“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.
Andrey Burkovskiy and Chulpan Khamatova in Arlekin’s ‘Delirium’ Photo by Olga Maturana
“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.
“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
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. Click here for more information and for tickets.
In Darren Aronofsky’s 2010 psychological thriller horror filmBlack 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.
Melanie Moore and members of the company of A.R.T.’s world-premiere production of Black Swan. Credit: Hawver and Hall.
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.
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 Sáenzas 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.
However, as Paul Melendy as Nicodemus quips, “Don’t be skeered.”
Offering much more absurdity and laughter than horror or gore, The Mystery of Irma Vep leans on comedic suspense in 1930s Mandacrest Manor. Seeing a Penny Dreadful for the first time with some hesitancy, I’ll take it.
With striking direction and transformative set design by David R. Gammons, Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep: A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 21. This two hander adult production displays valuable captions, contains nudity, the action is not limited to the stage and runs two hours including one intermission. If you are unaware of what a Penny Dreadful means, see here. Click here for more information and for tickets.
Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography
Taking cues from classic gothic romantic literature, The Mystery of Irma Vep: A Penny Dreadful focuses on the highly anticipated appearance of Paul Melendy as new mistress of Mandacrest Manor Lady Enid Hilcrest, the new wife of Gabriel Graetz as widower and Egyptologist Lord Edgar Hillcrest. However, does Lord Edgar’s late wife, Irma Vep, still haunt these eerie halls?
Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography
A gleaming and almost sterile looking white foyer in Mandacrest Manor by David R. Gammons is much more than it seems illuminated by Jeff Adelburg’s flashing, tense and vivid lighting which take on a variety of crude shapes and sizes scattered around the room with a glowing fireplace. Composer Nate Tucker skillfully exacts a carefully executed sound design and special effects crucial in this twisted vintage gothic Victorian mystery. Costumer Seth Bodie creates eccentric, vintage, outrageous and vibrant ensembles varying from grand robes with gold trim to 30s three piece suits to revealing negligees.
Paul Melendy and Gabriel Graetz Photo credit to Maggie Hall Photography
In a production that can be less than subtle, striking the right tone is paramount and this duo certainly has a way with words and sharp comedic timing in every over the top scenario which includes stuffed animals, a picnic table cloth and a tree stump. Gabriel Graetz and Paul Melendy work remarkably well off each other in every incredulous expression, wild accent, or improvisational and self aware moment. They also take a lot of complicated cues from each other even during the production’s most awkward scenarios in this vintage melodrama while inviting the audience in on its campy humor and its occasionally moving moments.
Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography
Melendy steps into each melodramatic character distinctly, but boasting scratchy vocals, a meandering gate and a slovenly appearance, Melendy’s Nicodemus may be my favorite character and one that is not to be underestimated. The mysterious groundskeeper is protective and shrewd as he lurks about the manor. Melendy as naïve and vampy chorus girl Lady Enid Hilcrest is self conscious under the suspicion of Graetz as stern and traditional housekeeper Jane who also portrays Lord Edgar Hillcrest…and you get the idea. Depicting an actor reacting to portraying multiple characters is no easy feat, but both do so seamlessly. Special accolades to the costume and stage hands for those glorious lightning fast costume and prop changes!
Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography
Not a fan of the superfluous nudity even if it was for bizarre comedic purposes, but this production is funny and two great actors performing this campy gothic mystery made me laugh anyway.
Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep: A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 28. If you enjoy the soundtrack to this production, it is available on Spotify. Click here for more information and for tickets.
If you are thinking of that classic Greek mythological tale, then yes, it’s that story…with a twist.
Boldly directed by Loretta Greco, The Huntington continues Luis Alfaro’sOedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Taking place in engaging stadium seating, the production runs approximately 100 minutes without an intermission. The program contains a valuable synopsis and guide of Spanish terms with translations. Click here for more information and for tickets.
Javier David in foreground, with LtoR:Jaime José Hernández, Juan Arturo, Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin
Oedipus El Rey is a re-imagining of Sophocles’s classic tale and is one third of Luis Alfaro’s Greek trilogy. The other two works include Sophocles’ Electra and Euripides’ Medea. Oedipus El Rey is shared through a distinct lens about a man wrestling with destiny.
Hana S. Kim’s barebones set comes to life through mystical, biblical, modern, and kaleidoscopic projected landscapes from shooting stars to prison bars to floral gardens. One of my favorite set pieces was the ice cream cart! Greco makes the most out of the intimate staging through the depiction of motion and scenes occurring side by side. From finely-detailed and mythological headdresses to modern orange emblazoned jumpsuits and track suits with thick gold chains and baseball hats to chic denim and Latino-inspired gowns, Hana S. Kim ties together this tale transcending time right down to Jocasta’s laced up Greek sandals.
Javier David in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin
Set in a contemporary urban Los Angeles landscape, Oedipus El Rey delivers universal themes with a dose of mysticism about the cost of relentless pride and infallibility. This world is raw and gritty while possessing its own distinct energy. It has a passing resemblance to Baz Luhrman’s gritty setting in Romeo and Julietwhich takes place in California and combines Mexico City, Miami and Los Angeles with Catholic imagery.
If you don’t already know this classic story, it is a poignant tale not for the faint at heart featuring a group of wise and discerning narrators who also act as a Greek chorus delivering a mix of satirical humor and commentary that can lighten this production’s heavier elements.
Javier David in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin
Shared in a penitentiary setting, this Greek chorus disguised as inmates not only keep time, but assume a number of pivotal roles. Jaime José Hernández, Victor Almanzar, Javier David, and Gabe Martínez share a fascinating and seemingly easygoing and amiable rapport delivering relatable, modern, dark and humorous commentary as they share this fluctuating tale that is once cynically amusing, grim the next and thoroughly intense. It boasts music, celebration and comedy while still possessing all the elements to this at times shocking classic tale. Alongside Juan Arturo as Oedipus, the group displays athleticism, activity and prowess with an urgency to outrun or outsmart their ultimate fate.
Domineering gang leader Laius, fiercely portrayed by Gabe Martínez, learns he is expecting a baby with Melisa Soledad Pereyra as Laius’s faithful wife Jocasta. However, when a seer foretells the baby’s fate, Laius takes drastic measures to prevent Oedipus’s ultimate destiny.
Juan Arturo, Melisa Pereyra in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin
Juan Arturo as Oedipus sharply mixes hubris, resentment, rage and sympathy in a textured and intense performance.Oedipus is a victim of circumstance and longs for meaning veiled in relentless ego and pride and brings overriding sympathy but not endearment beneath an array of shocking actions.
Victor Almanzar in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin
Oedipus and Victor Almanzar as Tirasius share a complex and compelling relationship. Almanzar is particularly impressive as compassionate Tirasius who possesses profound power behind stirring humility.Melisa Soledad Pereyra also stands out as traditional and powerfully faithful Jocasta who demonstrates resilience through her struggle and resentment and Jaime José Hernández is charismatic as Jocasta’s protective brother Creon.
Jaime José Hernández in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin
While I’m not a fan of Greek mythology and the classic tale of Oedipus isn’t one of my favorites, I can appreciate its resounding significance and moral messages. What I enjoyed about Oedipus El Rey is its liveliness and the imaginative retelling while still managing to stay true to its timeless mythological roots. The dark and occasionally lighthearted humor unexpectedly made me laugh quite a few times even as this troubling tale reached its inevitable climax and for that, I am grateful.
L to R: Victor Almanzar, Javier David, Juan Arturo,Gabe Martínez in Oedipus El Rey; directed by Loretta Greco; photo by Marc J. Franklin
The Huntington continues Luis Alfaro’s Oedipus El Rey live and in person at Calderwood Pavilion in Boston, Massachusetts extended through Sunday, June 14. This semi-interactive and bilingual production contains adult themes and content including nudity. Click here for more information and for tickets.
Joshua Lee Robinson delivers a captivating performance as complex young Citizen who is desperate to see Regine Vital’s Aunt Ester, believing she is the key to unburdening his heavy heart and cleansing his soul. Robinson conveys Citizen’s troubled spirit in low tones as well as pleading and urgent mannerisms that make it easy to feel the weight of his burden.
Joshua Lee Robinson and Regine Vital with Dereks Thomas and MarHadoo Effeh in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)
August Wilson has woven a powerful tale with an array of interconnected characters and a supernatural twist that delves into the meaning of freedom, oppression, superstition, the law, redemption, biblical themes and much more.
Directed intuitively by Monica White Ndounou, Actors’ Shakespeare Project continues August Wilson’sGem of the Ocean live and in person at Hibernian Hall in Boston, Massachusetts through Sunday, May 17. This beautiful production contains strong language and runs two hours and 40 minutes including one intermission. Click here for more information and for tickets.
Dereks Thomas, MarHadoo Effeh, Joshua Lee Robinson, Jonathan Kitt, and Kadahj Bennett in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)
With the acclaim of Fences, Ma Rainey’s Black Bottom and The Piano Lesson, Denzel Washington recently made a deal with the August Wilson Estate to bring the rest of the plays from August Wilson’s Pittsburgh Ten Play Cycle to the big screen. Washington only met August Wilson once on a rainy day in Seattle between 2003 and 2005 when Wilson was considering Washington for a part in his new play, Gem of the Ocean.
Over the past few years, Actors’ Shakespeare Project staging August Wilson’s plays has proven to be a match made in Heaven. Since the premiere of Seven Guitars in 2023, Actors’ Shakespeare Project shines with each new production and Gem of the Ocean, their resonating fourth play in August Wilson’s Pittsburgh Cycle, is no exception.
Set in 1904 Pittsburgh, Gem of the Ocean was not written first, but it is set the earliest in the Pittsburgh cycle and stands as the historical and spiritual center of the cycle’s various works. Seven Guitars also ties in Gem of the Ocean nicely with a brief mention of Aunt Ester’s legendary gifts and now we are learning the full story.
Payton Tavares creates a wooden duel level and transformative set which features a balcony, a dark staircase, hanging wrought iron pots, a vintage etched cabinet with bread box, doilies adorning timely furniture and pivotal lanterns adorning both sides of Aunt Ester’s house.
Joshua Lee Robinson (center) with Jonathan Kitt and Regine Vital in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)
Like The Piano Lesson, Gem of the Ocean has its own transfixing and suspenseful share of supernatural elements hauntingly illuminated by Isaak Olson combined with Aubrey Dube’s windswept, mystical, soulful and rumbling sound design.
Jonathan Kitt, Dereks Thomas, and Joshua Lee Robinson in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)
The family bonded rapport between characters, the genuine humor, rich storytelling and shared pearls of wisdom are just a few of the common and riveting elements in August Wilson’s productions. With the soaring vocals Vital is known for in other productions, Regine Vital brings to life charismatic, weary, and home bound Aunt Ester whose power and discernment reveals itself in bursts. Aunt Ester’s mystical wisdom shapes this story while Jonathan Kitt portrays a heartfelt and larger than life persona as energetic Solly Two Kings. Kitt’s Solly muses, “If I live my life for a woman, I can’t live my life for the people” and “Wave the law in one hand and a Billy club in the other.”
MarHadoo Effeh and Kadahj Bennett in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)
Kitt is as endearing and avid a storyteller as he was as reserved and discerning Doaker in The Piano Lesson, but Solly Two Kings is an impulsive, frank and instinctive man full of ideas. Even with a wooden stick for a cane, Kitt’s Solly is a man of action and devoted to his family with a harrowing history of survival that fuels his determination and only makes him stronger. Solly and Aunt Ester share a lighthearted and affectionate rapport. Aunt Ester also leans on Dereks Thomas as warm, concerned and protective Eli, a fascinating bond with Marhadoo Effah as Aunt Ester’s loyal caretaker Black Mary, and a growing and enigmatic connection with Robinson’s Citizen who resembles someone from her past.
Michael Broadhurst (right) with MarHadoo Effeh in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)
In a black vest, holster and tie, Kadahj Bennett is terrific as tough, outspoken, wealthy and rigid free man Caesar, who has changed in recent years to the frustration of Effah is also Caesar’s humble, earnest and seemingly stoic sister. In a production boasting biblical references, it is likely Caesar is named after the Roman Emperor who practiced supreme civil authority. Blinded by self-righteousness and a dominating sneer, Bennett’s Caesar is intense and unflinching in the name of the law. Michael Broadhurst rounds out this intriguing cast as Solly’s trusted peddler friend, Rutherford.
Joshua Lee Robinson (center) with Jonathan Kitt, MarHadoo Effeh, Dereks Thomas, and Regine Vital in Actors’ Shakespeare Project’s production of August Wilson’s Gem of the Ocean (Photo by Benjamin Rose Photography)
A gem is established when it is tested to its very limits. Gem of the Ocean is a remarkable spiritual journey that tests each of these characters and is rooted in harrowing history while emphasizing the importance of endurance and fortitude in life’s brutal battlefield. It is a moving production offering humor and profound life lessons that culminate in surprising revelations and full circle moments that keeps you guessing to the very end.
Actors’ Shakespeare Project continues August Wilson’s Gem of the Ocean live and in person at Hibernian Hall in Boston, Massachusetts through Sunday, May 17. Click here for more information and for tickets.
As it is with making anything significant, creating begs a steep price. No pain. No gain.
Inside this expansive 70s music recording studio, upcoming rock band Here takes a crash course in this hard earned lesson.
Sleekly directed by Daniel Aukin with Justin Craig’s intricate music direction and Will Butler’s dynamic original songs, David Adjmi’sStereophonic took the stage live and in person for a limited run from Tuesday, March 10 through Sunday, March 15 at Emerson Colonial Theatre in Boston, Massachusetts and is currently on a national tour. The music-inspired production contains mature dialogue, performed in four acts and runs 3 hours and 10 minutes including an intermission. Click here for more information on their Boston run here for details on their national tour.
Jack Barrett as ‘Grover’ in the First National Tour of Stereophonic. Photo: Julieta Cervantes
Prior to attending Stereophonic, I was visiting Thinking Cup on Tremont Street in Boston and one of the employees happened to be streaming Fleetwood Mac’s acclaimed 1977 Rumours album. I asked about it and he revealed he was a big fan of their music and felt like playing it, not knowing that just across the street Stereophonic would be loosely paying tribute to not only Fleetwood Mac, but the many artists who indulged in the power and art of painstaking music creation during that era without an auto tune in sight.
It’s no secret that Fleetwood Mac has stood the test of time as one of the world’s greatest bands, but hearing Dreams in that popular café was the perfect opening act for this show.
However, you do not have to be Fleetwood Mac fan to enjoy this production. I was also a fan of Amazon’s Prime’s Daisy and the Six which is also loosely based on the story of Fleetwood Mac. Built for any music lover, Stereophonic concentrates much more on the tricky and collective process of creating an album and could represent the story of any band.
Company of STEREOPHONIC. Credit Julieta Cervantes.
Stereophonic follows rock band Here entirely from an elaborate recording studio in Sausalito, California from 1976 to 1977. David Zinn’s finely-tuned and functional glass-dual level recording studio set allows you to simultaneously see what is happening on both floors as plenty of drama takes place inside the recording booth as well as behind the scenes. Adjmi’s energetic dialogue kicks off the opening scene already in progress taking place the day after a big rehearsal night in overlapping and at times frenzied-under-high-pressure tones. With Jiyoun Chang’s urgent lighting measuring the progression of time, the audience is a fly on the wall and an omniscient presence privy to the secrets these musicians are keeping from one another as they contemplate their next song.
Having worked inside radio stations for many years, Zinn’s set resonated with me. The life of a radio talent and a musician share some similarities exemplified in a scene involving Jack Barrett as Grover and Steven Lee Johnson as Charlie who talk their way into a gig as a pair of rookie sound engineers. It’s all about the music and living that rock and roll dream.
Radio stations and studios can be open 24 hours a day and a musician or a radio personality can be working exhausting hours anywhere within that 24 hour period into the wee hours of the morning. With fluffy pillows and blankets, a radio station or a recording studio couch is not just convenient for studio visitors, but a place to crash if you are recording overnight.
(From L) Jack Barrett as ‘Grover’ and Steven Lee Johnson as ‘Charlie’ in the First National Tour of Stereophonic. Photo: Julieta Cervantes
Stereophonic hones in on the music process and what a meticulous undertaking it is, especially surrounded by musicians who can barely agree on what to do next, never mind tempo and rhythms. They riff, debate, share outlandish ideas, philosophize, joke and reflect like family at their best and at their worst.
The production features quite a bit of nostalgia through a wealth of 70s pop culture references, especially from Fleetwood Mac and other famous 70s rock bands such as The Eagles or the Doobie Brothers. Enver Chakartash’s colorful costumes speak to the hippie/disco era in bell bottoms, suspenders, and button down shirts as well as vividly patterned and flowing dresses.
Claire DeJean, Emilie Kouatchou, and Denver Milord in STEREOPHONIC. Credit Julieta Cervantes.
The cast exhibits strong vocals even as harmony and discord unleash onstage. From song snippets to a full song run through, you can’t help but long to hear more music and how the entire album turns out.
Swinging a tambourine, Claire Dejean brings to life naïve and insecure yet creatively gifted Diana who shares both harmony and discord with Denver MiLord as frustrated perfectionist Peter. They are a couple who perpetually challenge each other to a boiling point. Dejean’s Diana bonds with Emilie Kouatchou as best friend and band mate Holly who also has her own relationship troubles.
Claire DeJean and Denver Milord in STEREOPHONIC. Credit Julieta Cervantes.
Though the production would be just as impactful in a briefer timeframe, Stereophonic delivers a mix of somber, tense and humorous moments with Christopher Mowod standing out through a mix of humor and seriousness as unfiltered British musician Reg. Stephen Lee Johnson as Charlie and Jack Barrett as Grover share great chemistry and lend some lightheartedness to the show while Cornelius McMoyler brings an intensity to firm, level headed yet overwhelmed manager Simon. McMoyler’s Simon wise and stoic exchange with MiLord’s Peter is one of the show’s most intense highlights.
The First National Tour Cast of Stereophonic. Photo: Julieta Cervantes
Pursuing your passion often requires more than you bargained for and Stereophonic takes a deep dive into inevitable impact of long hours, partying, what smells like real smoking, and drug use. It also depicts the resourcefulness, perfectionism, and the drama behind the scenes as a band spends every hour together pouring their lives into creating what they hope is an album masterpiece while their personal lives hang in the balance.
Such is the art of rock and roll.
Stereophonic is currently on a national tour. Click here for further details and tickets.
Methodically directed by Scott Edmiston and based on Andrew Hodges’s critically-acclaimed best-selling biography Alan Turing: the Enigma, Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3. This engaging A Catalyst Collaborative@MIT Production contains some adult content and runs 2 hours and 30 minutes with an intermission. Click here for more information and for tickets.
I first learned about Alan Turing’s incredible life and accomplishments through the riveting 2014 biopic, The Imitation Game starring Benedict Cumberbatch and Keira Knightley. It is a shame that before seeing this eye opening film, I hadn’t been taught about this remarkable and renowned British mathematician, coder and computer scientist as part of my academic history.
Dom Carter, Matthew Beagan and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios
Edmiston does not necessarily present Turing’s story in chronological order, but through segments or scenes enhanced by enigmatic typewritten statements that become clearer as the production progresses. Scenic designer Janie E. Howland and SeifAllah Salotto-Christobal cleverly weave together innovation with vintage elements as projections of definitions to garden settings to calculations are vibrantly illuminated by Karen Perlow as tilted shelves stuffed with books, manuals, vintage electronic parts, old telephones and much more hang overhead. Classic three piece suits, scholarly cardigans and colorful dresses are just a portion of Chloe Moore’s fittingly traditional 50’s era costumes.
Set in England 1952, Eddie Shields as Alan Turing meets Dom Carter as unwavering and discerning detective Mick Ross to report a mysterious burglary at Turing’s home. When something seems amiss, Carter and Turing skillfully execute their increasingly tense cat and mouse game to a stunning conclusion.
Eddie Shields and David Bryan Jackson in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios
Eddie Shields embodies inquisitive, driven, blunt, painfully lonely and socially awkward Alan Turing who once considered numbers his imaginary childhood friends. The deep connection Turing possesses with numbers and technology are elements he longed for in other people. From Turing’s distinctive stutter and tics to his innate inquisitiveness to his distracted social awkwardness, Shields is exemplary as Turing. David Bryan Jackson adds easygoing humor as instantly likable and mildly muddled Dilwyn Knox who provides a good dose of lightheartedness during this often heavy production. Jackson also demonstrates his ample range as intimidating John Smith and Jackson’s dual role challenges Turing in distinct ways.
Eddie Shields and Matthew Beagan in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios
Turing is a relentlessly focused individual who walks a fine line between confidence and arrogance while facing obstacles thinking outside of the box. Turing’s driven nature and eccentricity rarely meets his match until two significant people enter his life. One is Matthew Beagan who portrays a number of roles including warm and charming Christopher, a man that Turing describes as someone who makes everyone else seem ordinary. The other is Josephine Moshiri Elwood as fellow coder Pat Green who shares a remarkable rapport and intellect that challenges Turing. Elwood beautifully depicts sweet, sympathetic and intuitive Pat with an earnest and unassuming sincerity. Their strongest moments are not in what is said but in the silences of what is left unsaid.
Breaking the Code Eddie Shields and Josephine Moshiri Elwood in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios
Paula Plum weaves an endearing mix of propriety, amiability and good humor as Turing’s mother Sara Turing who expresses interest and admiration of Turing’s various pursuits. However, a later pivotal and memorable scene between Plum and Shields is when both actors are at their best.
Paula Plum and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios
Not only is Turing the father of the computer and played a crucial role in World War II, but his forward thinking ideas back then about technology address the possibilities we are ever closer to making a reality today. It is fascinating to see just how this production presents technology’s rapid advancement while also making a profound statement about how we experience it in the world today.
Though I might have liked the show to have taken a closer look at how Turing accomplished his monumental feats, the production focuses more significantly on what drives him as well as his personal experiences and hardships that impacted his life. Turing’s calculations changed the world as we know it and yet, he suffered many unimaginably cruel injustices.
Imagine what more he could have done.
Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3. Click here for more information and for tickets.
Theatre can really drive you crazy and no one is more versed on that subject than Matt Doyle as playwright Jack Hawkins. Matt Doyle also acts as narrator reflecting on his wild journey as a struggling playwright.
With Noah Himmelstein’s zippy direction fueled by John Gromada and Joel Abbot’s catchy and mischievous sound design, Matthew Lombardo’s zany satirical comedy, When Playwrights Kill continues its world premiere live and in person at The Huntington in Boston, Massachusetts for a limited engagement through Saturday, April 18. This semi-interactive play-within-the making-of-a-play contains adult language and runs 2 hours with an intermission. Click here for more information and for tickets.
(L-R) Adam Heller (The Producer), Matt Doyle (The Playwright), Kevin Chamberlin (The Director) in ‘When Playwrights Kill’ Photo by Jim Sabitus
Loosely based on a real life theatrical incident, When Playwrights Kill features far more wry humor and hilarity than dark moments when a struggling playwright desperately attempts to get his new play, The Return to the Broadway stage. Working with an unpredictable theatre company which includes a greedy producer and a semi-retired acting legend, success may come with a price.
(L-R) Kevin Chamberlin (The Director), Matt Doyle (The Playwright), Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus
Alexander Dodge’s modestly stylish scenic design includes a glimmering red curtain and an extravagant makeup table with diva lights enhanced by Elizabeth Harper’s versatile lighting that not only cues scene changes and adds depth to the set, but illustrates Jack’s self aware inner monologue and narration.
Matt Doyle (The Playwright) and Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus
Comparing a restaurant to a shame shack and lines like “I’m not even following your tricycle of thought” is just a sample of Matthew Lombardo’s witty and uproarious script. It often draws on theatre history and boasts an assortment of theatrical and Boston references, but you don’t need to be a theatre buff to enjoy the absurdity of this shrewd production.
When Playwrights Kill features a strong cast that feed well off each other as this initially lighthearted production’s plot wildly thickens. Doyle delivers an earnest and engaging performance as Jack while articulating the building fury and frustration of being a playwright. Doyle’s asides are especially entertaining and he shares a fascinating chemistry with Beth Leavel as Brooke Remington, a semi-retired acting legend hired to perform his one woman show.
Beth Leavel (The Actress) in ‘When Playwrights Kill’ Photo by Jim Sabitus
Electric in fabulous heels, Beth Leavel is excellent as frazzled, charismatic, egotistical and blunt Brooke mastering a complex array of physical comedic scenarios that bear a passing resemblance to Carol Burnett‘s comedic prowess. For example, a scene where Leavel as Brooke is navigating a phone is pure perfection. Always making a memorable entrance, Brooke can also order a meal that gives Sally Albright a run for her money decked out in glamorous and vibrant attire by costumer Alejo Vietti only second to Tomás Matos as frank and wisecracking Val Liam’s chic and studded wardrobe in shredded denim and florals.
(L-R) Beth Leavel (The Actress) and Marissa Jaret Winokur (The Stage Manager) in ‘When Playwrights Kill’ Photo by Jim Sabitus
Adam Heller is also memorable as a business minded, fittingly raspy voiced and relentlessly greedy producer who shares some grand scenes with Doyle, but it is especially entertaining as Heller and Kevin Chamberlin, wonderful as the Director, conspire together calculating what next is in store. Boasting some priceless facial expressions, you may also feel the frustration of Marissa Jaret Winokur as a sympathetic and level headed Stage Manager who is doing everything necessary to keep this production afloat.
(L-R) Beth Leavel (The Actress), Tomás Matos (The Prompter), Adam Heller (The Producer), Matt Doyle (The Playwright) in ‘When Playwrights Kill’ Photo by Jim Sabitus
Twists and turns navigate this quickly paced and often unpredictable tale that delves into themes such as avarice versus creativity and other thought provoking ideas that resonate while the production never takes itself too seriously.
When Playwrights Kill is a delightfully absurd and insightful treat to anyone on and off the stage.
Matthew Lombardo’s zany satirical comedy, When Playwrights Kill continues its world premiere live and in person at The Huntington in Boston, Massachusetts for a limited engagement through Saturday, April 18. Click here for more information and for tickets.
