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REVIEW: Sara Bareilles serves up music and pie for film version of ‘Waitress the Musical’

Posted on December 15 by The Sleepless Critic

Perhaps love is like a pie. It’s comforting, fluffy, messy and sometimes forbidden.

When Joe’s Diner offers 27 varieties of pie including ‘White Knuckle Cream Pie’ and ‘In the Dark, Dark Chocolate Pie,’ love can get complicated.

Fathom Events presents a heartwarming and meaningful musical comedy, Waitress the Musical, a show that proves the greatest secrets in life might just be found in the kitchen. A lively production that made a splash on both Broadway and on a national tour, this filmed stage version is particularly special because it stars Grammy-nominated singer-songwriter Sara Bareilles, the woman behind the music and lyrics to the production. Waitress the Musical boasts an all female production team and is based on the book by Jessie Nelson and screenplay by the late and great Adrienne Shelly. This film is dedicated to Shelly’s memory.

With a cast of colorful and comical characters and based on the 2007 film of the same name starring Keri Russell, Waitress the Musical film version is serving its best at select movie theatres for a limited time and will soon be available for streaming and video on demand. The show has some mature themes. Click here for more information and tickets.

L to R: Charity Angel Dawson as Becky, Sara Bareilles as Jenna and Caitlin Houlahan as Dawn in ‘Waitress the Musical’ Photo credit to Fathom Events

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From a bright neon sign and red chrome booths to clever choreography that brings diner dancing a fresh, new meaning, the majority of Waitress is set inside the vintage and picturesque Joe’s Pie Diner as patrons and musicians interact onstage. Impressive songs range from catchy to reflective and numbers such as When He Sees Me and Opening Up are sure to stay with the audience long after the show is over.

Full of heart, what Waitress the Musical achieves is a delicate balance of the sweetness and realism, delving into the lives of a group of dynamic characters who dream of a better life. Sara Bareilles depicts diner baker Jenna who finds herself pregnant and falling in love with her doctor. Jenna expresses her thoughts on life through the humorous titles she deems to Joe’s Diner Pie of the Day.

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It is impressive to watch mezzo soprano singer-songwriter Bareilles take the stage though it is sometimes difficult to separate her from her music. Sara Bareilles delivers a natural and inspiring performance as Jenna with her offbeat daydreams among the most memorable highlights of the film. Bareilles depicts Jenna’s complex web of emotions with dark humor and a spark of hope. Her smooth and familiar vocals offer an emotional rendition of A Soft Place to Land and She Used to Be Mine.

Bareilles as Jenna shares playful chemistry and beautiful harmony with compassionate and mysterious Drew Gehling as Dr. Pomatter in Bad Idea and the tender You Matter to Me. Lanky and a bit neurotic, Gehling doesn’t immediately seem so suave, but his compassion and quirky persona give him a fascinating charm. Dressed in a plaid shirt, worn jeans, and an acoustic guitar, Joe Tippett as Earl is manipulative, possessive, and at times chilling, especially for the rock tinged number, ‘You Will Still be Mine.’ Tippett is also ironically Sara Bareilles’s real life fiancé.

With oversized earrings, wild hair, and tiger prints, Charity Angel Dawson offers a great deal of comic relief as outspoken, wise cracking, and supportive waitress Becky. Spirited and direct, Becky captivates for the number, I Didn’t Plan It and her onstage charisma will have the audience hanging on her every word including her sarcastic and priceless reactions to her surroundings.

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In bright red glasses, Caitlin Houlahan portrays Dawn with her own endearing comedic timing and shines as a yearning bundle of nerves for the catchy tune, When He Sees Me. Imaginative and shy while she rhythmically shoots ketchup into the mustard bottle, Dawn awkwardly deems herself ‘a woman of many passions.’ With Christopher Fitzgerald as scene stealing Ogie, they are a comedic force to be reckoned with. Gleeful and goofy yet determined, Fitzgerald shows the power of love has sharp comedic rhythm in a bungle of flawless and unsuppressed energy.

Boasting a wonderful laugh and a curmudgeonly personality, Dakin Matthews portrays difficult customer and diner owner, Joe. A darkly comical storyteller, Joe’s conversations with Jenna are frank, open, and offer sage advice. Take it from an Old Man is tender, paternal, and moving number. Matthews as Joe also captures the uplifting spirit of the production as he remarks, ‘Baking a pie is a magical experience.’

With a cast of colorful and comical characters and based on the 2007 film of the same name starring Keri Russell, Waitress the Musical is serving its best at select movie theatres for a limited time and will soon be available for streaming and video on demand. The show has some mature themes. Click here for more information and tickets.

REVIEW: Fitz and the Tantrums groovily beat the heat and a storm at Indian Ranch

Posted on August 18 by The Sleepless Critic

No one can make people forget an unforgiving and sweltering heat quite like indie pop neo soul band Fitz and the Tantrums. Though the day called for storms, nothing was going to stop their positive vibes until after these multi-platinum artists finished their set. Their performance was politics-free, but no less personal and full of encouragement with a repertoire of groovy and upbeat sounds that make even those determined not to dance in this heat, bob and sway, get up and get down.

Fitz of Fitz and the Tantrums Photo credit Adam Klein

Fitz and the Tantrums appeared at Indian Ranch in Webster, MA on July 29 and it was one stop on a national tour that continues through October 1…so far. Click here for more information on upcoming Indian Ranch performances and click here for more information on Fitz and the Tantrums latest national tour.

Indian Ranch is an outdoor concert venue and more which features a lakeside view and beach. A portion of the seats do have a cover for rain and the shows are mostly rain or shine. The VIP pre-concert experience that day started at 11:30 am and featured barbeque with a choice of hamburgers, hotdogs, or veggie burgers, baked beans, corn, salads, and an array of desserts. Fitz and the Tantrums took the stage at 1:30pm for an almost 2 hour set including an encore.

Noelle from Fitz and the Tantrums Photo credit Adam Klein

Fitz and the Tantrums took the stage for a feel good set featuring an array of hit tunes and some songs off their new album, Let Yourself Free. Despite the heat, the group remained dedicated to their unique and classy style in dark pants and converse sneakers as the band heated up with horn –infused rhythms and flashing, multi-colored lights.

Most of the songs were infectious, lighthearted, and boasted wild rhythms. The enthusiastic band made the best of the heat as they encouraged the audience to dance and sing-along. A few of the highlights included a tune that lead singer Michael Fitzgerald or ‘Fitz’ wrote for his wife, Silver Platter. It’s a breezy, flirty and snappy single off their new album as he exclaimed, ‘Gimme-gimme that love-that love-that love.’ They also revved the audience up with the inspirational number, 123456 as the audience sang along, ‘Count it out! Shout it out!’

Noelle and Fitz from Fitz and the Tantrums Photo credit Adam Klein

Featuring an amazing saxophone solo by James King and Noelle Scaggs’s rhythmic tambourine, Fitz and the Tantrums grooved to Out of my League’s reverberating synth rhythms before delving into the knock down, get up workday struggle with Living for the Weekend.

Fitz and the Tantrums at Indian Ranch Photo credit Adam Klein

Fitz and the Tantrums kept the party going with their brief, but endlessly catchy title track, Let Yourself Free, the story of a dream with AHHHH! and didn’t leave out their biggest hits such as The Walker to the crowd’s delight.

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

Posted on May 16, 2022 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.

REVIEW: Currently on tour, The Whiskey Treaty Roadshow raised the roof at Club Passim for album release party

Posted on June 22, 2019 by The Sleepless Critic

Part of what makes folk music fascinating are the inflections of various genres weaved into each track. Add some insightful lyrics and it creates its own unique journey. Unlike other music genres, folk experiments a wide variety of eclectic rhythms. Currently on tour, rock and roots folk music band The Whiskey Treaty Roadshow does one better. Each band member writes and performs their own songs, voiced from their own perspectives.

Very much a collaborative band, The Whiskey Treaty Roadshow, made up of singer-songwriters and musicians Greg Smith, David Tanklefsky, Billy Keane, Tory Hanna, and banjo picker Chris Merenda all have distinctive styles, but when they collaborate, it is spot on. They have attended songwriting retreats together and collaborate on each of their compositions in various stages of completion, so everything syncs with the band’s sound the way it should.

Whiskey Treaty Roadshow Tour Schedule 2019

The “Band Together” tour schedule Photo courtesy of The Whiskey Treaty Roadshow

The Whiskey Treaty Roadshow returned to Club Passim celebrating the release of their new album, ‘Band Together‘ and played for some familiar faces on June 7. With band members hailing from different parts of Massachusetts including the Berkshires and Boston, the sold out crowd was thrilled as each of its five members made their individual entrances onto Club Passim’s stage. Click here to see where The Whiskey Treaty Roadshow will appear next, here for an interview with band member, David Tanklefsky, and here for more on Club Passim.

Sam Chase from Scituate opened for the Whiskey Treaty Roadshow, and there was a brief intermission before the band took the stage. From quiet, horn-infused reflections in ‘Reasons‘ to the rolling and the ebb and flow rhythms of ‘Jimmy the Whiskey Boy,’ ‘Rock n Roll Déjà Vu,’ and ‘Perfect Day,’ to the lightning-fast, freestyle tempo of ‘Born to Pick Bluegrass’ to observations on the current state of the world with ‘Hey Lady,’ ‘Close to the Edge,’ and ‘Pass the Peace,’ The Whiskey Treaty Roadshow delivered a variety of insightful, optimistic songs as each band member took the lead to tell their story.

Telling jokes, improvising, and revealing some inspiration behind their songs, it is easy to see their breezy camaraderie as they make the most out of Club Passim’s intimate stage. Dressed casually in jeans and distinctive hats (one band member in a signed tank top), their music travels an eclectic emotional spectrum, from acoustic to electric with lyric-heavy compositions tinged in rock, reggae, roots, country, and blues. Passersby outside peaked into Club Passim’s lower level concert space as the band performed for an enthusiastic crowd.

Whiskey Treaty Roadshow – Billy Keane, David Tanklefsky, Tory Hanna, Greg Smith, and Chris Merenda Photo courtesy of Whiskey Treaty Roadshow

Though The Whiskey Treaty Roadshow has an easygoing vibe, they have been hard at work having just released a new album and are currently on a national tour. They also boast a Berkshire-based, award-winning short documentary, Whiskey Treaty Roadshow: Of Brotherhood, Music, and Fine Spirits that can be found here.

After a few encores, Whiskey Treaty Roadshow’s Billy Keane playfully sung an uplifting love song, Leave Your Light On with lyrics such as “If you admit I try and damn, look how much I’ve done/And my love for you is strong, look at the lengths in which I’ve gone,” a fitting end for a band that you should leave your light on for in the future.

This memorable, fun evening marks my first time concert experience at Club Passim, 47 Palmer Street in Cambridge, Massachusetts. Convenient to the Harvard Square T stop, Club Passim features daily live concerts from promising to professional artists with some hailing from Passim School of Music. Concerts are situated with table seating with their own restaurant serving appetizers, sandwiches, and more. Click here for more about Passim and all the venue has to offer.

The Whiskey Treaty Roadshow’s David Tanklefsky talks songwriting and the band’s touring adventures

Posted on June 7, 2019 by The Sleepless Critic

The Whiskey Treaty Roadshow, who recently released their live debut album, The Heart of the Run is returning to Club Passim for a sold out CD release party in Cambridge, Massachusetts on Friday, June 7 at p.m. Sam Luke Chase is opening for the group. Click here to learn where Whiskey Treaty Roadshow is opening next on their ‘Band Together’ tour and here for future performances at Club Passim.

Whiskey Treaty Roadshow’s David Tanklefsky talks about Whiskey’s unique songwriting, the Beatles, and their touring adventures. Click here to see their award-winning, short documentary and follow them on Facebook.

Sleepless Critic: You’ll be at Club Passim on Friday, June 7 and are currently touring. You have also performed at Club Passim for their bi-annual interactive ‘Campfire Festival‘ which features an interactive concert experience on Memorial Day and Labor Day weekend.

David Tanklefsky: Passim is a special place and we are lucky to have it in the area. It seems like as less money is available to go around in the music world, the relationship between musicians and venues has become more transactional. Passim is the opposite. They are unique and truly care about developing musicians and giving them a platform for being heard.

SC: How did Whiskey Treaty Roadshow form and how did you meet?

DT: Tory Hanna is really the conduit through which the band came together. One of my best friends, who I was in a band with for years growing up, was living in a loft in Brooklyn with Tory and we started hanging out through him. His wife Susie went to high school with Greg Smith and Tory knew Billy Keane through the Berkshires music world. Billy had played a few shows with Chris Merenda and was a big fan of his old band, the Mammals. It happened very naturally, which I think is the best way for creative groups to get together.

With Chris Merenda, David Tanklefsky, Greg Daniel Smith, Tory Hanna and Billy Keane Photo courtesy of Whiskey Treaty Roadshow

SC: Whose idea was the award-winning, short documentary and how did you decide on the details to the documentary? It features lots of scenic, peaceful views of different areas of Massachusetts.

DT: Tory grew up with a filmmaker named Tim Bradley who was looking for a new documentary project. Tim captured our rehearsals for a four night tour we had organized through Massachusetts. It was our first time playing together as a group.

Watching it now is such fun because it’s a snapshot of a band just starting out without any expectations beyond playing four great shows. Tim meticulously planned out all the locations and the amazing videography. When Tory mentioned his friend wanted to film us, I trusted his judgment but never imagined Tim would come up with such a well-crafted film. It really helped catapult us into being a real band.

SC: You have a relaxed sound, a rhythm likened to a drive down a peaceful country road. You have a bit of a country tinge to some of your music. Was that planned? How did you end up conforming to a sound?

DT: In folk music, there are songs and chord progressions that become seared into your soul over time. We’ve never had a discussion about it, but everyone brings songs to the table that we think will work with our instrumentation and vocal abilities. I think the folk/country/Americana textures come from having many stringed instruments on stage and the collaborative spirit of just sitting around, passing the guitar, and sharing songs.

SC: Folk music is full of rich stories and each of you has a distinct style. How do you come up with your songs? Do you write a song together or are the songs bits of each songwriter or one song written by one another?

DT: In this project, everyone writes independently and then brings songs to the table in various forms of completeness. We’ve been tinkering with different instrumentation and having some songs with more minimal arrangements as it has evolved. We ask ourselves, ‘Do we need five people strumming away like mad men through this whole song?’ Often the answer is no. In the next few months, we’re planning to do a little songwriting retreat where we write more actively together for the first time, which will be new, exciting, and hopefully fruitful.

SC: Where did your love for songwriting start? Your particular songwriting style has a bit of humor with some rich lyrics and a bit of an unpredictable tempo at times.

DT: When I was 10, I had an unhealthy obsession with the Beatles for three years straight. I thought they were a perfect band. My friends and I went as the Beatles for Halloween every year between ages 10 and 13. No one wanted to be Ringo and no one was left-handed like Paul so we were four kids with mushroom cuts and right-handed cardboard guitars.

Later I became inspired by songwriters that are always growing, pushing, and challenging their listeners. I think Paul Simon is the gold standard for that. I’m in awe of the insatiable curiosity he taps into and I try to write from a position of newness like that. Being unaware of where my curiosity will take me but trying to just follow it through.

SC: I understand you are touring. What kind of venue would be an ideal place for you to play?

DT: It was a huge thrill to perform with Woody Guthrie’s granddaughter Sarah Lee. That’s way up on the list.

We’ve had the opportunity to play some amazing old theatres. We loved the Northampton Academy of Music and the Colonial Theatre in Pittsfield. It was total thrill to sell out Mass MOCA, but some of our best shows have been in how-did-we-end-up-here type places too.

We played a last minute show in Cambridge at a really tiny place in Central Square and it was packed in with people standing on tables, total chaos. The bouncer was adamant that no one else could come in because it was too packed. One person left outside was our drummer, Jimmy. He came in the back door and was kicked back out onto the street. We said, ‘But that’s the drummer!’ The bouncer replied, ‘I don’t care, I said no more!’ Eventually we brokered a deal and Jimmy was allowed inside and the show went on. Theatres and dive bars are both okay in our book.

Click here for more information about Whiskey Treaty Roadshow and and here for future concerts at Club Passim, 47 Palmer Street in Cambridge, Massachusetts, conveniently located in Harvard Square. Not only a haven for music lessons, Passim offers live concerts nearly 365 days a year featuring Grammy winners to musicians with a dream. Click here for their music schedule and follow Passim on Facebook and Twitter.

REVIEW: Lexus Broadway in Boston’s ‘Beautiful: The Carole King Musical’ some kind of wonderful triumph

Posted on February 20, 2019 by The Sleepless Critic

Triumph she does. Carole King, one of the most successful songwriters of the latter part of the 20^th century, had talent from the first time she walked in the studio at age 16. This is not the average biopic where the protagonist has to overcome some sort of terrible tragedy or failure, but a woman on the move from the very start.

Boasting a library of hits before Carole even considers taking the stage to perform her own music, this show brings on the nostalgia of passing generations from the chic retro clothes to the distinctive music style. It is a sweeping musical from a songwriter’s perspective with few low notes and anyway, why not pack a show with hits and a lighter story that just might leave you smiling?

Sarah Bockel as Carole King Photo credit to Lexus Broadway in Boston

Lexus Broadway in Boston concluded Beautiful: The Carole King Musical‘s run on Sunday, February 10. Beautiful: The Carole King Musical recently celebrated five years on Broadway. Click here to see where this captivating show will be next. Click here more on Broadway in Boston’s stellar season.

From the moment Carole makes contact with that baby grand piano for a lively rendition of I Feel the Earth Move, impressive, rolling sets transport her into her Brooklyn home where she first started writing. Portrayed by Elise Vannerson throughout the show, Carole is introspective yet dreamy, seemingly more than ready for her life to take off. Vannerson captures the essence of her ambition, shyness, and tenacity. Her soaring vocals is an impressive tribute to Carole’s trademark voice. Suzanne Grodner portrays Genie Klein, Carole King’s mother, with humorous, cynical sass and sensibility as she cuts Carole a deal.

The Drifters: Darius Delk, Dimitri Joseph Moise, Deon Releford-Lee, and Nathan Andrew Riley Photo credit to Lexus Broadway in Boston

The Shirelles: Harper Miles, DeAnne Stewart, Danielle J. Summons, and Alexis Tidwell Photo credit to Lexus Broadway in Boston

Dominating this tale is some of the most popular music of the 20^th century and Beautiful offers a peek into how some of these songs hit the charts. A rollicking mix of hits including There Goes My Baby and Yakety Yak encompasses the sensational 1650 Broadway Medley as a glittering display of guitars, scripts, music sheets, and sound systems hang in the background. From shimmering gowns to some of the era’s most popular, colorful fashion trends, Allejo Vietti’s costume design blends perfectly with Joyce Chittick’s lively choreography, a compelling spectrum of classic dance moves and crazes of each era. It’s an era so influenced by Carole King’s songwriting and that of her peers.

From Left to right: James Clow as Don Kirshner, Dylan S. Wallach as Gerry Goffin, Sarah Bockel as Carole King, Jacob Heimer as Barry Mann, and Alison Whitehurst as Cythia Weil Photo credit to Lexus Broadway in Boston

Beautiful: The Carole King Musical is full of moments of light humor and endearing chemistry among the cast. With smooth, pliable vocals, Dylan S. Wallach portrays idealistic, sharp, and a bit macho Gerry Goffin. He and Elise Vannerson as Carole have charming chemistry and moments of cute awkwardness. They complement each other and their duets are particularly memorable. Alison Whitehurst as confident and driven Cynthia Weil and Jacob Heimer as hypochondriac Barry Mann make a fascinating comic duo. James Clow is also impressive as warm, inventive, and open minded Don Kirshner, who always knows talent when he sees it.

Click here to see where Beautiful: The Carole King Musical will be next. Lexus Broadway in Boston’s upcoming performances include A Bronx Tale, Hello Dolly, Dear Evan Hanson, as well as the return of The Illusionists, Miss Saigon, Les Miserables. Click here for a closer look at their season and follow them on Facebook and Twitter.

Acclaimed producer Sue Gilad talks Tony nominations, girl power, and heartwarming musical, ‘A Taste of Things to Come’

Posted on April 11, 2018 by The Sleepless Critic

From the award-winning Natasha, Pierre, and the Great Comet of 1812 to Angels in America, renowned theatre producer Suzanne Gilad has an eye for the next big show. Boasting an array of memorable tunes, Sue’s current musical project, A Taste of Things to Come, has been described as Jersey Boys meets Betty Crocker meets the 60s feminist movement. It takes the stage at Chicago’s Broadway Playhouse through April 29.

Photo courtesy of Broadway in Chicago

Sue discusses getting Tony nominations, bringing A Taste of Things to Come to Chicago, and Turtle Wax. Click here for more information and tickets to A Taste of Things to Come.

Sleepless Critic: You are involved in a number of well known projects such as Angels in America, Madame Butterfly, Natasha, Pierre, and the Great Comet of 1812, and upcoming project, The Other Josh Cohen. What first brought you into the theatre world?

Sue Gilad: I was a performer a long time ago and then started doing voice overs, which took me down a completely separate and fun path. A few years ago, a friend created a show and asked me if I would help shape it. I discovered being a producer meant that I could be responsible and still have a life. We get to be creative in terms of what kinds of work we bring to the public to see and hopefully open their minds and hearts. It made sense and there are still relatively few female producers in the business, although that is changing. There is a lot of growth for that.

I would jump Broadway projects as a co-producer and that is what is happening with the recently opened Angels in America. People ask me if they can meet Andrew Garfield who delivers a tremendous and transformative performance in the show. I’ve never seen him like that.

SC: What was it like for you when Natasha, Pierre, and the Great Comet of 1812 got multiple Tony nominations?

SG: It was such a big honor that the show received the most Tony nominations of any show last year. The best part about getting the nominations was The Great Comet was a big creative risk. I don’t think anyone thought it was going to be on Broadway with its tiny stage and cast. When it was at the American Repertory Theatre (A.R.T) in Cambridge, Massachusetts, Diane Paulus wanted to take the show which was in the round and remount it into proscenium theatre. She did to great acclaim and it became an immersive production, unlike anything Broadway has ever seen before.

Libby Servais (Broadway: Wicked, Lysistrata Jones), Cortney Wolfson (Broadway: The Addams Family, Les Miserables) Broadway’s Linedy Genao (On Your Feet! Original Broadway Cast), Marissa Rosen (Off-Broadway’s The Marvelous Wonderettes) Photo courtesy of Broadway in Chicago

SC: A Taste of Things to Come has an all female crew. Was it planned that way?

SG: Dare I say that the women were the most qualified for the job? A Taste of Things to Come, written by Hollye Levin and Debra Barsha, is based on Hollye’s experience of her mom and a part of it tells the story of the life her mom had growing up. Then director Lorin Latarro came onboard when the show debuted at Bucks County Playhouse in Pennsylvania. Everybody loved her and she brings tremendous things to the show.

The show features four women that age from age 25 in 1957 to age 35 in 1967. Everything blows open in the beginning of Act 2 when they are 10 years older and wiser with more opportunities for women and delicious secrets about race, religion, and sexuality which is not something you really talked about in the 1950s. By the 1960s, there was a real space for it. You get to see these women’s journeys during an incredible moment in history.

SC: What was it about A Taste of Things to Come that grabbed your attention?

SG: I saw a rehearsal or reading of this show and loved it. It gave me the opportunity to articulate my gratitude to the generation before me that broke through so many glass ceilings I didn’t even know existed.

Women of that generation either didn’t work or they became teachers and nurses so my generation can become doctors and superintendents. Then my kids’ generation can do whatever they want for work or nothing for work. It’s just extraordinary and gave me a window into the past. I can share it with my mom and, if I wanted to, bring my teenage daughters to it. It’s a celebration of friendship, solidarity, and kind of interestingly timed with the advent of the ‘me too’ and ‘times up’ movement that women in their time also had to take a stance for things that were beyond their comfort zone or what was socially acceptable at the time.

The cast of ‘A Taste of Things to Come’ Photo courtesy of Broadway in Chicago

SC: The New York Times has described A Taste of Things to Come as ‘a recipe for catchy musical theatre.’ Please tell me a little about the music and your favorite songs.

SG: Composer Debra Barsha worked on Jersey Boys on Broadway for ten years so it starts out with the popular tunes of the 1950s. Ten years later, things become a lot groovier and it had a really distinctive 60s sound. My favorite song has been shifting as I get to know it better, but today I love the song, Blessings in Disguise. It’s a testament to the things we think will challenge us which are actually the things that make us stronger and give us unexpected gifts. My other favorite song is In Time, the final song of the show. The entire cast sings it and they look back at what they have been through together as individuals and as a group of friends. The best things happen in time.

SC: What has it been like putting the show together?

Since the show is set in Winnetka, A Taste of Things to Come is making its home in Chicago. It’s been fun listening to the audio discs during previews because of the way the audience giggles with any Winnetka or Chicago reference. We were very lucky to get New York Broadway actresses but we also have an understudy that can swing all four roles. Madison Kauffman is a Chicago native who just graduated from college. She came in for the first day of rehearsal completely off book for all four roles. Her level of excitement and passion is so thrilling.

The cast of ‘A Taste of Things to Come’ Photo courtesy of Broadway in Chicago

SC: What kind of support is the show looking for?

SG: We have a great sponsor based out of Chicago called Turtle Wax. It is in the script because it was wax that men were using in 1957 for their cars. We would be open for Chicago-based companies to sponsor the show because we do have a wonderful, primarily female, well-educated audience.

SC: What is in store for the future of the show?

SG: We have wonderful theatres interested in having the show at their theatre so we might take the show on tour. Then we’re hoping to get it licensed so every school, regional theatre, community, and worldwide theatre can perform it and share the victories of womanhood.

A Taste of Things to Come continues at the Broadway Playhouse in Chicago through April 29. Click here for more information and for tickets. Follow A Taste of Things to Come on Facebook and Twitter.

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Director Matt Silva and ‘Waist Watchers the Musical’s’ cast talks improvising, exercise, and girl’s night out

Posted on June 10, 2017 by The Sleepless Critic

Since April, Alan Jacobson’s Waist Watchers the Musical, a musical comedy from the production team responsible for You Say Tomato, I Say Shut Up, My Mother’s Italian, My Father’s Jewish, and I’m in Therapy, and Menopause The Musical, has been taking a frank and lighthearted look at four women’s struggle with dieting, body image issues, exercise, and much more. Perfect for a date night or a girl’s night out, this musical comedy continues through Sunday, June 25 at the Regent Theatre in Arlington, Massachusetts. Click here for the full schedule and for tickets.

‘Waist Watchers the Musical’ cast Photo courtesy of Playhouse Productions/Regent Theatre

The atmosphere was full of excitement and laughter as the cast and director of Waist Watchers the Musical, having just performed a weekday matinee, spoke about the unique preparation for this show, working with the choreographer of the acclaimed film, Silver Linings Playbook and Hairspray Live, and keeping the show fresh and more hilarious each and every night. Director Matt Silva and cast members Kiley McDonald, Stephanie Genovese, and Krissy Johnson all agree they are having a blast.

Sleepless Critic: Waist Watchers the Musical tackles a unique and sometimes sensitive subject. How does this show balance comedy with working out?

Kiley: We’ve talked about that a lot and how to approach the material knowing about body image and social media. It really takes a toll on women and how they envision what’s perfect. This show does a really good job of making light of everything and reminding us to laugh, accept, and love who you are. Everyone has flaws and trouble with something. That can’t hold you back and rule the choices you make in life.

‘Waist Watchers the Musical’ cast at Cook’s Gym Photo courtesy of Playhouse Productions/Regent Theatre

SC: Waist Watchers The Musical’s choreographer, Dani Tucci-Juraga, was behind the choreography for the acclaimed film, Silver Linings Playbook and Hairspray Live, which featured some amazing dance moves. Did you find learning the dancing particularly challenging?

Stephanie: Dani is fantastic. She is the sweetest woman I’ve ever met, but she is tough. She knows exactly what she wants and pushes you to become a better dancer, performer, and in this case, athlete. There were times when we were sore and complaining and she told us to deal with it and try harder.

SC: What attracted you to this show and these roles?

Matt: I am the orchestrator for this company who had taken on the show. It was out in Phoenix and I didn’t have anything to do with it. I went to see the show and thought the material was cool, acceptable, and empowering for women. The production itself wasn’t all that successful in terms of the talent, choreography, and the production value. I was really excited to take the message, empowerment, and the women’s process and collaborate with them and make it fun. I thought the production was lot of fun, but I thought the show I saw needed a little injection.

‘Waist Watchers the Musical’ cast Photo courtesy of Playhouse Productions/Regent Theatre

SC: The cast has very unique roles to prepare for. Aside from the dancing, what other preparation was involved?

Kiley: We knew right away that we needed to condition our bodies for the show because it is non-stop, 90 minutes of cardio. We would have to sing and dance without a lot of time to breathe. We also don’t leave the stage very often. It took us a little while to get our bodies moving, figure out where to breathe, and where to sing. A lot mental preparation goes into it.

SC: This show features all new and original music by Vince Di Mura. Do you have any favorites that stand out for you?

Stephanie: I love Lazy.

Kiley: My top favorite is The Morning After.

Chrissy: Eat it.

SC: You have been performing this show since April and the final show will be on Sunday, June 25. How does the show stay fresh each time you perform? I understand the show involves a lot of improvisation.

Stephanie: We try to make new discoveries each night. Every audience is different and they react to different things, so every performance stays different and fresh.

SC: You must encounter your share of surprises improvising and trying new things. Any memorable moments that occurred onstage?

Krissy: At this one performance, we had a new sound system. It was the first time using this wireless microphone. The mic cracked and made a loud noise onstage right before one of my lines. It frightened me so badly, I screamed! From that moment to the end of that scene, I could not stop laughing or get my lines out. It was quite amusing.

SC: You all obviously have really snappy chemistry on and off-stage.

Kiley: We are very fortunate to all get along and appreciate each other’s sense of humor.

SC: What is the best reason to see Waist Watchers The Musical?

Stephanie: It is definitely a girl’s night out and one hundred percent campy. It’s a feel good show with lots of laughs. Good clean fun, but definitely PG-13.

Presented by Playhouse Productions, Waist Watchers the Musical continues at the Regent Theatre until June 25. After the Regent Theatre, the show continues its tour in Huntington Beach and Sacramento, California. Click here for further details and for tickets or call 781-646-4849. Group rates are also available at 888-264-1788.

Must have concert apps offer free tickets, VIP treatment, and more

Posted on February 15, 2017 by The Sleepless Critic

Going to a concert has become so much more than buying tickets and showing up to the show. Presales, backstage passes, VIP tickets, concert packages, and more are all part of one monumental concert experience. All that excitement is available in one click. With music apps such as Live Nation, TodayTix, BandMate, Loudie and BandsInTown, Fueled, an app developer, offers easy and swift ways to be the first to find tickets and so much more. Click here for more information.

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