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REVIEW:  Summer love is luminous in The Huntington’s ‘The Light in the Piazza’

Posted on by The Sleepless Critic

Summer in Italy brings certain charms, especially when it comes to love punctuated by a brilliant light.

Meaningfully directed by Loretta Greco paired with Daniel Pelzig’s joyous choreography, The Huntington continues heartwarming musical, The Light in the Piazza through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts.  This bilingual production in English and Italian runs two hours and 10 minutes including an intermission.  Click here for more information and for tickets.

Based on Elizabeth Spencer’s 1960s novella of the same name, The Light the Piazza was quickly adapted into a sweeping romantic film in 1962 starring George Hamilton and Olivia de Havilland.  The film offers further details into the plot and answers a few questions left by the musical, but the musical more than makes up for it through Adam Guettel’s riveting Tony award-winning Opera-inspired score and collection of English and Italian songs.  The Light in the Piazza debuted on Broadway in 2005 and was the winner of two Tony Awards including Lead Actress in a Musical.

Sarah-Anne Martinez and Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Set in Florence, Italy in 1953, a mother and daughter embark on an extraordinary vacation through Florence when a surprising incident leads to an encounter with Joshua Grosso as awestruck Fabrizio.  It is quite the meet cute surrounded by Andrew Boyce’s detailed gold and marble architecture and an amiable ensemble.  Yuki Izumihara’s lifelike projections combine with Andrew Boyce’s captivating sliding set design to revel in this beautiful country’s works of art, iconic buildings, church settings and the Italian countryside.  These surroundings are exquisite and yet not overdone as gold frames hang aloft elegant Italian furniture which includes an elaborate bookcase, swaying silk curtains, lacy tablecloths and a vintage rolling gold lap tray.

Much of the musical explores the idea of feeling understood through the heart rather than the head.  Through anguish, joy, humor, protectiveness and passion, this talented cast display stirring and powerful vocals in a remarkable journey while intensely expressing what each of them hold in their hearts.  It is also a musical that explores love of all kinds as faith is put to the test.

Sarah-Anne Martinez is instantly enchanting as exuberant Clara.  Martinez wows with her gorgeous rendition of The Beauty Is and shares immediate and endearing chemistry with Grosso as Fabrizio.  Grosso simply dazzles in his rendition of Il Mondo Era Vuoto.  Martinez’s wide eyed sincerity and Grosso’s benevolent charm blend harmoniously for Say it Somehow, The Beauty Is reprise and Passeggiata, a playful duet between Grosso and Martinez practicing a beloved Italian tradition on a revolving stage.

Joshua Grosso and Sarah-Anne Martinez in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

The cast occasionally confides in the audience as Emily Skinner as Clara’s mother Margaret withholds a secret about Clara.  Skinner evokes the weight of her tormented decisions through her emphatic hesitancy, protectiveness and gentle compassion.  Clara shares a special bond with her mother, but also one that can be strained and conflicted.

Emily Skinner in The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

William Michaels as Signor Naccarelli and Rebecca Pitcher as Signora Naccarelli share great comic timing (at times sardonic) and are a complicated pair.   Alexander Ross as Fabrizio’s charismatic brother Giuseppe brings lively humor to American Dancing and Rebekah Rae Robles is also impressive as mysterious Franca. 

Greco’s immersive direction applies subtle and comical scenarios alongside the main plot to broaden this enchanting world such as kids playing together, doves flying overhead, a woman selling flowers or discussions among the clergy.  The Light in the Piazza contains some twists and turns while maintaining its optimistic yet underlying seriousness.   

The cast of The Huntington’s production of The Light in the Piazza, book by Craig Lucas, music and lyrics by Adam Guettel, directed by Huntington Artistic Director Loretta Greco; photo by Julieta Cervantes. Running May 8–June 15 2025 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

Soaring vocals, a wonderful cast, a splendid Italian setting, and an affecting family tale combine for an incandescent event at the Huntington.

Witness a powerful tale of love, beauty, faith and much more with The Light in the Piazza continuing through Sunday, June 15 at The Huntington Theatre in Boston, Massachusetts.  Click here for more information and for tickets.

REVIEW: Boston Lyric Opera’s ‘Carousel’ illuminates in the darkest of times

Posted on by The Sleepless Critic

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.

REVIEW: Featuring a stellar cast, a riveting and indelible ‘Parade’

Posted on by The Sleepless Critic

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. 

When truth is set aside, where is there to turn?

Winner of two 2023 Tony Awards for Best Revival of a Musical and Best Direction of a Musical by Michael Arden with evocative choreography by Lauren Yalango-Grant and Christopher Cree Grant, the national tour of historical musical drama Parade continues live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Sunday, March 23.  Based on a true story, this riveting production runs 2 hours and 30 minutes including one intermission.  Click here for more information and for tickets.

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’s The 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.

REVIEW: The con is on as Moonbox Productions presents musical comedy ‘Dirty Rotten Scoundrels’

Posted on by The Sleepless Critic

An odd couple and a lucrative bet….but if you think you know how this slippery musical comedy tango will end, there is much more here than meets the eye.

Directed skillfully by Allison Olivia Choat with absorbing music direction by Catherine Stornetta and upbeat yet spicy choreography by Brad Reinking, Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20.  This show has adult themes and runs approximately two hours and 15 min with one ten minute intermission.  It also boasts open captions that come in handy during the performance.  Click here for more information and for tickets.    

Matthew Zahnzinger, Shonna McEachern* and Phil Tayler in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

A remake of 1964’s Bedtime Story, Dirty Rotten Scoundrels hit the big screen in 1988 starring Michael Caine and Steve Martin before it became a popular Broadway musical comedy in 2004 garnering a number of Tony nominations including Norbert Leo Butz’s Tony Award-winning performance as Freddy.  In 2019, Anne Hathaway and Rebel Wilson starred in the film remake renamed The Hustle.

From Hawaiian shirts to stately formal wear in cheerful colors, some aspects of E. Rosser’s costume design is inspired by the 1988 film, but thankfully contemporarily updated from the film’s bulky 80s style clothing.

Taking place over one summer on the French Riviera, Dirty Rotten Scoundrels focuses on a group of conmen doing what they do best.  It has an odd coupling vibe with Matthew Zahnzinger as sophisticated master conman Lawrence with his co-conspirator André who encounters Phil Tayler as skilled yet uncouth novice Freddy.  Freddy is a small time conman who immediately admires Lawrence’s success and longs to learn the ropes.  When they both set their eyes on Shonna McEachern as mysterious Christine, the stakes are high and the con is on.

With simple staging on two floors by Peyton Taveres with portable props by Andrew Reynolds as well as an onstage band behind glass, Andrea Sala’s upscale multicolor lighting takes center stage and has a delightful mind of its own demonstrated by Zahnzinger’s Lawrence who drolly exclaims, ‘Breeding is important, but lighting is everything!’ 

Matthew Zahnzinger and Julius P. Williams III in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Adorned in a three piece suit with a red carnation and suave ascot, Zahnzinger perfects a thick British accent and is the picture of refinement as Lawrence.  Charismatic, suave and boasting a crafty smirk, Zahnzinger shines as Lawrence and is more than game as this smooth world traveling con artist. Julius P. Williams III portrays Lawrence’s behind the scenes right hand man André.  Williams III is quite the schmoozer who is big on decorum and short on patience.  Lawrence and André’s conspiratorial tête-à-têtes and knowing glances make them an amusing comedy duo.  When Phil Tayler as younger, outspoken, unhinged and underhanded Freddy Benson enters the scene, the real excitement begins. 

Matthew Zahnzinger, Phil Tayler and Sophie Shaw in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

It is easy to see how seamlessly Dirty Rotten Scoundrels fits as a musical comedy and after watching the 1988 comedy film, the musical is tremendously more fun.  With sultry and exuberant choreography by Brad Reinking, this charming ensemble has as big of a personality as the distinct main cast.  From the two step to yodeling to even birdcage choreography which has to be seen to be believed, Dirty Rotten Scoundrels infuses these dance sequences in all the right places.

Tader Shipley and cast in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Most of the women seem gullible and naïve with few exceptions including Tader Shipley as Jolene Oakes as a fabulous, cart wheeling southern belle in glittering gold cowboy boots.  Shipley’s over the top delivery as she headlines Oklahoma is an unforgettable treat.  Boasting soaring vocals, Shonna McEachern depicts the altruistic Christine and performs a lovely ballad with Tayler for Nothing is Too Wonderful to Be True.

Shonna McEachern* and company in ‘Dirty Rotten Scoundrels’ Photography by Molly Shoemaker

Through David Yazbek’s lyrically clever music, Dirty Rotten Scoundrels’ catchy soundtrack often plays on words, especially demonstrated through Ruffhousen with Schüffhausen featuring a memorably comedic twist between Lawrence, Freddy, and Christine.  Like Zis, Like Zat is a coy duet featuring André and Christine English as wide eyed Muriel and the tongue twisting and captivating cha cha-inspired The More We Dance between Lawrence and Christine.  Phil Tayler as Freddy is at his avaricious best for Great Big Stuff!

Phil Tayler and company in ‘Dirty Rotten Scoundrels’
Photography by Molly Shoemaker

Dirty Rotten Scoundrels is silly, sneaky and romantic with a brand of self aware humor that smoothly brings the audience in on the art of the con. It’s a lot of fun to be in on this hustle.

Moonbox Productions continues musical comedy Dirty Rotten Scoundrels live and in person at Arrow Street Arts in Cambridge, Massachusetts through October 20.  Click here for more information and for tickets.   

REVIEW:  A stellar cast leads Central Square Theater and Front Porch Arts Collective’s extraordinary ‘next to normal’

Posted on by The Sleepless Critic

Diane’s world looks different and although it seems like an ordinary day, she is on the brink.

One would never know what Sherée Marcelle as Diane is going through at first glance.  It seems a typical day in the lives of The Goodman family as they roam around the house, caught up in an average school morning.  The mundane and stressful routines do not hint of what is in store for Diane during the bustling and humorous number, Just Another Day.  However, this particular day will be different and it will affect everyone around her.

Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Astutely directed and symbolically choreographed by Pascale Florestal with excellent musical direction by Katie Bickford, Central Square Theater co-produced by Front Porch Arts Collective continues the Pulitzer Prize-winning and multiple Tony Award-winning rock musical, next to normal live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, June 30.  This fascinating production contains adult themes and is approximately two hours and 20 minutes with one intermission.  Click here for more information and for tickets.

Anthony Pires, Jr. Sherée Marcelle, and Diego Cintrón in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

With significant Easter eggs floating above Erik D. Diaz’s meaningful and multi-tiered set connected notably by a spiral staircase and a central door, most of the scenes take place inside the Goodman household with the exception of the living room that doubles as an office space.  Mark Clark Wonson’s evocative lighting pulses and radiates on this production’s veering emotional journey and Kiara Escalera’s vibrant costumes often complement each other in stripes, patterns and shades between Anthony Pires Jr. as Dan and Marcelle and most notably in shades of blue later depicted between Cortlandt Barrett as Natalie and Dashawn McClinton as Henry.

Next to normal is a well paced and revealing musical journey about a troubled family who hides it well.  It delves into dysfunction and disorders with a bittersweet and relatable gusto and Brian Yorkey’s thought provoking script with dynamic and captivating music by Tom Kitt work together to unravel the nature of Diane’s illness and how each character is affected in Diane’s struggle.  I have seen quite a few great performances lately, but helmed by Sherée Marcelle as Diane, this is a powerhouse.  Each one of the next to normal cast delivers compelling performances with the vocal chops to prove it while conscientiously revealing their unique way of managing the complexity of their lives.

Anthony Pires, Jr. and Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

With glassy eyed confusion and shaking fingers, Sherée Marcelle as Diane is overwhelmed by her life.  Marcelle evokes the anxiousness, disillusionment, trauma, and the submersion Diane faces as bipolar and her yearning vocals unleash the suffering she endures living in her head searching for relief in I Miss the Mountains.  Marcelle is amazing as Diane who feels trapped wherever she is.  Numb or overdrive where reaching for normal never feels quite right. 

The catchy and dark satirical parody, Who’s Crazy / My Psychopharmacologist and I paints and infuses humor into a reeling picture of her battle while also providing a peek into how this affects those around her like her concerned grounded husband portrayed charismatically and sympathetically by Pires Jr. as Dan whose patience is quickly unraveling in his search for answers.  Ricardo “Ricky” Holguin in a dual role is hilarious as a deadpan doctor, wild, then later poignant full of compassion and concern. 

Ricardo “Ricky” Holguin and Sherée Marcelle in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Pires Jr. and Marcelle is an enthralling pair mastering complex and rhythmic harmonies as well as visceral emotions with zeal and intensity.  In one of the production’s lighter moments and next to normal contains as much humor as it does drama, Pires Jr. nails the giddy and quick-paced number It’s Gonna Be Good  in helpless wonder and perfect harmony with the rest of the cast. 

Cortlandt Barrett and Dashawn McClinton in Central Square Theater and Front Porch Arts Collective’s production of ‘next to Normal’ Photo by Maggie Hall

Cortlandt Barrett’s impressive vocals expel a painful cadence as the struggling, often neglected and perfectionist daughter, Natalie.  Barrett and Marcelle share their frames of mind in Wish I Were Here and with the cast in an absorbing Make Up Your Mind/Catch Me I’m Falling. Barrett also shares warm chemistry with Dashawn McClinton as persistent and earnest Henry who is instantly lovable in an intriguing rendition of Perfect for You.  Diego Cintrón is lively and memorable, especially in an eerie rendition of There’s a World and with Marcelle and Barrett for a poignant and revealing rendition of Superboy and the Invisible Girl.  

Sherée Marcelle and Cortlandt Barrett in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Next to Normal has a few bombshell revelations and the production not only paints an authentic and educational picture of mental illness, but love’s carefree but oftentimes arduous journey with humor, heart and hope.  Mental illness makes it difficult to escape from inside one’s head so it shuts people out.   As the daughter of a person with depression, it was eye-opening to see a reflection of these challenges within the family and to witness someone so well loved struggling for the strength to see beyond the pain and find the other side.

Anthony Pires, Jr. Sherée Marcelle Diego Cintrón in Central Square Theater and Front Porch Arts Collective’s production of ‘next to normal’ Photo by Maggie Hall

Astutely directed and symbolically choreographed by Pascale Florestal with excellent musical direction by Katie Bickford, Central Square Theater co-produced by Front Porch Arts Collective continues the multiple Tony Award-winning rock musical, next to normal live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, June 30.  This fascinating production contains adult themes and is approximately two hours and 20 minutes with one intermission.  Click here for more information and for tickets.

REVIEW:  A toast to Patti Lupone’s fabulous ‘A Life in Notes’ presented by Celebrity Series of Boston

Posted on by The Sleepless Critic

To say it was an honor to witness Patti Lupone’s brilliance onstage is an understatement.  Having won three Tony Awards and two Grammy Awards, this Julliard-trained American Theater Hall of Famer from Long Island has proven time and again she is a master of her craft and it is easy to see why through her personal musical memoir A Life in Notes.

Conceived and warmly directed by Scott Wittman with inspiring music direction by Joseph Thalken, Celebrity Series of Boston presented Patti Lupone:  A Life in Notes live and in person at Symphony Hall in Boston, Massachusetts for one night only on April 2.  The show was 2 hours including one intermission and is touring around the country.  Click here for more information and here for what is up next during Celebrity Series of Boston’s exciting season.

Patti Lupone and Brad Phillips Photo credit Robert Torres/Celebrity Series of Boston

Accompanied by pianist Joseph Thalken and Brad Phillips on strings, Patti Lupone made an endearing emotional entrance having been greeted by a roaring standing ovation from the audience.  Donning a glimmering flirty black suit and sparkling earrings before later stepping into a shimmering showstopper with flowing cape, Lupone launched into a heartfelt and stirring rendition of Leon Russell’s A Song for You.  The opening number was just the first of several touching moments during this production.

Part autobiography and part love letter to her fans, A Life in Notes is a beautiful tapestry of music which includes American Standards and Broadway that have made an indelible impact on this mezzo-soprano’s life and career so far.  Humble and gracious, Lupone is a sharp and avid storyteller sharing her personal experiences while reflecting on valuable life lessons.  She delivered each refreshing number with a mix of charisma, wit, style and creativity as the tale behind the song unfolds sharing her reflections on growing up on Long Island before establishing her decades -long career.  Bathed in luminous purple, orange and gold lights, Lupone took the stage in front of a baby grand piano topped with a large bouquet of elegant roses as Thalken and Phillips provided accompaniment and smooth harmony to Lupone’s exceptional vocals.

Patti Lupone and Joseph Thalken Photo credit Robert Torres/Celebrity Series of Boston

As a fan who hoped to hear Sondheim’s Ladies Who Lunch in which she offered with all the incomparable passion and attitude that this song suggests, her selections covered some of her most memorable numbers and a few unexpected gems.  Andrew Lloyd Webber and Tim Rice’s distinctive Don’t Cry for Me Argentina on strings sounded as epic as it did when she originated the role as Eva Peron in Evita.   Lupone cheekily shook to Bagdasarian and Saroyan’s upbeat Come On-A My House and boasted fiery vocals for Jules Stein and Stephen Sondheim’s commanding Some People.  Shelton’s yearning Lilac Wine and catchy Jameson and Feller’s Summertime, Summertime captured her experiences falling in love.

Patti Lupone Photo credit Robert Torres/Celebrity Series of Boston

Patti Lupone’s exciting life has had its tumultuous times living during the age of the Atomic Bomb and the turmoil of the 60s as well as building her success in New York City.  She took the time to movingly pay tribute to loved ones as well as those who have passed away.  Lupone’s pliable vocals and amazing range shine for Cole Porter’s Every time we Say Goodbye as well as for a darkly humorous, saucy and surprising rendition of Jerry Lieber and Mike Stoller’s Ready to Begin Again, which after hearing it for first time, has become of my favorite numbers.  All of Patti Lupone’s personal touches, reflections, and compelling music selections made for a wonderful evening worth celebrating.

Conceived and warmly directed by Scott Wittman with inspiring music direction by Joseph Thalken, Celebrity Series of Boston presented Patti Lupone:  A Life in Notes live and in person at Symphony Hall in Boston, Massachusetts for one night only on April 2.  The show was 2 hours including one intermission and is touring around the country.  Click here for more information and here for what is up next during Celebrity Series of Boston’s exciting season.

REVIEW: Lexus Broadway in Boston presents sizzling and spectacular ‘Moulin Rouge the Musical’

Posted on by The Sleepless Critic

Moulin Rouge is sizzling, romantic and grand scale entertainment perfect just before Valentine’s Day.

Boasting Derek McLane’s lavish and sophisticated heart-shaped sets fueled by Justin Townsend’s vivid lighting so vibrant that could be its own character and Catherine Zuber’s edgy, timely and shimmering costumes, Moulin Rouge the Musical is a glorious spectacle right from the start blending its unique delivery of a multi-generational jukebox musical soundtrack as well as lively and athletic choreography that makes an immediate impact.

The cast of the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

 Nothing less could be expected from director Baz Luhrmann, who is not only behind the 1997 frenetic film of the same name in which the musical is based on starring Nicole Kidman and Ewan McGregor, but has a creative hand in the musical’s signature style.  Filled with popular songs of its time, Moulin Rouge has always been a lavish and wild celebration of desire, the rigid social class divide and first love, but somehow Moulin Rouge the Musical harnesses these rich themes on a considerably larger scale and it is nothing short of a feast for the eyes.

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4.  The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children.  Click here for more information and for tickets. Click here for Moulin Rouge’s national tour schedule.

Not only does Moulin Rouge The Musical contain a wide range of sharp and slinky choreography by Sonya Tayah, but features distinct characters with powerful vocals that make lasting impressions. Robert Petkoff brings enthusiasm, poetic and flamboyant charisma to Moulin Rouge’s nightclub master of ceremonies Harold Zidler starting with an incredible first appearance in Welcome to the Moulin Rouge further embellished by a fierce foursome who sang Christina Aguilera, Pink, Lil Kim, and Mya’s Lady Marmalade first made famous combined with an even catchier and colorful Can Can Can.

Adéa Michelle-Sessoms and Jennifer Wolfe in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Sarah Bowden as Nini is a sensational dancer and alongside Danny Burgos as Santiago sure know how to turn up the heat.  Burgos and Bowden make a sultry and flirtatious pair especially in the catchy and cathartic Backstage Romance with the cast featuring music from Lady Gaga, Britney Spears, and the Eurthymics.

Gabe MartInez as Santiago and Libby-Lloyd as Nini in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

In a top hat and thick mustache, Andrew Brewer is cunning as distinguished and wealthy businessman The Duke of Monroth.  He seems good to be true and has an agenda all his own.  Nick Rashad Borroughs as Toulouse-Lautrec performs a wonderful and moving rendition of Nature Boy and shares warm and humorous camaraderie with Christian Douglas as Christian and Danny Burgos as they advise Christian about life at the Moulin Rouge.

David Harris as The Duke of Monroth in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Christian Douglas is captivating as naïve, charming, and idealistic Christian.  Christian is a promising American artist and songwriter longing for his big break.  At the Moulin Rouge in Paris, he sets eyes on Moulin Rouge’s confident, complex, and ambitious main attraction Satine, portrayed splendidly by Gabrielle McClinton.  McClinton, decked out in a black and diamond ensemble, proves herself a versatile showstopper in The Sparkling Diamond singing snippets from Beyonce, Madonna, Marilyn Monroe and Rihanna with over the top dramatic flair, sensuality, and commanding vocals.  Douglas and McClinton bring gorgeous harmony together for Elephant Love Medley featuring Come What May and Silly Love Songs.  Christian also performs a haunting and fiery rendition of El Tango de Roxanne.

Courtney Reed as Satine in the North American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Moulin Rouge the Musical offers many exciting surprises that will not all be revealed here.  The swift and complex orchestration by Music Director Andrew Graham and sound designer Peter Hylenski uniquely integrates a selection of hit songs with unpredictable humor and drama.  It is a fast paced firecracker of a love story that is as edgy as it is moving.  Don’t miss the chance to see Moulin Rouge The Musical.

The cast of the North-American Tour of Moulin Rouge The Musical Photo by Matthew Murphy for MurphyMade

Winner of ten Tony Awards including Best Musical and directed by Alex Timbers, Lexus Broadway in Boston presents Moulin Rouge the Musical live and in person at Citizens Bank Opera House through Sunday, February 4th.  The show is 2 hours and 35 minutes with one intermission and has some content not suitable for children.  Click here for more information and for tickets. Click here for Moulin Rouge the Musical’s national tour schedule.

REVIEW:  Toting brilliant performances, Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf?’ a twisty, no holds barred stunner

Posted on by The Sleepless Critic

George and Martha are unhappy.

As they say, nothing good happens after 2 a.m.  In the early morning hours in 1961, George and Martha arrive home from a faculty party, but their evening is far from over.  Theater UnCorked offered an up close and personal peek into the brewing chaos of their living room as astonishing events begin to unfold on the grounds of this small New England college.

Nimbly directed by Ben Delatizky, Theater UnCorked presented Edward Albee’s Tony and Pulitzer Prize-winning drama Who’s Afraid of Virginia Woolf for one weekend only from December 6-10 live and in person at the BCA Plaza Black Box Theatre in Boston, Massachusetts.  This show is divided in three parts, is a meaty 2 hours and 30 minutes with two intermissions, and is appropriate for mature audiences.  Click here more information and for more on Theater UnCorked’s upcoming performances.

The cast of Theater UnCorked’s ‘Whos Afraid of Virginia Woolf’ Photo Credit: Gary Ng

Who’s Afraid of Virginia Woolf was also famously adapted into a 1966 Academy Award-winning motion picture starring powerhouse couple Elizabeth Taylor and Richard Burton as well as Sandy Dennis and George Segal.  While all four actors were nominated for Academy Awards, only Taylor and Dennis won for Best Actress and Best Supporting Actress.

The show opens with Martha dramatically recalling one famous Bette Davis quote, but another Bette Davis quote, ‘Fasten your seatbelts!  It’s going to be a bumpy night!’ might be more accurate.  Her husband, George is not amused.

Each member of this small cast depicts their characters with searing finesse.  Edward Albee’s renowned and controversial script adds a darkly comedic tone to these multifaceted characters and the events that follow.  At times, the show is sympathetically funny and at others, one cannot help but laugh nervously at the growing tension.  This moving, complex, and raw production successfully hinges on Albee’s meticulous pacing and critical chemistry between each of these dynamic characters.

Brooks Reeves as George and Shana Dirik as Martha in Theater Uncorked’s ‘Who’s Afraid of Virginia Woolf’ Photo credit: Leonard Chasse

Without a bad seat in this intimate theatre, the audience was nearly immersed in the action onstage. Mike Mcteague’s horn-infused sound design maintains a foreboding tension and melancholy between each scene while Sehnaz (Shana) Dirik’s scholarly and sophisticated retro set and props include a wet bar, large bookcases, globe, couch and dark wooded vintage style end tables with ashtrays seemingly right out of the 60s.  Popular albums of the era and turntable are on display and a particularly notable Sinatra album, My Way is cheekily front and center. Even the doorbell has a vintage and nostalgic chime.   From darkly bold to flowered pastels, Richard Itczak’s multicolor costume design accentuates each character’s unfolding disposition.

The 60’s set of Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf’ Photo Credit Gary Ng
The 60’s set of Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf’ Photo Credit Gary Ng

Who’s Afraid of Virginia Woolf is lengthy, but anything but boring.   These are highly intelligent and substantial individuals who share cerebral conversations, each with a veiled agenda.  With a condescending cackle, Sehnaz (Shana) Dirik portrays vivacious but worn Martha.  Dirik has remarkable chemistry with her perceptive and calculating Associate Professor husband, George, depicted by Brooks Reeves.  Reeves has a talent for bringing to life complicated characters with a dark underbelly and he and Martha teeter from malevolent to bickering to seeming adoration at the drop of a hat.  Brooks and Dirik deliver powerhouse performances because Albee’s script invites no less.  The physicality, the endurance, and the sheer energy that it takes to capture these characters can be exhausting and yet, Brooks and Dirik are more than up to the challenge.  At one point, Reeves and Dirik are so invested in the sheer magnitude of this twisty production that one cannot help but be moved by the tracks of Reeves’s tears and Dirik’s wild yearning.

Brooks Reeves as George Shana Dirik as Martha Anthony Rinaldi as Nick and Brooke Casanova as Honey in Theater Uncorked’s ‘Whos Afraid of Virginia Woolf’ Photo credit: Gary Ng

Anthony Rinaldi portrays affable department professor Nick while Brooke Casanova depicts naïve Honey, a polite married couple from the Midwest.  Both comically reflect what the audience might be thinking at first and at one point, Casanova as Honey is literally clutching her pearls.  They make an amiable and fascinating pair as their motivations gradually come to light in unexpected ways. 

Brooks Reeves as George and Shana Dirik as Martha in Theater UnCorked’s ‘Who’s Afraid of Virginia Woolf?’ Photo Credit Leonard Chasse

Who’s Afraid of Virginia Woolf has many layers and one cannot think of how dangerous it can be to know someone all too well.  George and Martha have been together for 23 years and they know exactly which button to push for what they want.  Some marriages do not always have the other’s best interest at heart and this coupling for the ages.

Nimbly directed by Ben Delatizky, Theater UnCorked presented Edward Albee’s Tony and Pulitzer Prize-winning drama Who’s Afraid of Virginia Woolf for one weekend only from December 6-10 live and in person at the BCA Plaza Black Box Theatre in Boston, Massachusetts.  This show is divided in three parts, is a meaty 2 hours and 30 minutes with two intermissions, and is appropriate for mature audiences.  Click here more information and for more on Theater UnCorked’s upcoming performances.

REVIEW: The Company Theatre is up to magic and mischief in family-friendly ‘Matilda the Musical’

Posted on by The Sleepless Critic

Not even a Willy Wonka candy coated confection could properly prepare one for what the Company Theatre has in store onstage.

With book by Dennis Kelly and music and lyrics by Tim Minchin, The Company Theatre’s Matilda the Musical is a holiday-themed whirlwind of caricatured adults and rage-filled adolescence while at its core, an inspiring story of an extraordinary girl in a peculiar and unique world that could only come from renowned storyteller Roald Dahl’s innovative imagination.  Add Lindsay Hoisington’s eye popping costumes that share their own story along with set designer Ryan Barrow’s striking, festive colors and Matilda the Musical made a refreshing debut from Company Theatre’s more traditional annual holiday fare.

Diana Lee as Lavender and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Inventively directed by Zoe Bradford with dynamic Music Direction by Melissa Carubia, The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18.  Click here for more information and for tickets.

With a string of renowned children’s books that includes classics such as James and the Giant Peach and Charlie and the Chocolate Factory, it is easy to see award-winning author Roald Dahl’s trademark characterizations, sardonic humor, and peculiarities within a morally driven subtext delivered in Dahl’s Matilda, a novel published almost 35 years ago.  Matilda went on to become a bonafide hit with children and adults and it was not long before a 1996 film adaptation arrived featuring Danny DeVito and his real life wife Rhea Perlman.  In 2012, Matilda became a Tony award-winning Broadway musical before Netflix recently premiered Matilda the Musical featuring Emma Thompson around Thanksgiving. Like most theatrical adaptations, nothing is quite like the experience of seeing it live.

Mischief during the holidays in Company Theatre’s ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Expectations were skewed immediately with the darkly comedic and infectious opening number, Miracle where cute, wild, and blatantly naughty children zip around a Christmas tree fueled by Brad Reinking’s athletic, energetic, and fist pumping choreography. Keep an eye out for some amazing feats by Ben Cavallo-Smith and others.

Ben Cavallo-Smith and cast in ‘Matilda the Musical’ Photo credit to Zoe Bradford/Company Theatre

Imagination and mischief run wild in Roald Dahl’s tale of an extraordinary girl making her way through a peculiar world. Roald Dahl tugs at the heartstrings in this absorbing children’s tale, but not before displaying a wealth of less than savory characters making Matilda’s life arduous.  It is a darkly humorous tale guaranteed to delight children more than the grownups.

Annie Jones as Mrs. Phelps and Reese Racicot as Matilda Photo credit to Zoe Bradford/Company Theatre

Clad in black and white, precious and precocious Matilda, portrayed with determination and quick wit by Reese Racicot, is one of the very few characters standing out in an ostentatious world where television is more important than cracking open a book. Racicot immediately charms from the spunky number, Naughty to mastering the heady lyrics in Quiet, punctuated by her light and airy vibrato. Racicot has a sweet rapport with Annie Jones as enthralled librarian Mrs. Phelps, who delights in Matilda’s significant and imaginative stories as well as Miss Honey, portrayed endearingly by Jennifer Beth Glick. With delicate and powerful vocals, Glick shines depicting Miss Honey’s quiet strength and good natured humbleness, especially for the tender and moving number, My House with Salvador Guillermo Garcia.

Brad Rafferty as Rudolpho, Emilee Dennis Leahy as Mrs. Wormwood and Jennifer Beth Glick as Miss Honey Photo credit to Zoe Bradford/Company Theatre

The adults are about as tempestuous and spoiled as their children.  Matilda’s scheming con artist father Mr. Wormwood, portrayed with a sneer and manipulative glee by Todd Yard is not to be outdone by his equally shortsighted, narcissistic, and ballroom dancing wife and Matilda’s resentful mother, Mrs. Wormwood, depicted by Emilee Dennis Leahy with the sort of flirtatious, chaotic humor reminiscent of Jennifer Coolidge. Accompanied by Brady Rafferty as egotistical Rudolpho, Leahy demonstrates limber dance moves and a wild cha cha in the shimmering and comically shallow number, Loud. Never have a pair claimed to know so much know so little. Oliver Dunn as Matilda’s conspiring brother Michael Wormwood seems to be following in their stealthy footsteps as Yard and Dunn open Act II with humorous improvisation and vaudeville inspired number All I Know.

Todd Yard as Mr. Wormwood and Oliver Dunn as Michael Wormwood Photo credit to Zoe Bradford/Company Theatre

Matilda the Musical is not without its dark moments and that is exemplified in Matilda’s iron fisted headmaster, Agatha Trunchbull. A fearful and miserably barreling adversary depicted enthusiastically by Christie Reading, Trunchbull is a force to be reckoned with, but against these lively students, anything is possible highlighted by the brilliant and ironic number, When I Grow Up.

Christie Reading as Miss Agatha Trunchbull, Jennifer Beth Glick, and the students Photo credit to Zoe Bradford/Company Theatre

The Company Theatre continues Roald Dahl’s Matilda the Musical live and in person at the Company Theatre at 130 Accord Park Drive in Norwell, Massachusetts through December 18.  Click here for more information and for tickets.

REVIEW:  ‘Dear Evan Hansen’ a moving but uneven film adaptation of the Tony award-winning musical

Posted on by The Sleepless Critic

A broken arm is the catalyst to much more for Evan Hansen.

Winner of six Tony Awards including Best Picture, Dear Evan Hansen stage musical took Broadway by storm in 2014 by distinctly addressing subjects that are becoming dangerously prevalent in contemporary society.  Dear Evan Hansen delves into difficult territory and is not for everyone, but it is not hard to see why this musical has gained such acclaim. 

The use of social media, the internet, and digital rather than face-to-face interaction due to the pandemic have had people feeling more alone than ever before which has caused social anxiety to gain a greater foothold in our society.  With sweaty palms, a constant stream of over thinking, an overwhelming feeling of loneliness in a crowd, and the pressure to live up to what others expect, senior high school student Evan Hansen struggles with interacting with almost everyone until a chance encounter changes his life.

Based on the Tony award-winning musical, Dear Evan Hansen is available on HBO Max, on DVD, and on demand.  Click here for more information.

The film adaptation of Dear Evan Hansen has gained some notoriety among the stage musical’s fans because a portion of the musical’s character driven development is left out of the film.  As one who has not seen the musical, Dear Evan Hansen is a pretty somber musical experience about a tragedy and a lie that ends up having a life of its own as the film progresses.   There are cringe-worthy moments to be certain, but they stem from how deep the rabbit hole of that big lie goes and its inevitable consequences.

What first attracted me to this production was Requiem, a powerful number with beautiful harmony that still stands as my favorite performance.  Kaitlin Dever’s chiming vocals as Zoe carry the poignant conflict and the bitterness of Requiem while still preserving her as a troubled and sympathetic figure.  Amy Adams as Cynthia Murphy delivers a heartrending performance highlighted by her part in Requiem.  However, without a solo number such as A Little Bit of Light as part of this film adaptation, her character has a lack of dimension and less of a sense of what her actual relationship has been with her late son who is lost to mental illness.   Danny Pino as Larry Murphy reveals a compelling and complex relationship with his late stepson, but the film would have been better if the adaptation delved deeper into his character.  Julianne Moore has much more to work with as Heidi Hansen, Evan Hansen’s single mother.  She and Ben Platt as Evan have a complicated, yet caring relationship and Moore shines for the moving number, So Big/So Small.   Amanda Stenberg as overachieving Alana Beck is a fascinating look into another side of mental illness and how people are not so different in Anonymous Anymore.

Ben Platt originated the Tony award-winning role as Evan Hansen and also does a marvelous job for the film.  Though he seems a little old for the role at this point, Platt’s portrayal of Evan’s anxiety is palpable as he depicts Evan’s struggles right from the opening number, Waving through a Window.  His vocals have a soft and introspective quality as he shares his bewilderment and tenseness in attempting to socialize and make friends.  At times he is visibly shaken and some of the mixed signals and missed social cues he reads from others can be painful to watch.  His simple and hopeful delivery for All We See is Sky Forever is a pivotal and bittersweet song and You Will be Found is inspiring and universally-appealing.  Platt also has some awkward but sweet chemistry with Dever as Zoe in the numbers, Only Us and If I Could Tell Her. 

Dear Evan Hansen film is not a powerhouse musical, but is filled with quiet reflections, inspirational messages, and sobering revelations. Much of the film deals with various aspects of coping with life and grief, but it also has scattered humor and a few darkly comical moments in the number Sincerely, Me.  The ending is not delivered the same way as the musical and seems to wrap too quickly.  As one who hasn’t seen the musical, I was less aware of what was missing and seeing Ben Platt’s performance was worth watching.  See Dear Evan Hansen the film for its memorable cast and appealing soundtrack, but hold out for the stage musical to get the entire story.

Dear Evan Hansen is available on HBO Max, on DVD, and on demand.  Click here for more information and here to see the stage musical on Broadway or on its national tour.