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.
That is the main question broached by the cast of a mysterious character contemplated so often that it is a wonder if Tartuffe is less a person than legend. However, when Tartuffe does appear, plenty of drama lay in his wake.
Directed comically by Bryn Boice and translated by Richard Wilbur, Hub Theatre Company of Boston presents Molière’s satirical comedy drama Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24. This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis. Click here for more information and for tickets.
June Kfoury, Lily Ayotte and Brendan O’Neill in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Though Molière ’s satirical comedy Tartuffe takes place during King Louis XIV’s reign in 1664, Hub Theatre Company of Boston mixes many aspects of the contemporary with the 17th Century French Common Era in costumes and nuanced dialogue. Costume designer Marissa Wolf and Wig Maven Liv Curnen blend historical French high fashion including decorated coiffed wigs, silks, trendy lace up shoes, crinoline, and vivid patterns including paisley and tartan to match with jeans, sneakers, and racer striped pants which provides a bit of a contemporary edge. Lily Ayotte as Mariane’s crinoline skirt cage however, felt gnawingly incomplete without a skirt over it even if it is in the name of high fashion.
Tartuffe, spoken in melodious coupling rhyme, is easy on the ears and adds lightheartedness to the production especially during its most serious moments. June Kfoury as Madam Parnelle baits the hook on Tartuffe as she humorously lambastes everyone in the room including her family in a marvelously frank and offhanded manner except the one person absent and proclaims an unpopular opinion: She considers Tartuffe a saint and praises his bold candidness.
Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Brooks Reeves as oblivious Orgon also thinks the sun rises and sets on Tartuffe and although Orgon comes off as a bit one dimensional, Reeves leans into the character’s absurdity and stubbornness to craft a character you end up rooting for.
Lauren Elias in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Lily Ayotte as sweet and obedient Mariane is one of the best parts of the production. Her engagement with the audience, reactions and physical comic timing is impeccable. Ayotte and Robert Thorpe II as Valère share amusing chemistry and their scenes are full of charming banter. Lauren Elias as maid Dorine is one of the few voices of reasons and a scene stealer in her own right navigating the plot through reason, good intentions, a good deal of sarcasm, and some popcorn (which acts as a fabulous gag during the show).
Laura Rocklyn and Jeremy Beazlie in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Laura Rocklyn portrays cool and collected Elmire with finesse. Elmire is a dynamic role and Rocklyn brings determination and confidence, especially to her more absurd scenes with Reeves and Jeremy Beazlie as Tartuffe, performing to great lengths for a laugh.
However, Jeremy Beazlie as Tartuffe, well, there is not much question how Tartuffe lives up to his legend which will not be revealed here. Tartuffe explores hypocrisy and secrets while historically speaking to what was happening in France at the time and Beazlie depicts it to a fault stirring up a lot more than rumors by the time he takes the stage.
Jeremy Beazlie and Brooks Reeves in Hub Theatre Company of Boston’s ‘Tartuffe’ Photo by Benjamin Rose Photography
Though Tartuffe may not be for everyone, it boasts a strong cast and witty moments that keeps one guessing how this unbridled string of events will end up right through the very end.
Hub Theatre Company of Boston presents Molière ’s satirical comedy Tartuffe live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, November 24. This semi-interactive and somewhat play-within-a play runs approximately two hours with an intermission and all shows are at a pay-what-you-can basis. Click here for more information and for tickets.
Resourcefully directed and choreographed by Ilyse Robbins, Hub Theatre Company of Boston continues politically satirical play, 46 Plays for America’s First Ladies live and in person at Club Café in Boston, Massachusetts through Saturday, August 3. This semi-interactive production is approximately 90 minutes with no intermission and tickets are on a pay-what-you can basis. Click here for more information and for tickets.
Lauren Elias, Sophia Mulharram, Yasmeen Duncan and Katie Pickett in ’36 Plays for America’s First Ladies’ Photo credit Andrew Keefe
It is quite a feat having to navigate each distinctive perspective of ’46 Plays for America’s First Ladies’ in a constrained and approximate 90 minute timeframe with no intermission, so this production hits the ground running. It serves more as a crash course for each first lady starting from Martha Washington literally framed elegantly with a classic side view as buntings hang above and the American flag is occasionally projected behind her. E. Rosser’s symbolic, patriotic and muted colonial style garments stay true to each setting with some occasional surprises along the way.
Sophia Mulharram, Lauren Elias, Yasmeen Duncan and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe
With a cast of five which includes Yasmeen Duncan, Lauren Elias, Eleni Kontzamanys, Sophia Mulharram, and Katie Pickett portraying multiple roles with time saving costume changes and Samantha Mastrati’s essential props efficiently hidden in various places on the stage ranging from historical to contemporary to absurd, these hard working and talented individuals still manage to make it look easy.
From absurdity to solemnity to comedy to tragedy including a few music numbers, each play is creative and vastly different with modern nuances and exposing the herstory and women’s societal hierarchy as time marches on. Some of the production makes assumptions and analyses the perspectives of these ladies as modern observers. Much of it is surprising and at the same time sadly not given the tumultuous state of politics throughout history.
Lauren Elias, Sophia Mulharram, Yasmeen Duncan, and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe
’46 Plays for America’s First Ladies’ offers a wealth of information in its limited timeframe backed up by direct quotes from these ladies stylistically displayed as each play progresses. A vast array of scenarios took place in the White House (which was first deemed The White House by a First Lady) and the title ‘First Lady’ has its own interesting back story with some stories questioning who the first lady really was at the time.
The cast of ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe
The elicit affairs, the worries, the losses, unspeakable tragedies, disasters, emotional turmoil, the hospitality, the gossip, mudslinging and slander all had its place in the lives of the Presidents and their first ladies. Some did not know that their husband ran for President, some felt invisible while some reveled in their station as ambitious First Ladies and advised their husbands without getting credit, and some stuck to their domestic duties including one first lady who invented the pink bathroom. Some changed America forever for the better, one even deemed herself the Queen of America and that just the tip of the iceberg.
Yasmeen Duncan, Sophia Mulharram, Lauren Elias and Katie Pickett in ’46 Plays for America’s First Ladies’ Photo credit Andrew Keefe
It is not easy to delve into politics, especially these days. This fast paced production’s bold views are at times one sided and leading while exploring serious hot button issues in innovative and variety show style ways from vaudeville to comedic sketches to puppets to a play within a play and much more. While I enjoyed some parts more than others, the style of each play changes with each president and first lady with some revelations about these first ladies that just might unite us all.
Resourcefully directed by Ilyse Robbins, Hub Theatre Company of Boston continues politically satirical play, 46 Plays for America’s First Ladies live and in person at Club Café in Boston, Massachusetts through Saturday, August 3. This semi-interactive production is approximately 90 minutes with no intermission and tickets are pay-what-you can. Click here for more information and for tickets.
Not to be mistaken for basketball, Hoops are jewelry individuals wear as a fashion piece, display cultural or ancestral significance or to make a statement as Bronx-born Puerto Rican Jennifer Lopez once fiercely remarked during a comedy sketch on The Tonight Show, ‘Don’t make me take off my Hoops!’ It served as a warning to host Jimmy Fallon that Lopez was not to be messed with.
Hoops can add subtle and delicate elegance or stand out as its own remarkable, not-to-be-missed fashion statement. I love my own hoops. Whether formal or casual, they go with everything and fit in for every occasion. Produced in all patterns, colors, and sizes, Hoops are unmistakable and certainly have a way of expressing themselves.
So it is no secret that this topic is right up my alley.
L to R Tiffany Santiago, Kaili Y. Turner, and Karimah Williams in Hoops Photo by Ken Yotsukura Photography
Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA. This semi-interactive production is free with pay-what-you-want options, contains some adult language and is a dense 90 minutes with no intermission. Click here for more information and for tickets.
Brandie Blaze in Hoops Photo by KenYotsukura
Lively and pulsing rhythms greet the audience as multi-talented DJ Brandie Blaze spins tunes by local Boston artists as the production begins. This is not the kind of show where one watches and remains silent. The audience is encouraged to get up and dance, clap and show their enthusiasm as Blaze introduces this fervent cast who uniquely take the stage in their own style.
Part dance party, part testimonial and reflections, and part history lesson with a mix of comedic scenarios, the cast of Hoops share personal experiences, coming of age stories, and dig in deep into the idea that a piece of jewelry can make such an impact. Whether it is to feel closer to their family through an heirloom or to build confidence for an intimidating event, each individual has an original reflection on how their hoops made a difference in their lives. Sometimes the production gives hoops a bit too much credit, but it is effective serving as a reminder that they had the courage and power to get through these challenges within themselves.
L to R Albamarina Nahar and Tiffany Santiago in Hoops Photo by Ken Yotsukura Photography
The cheerful, hoop-inspired set design by Payton Tavares with Grace Kroeger has a bit of a ‘90s feel featuring bursts of neon green, pink, yellow and blue with dripping paint decorated on blocks. The DJ Booth is stylish and cozy featuring embellished shelves, vinyl, and flowers lining the walls. Each character decked out in their own signature pair of hoops, Erica Schoenberg’s colorful, urban and summer-inspired costumes makes each individual stand out as they portray various roles.
Elijah Brown in Hoops Photo by Ken Yotsukura-Photography
In large and sparkling hoops, affable Brandie Blaze hypes up the audience by singing and rapping to Blaze’s original music. Sharp and upbeat choreography by Jenny Oliver keeps the show exciting as Elijah Brown, Albamarina Nahar, Tiffany Santiago, Kaili Y. Turner, Karimah Williams and Beyoncé Martinez not only break out into dance, but collaborate well together onstage sharing a spectrum of stories and anecdotes about sharing hoops, breaking hoops, status, generational wealth and their own individual journeys.
L to R Brandie Blaze Kaili Y. Turner Tiffany Santiago Karimah Williams and Albamarina Nahar in Hoops Photo by Ken Yotsukura Photography
Funny, upbeat, and poignant, Hoops is a meaty exploration about feeling good about oneself while taking on the weight of the world with flourish.
Hosted by DJ Brandie Blaze who is also part of the cast and enthusiastically directed by Tonasia Jones, Company One continues its 25th season with Hoops by Eliana Pipes live and in person at the historical Strand Theatre in Dorchester, MA. This semi-interactive production is free with pay-what-you-want options and is a dense 90 minutes with no intermission. Click here for more information and for tickets.
Insects can be elegant and extraordinary…and it all starts with an egg.
The Foreigner (Blue Fly) with a mysterious OVO (Egg). Photo credit Vlad Lorenzo courtesy of Cirque Du Soleil: OVO
Cirque du Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing in at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then at the SNHU Arena in Manchester, New Hampshire August 8 through 11. Click here for more information and for tickets.
The costumesThe Laced FlyThe Red Spider
Going behind the scenes at Cirque du Soleil: OVO, some intriguing facts were unveiled about how this tremendous production comes together. From the preparation to the performers which includes two Olympians to Liz Vandal’s kaleidoscopic costumes from Montreal, this unique production is brought to life in distinctive venues all over the world. The following are some amazing facts from Senior Publicist Janie Mallet of OVO:
The Cricket and the Jewel Beetle
Cirque du Soleil is celebrating its 40th anniversary! OVO’s cast and crew is a multi-cultural group that has been traveling around the world since 2009. A quick paced touring production, OVO has spent fifteen years on the road changing city or country every single week. The show did break during the pandemic before returning in 2022 with a revamped production featuring new acts and new music.
‘Ovo’ is Portuguese for ‘egg’. The production starts when The Foreigner arrives at this new colony of insects with an egg on his back. The show explores how we interact with one another and learn to accept and celebrate our differences. There is a love story, curiosities, and a bit of a confrontation in a world likened to a Brazilian rainforest.
Not only does the production travel with a full gym backstage, but with a full time coach, access to nutritionists, two performance therapists, doctors and an artistic team of 100 people with 52 performing onstage.
The artists and athletes do their own cardio, strength training, and flexibility before attending meetings and trainings for the show. The performers expend so much energy and do not follow a diet. They eat what is best for them at their own discretion, but if they want to work on a specialized thing, they have three chefs and a catering team on hand.
The production has a lot of moving parts and the size and how the trucks are packed for the tours are different, especially if they fly across the ocean. Everything is meticulously labeled and the teams need to be ready to adapt to any last minute changes.
The production has over 1000 costumes. These costumes are built for the function of each performer and there are four full time technicians on tour to take care of the costumes. All the costumes require some training in order to wear them comfortably. The clowns have larger costumes while the crickets’ costumes are light and contain a lot of stretch for performing flips and jumps. The aerial acts also have lighter costumes as they fly from one platform to the next.
The production has six washers and three dryers that travel with them all over the world. Delicate costumes and wardrobes are dried with the fans and 60 loads of laundry are completed prior to each performance.
The shoes
Washers and Dryers
Gary portrays Master Flipo, the chief of the insect colony. Alongside Canadian poles artist acrobat David, they deliver some insight into their history in the circus, their favorite insects, and anticipating OVO’s opening night in Boston. In real life, Gary is from Austria and lives in Spain.
From L to R: David and Gary of OVO
Gary: When I was 12, I decided I wanted to be a clown. I told my mom and never lost this dream. I ended up in a mime and circus school and then started to work in the circus before I joined Cirque de Soleil. They said, ‘We like your stupid face’ in 1992. I moved and did a show in Las Vegas and then back to Europe and then I’ve been here almost 7 years.
David: I started in the circus quite late at the age of 20. Usually acrobats start at a much younger age with gymnastics but at 20, I started from nothing. I saw a circus show and said that I want to do that and found out there were circus schools. I didn’t know they existed in Quebec City so I trained really hard for two years to get in because I found out that there are people all over the world who are trying to enter these professional schools. You need to already be good at something to get in and then somehow I got in. I did my three years of circus school for like 40 hours a week of training. Ever since, I’ve been in the circus and working with different circuses. I’ve been with OVO since the re-launch in 2022 with new artists and music. I’m part of the new acts.
We are very excited about the show and don’t know how the public is going to react yet, but we’re all feeling super rested because we just came back from three weeks of tour break from home. We’re very happy to be in Boston with the beautiful summer weather. We’ve met Bostonians on the street and they seem very nice.
Gary: Especially for us clowns it is very interesting in Boston to find out where they laugh and where they don’t laugh. We have to adjust the timing and are already having butterflies.
David: We toured with the show everywhere in the world. Depending on the different cultures, finding out how the audience will react is always our biggest concern.
Gary: What I anticipate sharing with the audience the most is always taking people onstage. Sometimes I have to improvise which I love and it challenges me. Generally, the whole show is a big festival of happiness. I don’t have favorites.
David: I am excited about my act just because in the living arts and in the circus there is always a bit of modification. It is never one stable show. It is thousands of versions of the show, even though it’s the same show for the public. For us, it has little changes and our act has new music, so we work on it frequently and make little changes in the choreography. It’s going to be fresh, new and exciting.
Gary as Jeweled Beetle Master Flipo Photo credit Vlad Lorenzo courtesy of Cirque du Soleil: OVO
David: It’s a very beautiful insect.
Gary: But at the same time, I love the ladybug.
The Foreigner and The Ladybug Photo credit Pat Beaudry and courtesy of Cirque Du Soleil: OVO
David: I really like the laced fly. The lace fly is the hair extension act and I think her costume is just brilliant and so colorful. It’s a beautiful act.
Gary: I like the crickets for the costumes. How they have an engineered costume where I always think, ‘How is it possible to move in that?’
The Crickets Wall Act Photo credit Vlad Lorenzo and courtesy of Cirque Du Soleil: OVO
David: Shout out to the Red Queen.
The Red Queen with cast of ‘Cirque Du Soleil: OVO’ Photo courtesy of Cirque Du Soleil: OVO
Gary: …and the clowns and the musicians.
David:OVO is really about inclusion. It’s about accepting our differences and celebrating the whole of the colony, even the cockroaches. They are all our friends. It’s sort of hard to choose one specific insect because they are all amazing.
David: The show takes years to train, but for this particular show, usually the creation of a Cirque de Soleil show is a few months. Like six months maybe and because the acrobats have been thinking about the show for a year or two, the physical preparation to get to this level takes years and years of training. Then we adapt the skills we have to the specific number and choreography that we need for the show, but it’s not like I train physically for years to be an insect. I train physically to be a circus acrobat and artist and then transfer the skills in a few months.
Gary: It’s the same thing with us…the clowns. We are being cast for that because our profile fits in it. The clown has his own profile for performing and stupidity. So I was cast because I am stupid and smart.
David: (laughs) Maybe that is also why I was cast.
Gary: (laughs) Bingo!
The insects of ‘Cirque du Soleil: OVO’ Photo courtesy of Cirque du Soleil OVO
Cirque de Soleil: OVO continues live and in person at the Agganis Arena in Boston, Massachusetts through Sunday, July 28 before continuing in at the Amica Mutual Pavilion in Providence, Rhode Island August 1 through 4 and then at the SNHU Arena in Manchester, New Hampshire August 8 through 11. Click here for more information and for tickets.
Words matter. Formalities matter. Commitments matter.
Wise words firmly stated by Jen Alison Lewis as Maryanne in Brandon Zang’sNüwa in Fairyland, an insightful coming of age tale that crosses imagination with a number of interweaving elements in order to bring consolation and understanding in the face of change.
Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage continues Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for the Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1. This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission. Pay-as-you-are tickets are available. Click here for more information and for tickets.
Jen Alison Lewis and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography
Nüwa in Fairyland is primarily centered on the relationship between good natured, competitive, and playful Benji depicted by Trevyn Wong in an impressive and charismatic performance and Jen Alison Lewis as Maryanne, Benji’s protective and steadfast adopted mother. Benji is starting to question his heritage beyond what he knows of his adopted life in America after seeing a documentary on China and Maryanne immediately feels anxious and uneasy. Meanwhile, Bowen Huang movingly depicts a mystical creature frantically searching for a missing child. There may be a connection here, but Nüwa in Fairyland explores a broader vision and branches out into fascinating territory and parallels that interweave imagination, reality and a certain Shakespearean play in order to cope with what is next.
Matt Goldstein, Trevyn Yong, and Jen Alison Lewis in NÜWA IN FAIRYLAND by Ken Yotsukura Photography
Navigating its various settings with precision while making the most of its theatrical space, Qingan Zhang’s ethereal and floral scenic design is highlighted by splendid translucent imagery and a sense of immersion due to Anna Drummond’s soothing and atmospheric sound design and Ashley Yung’s ambient lighting. From feathers to crowns to capes to embroidered armor, Sandra Zhihan Jia’s costumes blend the fanciful with the contemporary while infusing a traditional Shakespearean influence.
Jen Alison Lewis and Matt Goldstein in NÜWA IN FAIRYLAND by Ken Yotsukura Photography
This capable cast has very good camaraderie and comedic timing as they find nuances not necessarily in the script which enhance certain sweet moments within the production. A gleeful glance, an awkward gesture, and a delayed pause help to strengthen the bond within this small cast. Henry Dolgoff as chatty and anxious Damian share several of these moments infatuated with Wong in an array of awkward and mixed signals. Matt Goldstein as stern yet supportive Mr. Bailey and Lewis as Maryanne both share some soulful moments with Wong as Benji struggles with where he belongs.
Trevyn Wong and Henry Dolgoff in NÜWA IN FAIRYLAND by Ken Yotsukura Photography
However, Bowen Huang shines as stunning Nüwa in an intense, sage and sympathetic performance. Spoken in both Chinese and English, Huang is expressive, passionate, brave, and empowered with a wonderful charisma and zealousness convincingly drawing others to her plight in an unfamiliar place. The cast collectively explores the bonds of love in a thought provoking and multi-layered journey while both Huang and Lewis uniquely and beautifully discover the unforeseen and unyielding expectations of motherhood.
Bowen Huang and Trevyn Wong in NÜWA IN FAIRYLAND by Ken Yotsukura Photography
Directed sensitively by Carla Mirabel Rodriguez, Chuang Stage presents Brandon Zang’s Nüwa in Fairyland live and in person at The Boston Center for Arts Plaza Black Box Theatre in Boston, Massachusetts through Saturday, June 1. This world premiere, semi-interactive, and bilingual play-within-a-play runs 100 minutes with no intermission. Pay-as-you-are tickets are available. Click here for more information and for tickets.
What has the world come to and what has come of us?
It is a prevalent and thought provoking theme as Company One continues Kirsten Greenidge’s tech savvy comedy Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25. The show is approximately 1 hour and 35 minutes with no intermission and has some adult language. Tickets are available on a pay what you can basis. Click here for more information and for tickets.
Schanaya Barrows, Sydney Jackson, Aislinn Brophy (Photography by Ken Yotsukura)
Innovatively directed by Summer L. Williams, Company One Kirsten Greenidge’s Morning Noon and Night with Boston University’s College of Fine Arts unveils a world where children are mesmerized by their phones and selfies and time is measured a bit differently referring to pre-Covid days as ‘from before’ and a long time ago is at least ‘two phones ago’.
Set in Post 2020 pandemic and 2020’s endemic with a dose of virtual reality, Morning, Noon and Night explores loss, grief, fear, frustration, uncertainty, and a journey toward healing from economic turmoil after the pandemic has turned the world upside down. This production also delves into escalating technology and consumerism in daily life where phone addicted children believe most of what they read on the internet, have increased social anxiety and angst, and the dangers of allowing technology to run your life and solve your problems.
Sydney Jackson, Kaili Y. Turner (Photography by Ken Yotsukura)
If this sounds like a lot, Morning, Noon, and Night tries to do a lot and at times is a bit uneven in its storytelling getting weighed down by its own ambitions. However, it is a touching and comedic piece that cuts through it all to reveal what is most important. It has a slick presentation blending Audrey Dube’s zippy sound design with Maria Servellón ‘s lustrous projections that impressively portray the immaculate and too-good-to-be-true nature of the internet as well as beautiful memories. It’s pristine, sparkling and deceptively perfect featuring colorful imagery likened to scrolling through a phone. Amazon boxes, stacked CD’s and clothes strewn on the floor is part of Justin Lahue’s scattered and contemporary scenic design and the reality of Mia’s cluttered household.
Kaili Y. Turner, Eliza Fichter (Photography by Ken Yotsukura)
Kaili Y. Turner delivers a memorable performance as overwhelmed and stern Mia who is planning a birthday party for her estranged daughter, Alex. Sydney Jackson depicts Mia’s excitable, anxious, and somewhat bossy daughter, Dailyn and Alex’s sister who is alarmed by the state of the world depicted on the internet. Turner and Jackson make a relatable and comical mother and daughter duo as Dailyn pushes all the boundaries. Both want Alex’s party to be perfect in their own way, and when Alexandria King as upbeat, orderly and mysterious Miss Candace unexpectedly shows up at Mia’s doorstep, life as they know it is about to change.
Greenidge’s clever dialogue lets the tech lingo fly especially from Dailyn and supportive friends Schanaya Barrows as sunny perfectionist Chloe and Aislinn Brophy as Nat as they navigate their way through school and family issues. Eliza Fichter as energetic and meticulous Heather delivers some candid moments of hesitancy that anyone can relate to in this 2020 endemic world.
Kaili Y. Turner, Alexandria King, Eliza Fichter, Sydney Jackson (Photography by Annielly Camargo)
However, Alexandria King is wonderful as impeccably dressed and never flummoxed Miss Candace, particularly sharing physical comedic prowess with Turner as Mia. They share an interesting dynamic and their interactions are evenly fun and intense. King’s bright eyes, clipped laugh and powerful presence is fascinating to watch and Miss Candace’s outlook on life is one we can all take a lesson from.
Innovatively directed by Summer L. Williams, Company One continues Kirsten Greenidge’s tech savvy comedy of Morning Noon and Night, part of Company One’s 25th season, live and in person at Boston Center for the Arts in Boston, Massachusetts through May 25. The show is approximately 1 hour and 35 minutes with no intermission and has some adult language. Tickets are available on a pay what you can basis. Click here for more information and for tickets.
A freak accident and a strange wake beg a lot of questions. Then suddenly, a combustible force enters Anna’s smoldering world and there is little she can do to stop it.
With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12th season with Lanford Wilson’sBurn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21. This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission. All shows are at a pay what you can basis. Click here for more information and for tickets.
Steve Auger, Tim Hoover, Kiki Samko, and Victor L Shopov in Hub Theatre Company of Boston’s ‘Burn This’
Inside an upscale New York City loft apartment, Burn This delivers firecracker moments which starts as a slow burn. The one with the long fuse is Kiko Samko as Anna, an often saintly dancer who is experiencing a creative block after the death of her roommate, Robbie. With flirtatious flair and a dramatic persona that relieves some of the production’s tense moments, Steve Auger humorously portrays Anna’s other roommate, Larry. Anna is involved in a complicated relationship with Tim Hoover as wealthy screenwriter Burton who is struggling with his next screenplay. United in their grief over the loss of Robbie, they share hesitation about their future.
Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak
With the audience situated on two sides of the stage, Justin Lahue’s elegant and spacious set design of an upscale loft apartment features a cluttered kitchen, modern furniture and a broad black and white staircase as well as elements of artistic flair including a shadow painting of a dancer. Distinct modern light bulbs hang from the ceiling and well-timed lighting by Emily Bearce bolsters the production’s warm and intense moments along with Asad Harwick’s occasionally startling sound design. Costume designer Nohely Roman blends sophisticated and athleisure leaning on silks and a (surely) designer black tracksuit, pinstripes, and lace in bold and classic colors.
Kiki Samko and Tim Hoover in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak
Samko’s Anna is a complex character who shares a natural camaraderie with Auger and Hoover as they embark on some animated discussions about life and their artistic challenges. Hoover as Burton is sensitive and protective of Anna and they clearly share a sweet rapport. Anna is drawn to taking care of people and her patience and considerate nature does not always serve her well.
Kiki Samko and Victor L. Shopov in Hub Theatre Company of Boston ‘Burn This’ Photo credit to Tim Gurczak
Making a firecracker of an entrance is Victor L. Shopov as Robbie’s fast talking, furious, and often tumultuous brother, Pale and suddenly, Anna’s mostly predictable world abruptly experiences some chaos. Samko and Shopov possess some genuine chemistry and Burn This dives into extremes between calm and calamity in the form of Pale who infuses a lightning rod of energy into each appearance. In a gray suit, Shopov’s Pale is an all business workaholic while Samko’s Anna is meditative and nonviolent. Their encounters are fascinating and at times infuriating as Anna’s long fuse is perpetually tested to the point when you just want Anna to finally say enough while Samko and Shopov keeps the audience invested in the outcome. Samko’s horrified stares and Shopov’s potent audacity are much more than meets the eye and this unique connection delivers some surprising results.
Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak
Burn This is an exploration of loss, the confusion that ensues, and the journey of finding hope when all looks bleak. That journey can be uncomfortable but necessary in order to find the way through and Burn This lends some humor and hope, even in an uncertain future.
With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12th season with Lanford Wilson’s Burn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21. This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission. All shows are at a pay what you can basis. Click here for more information and for tickets.
With moving direction by Alan White, Dream Role Players continues William Shakespeare’s classic production, Othello live and in person at Chelsea Theatre Works at the Black Box Theatre in Chelsea, Massachusetts through Saturday, March 30. This show is general admission with pay-what-you-can options and is not suitable for children. It is their first play performed in an indoor setting and runs two hours and 45 minutes including one 15 minute intermission. Click here for more information and for tickets.
Dayenne CB Walters and Luis Negrón in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi
Set in Venice in the 1570’s, Shakespeare’s Othello focuses on General Othello, in a searing depiction by Vincent Ernest Siders, who is madly in love and secretly marries Elisabet “Lisa” Ober as Desdemona to Eric Cheung as Desdemona’s father Brabantio’s fury and dismay that she married a Moor. Othello also promotes Dom Carter as Cassio to be his lieutenant instead of Dayenne CB Walters as Iago and thus begins stealthy acts of treachery.
Elisabet “Lisa” Ober and Vincent Ernest Siders in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi
From distinguished uniforms decorated with silver and gold adornments and dapper suits to colorful flowing dresses, costume designer Atlas Mendoza carefully illustrates each character’s distinctive traits. It was particularly notable to see Iago’s bright red socks hidden just underneath Walters’s suit to indicate that things are not all that they seem. Lighting designer Richie DeJesus not only creates mood-induced lighting that hints at the mood of each scene, but the simple staging which includes four multipurpose chairs and later an elaborate bed leaves plenty of room for this interactive cast to shine in performances that are not limited to the stage.
Dom Carter and Vincent Ernest Siders in Dream Role Players ‘Othello’ Photo credit to Sushmita Udoshi
Dream Role Players provide opportunities for individuals to perform their dream roles and Othello boasts an enthusiastic cast who skillfully sinks their teeth into their performances. With a sly smile, Luis Negrón offers a fervent portrayal of Rodrigo particularly in heated discussions with Dayenne CB Walters as conniving Iago. Walters epitomizes Iago with shifting eyes while displaying disquieting and calculated practicality. Walters brilliantly plots and schemes while displaying masked charm and manipulative glee.
Dom Carter and Dayenne CB Walters in Dream Role Players ‘Othello’ Photo credit Sushmita Udoshi
Dom Carter is amiable as sympathetic and gentlemanly Cassio as he shares some mystifying chemistry with Vidisha Agarwalla as Bianca while Candis Hilton is impressive as mysterious and independent-minded Amelia. It is endearing to watch Elisabet “Lisa” Ober as strong willed, adoring, and gentle Desdemona who shares boisterous and captivating chemistry with Siders as Othello, but the most riveting encounters occur between Siders as Othello and Walters as Iago. Siders is a towering and charismatic presence as Othello with rich and powerful vocals who is as suave and lovable as he is intimidating. Matched by Walters as elusive Iago, the two enact a game of cat and mouse with a mounting intensity that left me at the edge of my seat.
Dream Role Players ‘Othello’ Full Cast Photo credit Sushmita Udoshi
With moving direction by Alan White, Dream Role Players continues William Shakespeare’s classic production, Othello live and in person at Chelsea Theatre Works at the Black Box Theatre in Chelsea, Massachusetts through Saturday, March 30. This show is general admission with pay-what-you-can options and is not suitable for children. It is their first play performed in an indoor setting and runs two hours and 45 minutes including one 15 minute intermission. Click here for more information and for tickets.
Small town Foggy Bluffs, New York has things that bump in the night, but can a group of young sleuths solve the case?
With compelling direction by Josh Glenn-Kayden, Company One Theatre in partnership with The Theater Offensive and the Boston Public Library presents The Interrobangers, a new play by M Sloth Levine live and in person at the Central Branch of the Boston Public Library through February 24. The productions is free with pay what you want tickets and action is not limited to the stage. The Interrobangers is recommended for ages 13 and up. Click here for more information and for tickets.
Schanaya Barrows, Chris Everett, Anderson Stinson, III, Jenine Florence Jacinto, and Jay Connolly in ‘The Interrobangers’ Photo by Erin Crowley
Quaint, old towns can have such history including spooky legends, myths, and strange occurrences. Foggy Bluffs, New York is no exception but here also lies a big secret beneath its quiet façade. Accompanied by an adorable dog named Hoover, childhood friends Zodiac, Hank, Luna, and Dani must band together to uncover just what this little town has been hiding.
Founded in 1691, set designer Danielle DeLaFuente with Projections Designer Maria Servellon has carved out Foggy Bluffs, an impressive and realistic fictional town with rolling fog, haunting landscapes, and lively and colorful hangouts such as the Jackalope, Flatwoods Pizza, and Roswell’s Thrift n’ Find which is complete with a wide selection of authentic Foggy Bluffs souvenirs. The occasional grainy vintage town video footage is also a real treat. Lighting designer Elmer Martinez with sound designer Anna Drummond keeps the exciting pace of its interspersed friendly and eerie lighting as Drummond delivers a catchy and funky soundtrack.
Anderson Stinson, III and Jay Connolly in ‘The Interrobangers’
Taking place sometime in the 80s, the production has the earmarks of a Scooby-Doo vibe and it is amazing to observe the overall zany, spooky, and thoughtful tone including the making of a familiar van. E. Rosser’s trendy and multihued costume design highlights each character’s distinct personalities. Even during its comedic moments though, it tackles the angst, confusion, pressure to be perfect, identity, peer pressure, acceptance, trauma and other serious topics kids can experience growing up. An interrobanger is described as a bundle of emotions wrapped up into one word and suitably describes the show that delivers light and reflection in a unique manner.
Jenine Florence Jacinto, Anderson Stinson III, Schanaya Barrows, and Jay Connolly in ‘The Interrobangers’ Photo by Erin Crowley
It delves into the nature of friendship from a dynamic cast who share a warm and engaging rapport. Friendship as children grow up that may sometimes mean growing apart or those rare friends that even if time has passed, they can still find their groove. How a class president portrayed by Schanaya Barrows as Dani, a timid yet brilliant student depicted by Jenine Florence Jacinto as Luna, a fascinating and troubled bohemian portrayed by Anderson Stinson III as Zodiac with Jupiter Lê in a remarkable depiction of Zodiac’s energetic and empathetic dog Hoover, and popular jock depicted by Jay Connolly as Hank form a mischievous group that all might have more in common than they realize.
Anderson Stinson III and Jupiter Lê in ‘The Interrobangers Photo by Erin Crowley
Each character offers engaging and nuanced performances, especially Stinson as Zodiac who movingly depicts what it is like to struggle with issues that cannot easily be explained and still remain an open, inquisitive and loving person. In a gray suit and aviator sunglasses, Alex Jacobs is a hypnotic force as the mysterious Mr. Dahl to show that even a little town like Foggy Bluffs always has a mystery to be solved.
With compelling direction by Josh Glenn-Kayden, Company One Theatre in partnership with The Theater Offensive and the Boston Public Library presents The Interrobangers, a new play by M Sloth Levine live and in person at the Central Branch of the Boston Public Library through February 24. The productions is free with pay what you want tickets and action is not limited to the stage. The Interrobangers is recommended for ages 13 and up. Click here for more information and for tickets.
