmering chandelier, a wild psychedelic club scene with a dizzying disco ball, and a transformative and ominous forest. I was fascinated to see how various illusions from the film would translate into a stage production and the results are riveting combined with Lillis Meeh’s stunning blood imagery and Ida Saki’s powerful and athletic performance.

Isabella Byrd’s crackling and flashing lighting devastates and intrigues in this moody tale alongside Kai Harada’s haunting and foreboding fiddle laden rhythms. Shiona Turini’s colorful and dynamic wardrobe varies from silk and sequined gowns to creatively daring statement ensembles.

Melanie Moore in A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

In a pastel leotard, Melanie Moore climbs into the skin of anxious and gentle Nina, a New York City ballet dancer aspiring to become the company’s principal dancer. A perfectionist wrapped in a cluster of timid uncertainty, Nina is childlike, delicate, naïve, impressionable and sheltered under the guidance of her protective mother Barbara, in an increasingly searing performance by understudy Mehry Eslaminia (usually depicted by Kate Jennings Grant). Barbara is fixated on Nina becoming the star ballerina she was prevented from becoming and Nina longs to please her mother. Moore is excellent as Nina, a beautiful dancer and her sympathetic naiveté draws you into her world of uncertainty and longing.

When a bold new choreographer LeRoy, portrayed with easy charm, charisma and sharp comic timing by Amber Iman, arrives to stage a new version of Swan Lake, Nina thinks this might be her chance to shine. When Jada Simone Clark breezes in as mysterious and effervescent free spirit dancer Lily, she catches Nina and LeRoy’s attention. LeRoy is driven by something to prove and Iman and Thom Sesma as company director Jacques share a tense and interesting power dynamic underneath their lighter and more humorous moments.

Tory Trowbridge delivers a chilling performance as worn principal dancer on edge, Beth McIntyre. Consistently aware of her position, McIntyre is sympathetic in her desperation to hold onto her place in the company and her distressed exchanges with Moore will leave you on tenterhooks.

Ava Noble, Martell Ruffin, Adrian Lee, Anthony Santos, and Caleb Marshall lift
Melanie Moore in A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

While the film draws a clearer picture of Nina’s journey, Black Swan musical is intense, haunting, visceral and intriguing deciphering Nina’s precarious state of mind and how it is executed onstage. The conclusion remains stunning. I agree with the moderate differences in the musical than the film for the most part. However, much of the film hinges on the traditional ballet production than a modern new vision which seems like it doesn’t quite fit. In the film, Aronofsky takes the dark nature of this renowned classic and turns it on its ear while enhancing this dancer’s journey running intermittent parallels with Tchaikovsky’s Swan Lake. Aronofky also produces this musical so I am surprised by this change. Though this musical is no romance, it is no less a transformational piece rooted in the desire to become who you believe you are meant to become at whatever the cost.

American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12. Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company adds an illustrated personal touch to uplifting family musical classic ‘Annie’

Posted on June 17 by The Sleepless Critic

There’s nothing like the promise of tomorrow and no one delivers plunky optimism quite like Annie.

Even in the worst of circumstances, Annie can always find a silver lining which can be demonstrated in a moment when a homeless person complains of empty pockets to which Annie responds, ‘At least you got pockets.’

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks in 1933 Depression-era New York. It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope. As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Greater Boston Stage Company proves this steadfast musical favorite never goes out of style.

Livia Quist as Annie and Gideon as Sandy Photos by Nile Scott Studios.

Warmly directed by Tyler Rosati with Bethany Aiken’s uplifting musical direction and Ceit Zweil’s endearing chorography, Greater Boston Stage Company continues Annie: The Hit Broadway Musical live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts. This family-friendly musical classic runs two and a half hours including an intermission. Click here for more information and for tickets.

Part of what makes Annie such fun to produce is although the tale remains the same, there is always room to perform it a little differently each time. Having originally watched the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn as well as the late great Albert Finney, I’ve gone on to see Annie film and stage adaptations performed in a variety of ways featuring a small and large cast. Greater Boston Stage Company features a seemingly smaller cast but the sentiment remains the same and is no less effective.

Ainsley Moulton as Molly and Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Katy Monthei’s layered and folded set appears uniquely illustrated by children and opens like a book playfully illustrated with markers and crayons featuring homemade drawings, rainbows, sunshine and a drawn city skyline. However, the most striking are the orphans’ illustrations of their imagined families. The folded set is impressive as it turns to various scenes, but can occasionally create a tighter space for the characters.

The cast of Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Kelly Baker’s costumes run the gamut of 1930s vintage flair featuring a wide spectrum of patterns faithful to the era including pinstripes, plaids and paisley as well as elegant coat and tails, bowler hats, mother of pearl broaches, pinafore dresses, furs and silks.

Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Donning a soft curled redheaded bob, signature red sweater and weathered pinafore dress, Livia Quist portrays a little and mighty Annie with angelic features and big expressive eyes. Quist is one of two Annies that take the stage during this musical’s run. Quist is darling, emotive and has a talent for sadness behind a smile and vice versa. Endearing and sympathetic, she is unlike any other Annie I’ve ever seen. Her powerhouse vocals light up Maybe with delicate yet spunky Ainsley Moulton as Molly as well as the show’s signature song, Tomorrow. In long braids and an earnest smile, Moulton’s Molly is mischievous roaming about in the most unexpected of places and Brianna Brien is also impressive as tough talking bully Pepper who tests Annie several times during the musical.

De’Lon Grant as Oliver Warbucks Photos by Nile Scott Studios

Quist’s Annie shares endearing and lighthearted moments with De’Lon Grant as dapper and driven Oliver Warbucks and charming him into seeing a movie in New York City with her is a particular highlight. De’Lon boasts textured and soaring vocals as workaholic, urgent and tough-minded New York City billionaire tycoon Oliver Warbucks as he pays tribute to his beloved city with N.Y.C. before later performing a tender rendition of Something was Missing. Quist also shines with Michael Sáenz as a jovial FDR.

Ceit Zweil as Miss Hannigan in Little Girls in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

In a black haired bob and a whistle around her neck, Ceit Zweil depicts an exasperated and sassy Miss Hannigan and certainly makes the part her own. Dramatic, smarmy and dreaming of a better life, Zweil’s skilled depiction shows a woman who may have once been glamorous, but spends her days stunned, fed up and dreaming of a better life. Tough and street smart, Zweil is a stylish alto demonstrating a sharp vocal growl, belt and a way of turning a phrase. Zweil shows off her strident vocals for Little Girls as the orphans demonstrate their frequently amusing knack for pushing her buttons.

Tader Shipley as Grace and Ceit Zweil as Miss Hannigan in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Tader Shipley warmly depicts sophisticated and determined Grace Farrell, Oliver Warbucks’s levelheaded secretary. Shipley’s bright eyes enliven with admiration and reverence when speaking of De Leon’s Warbucks. Grace’s breezy yet professional demeanor fits in well with Warbuck’s no nonsense moxie. However, Shipley as Grace’s veiled exchanges and frequent battle of wills with Zweil’s Miss Hannigan are a riot.

Livia Quist and the Orphans in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

The orphans’ version of Fully Dressed and A New Deal for Christmas is sure to make you smile. From feigned footsteps to cowbell to kazoo, sound designer Adam Smith fascinatingly rewinds the clock depicting vintage radio programs and how radio created sound effects in the 30s. Christian David delivers lighthearted flair as jocular radio announcer Bert Healey and the gum chewing New Yorker Boylan Sisters were a treat.

Ceit Zweil as Miss Hannigan, Mark Linehan as Rooster and Kathy St. George as Lily St. Regis in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Polished in a pinstriped and purple paisley suit, Mark Linehan brings pizzazz and charisma as smooth talking Rooster, Miss Hannigan’s conman brother. With local favorite Kathy St. George as Lily St. Regis, they make an amusing, sleazy pair and with Zweil, a trio of conspiratorial adversaries with a rollicking version of Easy Street.

Livia Quist as Annie, De’Lon Grant as Oliver Warbucks and cast in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Wearing thick scarves, layers period hats and surrounded by newspaper headlines, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today. However, from select city shoppers to matching uniformed house staff to government officials, this enthusiastic cast enhances the joy in this classic tale and Giselle’s noticeably vibrant and knowing smile performing a variety of roles capturing this production’s uplifting spirit.

Raise your spirits with Greater Boston Stage Company Annie: The Hit Broadway Musical continuing live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information and tickets.