Sharply yet familiarly written by hit show Smash creator Theresa Rebeck and resourcefully directed by Paula Plum, Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts. The action is not limited to the stage and contains adult language. All tickets are on a pay-what-you can basis and the show runs approximately 90 minutes with no intermission. Click here for more information and for tickets.
Kevin Paquette in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao
Angelica Houston portrayed Eileen Rand, a savvy Broadway producer jilted and betrayed by Jerry. Katherine McPhee as Karen and Megan Hilty as Ivy are competing actresses for the role of Marilyn Monroe in Bombshell, a new Broadway musical where the real drama took place behind the scenes. This is the plot of Smash, a musical TV drama that lasted two seasons, but developed a cult following.
Like Smash, some elements of The Understudy are not meant to be taken seriously. Though some of the core plot points between Smash and The Understudy bears some resemblance, it expands its satirical focus into films, theatre and what makes real art through a newly discovered Broadway work by renowned absurdist writer Kafka. It also contains insightful commentary about creating quality work with meaning and creating less than quality work for profit while infusing inside humor about the nature of theatre. What do audiences actually want?
Kevin Paquette and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao
Symbolically wearing a Bad Brains punk t-shirt and flannel by costume designer Kara McGuinness, some of the play’s funniest and strongest moments come from Kevin Paquette as Harry who is a fed up and a bit of an embittered savant theatre actor performing exacting accents who just happens to be holding out for real art while Cristhian Mancinas-Garcia as Jake is a determined movie star reluctant to do theatre. Both actors are charismatic and humorously egotistical as they realize their roles. Paquette as Harry engages the audience with real gusto commenting on the state of art thinking outside the box while Lauren Elias as harried stage manager Roxanne and the picture of practicality, tries to keep the production rehearsal on track. Paquette, Mancias-Garcia and Elias share rapid fire banter, physical comedy and a few surprises as the show unfolds.
Lauren Elias and Cristhian Mancinas-Garcia in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao
It also acts as a love letter to the stage managers of the world and does it well. The play may be called The Understudy, but rocking a legendary Kiss T-shirt, clever, skeptical and sympathetic Elias as Roxanne rises to the challenge attempting to avoid impending theatre disasters while keep it together personally and professionally. No small feat as Emily Bearce’s haunting lighting and Justin Lahue’s impressively gothic projections seem to possess a mind of their own. When these elements work with Gage Baker’s rich sound design, it is all quite the spectacle.
Cristhian Mancinas-Garcia, Kevin Paquette and Lauren Elias in Hub Theatre Company of Boston’s ‘The Understudy’ Photo by Kai Chao
A day at the theatre with The Understudy unveils drama, secrets, romance, and takes its time with a twist ending you may not see coming. A production may come together onstage, but the absurdity of how it gets there is the real story. Thank a stage manager and an understudy today.
Hub Theatre Company of Boston continues The Understudy live and in person through Saturday, August 2 at Club Café in Boston, Massachusetts. The action is not limited to the stage and contains adult language. All tickets are on a pay-what-you can basis and runs approximately 90 minutes with no intermission. Click here for more information and for tickets.
Imagining your first day in a new place can bring excitement, anxiousness and dread.
However, Kufre is optimistic his first day will be wonderful as he arrives from Nigeria to his new home in Inwood, New Jersey. He daydreams about all the friends he will make and how much everyone will like him when he starts at a Harlem Youth Center in Harlem, New York. However, things do not turn out quite like he imagines.
Insightfully directed by John Adekoje, Boston Arts Academy with Wheelock Family Theatre continues the world premiere of Mfoniso Udofia‘s Kufre and Quay, the fifth production in the Ufot’s nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Boston Arts Academy in Boston, Massachusetts through Saturday. July 26. This bilingual production runs approximately two hours with one intermission and boasts open captions that come in handy during the performance. Click here for more information and for tickets.
Levi Mngomezulu in Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
Having seen Ufot’s second production The Groveand the fourth productionHer Portmanteau, it was wonderful to see the progression in the Ufot Family after watching things from Iniabasi’s perspective in Her Portmanteau and seeing things through her son’s eyes in this production. However, you can witness and enjoy this production without watching the others.
Lighting designer Karen Perlow with Projection designer Justin Lahue innovatively lay out in multiple strips that elegantly reveal black and white photos of Harlem to framed family photos to the solar system to subtle streams to the green landscape of Nigeria. Cliff Notez’s rich and catchy sound also contributes to the transformative quality and cultural aesthetic of this production in daydreams and reality.
The cast of Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
It’s the hottest day of the year on Sunday, July 21, 2018 and Levi Mngomezulu as 12 year-old Kufre, the son of Iniabasi Ekpeyong and grandson of Abasiama Ufot, is adorable right from the start. Bright eyed and charming, Mngomezulu as Kufre doesn’t realize the kind of impression he will make on the other kids and along with Ayannah Joseph as Aissatou, they have their own ideas about this new boy from Nigeria. Until Kufre meets Ngolela Kamanampata as warm and theatre loving 13 year-old Laquasha Price or ‘Quay’ and under the guidance of Jalyse Ware as counselor Miss Ey Yo Miss, Kufre has encountered more challenges than he ever expected.
Jackie Davis, Levi Mngomezulu, and Ramona Lisa Alexander in Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
Jalyse Ware beautifully portrays compassionate counselor Miss Ey Yo Miss, who helps to run Harlem’s The Zone Youth Center. As this production does, Miss Ey Yo Miss uses theatre though a talent show to establish connection and navigates this youth group with clever finesse. Composed of Zay Williams, Selah Thande, Jedrian Latimore, Ezra Schwartz-Bart, Londyn Lacy, Shai-Anne Neufville, Ja’Mon Johnson and Ayannah Joseph, the group shares a real rapport with each other as individuals and as a collective as they speak over one another and make humorous comments as they embark on new activities.
Ngolela Kamanampata and Levi Mngomezulu (in foreground) in Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
Kamanampata is delightful as Quay as she attempts to bring Mngomezulu as Kufre out of his shell, especially demonstrated in an imaginative theatre activity that Kufre is hesitant to learn.
Ramona Lisa Alexander as Iniabasi Ekpeyong and Jackie Davis as Abasiama Ufot both deliver powerful performances as they discover more about Kufre and his experiences at the Zone.
Kufre and Quay is a moving coming of age tale that gradually increases in intensity, especially in the second act. It tackles language, misunderstandings, cultural disconnect, and how each generation affects another while discovering new ways to relate and grow together.
Levi Mngomezulu and Ngolela Kamanampata in Boston Arts Academy and Wheelock Family Theatre’s production of Kufre n’ Quay by Mfoniso Udofia, directed by John Oluwole ADEkoje. Running July 10 – July 26, 2025 at Boston Arts Academy Main Stage Theatre (174 Ipswich St, Boston, MA 02215). Photo credit Annielly Camargo.
Boston Arts Academy with Wheelock Family Theatre continues the world premiere of Mfoniso Udofia‘s Kufre and Quay, the fifth production in the Ufot’s nine-play family cycle which features three Ufot Nigerian-American family generations, live and in person at Boston Arts Academy in Boston, Massachusetts through Saturday. July 26. Click here for more information and for tickets.
Time is of the essence in Back to the Future the Musical.
Innovatively directed by John Rando with Chris Bailey’s energetic choreography and dynamic Music Direction by Matt Doebler, Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20. This zippy production runs 2 hours and 40 minutes with one intermission and is currently on national tour. Some subtle themes and dialogue are toned down to make this musical more family friendly. Click here for more information on their next stop and for tickets.
David Josefberg in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
No one will ever be Michael J. Fox or Christopher Lloyd in these particular roles. Moreover, I am a firm believer the original film is perfectly cast and a reboot or any other adaptation will never quite live up to the original 1985 hit film. However, I do think that there are a lot of thrills and fun to be had in some of the extensions from the film such as Back to the Future: The Ride and Back the Future: The Musical which boasts some spectacular and immersive special effects and quick pacing to make this production more like a theatrical thrill ride.
To think Back to the Future was conceived when producer Bob Gale discovered his father’s high school yearbook and wondered if they would have been friends if he and his father attended high school together. Back to the Futurethe Musical not only boasts technological and scientific wizardry, but is also a family tale. Marty, in a likable portrayal infused with some of Fox’s notable inflections by Lucas Hallauer, knows his family is not on the fast track to success as Luke Antony Neville as uncompromising Principal Strickland insultingly blares at Marty into his Matterhorn in Got No Future.
Luke Antony Neville and Lucas Hallauer in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
Marty wishes his family were on a different path as Marty’s family is swiftly introduced in Hello-Is Anybody Home? Hallauer explains, ‘My dad would come in third in a two man race.’ Introverted, anxious and painfully shy, Mike Bindeman captures the awkwardness of Marty’s father George who takes what he gets while trying to avoid confrontations at all costs. Zan Berube delivers strong vocals and embodies Marty’s mother Lorraine with ease.
With a memorable laugh, wild facial expressions and threatening presence, Nathaniel Hackmann is well cast as obnoxious and calculating Biff as if the film’s Biff, depicted by Thomas F. Wilson, went back in time for this role.
Nathaniel Hackman, Lucas Hallauer, Mike Bindeman and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
Some of the cast leans on some of the original cast’s inflections, but David Josefsberg as eccentric Doc Brown, makes the character his own and shares a warm rapport with Lucas Hallauer as Marty reminiscent of the hit film.
David Josefberg and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
Fast talking and excitable, Josefsberg exudes Doc’s wise and unwavering optimism while dreaming of an immense future in the motivational ballad, For the Dreamers as well as in lighter moments in a bit of self aware humor for It Works and the synthetic sounding 21st Century as the stage lights in sparkling, flashy and futuristic costumes when it is not leaning into scientific white lab coats.
This production would have worked just as effectively as a play and does not necessarily need to be a musical, but the cast’s powerful vocals, especially by Cartreze Tucker who is a highlight as optimistic visionary Gordie Wilson in an extended role, work. Tucker boasts sensational vocals as Gordy Wilson for the inspirational number, Start Somewhere.
Cartreze Tucker and cast in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
Back to the Future The Musical also makes some clever choices that capture the spirit of the film while building on some of the film’s themes such as Doc Brown’s inspirational For the Dreamers and the nostalgic harmony in Cake which is a welcome trip into 50s nostalgia and ironic humor while offering mellifluous harmony. Other songs such as the cringe My Myopia and Pretty Baby are better left as brief scenes than full songs. Something about that Boy brings together multiple scenes featuring Berube, Hackmann, and the cast. Fifties classics such as Johnny B. Goode and Earth Angel recreate classic scenes from the film as well as selections from the film’s iconic soundtrack by Huey Lewis and the News.
Lucas Hallauer and Zan Berube in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
The multicolored costumes capture two iconic eras as well as ensembles right out of the 1985 film. High tops, slouch socks, jean jackets, diner attire, frilly retro patterned dresses, Marty’s orange vest, and Lorraine’s classic pink prom dress are just a sample of this array of distinctive retro apparel. The fifties and the eighties are defined by certain characteristics, but it does not overpower the film’s universal themes.
Filled with retro pieces and realistic projections, the rolling and rotating sets are impressively detailed from an elaborate tree bursting with fall leaves, Lorraine’s bedroom similar to the hit film and Doc Brown’s house complete with portraits of his legendary mentors and inventors under twinkling stars.
Lucas Hallauer and the DeLorean in ‘Back to the Future the Musical’ Production photography by McLeod9 Creative
The story is good, but the electrifying special effects are worth the price of the ticket as the real star, the DeLorean, roars to life. Chris Fisher’s impressive illusion design, Tim Lutkin and Hugh Vanstone’s intricate and futuristic lighting, Finn Ross’s realistic video design, and Gareth Owen’s rumbling sound design unite to create an elaborate time jumping experience that immerses the audience into this compelling journey.
Lexus Broadway in Boston presented Back to the Future the Musical live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, July 20. The production is also currently on national tour. Click here for more information on their next stop and for tickets.
Carole King, one of the most successful songwriters of the latter part of the 20th century, hits the ground running after showcasing her songwriting talent for the first time walking into the studio at age 16. This is not the average biopic where the protagonist has to overcome some sort of terrible tragedy or failure, but a woman on the move from the very start.
Olivia Palmer and Shad Hanley in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’ Photo credit Robert Pascucci
Showcasing a library of hits before Carole even considers performing her own songs, Beautiful brings on the nostalgia of passing generations from the chic retro clothes to the distinctive music style. It is a sweeping musical from a songwriter’s perspective with few low notes and anyway, why not pack a show with hits and a lighter story that just might leave you smiling?
With uplifting direction and chorography by Deanna Dys, Reagle Music Theatre of Greater Boston kicks off their 56th summer season with Beautiful: The Carole King Musical through Sunday, June 22 live and in person at the Robinson Theatre in Waltham, Massachusetts. Beautiful: The Carole King Musical runs 2 hours and 30 minutes with one intermission. Click here for more information and for tickets.
Just moments after Olivia Palmer as Carole makes contact with that baby grand piano for a ruminating rendition of So Far Away, Scenic designer Derek McLane’s detailed rolling, dual level sets framed by a latticed gold border transports Carole Klein into her Brooklyn home where she first started writing. Franklin Meissner Jr.’s energetic lighting often works with Mindy Cimini’s lively Music Direction to the beat ranging from infectious pop to rock to romantic ballads. Dys makes the most of Reagle’s space using split scenes divided by a piano as performances take place anywhere on the stage.
The cast of Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carol King Musical Photo credit Robert Pascucci
Portrayed by Olivia Palmer throughout the show, Carole is introspective yet dreamy while seemingly more than ready for her life to take off. Palmer captures the essence of Carole’s ambition, shyness, anxiousness, tenacity, self deprecating demeanor, and brilliance having skipped two grades in school. Her resonant vocals are an impressive tribute to Carole’s full trademark voice. With a thick Brooklyn accent, cynical sass and sensibility, Jennifer Bubriski is amusing as Genie Klein, Carole King’s mother, who cuts a deal with Carole in order for Carole to pursue her dreams.
Dominating this musical journey is some of the most popular music of the 20th century and at times, it can feel like a showcase of the music of the era more than Carole’s story. It just goes to show just how deeply influenced the music scene was by Carole King’s songwriting and that of her peers.
The Shirelles in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carol King Musical’ Photo credit Robert Pascucci
Beautiful offers a peek into how some of these classic songs hit the charts. Some of the standout harmonies include Noah Colvin, Brandon Howard, Kenny Lee, and Martinez Napoleon as The Drifters delivering a refreshing mellifluous rendition of On Broadway and The Drifters with Shad Hanely as Gerry Goffin for a soulful Up on the Roof. Palmer and the ensemble also perform a unique and riveting rendition of Chains. A rollicking mix of hits including There Goes My Baby, Splish Splash and Yakety Yak encompasses the sensational 1650 Broadway Medley as a glittering display of guitars, scripts, music sheets, and sound systems hang in the background.
Shad Hanley, Olivia Palmer, Harley Seger and Luke Hawkins in Reagle Music Theatre of Greater Boston’s ‘Beautiful The Carole King Musical’ Photo credit Robert Pascucci
From shimmering gowns to some of the era’s most popular and colorful fashion trends, Allejo Vietti’s costume design dazzles with Deanna Dys’s lively choreography which infuses some of the dance moves and crazes of each era.
Beautiful: The Carole King Musical is full of moments of light humor and endearing chemistry among the cast. With smooth and euphonious vocals, Shad Hanley portrays idealistic, intense, and flirtatious Gerry Goffin. Hanley and Olivia Palmer as Carole share some sparks even though Carole never feels deserving of such attention and Hanley’s portrayal as Gerry delivers intensity in both his brightest and darkest, most restless moments. They complement each other and their duet, Take Good Care of My Baby is particularly sweet.
Shad Hanley, Olivia Palmer, Harley Seger, Luke Hawkins and Jim Sorensen in Reagle Music Theatre of Greater Boston’s ‘Beautiful: The Carole King Musical’ Photo credit Robert Pascucci
With soaring vocals, Harley Seger as confident, independent, supportive yet driven Cynthia Weil and Luke Hawkins as hypochondriac Barry Mann make an engaging comic duo. Hawkins performs a raw and remarkable rendition of We’ve Got to Get Out of This Place. Jim Sorensen is also impressive as seemingly hardnosed, inventive, yet open minded Don Kirshner, who always knows talent when he sees it.
Reagle Music Theatre of Greater Boston kicks off their 56th summer season with Beautiful: The Carole King Musical‘s through Sunday, June 22 live and in person at the Robinson Theatre in Waltham, Massachusetts. Click here for more information and for tickets.
Set in Baltimore, love and show business collide in more ways than one in the Cole Porter musical, Kiss Me Kate. A Shakespeare play within a musical with plenty of backstage drama, David Daly as Fred/Petruchio and Sara Daly as Lilli/Katherine shine portraying exes onstage, but they are married in real life.
Sara and Dave Daly and Steve Dooner in ‘Kiss me Kate’ Photo by Pat Sherman
Justin Maloney and Joel Leonard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman
Musically directed by Sandee Brayton with exuberant choreography by Diana Byrne Gossard, this enchanting musical is approximately 2 hours and 30 minutes with one intermission. Hingham Civic Music Theatre has dedicated their season to the memory of Violet (Vi) Villani.
Sara and Dave Daly in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman
When a literary and music genius join forces, a Golden Age musical is born. Kiss Me Kate boasts memorable Cole Porter classic tunes such as So in Love, Too Damn Hot, Wunderbar and Brush Up Your Shakespeare while infusing elements of Shakespeare’s Taming of the Shrew to create a romantic comedy for the ages. Cole Porter’s music often reflects a jazz and bluesy feel as demonstrated in this play within a play’s self aware opening number, Another Opening/Another Show.
Kate Emily Crosta and Andy Gossard in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman
Playful, charming, and imaginative, Kiss Me Kate tells the story of director, producer and star of Taming of the Shrew Fred, portrayed by David Daly, who is working with ex-wife Lilli, depicted by Sara Daly, a fading Hollywood star reluctantly turning to theatre and co-starring in his production. Lilli is engaged to systematic and orderly General Harrison Howell, portrayed by Andy Gossard who seems to relish the role. I’ve always considered Katherine in Taming of the Shrew a woman ahead of her time and Sara impressively takes on this dual role as Lilli and Katherine as headstrong and fearless women with minds of their own. David brings lots of charm and earnestness to his dual role as Fred and Petruchio. Boasting soaring vocals, it is delightful to watch David and Sara who share great chemistry onstage. They perform a lovely and intense duet of Wunderbar and deliver sweet renditions of So in Love.
Emily Crosta and Justin Maloney in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman
Another adorable couple who make melodious harmony together is Justin Maloney as Bill/Lucentio and Emily Crosta as Lois Lane/Bianca. Maloney as Bill and Crosta as Lois make a captivating pair delivering a couple of coy and lighthearted duets including Why Can’t You Behave and Always True to You in My Fashion, the latter especially flirty and entertaining. Fred, Lilli, Bill and Lois collaborate for a humorous rendition of the upbeat classic, We Open in Venice.
Dave and Sara Daly, Justin Maloney and Emily Crosta in ‘We Open in Venice’ in Hingham Civic Music Theatre ‘Kiss Me Kate’ Photo by Pat Sherman
Also offering some scene stealing comic relief are Brendan Smith and Connor O’Brien as the Two Men. Tough and goofy with a hilarious strut in top hats and canes, these sharply dressed men perform a knowing Brush Up Your Shakespeare, advising the audience how to use Shakespeare to woo women.
Brendan Smith and Connor O’Brien in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman
Costume designer Ashley Buckeridge skillfully blends period pieces such as classic Juliet and romantic Renaissance attire in delicate patterns to the iconic post World War II era making a splash in coordinated polka dots, lace, silk, button down trousers and brimmed hats.
John Crampton and cast in Hingham Civic Music Theatre’s ‘Kiss me Kate’ Photo by Pat Sherman
From tap to traditional renaissance to swing dancing, Diane Byrne Gossard’s joyful and lively choreography is a particular highlight as John Crampton as smooth Paul leads a playful rendition with this enthusiastic cast in a whistling and horn-infused number, Too Damn Hot.
Hingham Civic Music Theatre’s ‘Kiss me Kate’ cast Photo by Pat Sherman
Kiss Me Kate delves into a number of romantic high jinks including the war of the sexes and it is fascinating to see this topic resonate from the Renaissance to Post War II era to today with spirited flair.
John Crampton and Madison Pratt in Hingham Civic Music Theatre’s ‘Kiss Me Kate’ Photo by Pat Sherman
Hingham Civic Music Theatre continues the Cole Porter romantic comedy musical, Kiss Me Kate live and in person at Hingham Town Hall in Hingham, Massachusetts through Sunday, May 4. Click here for more information and for tickets.
‘Tall and straight my mother taught me. This is how we dance.’
Flourishing Celtic landscapes, glimmering international city sidewalks, star studded cosmic atmospheres, and mystical seaside sunsets as well as a journey frolicking through roaring fire, threatening lightening, and changing seasons are just a few of the spectacular settings that unfold through driving rhythms while integrating other forms of captivating dance along the way. Accompanied by a partial onstage orchestra, Riverdance is as innovate and imaginative as ever marking three decades of sparkling toe tapping zeal and ethereal vocals with memorably dramatic flair.
The cast of Riverdance
Audaciously directed by John McColgan and composed by Bill Whelan, Riverdance 30th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country. The show is approximately two hours including one intermission. Click here for more information and for tickets.
Riverdance, Fergus Fitzpatrick
Whether battling the elements or showing off their skillful steps, Fergus Kirkpatrick and Olivia Nachtigal are among the leads in this enthusiastic and daring dance troupe as drummer Mark Alfred, fiddler Haley Richardson, saxophonist Emma McPhilemy, and Cathal Croke on Uilleann Pipes with Michael O’Gorman’s immersive sound design combine to deliver a mix of modern and traditional Irish works through Ireland and beyond.
Riverdance, Dervish
Whether performing solo or playfully challenging other band members and the dancers, these harmonious instrumentalists set the varying tone from serene ballads to rhythmic beats. Richly narrated with Celtic history and poetry as angelic vocals lift, Riverdance has a unique way of building excitement through razor sharp Ceili formations and urgent melodies. Adorned regally in silvery tiaras, detailed velvet flowing dresses, tailored shirts vests and tights by Joan Bergin, the dancers exude confidence exacted in heads held high and the militant precision of their movements gathering in rows, circles and two hand reels.
Riverdance Countess Cathleen with lead dancer Maggie Darlington
In Firedance, Rosio Dusmet commands the stage swirling in a shimmering red gown as fire surrounds her and the flames progressively turn blue to a driving beat. Adventurous, freeing and empowering, Dusmet’s amazing performance is equal parts grace, athleticism, and charisma flowing through the scene.
Alan Farquharson’s fantastical and compelling set design with innovative motion graphics by Cosmo AV and Andrew Voller’s stellar lighting in scrupulous perfection enhance tappers Darmesh Patel and Kenji Igus who perform to rollicking rhythms in street clothes with Fergus Kirkpatrick showing off their skills under the bright city lights. In Trading Taps, they all demonstrate fantastic footwork with charm and exuberance to rousing applause and stands as a particular highlight of this production.
Riverdance, Amy Mae Dolan and Will Bryant
Through a variety of dynamic rhythms, Riverdance’s 30th Anniversary: The New Generation is a whimsical, thrilling and visually splendid journey steeped in Celtic charm while integrating other forms of dance that keeps it refreshing and imaginative. Having seen it for the first time and watching it with someone who has witnessed it since Riverdance began, it remains a joyous and impressive experience for the whole family.
The cast of Riverdance
Riverdance 30th Anniversary: The New Generation was live and in person at the Boch Center Wang Theatre in Boston, Massachusetts through Sunday, April 13, but continues on its national tour all over the country. The show is approximately two hours including one intermission. Click here for more information and for tickets.
Anne Bogart establishes an immensely creative way to establish this carousel, but this one is enclosed behind a steel cage.
Under Anne Bogart’s symbolic direction, Shura Baryshnikov’s blend of sweeping and playful ballet-inspired choreography and beautifully conducted by David Angus, Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts. The action is not limited to the stage and runs 2 hours and 50 minutes with one intermission. Click here for more information and for tickets. It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.
Edward Nelson as Billy and Brandie Sutton as Julie in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
Based on the 1909 Hungarian play Liliom, Rodgers and Hammerstein’s Carousel has stood the test of time as a classic musical with themes that have resonated with audiences and adapted in a number of ways over its 80 year history. It debuted right here on Boston’s Colonial Theatre stage for its pre-Broadway run on March 27, 1945 and Gordon MacRae and Shirley Jones starred in its 1956 critically-acclaimed film adaptation. It has also been revived onstage a number of times over the years, but its most acclaimed stage revival occurred in 1994. This dark and provocative depiction won multiple Tony Awards including Best Revival of a Musical, Best Choreography, Best Scenic Design, Best Musical Direction and a Best Actress win for Audra McDonald as Carrie Pepperidge.
However, I am most fond of it because I was part of a traditional college production as Mrs. Mullin. Dressed in a thick fur coat, leather maroon skirt and fishnet stockings, Boston Lyric Opera’s Sarah Heltzel holds her own as widow and carousel owner Mrs. Mullin. Streetwise, lovelorn and more than a little manipulative, Heltzel puts up a tough front that can barely conceal her true feelings for Edward Nelson as complicated and charismatic carousel barker Billy Bigelow.
Set in coastal Maine, Carousel tackles what has been considered controversial themes when it was released in 1945. Its portrayal of domestic violence, generational trauma and family pressures are some of the darker issues of this musical, but strength, faith, support and community stand just as tall in this production.
Olivia Moon dances at a celebration in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
Earon Chew Nealey and Haydee Zelideth collaborate to showcase wildly modern and vibrant wigs and shimmering costumes which include carousel workers dressed from a glimmering butterfly to elaborate horses. The script features a few subtle changes, but mostly sticks to the essence of the traditional production 80 years ago. Minor changes can make a big difference such as Jamie Barton’s rendition of When You Walk through a Storm instead of ‘hold your head up high,’ as Nettie’s building vocals advises ‘Keep your head up high.’ However, terms such as ‘scallywag,’ ‘riff raff,’ ‘pollywog’ and ideas such as mill workers having to be back for curfew in a boarding house sounds somewhat awkward within the contemporary glow of the production.
Carrie (Anya Matanovič) and Julie (Brandie Sutton) share a moment in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
Sara Brown’s mostly barebones set features a multipurpose wooden platform, winding staircase and a rustic wooden set with beach grass, a plant is fittingly and symbolically capable of weathering any storms or conditions. Brian H Scott’s multicolor lighting embellish these exuberant costumes, the rippling coastline, and its intense moments punctuated by an animated lit halo illuminated above the cast serving various purposes throughout the production.
Anya Matanovič as Carrie and Omar Najmi as Enoch in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
The orchestra swells and the cast delivers soaring harmonies and rich and flawless vocals. In denim cut off shorts, sparkling stockings and boots, soprano Brandie Sutton depicts mysterious Julie Jordan and in pink hair and an exuberant fuchsia tutu, soprano Anya Matanovic bursts with joy as Carrie Pepperidge. Cool and collected Julie with dreamy and transparent Carrie is the envy of all friendships. These are two strongly bonded women and their compelling and excitable camaraderie unfailingly lift each other up, look out for and support each other in every victory and heartache.
Edward Nelson as Billy Bigelow charms the crowd in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
In a black beard and orange suspenders, tenor Omar Najmi portrays staunchly traditional, practical yet big dreamer Enoch Snow. If you think Carrie has dreams, Enoch’s are bigger. Enoch is confident of his strengths and Matanovic’s Carrie clearly adores him. They embark on some sweet moments and humorously curious misunderstandings.
Boston Lyric Opera’s 80th anniversary production of CAROUSEL. Photo by Nile Scott Studios
In a white cowboy hat, black leather vest, tattered black jeans and multicolor hooded sweatshirt, baritone Edward Nelson strikes a chord in a powerful performance as prideful, defensive and contemplative Billy Bigelow. Nelson not only masters the inflection and intensity of the character especially in a humorous and stirring transformation for Soliloquy, but also captures Billy’s conflicted and anxious demeanor. Nelson shares some of that conflict with mysterious Sutton in a touching rendition of If I Loved You which isn’t love at first sight, but gently unfolds through song as the ensemble looks on. They are a consistent presence as stage hands making blossoms fall, workers and community members who are never far away.
Abigail Marie Curran (as Louise) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
In a flowing black skirt and tied blouse, Abigail Marie Curran as misguided Louise is luminous expressing liveliness, longing, and loneliness in each delicate, athletic and dynamic step. In fatigues and work boots, baritone Markel Reed delivers some comical moments in slick and tricky Jigger who does little to conceal his shady motivations, especially during Blow High, Blow Low.
Markel Reed (as Jigger Craigin) and Edward Nelson (as Billy Bigelow) in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
In a billowing polka dot skirt and vibrant purple hair, mezzo soprano Jaime Barton is inviting as nurturing, wise and discerning Nettie. Barton is as playful in June is Busting out All Over and This was a real Nice Clambake as Rodgers and Hammerstein’s appetizing lyrics burst forth in succulent glory. When You Walk through a Storm is a masterpiece and Barton delivers it tenderly.
Nettie (Jamie Barton) and the townspeople post-clambake in Boston Lyric Opera’s CAROUSEL. Photo by Nile Scott Studios
It was a remarkable experience to revisit this beloved musical and Bogart’s latest vision does little to affect the show’s inherent story or the timeless message of hope and resilience in the darkest of times.
Boston Lyric Opera presents the 80th Anniversary production of Rodgers and Hammerstein’s musical Carousel continuing through Sunday, April 13 at Emerson Colonial Theatre in Boston, Massachusetts. Click here for more information and for tickets. It also provides further information on Boston Lyric Opera’s upcoming Britten’s Noah’s Flood premiering for free in May.
Witness impassioned lovers and the loved overwhelmed.
Directed shrewdly by Loretta Greco, this is the language of love in Pierre Carlet de Chamblain de Marivaux’s French romantic farce, The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This whimsical tale runs two hours and 15 minutes with one intermission and Joanna Strapp stepped in for Marianna Bassham as Léonide for this performance. This production is also available to stream. Click here for more information and for tickets.
The cast of The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
The Triumph of Love waxes poetic about love and then some in this elaborate love story that contains as many declarations of love as lighthearted comedy. Though The Triumph of Love was written in 1732, it contains insightful ideas, humor, and a classic storyline that connected with its era just as effectively as it does a contemporary audience in delightful ways.
If love is a battlefield, Alison Altman as confident, passionate, and outspoken Léonide is a commander. In a layered and juicy love story, Princess Léonide pursues naïve and sheltered Agis, portrayed nobly by Robert Kellogg, who is sequestered in Hermocrate’s country retreat. However, in order to get close enough to Agis, Altman and Avanthika Srinivansan as her humorous maid Corine must disguise themselves as men and execute a delicate, devious, absurd and yet brilliant scheme to win her true love by using all the wiles she knows how.
Left to right: Allison Altman, Rob B. Kellogg in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
Junghyun Georgia Lee’s serene scenic design boasts a lovely garden landscape embellished with lemon trees, florals, vine covered walls, and a stone bench while Fan Zhang intertwines classical and contemporary French flair to Zhang’s original music and sound design. The painted skyline fades from turquoise to pastels to aquamarine through Christopher Akerlind’s romantic lighting expressing the progression of the day. Lee also demonstrates 18th century French fashion beautifully in elegant silk gowns with petticoats, fingerless gloves, colorful cravats, refined vests and boots as well as finely detailed frock coats with gold embellishments and multicolor garments.
Left to right: Marianna Bassham, Allison Altman, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
Led by Alison Altman as Princess Léonide whose complex character is somewhat of an antihero, The Triumph of Love champions a remarkable cast and Marivaux’s script offers each character an opportunity to shine during the production. Occasionally addressing the audience, Altman’s relentlessly determined Léonide has some earmarks of both hero and villain. She is conscious of her power to influence and manipulate while pulling the strings of each character for love’s sake. Resisting her charms is near impossible and Altman masters this multidimensional character with finesse though you may be occasionally torn about her decisions.
Left to right: Marianna Bassham, Nael Nacer in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
Altman’s Léonideshares enchanting chemistry with nearly everyone, but her brief encounters with Kellogg as Agis are sweet and splendid. They are adorable together and it’s easy to root for this pair. The plot thickens pretty quickly and most of this lighthearted farce is not meant to be taken seriously.
Strapp as Léontine and Nael Nacer as Hermocrate portray virtuous and staunchly reasonable siblings who have shut out the world with their nephew Agis to pursue the intellectual life. The entire cast delivers sharp comic timing and while Vincent Randazzo as Harlequin get his share of laughs, Strapp and Nacer’s moments of exasperation, panic and self aware humor is first rate as exemplified in one instance where Nacer looks around and softly wonders, ‘Why am I standing here?’ With realizations so innocent and captivating, it won’t take you long to love them both.
Left to right: Patrick Kerr, Vincent Randazzo in The Triumph of Love; directed by Loretta Greco; photo by Liza Voll
Statements such as ‘God forbid there should be love in that house’ and ‘Perhaps if I could be hilarious for awhile, I could amuse myself to death’ are just a couple of the hilarious quips uttered by Vincent Randazzo as Harlequin, Hermocrate’s valet. Rambunctious and mischievous, Randazzo’s frank delivery and gossipy nature are only outdone by his comical facial expressions. With Patrick Kerr as practical gardener and straight man Dimas, they make a wonderfully humorous duo.
Madcap and absorbing, bring love to the front lines with The Triumph of Love continuing live and in person at the Huntington Theatre in Boston, Massachusetts through Sunday, April 6. This production is also available to stream. Click here for more information and for tickets.
A blanket and balloon have never held greater meaning under Georgia’s magnolia trees and endless sunshine.
Taking place nearly 50 years after the Civil War in 1913, Max Chernin depicts Leo Frank, a quiet and disciplined Jewish Brooklynite who is working hard to build a life in Georgia with his Southern wife Lucille, portrayed by Talia Suskauer, when one harrowing night changes everything. Corruption, hypocrisy, slander, scandal and manipulation are all boldly explored as Leo Frank is accused of an unimaginable crime.
Max Chernin (center) and company in the National Tour of PARADE, photo by Joan Marcus
It is particularly significant that Parade is on tour in Boston due to Massachusetts’ foundational roots including its Cradle of Liberty nickname, but also timely because Parade’s Boston run occurs through Purim, a Jewish festival rooted in the Book of Esther celebrating a historic Jewish triumph over oppression.
This captivating musical is based on a gripping true story and evokes a wide range of emotions. Like a parade, it spectacularly unfolds with an opening drum roll of The Red Hills of Home boasting gorgeous harmonies, splendor and Michael Arden’s acclaimed and seamless direction as well as Dane Laffrey’s moving and sweeping scenic design.
Adorned in vivid bunting as lights descend from the ceiling, Dane Laffrey’s elaborate and rolling set transforms from a wide open field into a wooden courtroom blending Sven Ortel’s descriptive projection design of dramatic and documentary-style elements revealing historical photos of the real people, places and newspaper headlines as crucial dates trace the events of the story. Billowing clouds and colorful landscapes stand out vividly between the black and white footage. Susan Hilferty and Mark Koss impressively capture the essence of the era in pastels, frills, smocks, three piece suits, newsboy caps, parasols, and brimmed hats.
The National Touring Company of PARADE, photo by Joan Marcus
Having seen Jason Robert Brown’sThe Last Five Years, Brown has a gift for articulating a vast range of complex emotions and glimpses of his inspiration for his later work can been heard in this moving journey that ebbs and flows from bright to poignant, confident to humbling and from rueful to optimistic. The emotional highs and lows infusing blues, pop, gospel, jazz, and rock are swift, stunning, and consistently thought provoking.
Max Chernin and company in the National Tour of PARADE, photo by Joan Marcus
Featuring a large and stellar cast of approximately 30 people with many of them portraying more than one role, I was blown away hearing the depth and resonance of this particular array of amazing and occasionally a cappella vocals under Charlie Alterman’s magnificent music direction. Chernin’s vocals have a unique beauty as he embodies Leo’s stark loneliness and deft humor in How Can I Call this Home. With gravitas and sincerity, Chernin is excellent as Leo as he shares his thoughts in melodious vocals and quiet candor especially during his remarkable ballad, It’s Hard to Speak my Heart. He has elevating chemistry with Talia Suskauer as spirited and resourceful Lucille and they create powerful harmony for the lively and optimistic duet It’s Not Over Yet and a stunning rendition of All the Wasted Time.
Talia Suskauer and Max Chernin in the National Tour of PARADE, photo by Joan Marcus
Jack Roden is mesmerizing as Frankie Epps, especially during a powerful and poignant rendition of There is a Fountain/It Don’t Make Sense. The medley infuses light and angelic harmonies to foreboding of a boy maturing in an instant. Roden and Olivia Goosman as exuberant Mary Phagan share some endearing scenes for the catchy The Picture Show.
Olivia Goosman, Jack Roden and company in the National Tour of PARADE, photo by Joan Marcus
Griffin Binnicker shines as charismatic yet contentious Tom Watson as he leads the urgent Hammer of Justice and Michael Tacconi is notable as scandal thirsty reporter Brett Craig desperate to revive his career in the darkly playful hymnal Real Big News.
The National Touring Company of PARADE, photo by Joan Marcus
Parade’s layered and stirring choreography is demonstrated in the hypnotic turn and parallels of The Factory Girls to the mischievous spring of Pretty Music with impressive Chris Shyer as slick Governor Slaton jubilantly spinning ladies across the dance floor. Another highlight is the clanking rhythms and chilling choreography of Feel the Rain Fall with Ramone Nelson’s commanding vocals as mysterious Jim Conley and the telling and satirical number Where will you Stand when the Flood Comes.
Emily Rose DeMartino, Bailee Endebrock, Sophia Manicone and company in the National Tour of PARADE, photo by Joan Marcus
Parade is an important and touching musical that is as breathtaking and mysterious as it is shocking. A haunting and powerful exploration of love, hope, faith, and loss into a profound and resonating piece of storytelling that is sure to stay with you long after the production is over.
Max Chernin and the company in the National Tour of PARADE, photo by Joan Marcus
The national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23. Click here for more information and for tickets.
Spiritually stuck in the Y2K era and in an often vacant house for the past 20 years, two indigenous brother ghosts long to rise to the great beyond and reunite with Creator and their ancestors. However, something more is haunting this house beyond the antics they use to chase prospective home buyers away. Using dance as escapism and as a way to cope, Bradley Lewis depicts an over the top Ash who never had the chance to grow up while older brother Aaron, portrayed with reticence by Chingwe Padraig Sullivan, carries a lot that he cannot move beyond as well.
Bradley Lewis, Katherine Callaway, Evan Turissini, Tanya Avendaño Stockler (Photo by Ken Yotsukura Photography)
Written, directed and choreographed by Tara Moses, Company One presents thought provoking horror comedy Haunted continuing live and in person in Rabb Hall at the Boston Public Library through Saturday, February 15. The show runs approximately two hours with one 15 minute intermission and tickets are available at a pay what you can basis. Click here for more information and for tickets.
Chingwe Padraig Sullivan, Katherine Callaway, Bradley Lewis (Photo by Ken Yotsukura Photography)
Y2K reigns supreme as two brothers are culturally frozen in time having never moved beyond Ash’s adoration of Britney Spears or Aaron rocking out to Creed since their deaths in 2003. However, Danielle Delafuente’s scenic design reflects how frequently time marches on as books, furniture and portraits change as the brothers imagine and fret over an all too predictable future. A nice touch is the ice film on the windows to indicate paranormal activity. However, the brothers often play music and can make the living see things, yet it is a wonder why the living do not acknowledge when Ash plays one song after another. Is the living so steeped in their world that they cannot hear or see what is playing on a boom box?
Elmer Martinez’s symbolic lighting and Aubrey Dube’s foreboding sound design builds intensity and keeps the lines of communication going embodying this unknown entity through flashing pink and purple lights, ominous chimes and illuminated images on the walls.
Evan Turissini (Photo by Ken Yotsukura Photography)
With the exception of the two brothers and JāQuan Malik Jones as Vincent, the remaining cast members portray a number of unlikable stereotypes. From a righteous Quaker to a scholarly intellectual historian, Evan Turissini often portrays these shallow characters with a mix of dark humor and audacity while Katherine Callaway and Tanya Avendaño Stockler become increasingly more manipulative with each newcomer. The ghosts often make assumptions everyone acts a certain way perhaps in fear of being disappointed. It might have been more intriguing if Vincent and the brothers saw more than one side of these characters.
Chingwe Padraig Sullivan, Katherine Callaway, Evan Turissini, Tanya Avendaño Stockler, Bradley Lewis (Photo by Ken Yotsukura Photography)
On the flip side, JāQuan Malik Jones delivers an impressive performance as level headed Vincent whose actions are anything but predictable. Lewis as Ash and Sullivan as Aaron share a likable rapport as paranormal brothers whose bickering and conflicts often stem from too much time together, but they also share a mutual respect partly due to this supernatural bonding time.
Chingwe Padraig Sullivan, JāQuan Malik Jones, Bradley Lewis (Photo by Ken Yotsukura Photography)
Haunted has some inconsistencies and may have benefited by a shorter run time, but offers a lot of educational insights into man’s connection to the land, indigenous culture, the Land Back movement, and how one can learn more and contribute to change.
Company One presents thought provoking horror comedy Haunted continuing live and in person in Rabb Hall at the Boston Public Library through Saturday, February 15. The show runs approximately two hours with one 15 minute intermission and all tickets are available at a pay what you can basis. Click here for more information and for tickets.
