thisweekend | The Sleepless Critic

REVIEW: Thoughts set adrift and a lady waiting in Lyric Stage’s humorous and ruminating new musical, ‘Penelope’

Posted on February 18 by The Sleepless Critic

So many questions lie in an uncertain future.

Waiting can make you antsy, edgy, and frustrated while fluctuating between hope, anticipation and dread. No one knows waiting quite like Penelope from Homer’s epic work, The Odyssey. From a Cliffside island abode, Penelope waits for years for her husband to come home after the Trojan War with no idea of what’s ahead. However, boasting an eclectic mix of catchy, playful, melancholy and soothing songs, thoughts travel even when the body does not and a lot can happen even while the world is still.

Directed with introspection by Courtney O’Connor with eclectic music direction by Dan Rodriguez, Lyric Stage presents Alex Bechtel’s new musical, Penelope live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, March 1. This stirring and semi-interactive one woman cabaret style production contains adult language and runs 80 minutes with no intermission. Click here for more information and for tickets.

Aimee Doherty in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Homer’s The Odyssey is considered one of the most influential and most read mythological works of all time and has been getting particular attention lately. American Repertory Theater debuted Kate Hamill’s The Odyssey last year and this summer, Matt Damon leads an all star cast in Christopher Nolan’s new adaptation of The Odyssey. The Odyssey explores several significant themes including war, temptation, survival, and redemption, but it is not necessary to refresh yourself on Homer’s work to appreciate this musical. Its focus is less on the plot and its exclusive focus is on Penelope’s perspective, Odysseus’s clever, steadfast, and powerful wife who holds onto hope for Odysseus’s return while touching upon a few themes from Homer’s classic work. Penelope also explores the relatable nature of waiting and looking for answers while facing an unknown future.

Ethan Wood, Dan Rodriguez, Aimee Doherty, Kett Lee in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

Illuminated in warm pastels and elegant and detailed oceanic ripples by Karen Perlow, Janie E. Howland’s wooden, wicker and stone set has certainly created a beautiful and inviting sanctuary for Aimee Doherty as Penelope in her Ithaca Cliffside abode in vibrant teal adornments. Mikayla Reid’s breezy costumes further captures the musical’s carefree Grecian façade with the onstage orchestra adorned all in white and Doherty stands out in a flowing burgundy jumpsuit. The manner in which the intimate orchestra take the stage accompanied by Alex Berg’s soothing and sweeping sound design provides comfort and solace and Doherty’s occasional interactions with them feel more like a collaboration than exclusively a one woman musical.

Aimee Doherty, Ethan Wood, Dan Rodriguez in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

However, Penelope’s heavy heart has much to consider in deep reflection in her soaring vocals as she waits for her husband’s homecoming. This musical takes its time, but in a gradual unfolding without dragging. Every moment builds with care. Doherty’s Penelope is clever, frank, graceful, charming and is all too aware of her place in the world in the Bronze Age, even with the show’s contemporary flair. She remarkably evokes her thoughts and a myriad of complex emotions while quietly inviting you on this journey. Doherty’s tense stillness, quiet anticipation, vulnerability and stark loneliness are palpable as her eyes flicker and in a jolting movement, her feelings may sweep over you as well.

Marissa Licata, Aimee Doherty, Dan Rodriguez, Ethan Wood in Lyric Stage’s ‘Penelope’ Photo by Nile Hawver/Nile Scott

As much as the musical is about the anguish of waiting and suffering as depicted in the frustrating Prayer and poignant number Lose My Mind, Penelope also provides its share of raw and humorous moments in both dialogue and song as demonstrated in the cheeky Drunk Iliad. Funny, soothing, and earnest, Penelope unveils the wonder of the ordinary even if the waiting is the hardest part.

REVIEW: Going to extremes in SpeakEasy Stage’s somber ‘Job’

Posted on February 3 by The Sleepless Critic

Talk about the dark web.

A woman on the edge and a man is barely keeping it together…at gunpoint.

Such is the opening of SpeakEasy Stage’s intense thriller Job, a two hander production that is at times, a nail biter and other times, a deep dive into a woman’s unfiltered thoughts, observations and teetering panic with a startling twist that holds a grievous and agonizing truth.

Directed with raw candor by Marianna Bassham, SpeakEasy Stage continues its 35^th season with Max Wolf Friedlich’s searing psychological thriller, Job through Saturday, February 7 live and in person at the Calderwood Pavilion in Boston, Massachusetts. This fast paced production contains strong language and adult themes running approximately 80 minutes with no intermission. Click here for more information and for tickets.

From left: Josephine Moshiri Elwood and Dennis Trainor Jr. Photo by Benjamin Rose Photography

Set in downtown San Francisco in 2020, set designer Payton Tavares with Amanda E. Fallon’s moody lighting depicts a warmly lit and detailed therapist’s office in muted colors that features a leather couch, desk, several paintings and few family photos. Intense, hollow and at times creepily deafening, Lee Schuna’s carefully orchestrated sound design signals several significant moments during the production.

Job is not unfamiliar territory for director Marianna Bassham who starred in her Elliot Norton award-winning and indelible portrayal as Nina in SpeakEasy Stage’s People, Places and Things in 2022. While People, Places, and Things dives into the deep chasm of an addict, Job takes a different approach to trauma and addiction in Jane in a visceral performance by Josephine Moshiri Elwood. Having recently performed as idyllic Emily in Lyric Stage’s Our Town, Elwood shows her broad range depicting a deeply wounded, distressed, controlling and flawed individual wearing haphazard loungewear with a colossal chip on her shoulder. Jane condescends, snipes, is obstinate and shows narcissistic tendencies, but the why of it all will soon rise to the surface while Dennis Trainor Jr. skillfully portrays an alarmed yet seemingly mild mannered therapist Loyd who does what he can to temper this unpredictable situation.

Josephine Moshiri Elwood Photo by Benjamin Rose Photography

Elwood and Trainor Jr. hint at a battle of wits rapport and both are guarded in their own way which only allows glimpses into their true nature. It is fascinating to see how the conversation shifts as they learn more about one another.

From left: Dennis Trainor Jr. and Josephine Moshiri Elwood Photo by Benjamin Rose Photography

Job kicks off at an eleven and keeps its dialogue crisp. Much of this swiftly moving production tackles the nature of panic and anxiety and spans a number of scenarios real and imagined. It also takes a raw look at the dangers and the dark crevices of the digital age. It is a powerful production, but its potent content while gripping, may not appeal to everyone. It was a lot for me and could possibly conjure up some complex feelings for you as well. The production delivers pop culture references, politics, and contemporary issues while striving at lighter hearted moments in its occasional dark and dry humor, but the escalating situation may not leave much room for laughter.

SpeakEasy Stage continues its 35^th season with Max Wolf Friedlich’s tense psychological thriller, Job through Saturday, February 7 live and in person at the Calderwood Pavilion in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: An amusing battle of wits at Hive Theatre Company’s ‘The 25th Annual Putnam County Spelling Bee’

Posted on January 30 by The Sleepless Critic

It can be a strange form of intellectual entertainment.

The contestants range from excitable to anxious to charismatic while braving through the pressure to succeed. With spell check just a click away, knowing how to spell complex words such as Xanthosis, Autochthonous, or Logorrhea almost seems like an archaic practice. However, Scripps National Spelling Bees are seen all over the world and like any competition, plenty of drama is happening behind the scenes.

Smoothly directed and choreographed by Margaret McFadden with John Eldridge’s witty music direction, The Hive Theatre Company dives into an interesting match of wits with the award-winning musical comedy, The 25^th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. This semi-interactive production runs 1 hour and 45 minutes with one intermission and contains some adult humor. Click here for more information and for tickets.

The cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Based on a book by Rachel Sheinkin and William Finn and featuring playful and insightful songs from its Grammy award-nominated album such as I’m Not That Smart, Pandemonium, and I Speak Six Languages, The 25^th Annual Putnam County Spelling Bee explores the lives of quirky and feverishly ambitious Putnam Valley Middle School students who are not only striving to win the bee, but to find their place in the world.

Alex Kennedy and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Featuring a live four piece band in the background, the BCA Plaza Theatre offers a fitting scholastic vibe for a spelling bee. Kevin Deane Parker’s modestly staged set features a blue school door, colorful metal chairs and auditorium seating. No spelling bee should be without a sponsor and Putnam Optometrists have stepped in with a humorous slogan across the judge’s table. Samantha Wolfrum’s wild and eccentrically charming costumes illustrate each character’s distinctive qualities.

Before addressing each one of the improvisational wizards that compete in Hive Theatre Company’s production of The 25^th Annual Putnam County Spelling Bee, it is important to note that the audience plays their own part in the bee. This small cast makes a big impression, and this zany musical comedy tests the audience’s knowledge as four lucky guest volunteer spellers have the honor of taking the stage to compete with the cast. It is an amazing experience to be a guest speller as the cast keeps them on their toes all in good fun.

Amanda Wade and Cameron Nye in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

If offered this opportunity, do not let fear and the unknown override a wonderful chance to join in the excitement of the bee along with the outside possibility of getting serenaded by some real talent. The interactive antics are just part of what makes this improvisational musical comedy unique and doused in a bit of the “reality show” flavor. Each performance of The 25^th Annual Putnam County Spelling Bee leaves its own individual and lasting impression.

From caricature voices to bizarre antics, this spelling bee cast leans into and emphasizes character quirks much more than endearing qualities than other version I have seen while relishing in their own various idiosyncrasies. To these students, spelling can be ruthless and punishing and are certainly feeling the pressure. Full of anxiety and neurotic awkwardness, each adolescent has their own humorous ways of coping to achieve a win paired with the difficulties of growing up. Learning each speller’s story and why they are participating in the Putnam County Spelling Bee (and needs a win) can be insightful, comical, and moving.

Salvatore Guillermo Garcia, Amanda Wade and Maya Gopalswamy in The Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Running the Bee is Amanda Wade as Rona Lisa Peretti, former winner of Putnam’s Spelling Bee. Peppy, orderly, and with polished vocals, Wade doles out fun facts about the contestants with palpable enthusiasm especially during the excitable number, Rona Moment #1. She and Josh Telepman as Vice Principal Douglas Panch are responsible for quite a few clever one liners during the show, feeding off each other’s varied personalities.

Anna Wright and Salvatore Guillermo Garcia in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Salvatore Guillermo Garcia is impressive as intense, firm, but sensitive Mitch Mahoney who hands out cure-all juice boxes to eliminated contestants as he supervises the competition.

Maya Golalswamy and Kaden Mays in Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Outlandish and peculiar, the remarkable spellers play well off each other and boast particular chemistry and harmony during the numbers, Pandemonium, My Friend, the Dictionary, and Magic Foot which fittingly features a kick line. Maya Gapalswamy as Olive and Kayden Mays as William display some awkwardly cute chemistry. Gapalswamy as hesitant and sweet Olive Ostrovsky is also sympathetic in a stirring rendition of The I Love You Song with Amanda Wade and Salvatore Guillermo Garcia. Anna Wright as Logainne Schwartzandgrubenniere, an anxiously outspoken bright-eyed girl in braids with a lisp forlornly laments Whoa is Me and Alex Kennedy is memorable as Leaf Coneybear, an intense, wildly dressed savant in a cape and bow tie while Cameron Nye has more than spelling on his mind as shy and daydreaming Chip Tolentino. Ashley Ha is ironically charismatic as socially awkward and rigid perfectionist Marcy Park especially for the athletic number, I Speak Six Languages.

Kaden Mays (center) and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

In a tricky environment where so much rides on improvisation, the cast navigates their characters while gliding through any challenging circumstances. The show inserts a few interesting pop references and contemporary issues into this timeless musical comedy. Some elevate the comedy while others seem out of place. Overall, The Hive Theatre Company’s musical comedy, The 25^th Annual Putnam County Spelling Bee is a clever and original musical production that may just leave the audience feeling a little smarter.

The Hive Theatre Company continues musical comedy, The 25^th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: American Repertory Theater’s world premiere an imaginative and optimistic ‘Wonder the Musical’

Posted on January 20 by The Sleepless Critic

A violet pixelated galactic sky is marvelously portrayed from a spaceship bed and that is only the beginning.

Garrett McNally delivers a moving portrayal as inquisitive Auggie whose vibrant imagination spans the vast cosmos. Born with Treacher Collins Syndrome, Auggie’s world has always been limited to home schooling. However, when Auggie is about to attend fifth grade, Alison Luff as Auggie’s practical mother Isabel insists he attend public school. With guarded optimism, Auggie ventures apprehensively on this new journey.

Nathan Salstone, Garrett McNally, and members of the cast of Wonder.
Photo: Hawver and Hall

Insightfully directed by Taibi Magar with Katie Spelman’s enchanting choreography and Ryan Cantwell’s uplifting music direction, American Repertory Theater (A.R.T.) continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. This family-friendly and engaging production is approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

In 2012, R.J Palachio’s first novel Wonder became a New York Times best seller before it was adapted into a heartwarming 2017 film of the same name starring Julia Roberts, Owen Wilson and Jacob Tremblay. It seems only natural that this remarkable story has now been warmly transformed into a compelling musical.

Wonder Production Photo Nathan Salstone, Javier Muñoz, Alison Luff, Garrett McNally, and Kaylin Hedges in Wonder.
Photo: Hawver and Hall

Though Wonder is not based on a true story, Auggie’s story draws from real life experiences of individuals who struggle with this craniofacial condition. It tackles bullying, prejudice, empathy and kindness, but what sets this intriguing musical apart is how it delves into perspectives. Auggie may be the central figure in this musical, but a large part of the story focuses on each character’s perspective and the unexpected struggles of those who seem to have it better than Auggie at first glance. Learning to walk in another’s shoes has never been so important.

Set designer Matt Saunders with lighting designer Bradley King richly articulates this glowing musical’s significant themes symbolically through a multicolored and animated pixilated landscape rhythmically peppering a revolving stage. These pixels can enhance, enliven and moderate the musical’s weightier scenes, but particularly illuminating Auggie’s amazing cosmic universe. Imaginative backpacks, colorful streamers, expressive T-shirts and detailed, fanciful costumes are just a sample of Linda Cho’s exuberant costume design.

Wonder Production Photo Alison Luff and Garrett McNally in Wonder.
Photo: Hawver and Hall

Wonder boasts its share of feel good moments featuring a strong cast. The chiming pop-infused score with lyrics and music by A Great Big World with Cody Spencer’s robust sound design keeps the show hopeful and optimistic even in the face of its heavier and poignant moments. Alison Luff as Isabel, Javier Muñoz as Nate, Kaylin Hedges as Via and Garrett McNally share a natural tight-knit chemistry facing the world as Hedges as Via affectionately calls her family ‘our little galaxy.’ There is a quiet earnestness built into this family when they step aside for one another. Hedges brings an affinity to this complex role with quiet yearning as Via through soaring vocals who consistently puts Auggie first in her solo, Around the Sun. Luff and McNally share a stirring bond in a fiddle-laden and powerful rendition of You are Beautiful.

Led by Melvin Abston as energetic Mr. Tushman, Beecher Prep School teachers share an idyllic infectious glee, enthusiasm, and occasionally lovable awkwardness as they navigate the curriculum with verve and charm.

Wonder Production Photo
Garrett McNally and Donovan Louis Bazemore in Wonder.
Photo: Hawver and Hall

Skylar Matthews charismatically shines as excitable and precocious theatre student Charlotte, especially during her engaging solo, You Didn’t Hear it From Me as she waltzes across the stage. Donovan Louis Bazemore seamlessly navigates conflicted Jack who brings warmth and sincerity to the number, Shoes. Paravi shows off sharp comedic timing while lightening a heartfelt moment with Hedges.

Garrett McNally (Auggie) and the cast of A.R.T.’s world-premiere production of Wonder bow in front of the Opening Night audience.

Nathan Salstone is no ordinary Moon Boy. From the exciting 3-2-1 Blast Off and throughout the production, Salstone’s mellifluous vocals and reflective demeanor with Auggie brilliantly elevates each scene.

Wonder is an intuitive, imaginative and heartfelt creation that celebrates the value of loyalty and friendship while sharing significant life lessons prevalent for all ages. You may step away from Wonder the Musical seeing a brighter world too.

American Repertory Theater continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. Click here for more information and for tickets.

REVIEW: Unlocking memories inside The Huntington’s stirring and remarkable ‘Fun Home’

Posted on December 12 by The Sleepless Critic

It’s funny what you recall in life.

Memories can be tricky. As time goes by, perspective changes as a person grows, transforming a memory and gradually revealing details once never considered or understood before. Alison’s home seals in cartoonist Alison Bechdel’s intimate memories as she writes her memoirs through her work, ruminating on her childhood and upbringing to discover what makes her feel like she is stuck in life. Alison uses cartoons because drawing as a child, she recalls, ‘I need real things to draw from because I don’t trust memory.’

Five-time Tony award-winning musical Fun Home explores different perceptions of reality within the Bechdel household. They wrestle with it, deny it, but ultimately, must come to terms with it. Based on Alison Bechdel’s graphic novel memoir with complex direction by Logan Ellis, Taavon Gamble’s dynamic choreography and Jessie Rosso’s compelling music direction, The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. This poignant musical deals in some mature themes and runs 1 hour and 40 minutes with no intermission. Click here for more information and for tickets.

Lyla Randall and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin

The Huntington is known for its extraordinary sets and Fun Home is no exception. Beneath a delicately adorned chandelier, Fun Home takes an intimate look inside a family seemingly full of zeal and an antique house so tidy and flawless in all its finery flanked with towering bookshelves, a fireplace, grand piano, detailed wallpaper and richly placed stained glass, it neatly hides any cracks and crevices underneath. Tanya Orellana’s rolling sets meticulously combines Gothic Victorian-style details with Pennsylvania’s natural beauty in a portrait landscape of trees. While Fun Home unveils the Bechdel family’s complicated world piece by piece, it may also quite symbolically depict Alison’s increasing ability to see the forest for the trees.

Sarah Bockel in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Led by and musically directed by Jessie Rosso, this intimate, seven piece orchestra sits through an open piece of “sky” carved into the backdrop in a soothing, fiddle-laden soundtrack which blends light, airy, and melancholy. From its opening song, It All Comes Back to the Flying Away finale, Jeanine Tesori’s captivating musical numbers hold a spectrum of rich and multi-faceted meaning. The catchy, Partridge Family-inspired with a hint of Jackson 5 grand number, Rainbow of Love is a particular highlight, enhanced by matching reflective and fringed retro costumes, just a portion of Celeste Jennings’s colorful and era exacting costume design.

Sarah Bockel and Lyla Randall in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J Franklin

With its share of comedic and uplifting moments, Alison looks back on her relationship with her enigmatic and intellectual father Bruce and her traveling and ill at ease mother, Helen. Alison is the only individual that outwardly transforms in this piece, thanks to the exceptional work of Maren Phifer in for Lyla Randall as adorably precocious and impressionable Small Alison in braids and overalls who springs to life in an ingenious manner. Phifer performs an impeccable and chiming version of Ring of Keys and shines with Odin Vega as Christian and Caleb Levin as John in the darkly humorous title track, Fun Home in impressive harmony. Maya Jacobson aptly depicts naïve, anxious, excitable, yet awkward Medium Alison while Sushma Saha is walking confidence as cool and collected Joan.

Caleb Levin, Odin Vega, Lyla Randall in Fun Home; Directed by Logan Ellis; Photo by Marc J Franklin

With black rimmed glasses and short dark hair, Bockel slips into Alison’s wounded façade, a mature, jaded and intellectually-driven individual. With a dark sense of humor, Bockel is an omnipresent narrator on this emotional journey evoking confusion, warmth, sorrow, and frustration realizing every fine detail of Alison’s younger years while struggling to build strength into each new discovery.

Sushma Saha and Maya Jacobson in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Director Logan Ellis strives to examine the physical and intellectual similarities between Alison and Nick Dukart as Alison’s father and it is fascinating to witness their side by side similarities. Duckart allows Bruce’s flaws override what is often viewed as an overtly sympathetic performance. He skillfully lays bares the many sides of Bruce as a critical businessman and showman with a refined intellect, and perpetually occupied to become an expert on most everything. Seemingly a friendly, strict, and hardworking family man, Bruce is also secretive, unsettling, dazed and closed off. Duckart’s melodious and affecting baritenor vocals captures Bruce’s complex and unspoken feelings in each number, including the poignant song Pony Girl, but most notably in his harrowing rendition of Edges of the World.

Sarah Bockel and Nick Duckart in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Each Alison is earnest in portraying their wrought frustration in every moment they attempt to identify and make a genuine connection to him, but especially in the bittersweet song, Telephone Wire. Duckart depicts Bruce with a defensive irritability yet tempered with overpowering warmth for Alison which encapsulates some of the brighter moments in the musical.

Duckart and Jennifer Ellis as Alison’s conflicted musician mother Helen share tense and affective moments together and it is easy to see Helen’s teetering vulnerability within each argument and in all the weighted and lonely moments where Ellis imagines her life should be.

Unassuming, overwhelmed, and misunderstood surrounded by outward perfection, Ellis’s Helen lives her life distancing herself from reality putting others first reflected in the heartrending and beautiful number Days and Days, a number in which Ellis brought me to abrupt tears.

Jennifer Ellis in ‘Fun Home’ Directed by Logan Ellis Photo by Marc J. Franklin

Some things cannot be fixed. Painful and difficult times as well as those joyful moments might not have been as once imagined. The key is to learn from it and take the next step.

The Huntington continues Fun Home live and in person at the Huntington in Boston, Massachusetts through Sunday, December 14. Click here for more information and for tickets.

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

Posted on October 25 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 October 24 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.’

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 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.

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 October 15 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 19^th 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: Lavishly dancing through France in Sullivan Rep’s ‘Can-Can’

Posted on October 11 by The Sleepless Critic

Freedom through dance is only part of the story in Cole Porter’s Can-Can.

Considered one of Cole Porter’s later musicals, Can-Can debuted in 1953 before being adapted into a 1960 film starring Frank Sinatra and Shirley MacLaine and some of its ideas make it identifiable to its 60s timeframe. It’s Alright by Me, I Love Paris, and C’est Magnifique are a few of the Cole Porter American Standard songs that are part of the Great American Songbook.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11. The action is not limited to the stage and set up like a dance hall. It runs approximately three hours with an intermission. Click here for more information and for tickets.

Carly Evans and Can-Can dancers in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Taking place in Montmartre, France, Carly Evans aptly portrays shrewd and stealthy businesswoman Pistache who knows just how to live under the radar until her girls are caught by the French authorities for lascivious dancing. The lively dancers coyly perform the satirical number, Maidens Typical of France.

Can-Can features two powerful leads in Carly Evans and Anthony Rinaldi and Dan Sullivan’s flowing, unbridled and meticulous chorography certainly make a great impression. Anthony Rinaldi is conflicted as Judge Aristide, torn between justice and his growing affection for saucy Pistache. Rinaldi and Evans make some beautiful music together and are certainly capable of mastering these individuals on the opposite sides of the law. Evans as Pistache shows off her hardnosed business sense impressively for Never Give Anything Away and Rinaldi soars in the catchy number, It’s Alright with Me.

Anthony Rinaldi and Carly Evans in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

Dan Sullivan’s often lavish and splashy 1890s French forward fashion costumes by Judi Olson include bowler hats, lace, velvet, ruffles, saloon-style gowns, bustles, three piece suits, detailed parasols and top hats with Pistache’s elegant emerald green peacock gown as a particular highlight shown later in the production.

The cast of Sullivan Rep’s ‘Can-Can’ Photo credit to Sullivan Rep

This musical features grand dance numbers that are often flirty and playful even occasionally including a French accordionist. Can-Can explores love, the nature of dance, societal expectations, censorship, skewed media, the law and the art of being an artist. A.J. Lyman as Bulgarian sculptor Boris, Andy Ross as Theophile, Ryan Pereira as Hericule, Dom Pappagallo as Etienne, Hannah Shihdanian as Model and Rinaldi as Aristide have a good natured camaraderie and perform a standout number that takes humorous and lighthearted jabs at the nature of being an artist is Never Never Be An Artist.

Sullivan Rep Can Can Anthony Rinaldi and cast Photo credit Sulivan Rep

Dream Ballet has been popular in grand musicals such as Broadway Melody in Singin’ in the Rain, Louise’s Ballet in Carousel, and The Prologue in West Side Story which usually enhances or advances the plot of the musical. Though performed with ballet-inspired athletic zeal, Garden of Eden Ballet didn’t seem to advance the plot in a meaningful way other than being controversial during that time.

Sullivan Rep boasts powerful leads, vivacious dance numbers and features elegant attire, yet the musical itself has its setbacks. Clocking in at approximately three hours, some of the musical’s plot points seem filler and unnecessary to the progression of the story and some of the love connections and satirical outcomes didn’t quite make sense such as in If You Loved Me Truly.

Garden of Eden Ballet in Sullivan Rep’s ‘Can-Can’ Photo credit Sullivan Rep

With that in mind, Sullivan Rep vibrantly brings Cole Porter’s Can-Can to life with an enthusiastic cast and memorable music.

Directed and choreographed by Dan Sullivan with Musical direction by Hollis W. Sullivan, Sullivan Rep continues Can-Can live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, October 11. Click here for more information and for tickets.

REVIEW: Titans of discovery and the wonder of a not so ‘Silent Sky’ at Central Square Theater

Posted on October 2 by The Sleepless Critic

Henrietta Leavitt is so passionately devoted to the stars that she decides to build her entire life around that dream. What unfolds is a journey much more complex than she ever anticipated.

With illuminative direction by Sarah Shin, Central Square Theater kicks off its new season with Lauren Gunderson’s Silent Sky continuing live and in person through Sunday, October 5 at Central Square Theater in Cambridge, MA. This celestial and biographical production is a Catalyst Collaborative@MIT Production and runs approximately two hours and 15 minutes including one intermission. Click here for more information and for tickets.

Jenny S. Lee and Max Jackson in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Lauren Gunderson’s Silent Sky boasts awe-inspiring connections about the nature of time and life’s occurrences through the cosmos. It is inspired by the real life story of historical figure Henrietta Leavitt, portrayed with a distinct drive by Jenny S. Lee. Leavitt is torn between two worlds and Scenic Designer Qingan Zhang effectively divides Henrietta’s life by a staircase between her warm Wisconsin home which includes populated bookcases, floral arrangements, framed family photos and a piano with Harvard University workspaces and an impressive towering refractor looming overhead to the stars. Lighting Designer Eduardo M. Ramirez with Projection Designer Michi Zaya showcase inviting and rich landscapes include the immensity of the cosmos and the magnitude of the ocean. In multicolor frocks, flowing skirts, detailed high necklines, tailored suits and formal dress coats, Costume designer Leslie Held elegantly captures the high fashion of the early 20^th century progressive era.

Max Jackson in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

One does not need to be familiar with astronomy to appreciate Silent Sky, but astronomy enthusiasts may have a more thorough understanding of some of the production’s finer scientific details. Delivered with a combination of humor and analysis, Silent Sky explores a broad number of subjects including love, family, the women’s movement, societal expectations, life’s unexpected shifts and what it truly takes for a breakthrough.

Kandyce Whittingham and Jenny S Lee in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Silent Sky is fascinating, but its scientific and factual focus at times curtails some of its emotional depth. Jenny S. Lee as determined Henrietta and Kandyce Whittingham as Henrietta’s devoted and forthright sister Margaret share a heartwarming bond and Whittingham is often maternal towards Henrietta as she relentlessly pursues her dreams. It also has a unique element of music and dance delivered by Whittingham’s eloquent musical versatility that turns up in significant and unexpected places.

Max Jackson and Jenny S. Lee in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

Max Jackson as dubious Peter Shaw shares jittery and charming chemistry with Lee and it is captivating to see Henrietta not only rise to challenge Peter’s intellectual prowess but Peter’s approach as a bundle of nervous energy to Lee’s direct and sensible delivery. Lee Mikeska Gardner brings excellent bravado and frequent frank comical moments as Williamina Fleming and Erica Cruz Hernández is bold yet nurturing as American astronomer activist Annie Cannon. Alongside Lee’s Henrietta, they form a dynamite and fiercely loyal trio ahead of their time and prove that when great minds come together, the sky’s the limit.

Lee Mikeska Gardner, Jenny S. Lee and Erica Cruz Hernández in Lauren Gunderson’s ‘Silent Sky’ at Central Square Theater Photo by Nile Scott Studios

An educational and unconventional work exploring the pursuit of discovery, Lauren Gunderson’s Silent Sky is not without its twists and turns as Henrietta Leavitt is one to root for as she relentlessly embarks on an inspirational journey to be remembered in the pursuit of light.

With illuminative direction by Sarah Shin, Central Square Theatre kicks off its new season with Lauren Gunderson’s Silent Sky continuing live and in person through Sunday, October 5 at Central Square Theatre in Cambridge, MA. This celestial and biographical production is a Catalyst Collaborative@MIT Production and runs approximately two hours and 15 minutes including one intermission. Click here for more information and for tickets.