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REVIEW:  A thrilling race against time in wondrous ‘Harry Potter and the Cursed Child’

Posted on by The Sleepless Critic

This production boasts a great deal of elaborate presentation and what an amazing presentation it is! 

John Tiffany’s innovative direction, Gareth Fry’s robust sound design and a gleaming set by Christine Jones paves the way for more than a little magic as Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20.  This exciting production runs two hours and 50 minutes with one intermission and some dark imagery may not be appropriate for children.  Click here for more information and for tickets.

David Fine, Adam Grant Morrison, and Maren Searle in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Set Designer Christine Jones’s sterling and multi-dimensional set boasts gleaming wood and fine detail with stars and moons etched into a dome trim.  Featuring spinning clocks, animated books, vaulted ceilings and swerving grand staircases, this sliding set follows its own meticulous rhythm integrating shadows which brilliantly capture the essence of Hogwarts and the iconic events of the beloved series and films.  Capes swing in succession to its own mesmerizing beat in sharp and sweeping choreography that enhances the swift pace of this production.

The cast of ‘Harry Potter and the Cursed Child’ Photo By Matthew Murphy

The spellbinding and pulsating special effects by Jamie Harrison as well as the nostalgic return of beloved places and characters are the essential reasons why anyone, but especially Harry Potter fans, will delight in this show. As an avid Harry Potter fan having read the all the books including this screenplay and witnessed all the films, Harry Potter and the Cursed Child’s Easter eggs and recognizable spells are all familiar and welcome territory.  A wizard disappearing into a mailbox, characters drifting through walls, and haunting characters looming larger than life is just a glimpse into the stupendous magic that takes place live onstage. 

‘Harry Potter and the Cursed Child’ national cast Photo By Matthew Murphy

Seeing magic during recorded films is one thing, but to witness this magic materialize onstage is more than exciting.  It is a thrill each and every time.

Starting during Harry Potter and the Deathly Hallows epilogue, Harry, Ginny, Ron and Hermoine are at King’s Cross Station sending their children on the Hogwarts Express as new students to Hogwarts much like when Harry, Ron and Hermoine embarked on the Hogwarts Express for the first time years ago.

Much like J.K. Rowling’s beloved book series, this topsy turvy plot contains themes of family love, enduring friendship, and coming of age love that materializes between Adam Grant Morrison as Albus and David Fine as Scorpius.  It also focuses on parenting, reputation and the consequences of one’s actions. Its winding plot is just intriguing enough to revel in the appearances of these characters and goes to great lengths to stretch the plot for the purpose of justifying revisiting all these iconic places through a time turner.  

David Fine and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

The production brings together both generations as Juliana Nightingale remarkably portrays mysterious Delphi Diggory and Larry Yando as sympathetic Amos Diggory urges Nick Dillenberg as Harry Potter to bring back Amos’s son Cedric using a time turner.  When Harry refuses, Albus and Scorpius see it as an opportunity to prove themselves as great wizards.

Nightingale, Fine, and Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

What I did feel like the production lacked is the amount of time given to other students at Hogwarts.  So much time was dedicated to the OG characters that aside from acquaintances, Albus and Scorpius seem to be the only two people that truly connect in Hogwarts which is hard to believe at such a large university with numerous cast members.  Perhaps this is due to the shortening of the production which was once divided into two parts and clocked in at over four hours.

Fine is exuberantly expressive, anxious and excitable as Scorpius Malfoy.  Fine defines Scorpius with bursts of chatter and bravery infused with an occasional unhinged edge while Morrison as Albus Severus Potter is more introspective and resentful trying to live up to his father’s image.

David Fine in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Tom Felton may have returned in his OG role as Draco Malfoy on Broadway, but Ryan Hallahan is certainly up to the task in menacing and sarcastic ways punctuated by a delightfully upturned sneer and rich vocals as Draco.  Hallahan’s Draco is an impressive adversary and protective father to David Fine as Scorpius while infusing traces of Draco’s own father, Lucius. 

Dillenburg as Harry Potter is well suited for the role, though the character has become more egotistical and stubborn thinking he knows best which makes for fascinating scenes with Trish Lindstrom as softer spoken Ginny.  Lindstrom amiably demonstrates Ginny’s maturity and bolder practicality, especially as she tempers Harry’s  anxieties.

Matt Harrington amusingly captures quirky, outspoken, and underestimated Ron who provides more than a few playful moments.  He also shares some sweet scenes with Rachel Leslie as shrewd and determined Hermoine.   

David Fine, MacKenzie Lesser-Roy, and Adam Grant Morrison in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Some actors in this large cast take on multiple roles with finesse.  MacKenzie Lesser-Roy as giddy, giggling, bold and flirtatious Moaning Myrtle is an over the top scene stealer and unrecognizable in a dual turn as serene Lily Potter.  Katherine Leask closely exacts Maggie Smith’s glorious timbre and cadence as firm, yet compassionate Professor McGonagall with winking good humor before stepping into the shoes of one of Harry Potter’s perilously disdainful villains not to be revealed here.  Larry Yando impressively takes on the challenge of triple roles though some land better than others.

Wands abaze in ‘Harry Potter and the Cursed Child’ Photo By Evan Zimmerman

Twists, turns, rumors and revelations abound in this elaborate production tailor made for Harry Potter fans and for those who truly enjoy onstage wizardry!  Harry Potter and the Cursed Child continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Saturday, December 20.  Click here for more information and for tickets.

REVIEW:  Superpowers, grunge and dragons in SpeakEasy Stage’s zany indie-rock musical ‘Lizard Boy’

Posted on by The Sleepless Critic

In a musical world of grunge and dragons, Lizard Boy stands alone.

Unforeseen circumstances bring together a quirky trio of characters and onstage multi-instrumentalists when Keiji Ishiguri as introverted, anxious and well meaning Trevor leaves his apartment hideaway once a year.  Longing for real connection and a possible love interest in Peter Dimaggio as goofy, friendly and squeamish Cary, Trevor reluctantly practices a little faith over faith.  However, so much can happen just stepping out your front door.

From left: Chelsie Nectow, Keiji Ishiguri, Peter DiMaggio Photo by Benjamin Rose Photography

Blending dark humor, fantasy, mythology, sci-fi, action and horror with harmonious musical flair, Lizard Boy takes an earnest look at isolation, trauma, and loneliness. It is going to take a lot more than a simple song or even an apocalyptic event to unleash Trevor’s true reasons for staying home or the inexplicable sting in Trevor’s back.

With Book and Lyrics by Justin Huertas, rhythmically directed by Lyndsay Allyn Cox and creatively Musically Directed by Violet Wang, SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22.  With Playwright Justin Huertas in the audience during the performance I attended, this edgy production contains adult content and humor and runs 100 minutes with no intermission.  Click here for more information and for tickets.

Illustrated with comic book-inspired chalk drawings, colorful graffiti and band posters scattering the walls, Set Designer Qingan Zhang’s intriguing set provides a hint of the 90s though it takes place in the present day.  Sean Doyle’s mighty sound design can be overpowering at times, but there is a zing to the show’s perpetual harmonious rhythms (including the banging of a guitar case, carefully timed lightning and instruments that double as weapons) in a world where dragons really do exist.  After all, this Lizard Boy musical has scales…get it?  Clever. 

From left: Keiji Ishiguri, Peter DiMaggio, Chelsie Nectow Photo by Benjamin Rose Photography

Costume designer Zoë Sundra delivers a daring rock vibe which includes spandex, eye liner, furs, racer pants, flannels, graphic tees, and chained red booties.  With a blend of satirical and upbeat indie-rock tunes in unconventional rhythms using various instruments including a kazoo and the ukulele, Lizard Boy’s soundtrack is delivered with zeal and humor as this skilled trio must contend with each other for the sake of their world.  

From left: Chelsie Nectow, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

A portion of the tunes are delivered in a stream of consciousness fashion infused with pop culture references such as Ishiguri’s Trevor’s title track.  Tambourine-tinged The Whoa Song boasts catchy and powerful harmonies you may be humming after the show is over.  Clelsie Nectow depicts manipulative, relentless and occasionally unhinged Siren with raw prowess while delivering seething vocal rhythms faintly resembling Evanescence’s Amy Lee for A Terrible Ride.  Peter DiMaggio and Keiji Ishiguri showcase their improvisation skills and vulnerability with Cary’s Song and Things I Worry About.

From left: Peter DiMaggio, Keiji Ishiguri, Chelsie Nectow Photo by Benjamin Rose Photography

Though the plot can veer a bit too outlandishly at times, Lizard Boy is a wild musical journey with action, comic book violence, a resounding message and a few revelations in a world where true superpowers can come from the unexpected of places.

SpeakEasy Stage continues indie-rock musical Lizard Boy live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, November 22.  Click here for more information and for tickets.

REVIEW:  Arlekin Players Theatre’s mesmerizing ‘The Dybbuk: Between two worlds’ returns

Posted on by The Sleepless Critic

Someone is laughing. 

Its cadence echoes into a peerless and infectious glee that troubled Khonen, depicted by Andrey Berkovskiy, finds irresistible.  It does not take long to see that Khonen will go to the ends of the earth and beyond seeking that voice chiming in its ethereal splendor.

Unique, haunting, funny, charming, spiritual, and exceptionally creative, The Dybbuk: Between two worlds remains a mesmerizing must-see theatrical experience.

I never use the term ‘must see’ lightly, but it nonetheless fits this particular production in all of its unexpected and immersive twists and turns set exclusively inside a Jewish synagogue.  Brimming with unconventional creativity and cultural tradition, The Dybbuk is a spectacular journey and a dark tale steeped in meticulously timed and atmospheric special effects as it unveils a thrilling and enchanting piece of ancient Jewish folklore.

Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues the Elliot Norton Award-winning The Dybbuk: Between two Worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16.  This semi-interactive and well timed theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission.  Click here for more information and for tickets. 

The Dybbuk:  Between two worlds tackles love, marriage, faith, life, death, grief and the in between as well as the significance of a synagogue that still stands after all the turmoil it has endured.  As the play observes describing a synagogue, ‘The walls are damp with tears.’  A synagogue can be the center of sorrow or great joy and community, but above all, it is a sanctuary of hope when all seems lost.

Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova

What makes this production so exciting, beautiful and so downright impressive is this complex and powerful classic tale is wrapped in a riveting experience. The Dybbuk is a grand and exhilarating journey, but it also depicts sweet moments of simplicity from Andrey Berkovskiy as restless Khonen and Yana Gladkikh as innocent Leah with finesse.  Both characters shine in their perspective roles but Berkovskiy’s wondrous curiosity, playfulness, mischievousness, passion and anguish boast a spellbinding charisma.  While his good intentions radiate in the smallest of gestures, Berkovskiy’s wide eyed wonder of this world and his boldness are often at odds as he agonizes over his fate.   In long braids and ribbons, Gladkikh as sweet Leah demonstrates a beautiful vulnerability and conflict in her delicate and porcelain like features infused with a soothing and melodious voice that she also uses to sing.  Gladkikh’s Leah is delightful, innocent, romantic, and naïve sharing with Berkovskiy a captivating, giddy, and endearing playfulness in a situation that is eternally complicated.

Deb Martin Photo by Irina-Danilova

This enthusiastic cast blends intensity and humor and although this is an ancient tale, Golyak strings together elements of the traditional and the contemporary. Wearing a string of pearls and a black dress, Deb Martin commands the stage as Leah’s grandmother with a rigid frame yet bold and heightened awareness.  Shrewd and protective with a dry sense of humor, Martin as Frade is not to be underestimated while Robert Walsh brings broad cynicism and dark humor to stubborn Sender.

Robert Walsh in ‘The Dybbuk’ Photo by Irina-Danilova

The Dybbuk’s immersive and unpredictable setting is fueled by ingenious creativity in Jeff Adelberg’s luminous lighting design in shadows and glowing stars seamlessly paired with Fedor Zhuravlev’s robust and occasionally manually created sound that animates this dark, mystical and ancient world filled with rustic crystal chandeliers and scaffolding that sit beneath a vast skylight by scenic designer Igor Golyak with Sasha Kuznetsova.  The Dybbuk’s emotive light and sound deliver an ominous quality, humor, and awe-inspiring surprise nothing less than magical.  The transformation of a simple piece of plastic is just a sample of the inventive flair that helps to piece together this often poetic tale.

Anna Furman, Olga Aranova, and Yana Gladkikh Photo by Irina-Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16.  Click here for more information and for tickets. 

REVIEW:  Creativity underway in ‘Tick, Tick…BOOM!’ at Umbrella Arts Center

Posted on by The Sleepless Critic

Jon feels he is nearing the end of an era…his 30th birthday.

Creatively directed and choreographed by Ilyse Robbins with lively music direction by Jordan Oczkowski, Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM! Live and in person at Umbrella Arts in Concord, Massachusetts through Sunday, November 23.  This introspective and humorous musical journey runs 90 minutes with no intermission.  Click here for more information and for tickets.

Once a 2004 Off-Broadway musical, Tick, Tick…BOOM! was translated into a 2021 award-winning Netflix film adaptation directed by Lin-Manuel Miranda and scored an Academy award-nomination for Andrew Garfield  before taking the stage at numerous theater companies worldwide.  While creatively runs wild in the Netflix film, the Umbrella Arts musical is where you find the spark.

Anthony Pires Jr.* Vanessa Calantropo and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Set in January 1990, Tick, Tick…BOOM! Is a fascinating semi-autobiographical rock musical about Jonathan Larson, a struggling writer and composer living in New York City years before he created his hit rock musical, RENT.  A writer writes about what one knows and so much of this story offers glimpses into Larson’s inspiration for that wildly-successful musical.

However, this is about the struggle and this musical is brimming with it.  The painstaking work of creativity and all that could go wrong illuminates Tick, Tick…BOOM! as Larson struggles to keep it all together to achieve what at times seems impossible, especially in New York City.  Tick, Tick…BOOM! is not only about Jonathan Larson’s frantic life, but it is also an ode to the artist and the struggle to live that extraordinarily competitive dream while just skirting out and skimming by trying to get a chance.

Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Erik Diaz’s barebones set symbolically offers a different approach to this production featuring dual level scaffolding (also featured in Rent) a weathered apartment balcony, staircase and a NYC skyline. It may symbolically stand as a work in progress much like this particular period in Jon’s life.  However, Johnny Shea who delivers Jon’s detailed narration stretches the imagination to conjure up each setting such as a stainless steel kitchen, butcher block table, vast views and a luminous city skyline in a purple mist, part of Ben Rush’s warm and atmospheric lighting.

Anthony Pires Jr.* and Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

At its creative center is likable narrator and lead Johnny Shea who is instantly earnest, introspective and charming as the frenetic Larson on the eve of Larson’s 30th birthday.  The unconventional, imaginative, and quick-thinking Larson divides his time between writing, composing and working at the Moondance Diner.  However, music and writing naturally pours out of Larson’s soul and he is often consumed by it at the expense of everything else. 

For forward-thinking Larson, turning 30 is a looming chasm that soaks up every ounce of his time until that odious deadline demonstrated in the urgent and memorable number, 30/90.  Shea as Larson considers turning thirty as the end of youth, but it is certainly not too old to accomplish remarkable things.  Perhaps Larson always felt like he was running out of time.

This often lighthearted musical features a dynamic, infectious, and multi-dimensional soundtrack about living in your 20s in New York City and how life evolves.  RENT’s influence is unmistakably evident in the catchy and humorous number featuring Anthony Pires Jr. as Michael and Shea in No More which also reflects the strong camaraderie between best friends Michael and Jon.  It is also easy to recognize the roots that will develop Larson’s future work in Shea’s tender number Why. 

Anthony Pires Jr.* and Johnny Shea* in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Inside the Moondance Diner, Sunday features beautiful harmonies and clever quips.  Vanessa Calantropo as Susan and Shea as Jon deliver a flirty duet with Green Green Dress.  Therapy is a fantastic and humorous number about the miscommunication of love and the chipper and lighthearted Sugar is great fun.  Johnny Can’t Decide harmoniously and pensively depicts the agonizing struggle living in the uncertainty of your dream or being practical which is a prevalent theme throughout the production.

With rich vocal arrangement and orchestrations by Stephen Oremus, this intimate onstage band can impressively jam and the musical’s small and mighty cast interacts with the band while delivering rich and powerful harmonies along this uninterrupted musical journey. With the exception of Shea as Jon, Anthony Pires Jr. as Michael and Vanessa Calantropo as Susan smoothly and humorously capture many other roles as Jon allows his story to unfold.  Calantropo especially stands out for the soaring number, Come to Your Senses. 

Anthony Pires Jr.* Johnny Shea* and Vanessa Calantropo in Umbrella Arts Stage Company’s ‘Tick, Tick… Boom!’ Photo by Jim Sabitus

Tick, tick BOOM! explores the little victories, the larger victories, and the gut-wrenching defeats in Larson’s personal and professional world.  However, what is genuinely important becomes poignantly clear and what truly inspires his work changes as the musical progresses.

Umbrella Arts Stage Company continues Jonathan Larson’s ambitious musical Tick, Tick…BOOM live and in person through Sunday, November 23 at Umbrella Arts Center in Concord, Massachusetts.  Click here for more information and for tickets.

REVIEW: Greater Boston Stage Company’s infectiously charming but muddled ‘Murder for Two’

Posted on by The Sleepless Critic

A surprise party goes awry and one ambitious investigator is on the scene.

With fast paced direction by Tyler Rosati and versatile music direction by Bethany Aiken, Greater Boston Stage Company continues murder mystery musical farce Murder for Two live and in person through Sunday, November 9 live at Greater Boston Stage Company in Stoneham, Massachusetts. This semi-interactive whodunit two hander is 90 minutes without an intermission.  Click here for more information and for tickets.

Jared Troilo in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios

Katy Monthei’s vintage mansion setting creates a homey atmosphere which includes dated wallpaper, cluttered bookshelves, several mismatched lamps, various knickknacks on scattered shelving, Egyptian rugs, framed portraits and a sleek black piano all framed by incandescent theatrical bulbs. 

Jared Troilo is “aw shucks” charming as determined and inventive New England police officer Marcus who dreams of one day being promoted to detective.  What better way to impress his boss than to solve this small town murder mystery of who murdered famed novelist Arthur Whitney.

One of the brightest spots of this production is Troilo and Will McGarrahan’s sublime turns on the piano. Whether competing or complementing each other while making some amazing music together, this multi-talented duo sure know how to captivate an audience. Their madcap piano workings are creative and thrilling.  As they tickle the keys at brisk and elegant paces, the rhythms work with Cost’s dazzling lighting to elevate the show’s playful suspense and navigates the show’s various moods, new thoughts, and each of McGarrahan’s frequent transformations into various murder suspects from toddler to elder.  

Will McGarrahan in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios

The brisk musical elements boast vaudeville and vintage Broadway flair while satirizing the nature of musical theatre.  For example, a cell phone ringing onstage is hilariously mistaken for an audience member’s rudeness. 

It is also greatly entertaining watching this comedic duo share great chemistry occasionally making each other laugh and other times barely holding it together during the production’s sillier moments.  It is no small task to put a show on of this caliber and both rise to the occasion. Troilo is a straight man Dean Martin to McGarrahan’s Jerry Lewis as McGarrahan slips into various accents, mannerisms, and rapidly poses as numerous suspects using merely a prop or piece of wardrobe separating each distinct character thanks to Chelsea Kerl’s jocular costume design from a multicolor scarf to a feather boa to a pink tutu and even a cocktail umbrella.

Will McGarrahan and Jared Troilo in Greater Boston Stage Company’s Murder for Two’ Photo by Niles Scott Studios

However, the show’s infectious charm cannot entirely make up for and a muddled murder mystery plot.  Using only this dynamic duo, it is still difficult to picture the scene of the crime and not enough distinction separating the various suspects.  Picturing multiple people in the room and the blocking at times doesn’t quite make sense and would be better understood with more than two people.  When Greater Boston Stage Company presented the one man Sleepy Hollow classic, its narration seemed to drive the story more clearly and perhaps that is what is missing here.

This production is far funnier than suspenseful and not to be taken seriously and perhaps this is all part of the joke, but it became difficult and a little frustrating visualizing this intriguing murder mystery you are also trying to solve alongside Marcus.

Jared Troilo and Will McGarrahan in Greater Boston Stage Company’s ‘Murder for Two’ Photo by Niles Scott Studios

Jared Troilo and Will McGarrahan are two bright talents and such likable characters and yet, following the plot is a challenge to say the least.  If you can put that aside, Murder for Two features a wonderfully likable and impressive duo for an amazing and lighthearted evening.

Greater Boston Stage Company continues murder mystery musical farce Murder for Two live and in person through Sunday, November 9 live at Greater Boston Stage Company in Stoneham, Massachusetts.  Click here for more information and for tickets.

REVIEW: North Shore Music Theatre’s ‘The Cher Show’ turns back time radiating with empowering style

Posted on by The Sleepless Critic

This musical biopic seems by the numbers until three Chers materialize to infuse a clever and adventuresome twist.

Much like Cher herself, The Cher Show is a spotlight driven, bawdy, and spirited look at Cher’s upbringing and career and how Cherilyn Sarkisian overcame her shy demeanor to become what she proudly proclaims ‘a warrior goddess.’ 

Bathed in dazzling, spotlight-soaked flair and a marvelous rising and bejeweled spinning stage by Jack Mehler, Star, depicted with Cher’s absorbing dry humor and distinct husky contralto vocals by Sara Gettelfinger, emerges in sequined black donning signature high heels and risqué style, but she is definitely not alone.  Turning back time is a thrill when two other Chers share the spotlight and help navigate her life based on all she knows now.

The cast of THE CHER SHOW in the Tony Award-Winning costumes designed by Bob Mackie playing at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

With Kevin P. Hill’s vibrant direction and an array of slinky and dynamic choreography by Sara Andreas, North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts.  The theatre-in-the-round production runs 2 hours and 45 minutes with one twenty minute intermission, the action is not limited to the stage and contains some adult themes.  Click here for more information and tickets.

Angie Schworer as (Georgia Holt) and Madeline Hudelson (Babe) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Cherilyn was not always one to bathe in the limelight and at nearly 80 years old, she has quite the story to tell.  As chatty and anxious Babe, depicted with mellifluous vocals and fretful naiveté by Madeline Hudelson, Cherilyn often felt like an outsider due to her dyslexia, half-Armenian heritage and unconventional looks.  Hudelson’s confidence appears only in bursts as self consciousness takes over.  However, Angie Schworer, fabulous as Cher’s confident firecracker mother Georgia, is a constant source of strength, sage advice and beauty.  Georgia advises, ‘The song will make you strong.’  To anyone who loves music, no truer words were ever spoken.

Charissa Hogeland (Lady) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden

In feathers and sequins, Schworer also makes a grand cameo as a legendary celebrity that will not be revealed here.  Andrew Tufano also delivers a memorable performance as Rob Camilleti.

Cher fulfills most people’s two fondest wishes in this musical.  Not only can Gettelfinger’s Star turn back time, but accompanied by Hudelson as Babe and Charissa Hogeland as Lady, Star can turn to her other selves to revisit her past.  A trio of Chers who interact, are aware of each other, and support each other do not just provide a wealth of comedic and heartfelt moments, but breaks the pesky rules of a classic biopic in an inspired and spectacular way.  Gettelfinger, Hogeland, and Hudelson share an admirable bond where anything can happen which comes in handy as Cher was required to grow up fast in this sink-or-swim industry.

Brenton Cosier (Gregg Allman) with Sheila Jones in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Mehler’s glitzy and sequin-fringed set displays an immersive array of projections which includes 60s petal-inspired illustrations, Vegas pizzazz, an opulent mansion, Broadway theatre, and western flair enhanced by chandeliers and authentic Sonny and Cher logos.

Starting out with her own sewing machine, Cher always set her own bold and risqué fashion standard before later joining forces with the legendary visionary and controversially-daring fashion designer Bob Mackie, who originates the Broadway and tour costumes seen in this musical.  Dan Fenaughty, who depicts a trio of roles in this production, is memorable as Mackie complete with clever quips and a mischievous gleam, especially during Ain’t Nobody’s Business.  Magnets are used to accommodate the numerous fashion styles and quick changes throughout the production. The Cher Show’s costume coordinator Rebecca Glick and wig and hair designer Rachel Padula-Shuflet presents these ostentatious costumes in all of its nostalgic, feathered, and sparkling runway glory.   

Dan Fenaughty (Bob Mackie), Charissa Hogeland (Lady) and Ben Broughton (Sid the Censor) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

Frankie Marasa 5th is in on the joke as good humored Sonny Bono at first with self deprecating charm, a gradual magnetic charisma and a quirky sense of humor.  Fast talking with shrewd business sense, Marasa 5th shares endearing yet complicated chemistry and half of an impressive deadpan comedic duo with each Cher.  One of the best moments of the musical is with Hudelson’s Babe and their powerful rendition of I’ve Got You Babe which was met with a roar from the audience.  He also shines in Little Man and later for All I Ever Need is You. 

Frankie Marasa 5th (Sonny Bono) and Charissa Hogeland (Lady) in THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

The Cher Show’s quick pace features a wide array of nostalgic hits over six decades including the catchy harmony of Da Doo Ron Ron, Be My Baby, and The Shoop Shoop Song as well as It’s All or Nothing, a poignant Bang Bang (He Shot Me Down), Believe and Heart of Stone.  Gettelfinger, Hogeland, and Hudelson form a powerhouse trio as they recall Song for the Lonely.  However, Gettelfinger truly shines with soaring vocals for The Way of Love.  The drum-infused and Fosse-inspired The Beat Goes On is also a sleek standout as well as the sultry and athletic chorography featuring Milena Comeau in The Dark Lady.

Madeline Hudelson (Babe) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

You don’t have to be a fan of Cher to appreciate her journey. The Cher Show lightheartedly celebrates her remarkable career and variety of hits, but is also an honest and frank depiction of her insecurities, challenges, and fears within her failures and triumphs.  Through it all, Cher’s strength relentlessly shines through as the beat goes on.

Charissa Hogeland (Lady) and the cast of THE CHER SHOW at North Shore Music Theatre from October 21 thru November 2, 2025. Photo©Paul Lyden.

North Shore Music Theatre presents The Cher Show live and in person through Sunday, November 2 at North Shore Music Theatre in Beverly, Massachusetts.  Click here for more information and tickets.

REVIEW:  The plot remarkably thickens inside Company Theatre’s scintillating romantic comedy ‘The Cottage’

Posted on by The Sleepless Critic

Well, that escalated quickly.  One bold move brings an awful lot to light inside this English summer cottage and it’s not quite the morning after anyone was expecting.

Playfully directed by Michael Hammond, Company Theatre continues Sandy Rustin’s romantic comedy, The Cottage live and in person at the Company Theatre in Norwell, Massachusetts.  This quick paced production is not limited to the stage, contains some mature humor and runs approximately two hours with an intermission.  Click here for more information and for tickets.

The cast of Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford

The Cottage debuted onstage in 2013 and though this production is set in England, it toured domestically until it made its Broadway debut in 2023 directed by Jason Alexander.  Though it takes place in the 1920’s, this amusing production also dryly comments on some aspects of the 20s from a contemporary perspective.

Tackling love and marriage, The Cottage centers on Emilee Leahy as relentlessly optimistic and fanciful Sylvia who is enjoying a summer affair in 1923 with Joe Rich as distinguished barrister Beau, but this tale is much more than a romantic love triangle. This engaging comedy picks up immediately and the plot thickens so quickly, I was concerned the show would run out of steam early.  However, The Cottage has a wealth of twists and turns in store and it is amazing how much people learn from one another when things truly hit the fan.

Emilee Leahy in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford

Matching coordinated day hats and coats, flowing silk garments, three piece suits, suspenders and lace embellishments are just a few of the glamorous 20s pieces from Kiera O’Connor’s upscale costume design.  Sally Ashton Forrest’s swing jazz-inspired sound design and Ryan Barrow’s ornate and detailed art deco dual level set stylishly rewinds the clock to 1923 complete with rotary phone, Victrola, piano, wooden stairwell, delicate silk flowers, rural paintings and family portraits on vintage pastel floral wallpaper, glamorous furniture and multicolor Persian rugs.  Dean Palmer Jr.’s warm pastel-toned lighting embellishes the cottage’s welcoming charm and dramatically heightens the impact of each revelation as the tale unfolds.

Joe Rich in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford

This engaging cast boasts great comic energy and work well together with Rustin’s sharp and quick-witted script.  In all of its comic and escalating chaos, this capable cast kept it together with finesse.  With singsong vocals, naiveté and a flower blossom in her hair, Emilee Leahy shines as Sylvia who is not to be underestimated.  Leahy especially demonstrates a charming depth to Sylvia as her confidence is shaken.  Joe Rich as Beau and Timothy Pick as good humored Clark share considerable rapport and lighthearted banter.  Rob Gullicksen brings thrill to unpredictable Richard while Elizabeth Nelson-Childs as formidable Marjorie and Jaqueline Hausman as game loving Dierdre are also impressive in their contrary roles.  Each role also manages a degree of sympathy even among this group of flawed and insecure characters.  

Rob Gullicksen, Emilee Leahy and Joe Rich in Company Theatre’s ‘The Cottage’ Photo by Zoe Bradford

Lies and misjudging is just a portion of this romantic comedy’s intensifying plot and this beloved cottage contains its own share of secrets.  Overall, it is a fun, flirty and lighthearted production and it is refreshing to see something not to be taken too seriously.   

Company Theatre continues Sandy Rustin’s romantic comedy, The Cottage live and in person at the Company Theatre in Norwell, Massachusetts.  Click here for more information and for tickets.

REVIEW:  Thinking outside the box in American Repertory Theater’s artistic autobiographical comedy, ‘300 Paintings’

Posted on by The Sleepless Critic

What happens after a dream doesn’t go quite as planned?  For Sam Kissajukian, it’s finding another one.

Created and skillfully performed by dynamic Australian talent Sam Kissajukian, American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25.  This cleverly executed production runs 90 minutes with no intermission.  Click here for more information and for tickets.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings carefully balances insight and humor in a zig zag autobiographical and educational journey about making a new start when your initial dream goes awry.  Allowing the audience into his captivating methodology and thought patterns, Sam intimately reflects on this time with a step-by-step skewed and spontaneous comic logic that might be farfetched if it wasn’t for his unwavering confidence.  Warmly yet dryly tracing out his often outlandish and complex ideas, you will marvel at his resourcefulness as Sam reflects upon his choices in the aftermath of his decisions. For example, Sam takes apart the art of doing business through the Museum of Modernia in such an interesting and unpredictable manner that one might wonder why no one has ever thought of that before.  As Sam reflects, ‘A manic person will never do something the way you expect them to do it.’ 

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

Part comedy and part fascinating art exhibition, this personal portrait has a sense of urgency as it tackles art, comedy, business, and mental health with sincerity and self deprecation while keeping the majority of his zany storytelling lighthearted and humorous.   

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

300 Paintings also contains a sense of adventure, gusto and discovery as the story unfolds behind these 300 Paintings.  As Sam states, ‘No one would ever expect’ and I do think that is a deft description of this entire journey.  With a mix of humor and surprise, Sam shows that discovering what you are meant to do is as significant as the journey toward it.

300 Paintings Production Photo Sam Kissajukian in 300 Paintings. Photo: Evgenia Eliseeva

American Repertory Theater continues 300 Paintings live and in person at Farkas Hall at Harvard in Cambridge, Massachusetts through Saturday, October 25.  Click here for more information and for tickets.

REVIEW: Lyric Stage’s understated ‘Our Town’ makes the everyday extraordinary

Posted on by The Sleepless Critic

The one constant is change.

Though in a sleepy town like Grover’s Corners, change may not be frequent, but with time, it is inevitable.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s 1938 Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19.  This classic three-act production is not limited to the stage and runs two hours and ten minutes including an intermission.  Click here for more information and for tickets.

Thomika Marie Bridwell* and Amanda Collins* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Our Town is one of the great American masterpieces of our time and holds a special place in my heart.  Its subtle yet gripping messages about the circle of life universally resonate and can speak to any generation.  I’ve seen Our Town several times before, and yet, every production is its own fresh and unique experience. 

An astute play, I believe your perception of Our Town changes as you grow and change.  Watching it as a teenager in a school play hits differently than seeing it as an adult and will transform again watching it as an elder.  In its simplicity, it carefully unveils life’s profound and fleeting journey while staying relevant for each generation.

Scenic designer Shelley Barish and costumer Rachel Padula-Shufelt embrace its timeless quality by creating a modest yet classic tone in each element of the production.  An impressive multipurpose wooden circular structure is the symbolic centerpiece of Grover’s Corners as Deb Sullivan’s rich and stirring lighting comes to life during affective and pivotal moments, especially in a vibrant purple moonlit sky bathed in puffy clouds.  Instead of using early 19th century period costumes, Rachel Padula-Shufelt shrewdly showcases classic Americana attire which includes suspenders, button down shirts, cardigans, stately three piece suits, understated dresses, and baseball and newsboy caps. 

WIll McGarrahan* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Using very few physical props, much of the production is traditionally imagined through Will McGarrahan‘s skilled and interactive narration as Stage Manager.  His engaging, mirthful and intimate delivery acts as part educator, omniscient narrator, occasional sage commentator, and at times, stepping into the action.

Kathy St. George* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

As much as the show may focus on the residents of Grover’s Corners, New Hampshire, they are second fiddle to the town itself and its unfolding features.  Within the town’s examination and analysis starting in 1901, something lies deeper within its quiet beauty and unlocked doors.  It also contains a wealth of local references that is not too far from its Boston staging.

Darren Paul, Thomika Marie Bridwell,* Jacob Thomas Less, Kathy St. George,* Amanda Collins,* Jessie Garlick and John Kuntz* in Lyric Stage’s Our Town Photo by Nile Hawver

Whether it’s Josephine Moshiri Elwood as forthright and wondrous Emily or Thomika Marie Bridwell as fanciful Mrs. Gibb, delightful Kathy St. George as inquisitive and precocious Rebecca or Amanda Collins as staunch traditionalist Mrs. Webb or John Kuntz as frank and disheartened Simon Stimson, this wonderful and well cast company authentically explore the small joys, hardships and realities of life with humor, humility and grace.  Elwood as Emily and Dan Garcia as George Gibbs particularly share a sweet sincerity and idealistic charm as they discuss their bright futures.

Dan Garcia and Josephine Moshiri Elwood* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Some productions don’t need all the bells and whistles in order to be genuine and Our Town fits the bill through its strong sense of community.  In this age where life is becoming more and more digitized, this small town unpacks life’s perplex meaning through connection in an impactful production season by season. 

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19.  Click here for more information and for tickets.

REVIEW:  Kindness and the little things in SpeakEasy Stage’s dramedy ‘Primary Trust’

Posted on by The Sleepless Critic

Kenneth’s visits to Wally’s Tiki Bar mean much more to him than just the two-for-one Mai Tais.

Quietly profound and inviting, Primary Trust is a unconventional journey about a lonely townie named Kenneth, performed with humble charm and simmering yearning by David J. Castillo, whose outlook on life is about to be shaken.

Arthur Gomez and David Castillo in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

With multilayered direction by Dawn M. Simmons, SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11.  This intriguing production runs approximately 100 minutes with no intermission.  Click here for more information and for tickets.

What I love most about Eboni Booth’s sharp and rapid fire script is that it is upbeat and funny while evoking a wide spectrum of emotions within its snappy dialogue.  Anna Drummond’s urgent sound design keeps the pace of Booth’s charged and lively script as it veers from one quick witted scenario to the next.  This small cast is more than up for the challenge enhancing the unique and often changing essence of this production.

David Castillo Luis Negrón and Arthur Gomez in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

A show without set changes, Shelley’s Barish’s compelling scenic design holds small town charm divided into sections including an island-inspired Tiki Bar with colorful leis and hale illuminated by Christmas lights as part of Karen Perlow’s soft atmospheric lighting, a stack of oversized books with bookcases, a large bank sign with a large wad of cash and a cozy park bench with lamppost.

Set in the cheery small town of Cranberry, New York (with a population of 15,000) and a hint of Our Town familiarity, Castillo as Kenneth lives a life of simplicity and certainty spending his days with Arthur Gomez as Kenneth’s encouraging and supportive only friend Bert.  In glasses, jeans and a cardigan, Gomez delivers unassuming charisma and infuses warmth, optimism and enthusiasm into Bert’s candid and charming demeanor.  However, there is a lot more to wise Bert than keeping Kenneth company.  Sharing an endearing camaraderie and insightful dialogue, Gomez’s Bert is a source of security for Kenneth who is carrying a lot more than a lonely life on his shoulders.

Arthur Gomez and David Castillo in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

One would think connection might come naturally in a small town, but not for Kenneth.  With a nervous laugh, at times jittery demeanor, and a vast imagination, Castillo is excellent as Kenneth who confides in the audience and you can’t help but feel protective and a friend to him as he shares his setbacks and challenges while shyly appreciating the little things in life.

David Castillo and Janelle Grace in SpeakEasy Stage’s ‘Primary Trust’ Phot by Benjamin Rose Photography

Janelle Grace and Luis Negrón nimbly capture multiple roles during the production ranging from local townie to significant figures driving Kenneth’s story.  Luis Negrón transforms into each role so impressively, it may take a moment to catch on while Grace demonstrates amazing and occasionally frenzied comic timing stepping into each role.

Whether Kenneth is sharing a moment of understanding with Negrón or a joyful chance moment with Grace, Primary Trust demonstrates humanity and compassion in each authentic moment.

Primary Trust holds a few important twists and turns best experienced as the story unfolds.  Boasting an inherent depth, it has delightfully amusing moments that help smooth over the heavier elements and dark humor in Booth’s perceptive script without diminishing their significance.  Make no mistake Primary Trust will make you laugh as often as you might be moved.

David Castillo as Kenneth in SpeakEasy Stage’s ‘Primary Trust’ Photo by Benjamin Rose Photography

SpeakEasy Stage continues Eboni Booth’s Pulitzer prize-winning dramedy Primary Trust live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, October 11.  Click here for more information and for tickets.