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REVIEW: Wheelock Family Theatre’s ‘The Prom’ delivers humor and frivolity into an inspired true story

Posted on May 29 by The Sleepless Critic

This time I chose comfort over a frilly dress for this Prom.

Similar to Maureen Keiller’s diva-esque Dee Dee Allen, my prom style resembled Allen’s stylish jumpsuits. It is one of Zoë Sundra’s many festive, glittering and characteristic-defining costumes displayed in this production, especially highlighted by Janis Hudson as Angie in a sparkling and show shopping red dress. I felt like I fit right in.

Gary Thomas Ng*, Janis Hudson, Maureen Keiller*, Elias Robles, Davron S. Monroe* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

With lighthearted direction and occasionally sashaying choreography by Larry Sousa as well as upbeat Music Direction by Jordan Oczkowski, Wheelock Family Theatre at Boston University rolls out the red carpet for musical comedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8. Wheelock Family Theatre boasts open captions that come in handy during the performance which runs two hours and 25 minutes including one intermission. Click here for more information and for tickets.

Since The Prom premiered on Broadway in 2018, it was adapted into a Netflix film that boasted an abundance of its own star power including Meryl Streep as Dee Dee and James Corden as Barry. It has been brought to the stage locally over the last few years. Inspired by a true story, anxious Emma, earnestly portrayed by Siri Manju, invites a date to the Prom with none other than Annie Parrinello as popular perfectionist Alyssa, the daughter of the head of the Parent Teacher Association. However, their high school will not allow them to attend the prom together. Once a group of egocentric Broadway celebrities get wind of this human interest story, they decide to make a difference in this small Indiana town.

Annie Parrinello & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom is a satirical blend of inspired true story and over the top musical comedy set in New York as well as in Edgewater, Indiana. It delivers humorous moments ranging from silly to satirical with a sincere and underlying message about helping others.

The Prom boasts strong vocals from an amiable cast and lauded local talent. Maureen Keiller brings ego and attitude as Dee Dee Allan, a self absorbed award-winning actress. Keiller’s powerful belt is on full display for It’s Not About Me and The Lady’s Improving. Along with soaring vocals by Davron S. Monroe as warm and charismatic actor Barry Glickman, Gary Thomas NG as no nonsense and frazzled PR rep Sheldon, Elias Robles as openhearted Trent, and Janis Hudson as inspirational Angie Dickinson, these seemingly shallow thespians share some comical moments, but their real charm is exposed by the people they meet in this fish out of water production.

Lauren Velasco O’Donovan, Arabella Hardgrave & Ensemble in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

SeifAllah Salotto-Cristobal’s soft and cheerful multicolored lighting cleverly divides high school and theatrical scenes by illuminating vintage stage lights for celebrity numbers. James Rotondo’s rolling and colorful set design are mainly set inside James Madison High School halls using some projections to transform settings from a 711 store front to a hotel to an Applebee’s.

David Jiles Jr.* & Maureen Keiller* in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom deals with some serious topics including betrayal, but balances it well with the show’s overall optimistic tone. It is positive throughout, even in the face of Emma’s most difficult challenges. Siri Manju’s chiming vocals in the forlorn and self effacing number Just Breathe is a compelling revelation as well Manju’s sweet rendition of Unruly Heart while Jennifer Bubriski’s tight lipped delivery proves fitting for tough and controlling antagonist Mrs. Greene. Emma’s high school classmates are painted as shallow and insensitive and as far as storytelling, it might have been nice to have at least one of them sympathetic to Emma’s plight from the start.

Janis Hudson & Siri Manju in Wheelock Family Theatre’s ‘The Prom’ Photo by Nile Scott Studios

The Prom contains a wealth of welcome, inside Broadway references as well as symbolic choreography during the pivotal number, Tonight Belongs to You and It’s Time to Dance reflecting how the tide turns during the production. Janis Hudson shines during the Fosse-inspired Zazz, an uplifting rendition delivering sparkle and encouragement. Manju shares a touching rapport with both Hudson and Monroe, sure to make you smile.

As David Jiles Jr. as serious, compassionate and theatre loving Principal Hawkins reflects, “A distraction is momentary. An escape helps you heal.” The Prom tells a complex and message driven story while also providing a temporary glittering escape from the realities of life.

The full cast and crew of ‘The Prom’ Photo by Nile Scott Studios

Wheelock Family Theatre at Boston University rolls out the red carpet for musical dramedy The Prom live and in person at Wheelock Family Theatre in Boston, Massachusetts through June 8. Click here for more information and for tickets.

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

Posted on March 18, 2025 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.

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 Wonder of ‘Phillis in Boston’ presented by Revolutionary Spaces

Posted on November 20, 2023 by The Sleepless Critic

What does a promising poet who is also a slave do to become a beacon of hope under seemingly impossible circumstances?

Anything she can and beyond.

Revolutionary Spaces presents original play ‘Phillis in Boston’ through December 3.

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical and educational drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

The world should know more about visionary, promising poet and slave Phillis Wheatley.

Phillis in Boston is simply staged surrounded by Old South Meeting House’s regal setting and embellishes Chloe Moore and Athena Parkman’s detailed and authentic colonial prewar costumes in lace, wool, and cotton. Phillis’s colorful and distinctive gown is a particular highlight.

Old South Meeting House setting of ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Set in late 1773, this groundbreaking, world premiere production delves into the lives of a group of dynamic individuals who set out to make an extraordinary difference at a pivotal time in history. Very likely taking place at the historic Old South Meeting House which is also celebrating its 300^th anniversary, Adreyanua Jean-Louis as Phillis, Bobby Cius as John Peters, Joshua Olumide as Prince Hall, and Serenity S’rae as Obour Tanner must ban together on a mission to be heard.

Adreyanua Jean-Louis as Phillis and Serenity S’rae in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Named after a slave ship and at the center of this production is Phillis herself portrayed with optimistic integrity by Adreyanua Jean-Louis, Phillis in Boston offers a unique and heartfelt perspective of this courageous woman. In spite of her struggles, Jean-Louis as Phillis remains humble yet forward thinking with a constant vision of breaking through boundaries. Instantly likable and through powerful faith, Phillis sees that narrow path to success and ardently reaches for it. Not so sure is Phillis’s caring and genuinely loyal Rhode Island confidante Obour Tanner, delivered with an impressive mix of dry humor and solemn reason by Serenity S’rae. S’rae conveys some chilling and hard truths as she carefully counsels Phillis about pursuing this seemingly impossible dream. Intense and focused Prince Hall depicted charismatically by Joshua Olumide, and Bobby Cius as charming yet mysterious John Peters gradually reveal their own part in Phillis’s uncertain future.

Joshua Olumide as Prince Hall, Adreyanua Jean-Louis as Phillis and Serenity S’rae as Obour Tanner in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

While a show like Revolution’s Edge delivered immediate intensity, Phillis in Boston relies on a gradual and reassuring build, culminating in a powerful confrontation between Jean-Louis and Priscilla Manning as needy, grieving, stubborn and conflicted Susanna Wheatley. Jean-Louis’s nurturing nature towards Manning is multi-faceted but also enforced. The history of Jean-Louis and Manning’s complex connection comes to light in an enthralling, intense, and pivotal scene where both actresses are at their brightest. With Brendan F. Doyle’s versatile array of immersive sound effects and a notable version of Amazing Grace, it is difficult to imagine that Phillis of Boston could not have a significant effect on us all.

Bobby Cius, Serenity S’rae, Adreyanua Jean-Louis, and Joshua Olumide in ‘Phillis in Boston’ Photo credit to Revolutionary Spaces

Based on a true story and in commemoration of the 250^th anniversary of the Boston Tea Party, Revolutionary Spaces presents Ade Solanke’s semi-immersive original play Phillis in Boston continuing at the historic Old South Meeting House in Boston, MA live and in person through December 3. With enlightening direction by Regge Life, this historical drama runs 90 minutes with no intermission and without a bad seat in the house. Click here for more information and for tickets.

REVIEW: The Huntington’s epic generational saga ‘The Lehman Trilogy’ a wealth of ideas within a whirlwind of talent

Posted on July 11, 2023 by The Sleepless Critic

It all begins with a dream.

Spanning over 150 years and three generations, The Lehman Trilogy’s vast and epic saga infused with Mark Bennett’s melodic retro-inspired original music featuring solo musician Joe LaRocca enhances a trilogy of versatile, pliable, dynamic, and unforgettable talent in three chapters embodying a wide range of characters on their able shoulders. Timed perfectly in the month of July, three Bavarian Jewish immigrant brothers take on America searching for the perfect business venture that personify their vision starting in Montgomery, Alabama and beyond.

Based on a true story and the bestselling book of the same name with fascinating direction by Carey Perloff, The Huntington continues Stefano Massini’s The Lehman Trilogy live and in person at The Huntington Theatre through Sunday, July 23. The production is three hours and 35 minutes with two intermissions. Click here for more information and for tickets.

Joshua David Robinson, Firdous Bamji, Steven Skybell ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Decked out in top hats and tailored black suits embroidered with symbolic imagery on the back by Dede Ayite, it is difficult to fathom how these three actors navigated such an extensive yet detailed story including narration, mastering accents, contorting faces, changing mannerisms, and role changes at the drop of a hat all while making it look so seamless. It is even difficult to imagine such an epic production has been performed twice in one day as scheduled occasionally during the production’s run.

From meager beginnings to extraordinary meaning that spring to life as Steven Skybell as determined and confident Henry Lehman disembarks from a ship with only a mere suitcase in his possession in awe of America. It sounds like a story shared by many immigrants with nothing but a dream, but it’s the chutzpah, persistence and the resilience in everything that makes this particular tale shine. Business through love, children, and every chaos in-between to attempt what seems impossible. Points in history that transformed the United States and yet Lehman stands unrelenting to their dream. Each vision altered to suit what is needed next in the world.

Joe LaRocca, Steven Skybell, Firdous Bamji ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

What stunning innovation can spring from a modest factory! Sara Brown’s unassuming wooden warehouse metaphorically transforms through lifelike, mesmerizing and moving projections including illuminating rain, peerless rooftops, and surprising entryways created imaginatively by Jeanette Oi-Suk Yew and fueled by lighting designer Robert Wierzel.

Steven Skybell, Firdous Bamji ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Also noteworthy are the clever scene transitions especially in the third chapter such as the pop of a champagne bottle to the start of a race. It is in these careful details by Carey Perloff that keep up the show’s swift pace.

The show has a sleek sophistication and insightfulness that translate into lessons about navigating life itself. It is lengthy but justified in the expansive history of these visionary brothers. The real draw is not only the talent, but the evolution of this narrative tale. One valuable life lesson is it is not in failure, but how to respond to it that really matters. Mastery leaves no room for shortsightedness, but thrives on evolution and the answer to every problem is there. One just needs to spot it.

Firdous Bamji, Joshua David Robinson ‘The Lehman Trilogy’ T Charles Erickson Photography Photograph © T Charles Erickson

Steven Skybell as inquisitive, bright eyed and headstrong Henry Lehman, Joshua David Robinson as strategic Emanuel Lehman, and introduced with a sheepish half smile Firdous Bamji as Mayer Lehman form a trilogy of talent. They navigate these challenging roles with humor, discipline, and fervor and it is astounding to witness these actors onstage exchanging different countenances of various ages and genders, taking over narration, and moving the stories like, not by accident, a well oiled machine. However, the tale is also infused with all the humor, heart, camaraderie and determination demonstrated in groundbreaking and strategic fashion that never becomes ineffective or silly. It is smart, moving and detailed in a way that relates to anyone who has tried, failed, and has resolved to start again.

Based on a true story and the bestselling book of the same name with fascinating direction by Carey Perloff, The Huntington continues Stefano Massini’s The Lehman Trilogy live and in person at the Huntington Theatre through Sunday, July 23. The production is three hours and 35 minutes with two intermissions. Click here for more information and for tickets.

REVIEW: Boston Lyric Opera’s boxing opera ‘Champion’ a triumph in jazz

Posted on May 31, 2022 by The Sleepless Critic

The brutal world of boxing punctuated with the complex harmonies of jazz set to simmering opera? This premise might seem outlandish, but Terence Blanchard’s Champion An Opera in Jazz cleverly weaves these three elements together into an absorbing true story and cautionary tale of a welterweight boxer and a symbolic shoe that gains more significance than anything that takes place in the ring.

Boston Lyric Opera presented ‘Champion An Opera in Jazz’ Photo courtesy of Boston Lyric Opera

Boston Lyric Opera (BLO) presented their final show of the season, Terence Blanchard’s Champion An Opera in Jazz, for one weekend only through Sunday, May 22 at the elegant Emerson Cutler Majestic Theatre in Boston, Massachusetts. It is a shame this captivating production was limited to two exclusive concert-style performances in Boston, but it could not be helped due to COVID. Champion An Opera in Jazz has adult themes with one intermission. Click here for more information about the Boston Lyric Opera, upcoming events, and for details on BLO’s recently announced upcoming season.

Boston Lyric Opera 2022-23 season Photo credit to Boston Lyric Opera

As the chorus took up the boxes in the balcony to produce a resonant, semi-surround sound quality led by Brett Hodgdon, the orchestra warmed up and played onstage for the duration of the performance. With creatively engaging stage direction by Timothy Douglas, the intense drama and interaction within the strong cast far exceeded my expectations as concert versions of a work often focus more on music than plot. In a packed house, Blanchard leaves much to unpack in this show’s more than two hour time frame.

Brian Major as Emile Griffith Photo by David Angus/BLO

This introspective tale explores the complex relationships, trauma, abuse, neglect, and harrowing circumstances in welterweight boxer Emile Griffith’s life. However, what really affected me the most was just as Emilie Griffith discovers who he is and who he wants to become, he endures constant pressure and insistence from others to be the version they see in him. Griffith had the talent and ambition to craft his own vision, but his destiny ultimately takes a detour.

Musically-directed by David Angus, Champion is helmed by an insightful and fierce cast that eloquently evoke Michael Cristofer’s multi-layered libretto. Champion has plenty of heart and heartache, but also has a redemptive quality and joy in life’s smaller victories. Three versions of Emile Griffith portrayed by Brian Major as older Griffith, Markel Reed as younger Griffith, and Jonathan Harris as Little Emile Griffith each deliver a fresh perspective at pivotal points in Griffith’s life. With uplifting and humorous commentary at times to lighten the production’s darker moments, ring announcer Matthew Arnold serves fittingly as a semi-narrator of this work.

MARKEL REED, TERRENCE CHIN-LOY, AND BRIAN MAJOR IN BLO’S 2022 PRODUCTION OF CHAMPION: AN OPERA IN JAZZ Photo by David Angus/BLO

A profound and engaging baritone, Major is heartrending and charismatic as he delves deep into Emile Griffith’s continuing and complex struggles. Griffith has a lot to handle and it is touching to watch his sweet scenes with tenor Jesus Garcia as patient and grounded Luis.

Markel Reed delivers an exceptional portrayal as Young Emile Griffith. Reed’s dynamic vocals blended with the sheer mastery of Griffith’s physical and psychological transformation from a wide-eyed, idealistic, and determined young man to an adult with eyes wide open to his future is a marvel to watch. Jonathan Harris as adorable Little Emile Griffith makes a brief, yet significant mark in this story as well.

Stylishly adorned in a floral dress and matching hat, Tichina Vaughn strikes a delicate balance of playfulness, detachment, and mournfulness as mysterious and headstrong Emelda Griffith. This brilliant mezzo-soprano accomplishes a degree of sympathy for Emelda which is difficult to muster as Emelda struggles with her aching discontent, heartache, and constant need for greener pastures.

TICHINA VAUGHN AND CHABRELLE D. WILLIAMS IN BLO’S 2022 PRODUCTION OF CHAMPION: AN OPERA IN JAZZ Photo by David Angus/BLO

In a crisp blue suit, Wayne Tigges also brings some sympathy to tough-talking Howie Albert who has a skewed vision of Griffith, setting Griffith on an uncertain path. Wayne’s multi-layered, rage-inducing aria of Killer Instinct is prevalent throughout the show and Wayne’s rendition particularly makes it memorable. Tenor Terrance Chin-Loy as Benny ‘Kid’ Paret and soprano Chabrelle D. Williams as Sadie Donastrog Griffith both demonstrate their remarkable range in contrasting dual roles.

It was once difficult to imagine jazz as a boxing opera, but having heard the smooth, unpredictable, thrilling, and moody undertones as the music builds tension and urgency, I cannot imagine Champion An Opera in Jazz any other way. Champion’s unconventional and stirring delivery is just what makes the show’s ubiquitous message ring true.

Champion An Opera in Jazz was Boston Lyric Opera’s final production of the season. Click here for more information about the Boston Lyric Opera, upcoming events, and for details on BLO’s recently announced upcoming season.

REVIEW: Warmth and humor reign in Company Theatre’s traditional ‘Steel Magnolias’

Posted on February 12, 2020 by The Sleepless Critic

One of my favorite lines from Robert Harling’s classic comedy drama, Steel Magnolias is stated by sarcastic and dour Ouiser, portrayed here by Ellen Peterson. “I do not see plays, because I can nap at home for free. And I don’t see movies ’cause they’re trash…and I don’t read books, ’cause if they’re any good, they’re gonna make ’em into a miniseries.”

This type of straight shooting and self deprecating humor is what has made Steel Magnolias thrive over the last 30 years. Steel Magnolias has been adapted so many ways from stage to screen, but what Ouiser leaves out is her unmitigated opinion about a partial true story.

Company Theatre continues with the comedy drama ‘Steel Magnolias’ through Sunday, February 16. Photo courtesy of Company Theatre

Robert Harling’s Steel Magnolias originated as a screen play in 1987 and is based off of real people Harling knew in Louisiana. In the popular 1989 film (which included a parade of famous actresses including Dolly Parton, Olympia Dukakis, Daryl Hannah, and Shirley MacLaine), M’Lynn was portrayed by Sally Field and Julia Roberts was Shelby. Harling based M’Lynn on his own mother and Shelby (whose real name was Susan) on his sister.

In that same vein, who better to direct Steel Magnolias than someone native to this popular play’s southern setting? Directed with local flair by Natchitoches native Johnny Nichols, Jr, The Company Theatre presents Steel Magnolias through Sunday, February 16 at the Company Theatre in Norwell, Massachusetts. Click here for more information and tickets.

Unlike the film, the play is set entirely in Truvy’s Beauty Spot in 1980’s Louisiana. This bittersweet tale follows a group of vastly different women who find strength in each other through hardships and triumphs with a great deal of understanding, humor, and hairspray.

Director Johnny Nichols, Jr not only adds local attributes unique to the show’s setting such as the voice of local DJ Rick Terrell, but the 80s come alive with music distinctive to the era and various references such as Princess Grace, Cher, and Elizabeth Arden. Costume designer Paula Ninestein and Wig Master Ryan Barrow emphasize the era with fringe and florals highlighting each woman’s distinct personality while Truvy’s is an expansive salon that includes a boom box and a wall to wall mix of pastel floral and lace on busy wallpaper and curtains. However, what was most refreshing about this era is to look back at a time before the internet where people shared time, recipes, and hair tips in person.

From L to R: Juliana Dennis as Clairee, Ellen Peterson as Ouiser, Karen Cavallo as M’Lynn, Stephanie Wells as Truvy, Hannah Cunniff as Annelle, and Abilgail Chase as Shelby (center) Photo courtesy of Company Theatre

Though other productions have put a daring spin on Steel Magnolias over the years, Company Theatre’s production is traditional, warm, and thrives on the growth between these primarily outspoken southern women. With her signature blond locks and a gift for gab and gossip, Stephanie Wells depicts fun loving salon owner, Truvy. As a big fan of the movie, it is hard to imagine this part for anyone other than Dolly Parton, but in a black fringe blouse and pumps, Wells puts her own spin on sweet, welcoming, and confident Truvy. Her scenes with Hannah Cunniff as mysterious and humble Annelle make for some quirky, heartwarming moments. Wearing an awkward smile, Cunniff portrays Annelle with quiet unpredictability.

Ellen Peterson’s sardonic and darkly amusing Ouiser delivers some of the most entertaining moments in the show. A bit softer than other productions but no less amusing, Peterson depicts Ouiser more dramatic than sour. Ouiser has a casual style, but costume designer Ninestein make an intriguing statement by having her also wear a distinctive string of pearls, showing Ouiser may not be quite who she seems. Her sarcastic facade rings true with the priceless line, “I’m not crazy. I’ve just been in a bad mood for forty years.”

Widow Clairee, portrayed with warmth and stylishness by Juliana Dennis, is a down to earth perfectionist with an interest in keeping up with the times while Ouiser couldn’t be bothered. With good intentions and a knowing smile, Clairee amuses herself by teasing Ouiser and their exchanges create their own spark.

However, the most compelling relationship exists between Karen Cavallo as M’Lynn and Abigail Chase as M’Lynn’s daughter Shelby. Though Sally Field depicted M’Lynn with a tough sadness, Cavallo’s M’Lynn exudes a sweet demeanor and quiet anxiousness. Cavallo is impressive navigating this complicated character. Chase as Shelby seems cast on the younger side, but exhibits growing maturity as the show progresses. It is easy to see why they are mother and daughter and not just by their remarkable resemblance. Cavallo is sensible while Shelby is impulsive and as with any mother-daughter relationship, one minute they exchange nagging barbs and the next, nurturing affection.

Company Theatre’s Beauty Spot photo booth in lobby Photo courtesy of Jeanne Denizard

Rewind the clock and take a trip south to Truvy’s for Company Theatre’s Steel Magnolias at Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts through Sunday, February 16. Click here for more information and tickets, here for details on their upcoming “Galentine’s Day” and here for more on their 2020 season.

REVIEW: Company Theatre’s ‘Evita’ is a touch of star quality

Posted on March 30, 2019 by The Sleepless Critic

She was a mystery, but everyone thought they knew her. From a sassy, excitable teenager to rising political figure, Eva (Evita) Peron knew she belonged at the top before she ever knew how to get there. Having recently celebrated its 40^th Anniversary like the Company Theatre, The Company Theatre proudly presents Andrew Lloyd Webber’s Tony award-winning musical, Evita through March 31 at The Company Theatre in Norwell, Massachusetts. This production is currently sold out. Click here for more information on the Company Theatre’s upcoming productions and more.

Evita, with music, book and lyrics by award-winning collaborators Andrew Lloyd Webber and Tim Rice, is a rock opera set in Argentina. Part of what makes Evita such a captivating work is its vibrant pacing, handled beautifully by Sally Ashton Forrest. Based on the life of Maria Eva Peron, Evita’s life moves much like the soundtrack’s quick rhythms. The audience is taken through song from night club to city street to porch step with barely a pause for applause, its sweeping sets divulge Eva’s life in its sheer magnitude.

Company Theatre Evita Kristen Huberdeau as Evita with cast

Kristen Huberdeau as Evita with cast Photo courtesy of The Company Theatre

This version of Evita features real footage from Eva Peron’s life and includes songs not featured in the latest 1996 film. The Art of the Possible, a cryptic number not in the film and featuring five officers, is particularly engaging. Evita is a young woman taking Argentina by storm…until she locks eyes with Peron, portrayed with regal like mindedness by Dan Kelly.

The Company Theatre Evita Dan Kelly as Peron

Dan Kelly as Peron Photo courtesy of The Company Theatre

Kristen Huberdeau exudes excitable sass and a bright, wide smile when she first appears as a teenager. However, Huberdeau’s Evita, behind her feigned naivete, is shrewd as soon as her feet hit the ground for the catchy, effervescent number, Buenos Aires. Huberdeau takes Evita from a vivacious teenager onward and excels at her developing influence and maturity through the years. She hits her stride with Buenos Aires, a joyous, catchy number about her instant love for the city and keeps up the brisk pace for this demanding role throughout, though some notes were a bit strained. She delivered an impressive version of Evita’s signature number, Don’t Cry for Me Argentina, glowing in a pristine gown.

No one succeeds without opposition. Che, portrayed with charisma and sardonic wit by Ken Bayliss, is part keen observer, part narrator, and represents the working class. In a beret and military fatigues, he occasionally engages the crowd, but his primary focus is on Evita. Bayliss captures the essence of Che and makes the role uniquely his own, leaving no trace of previous versions I have seen. From his observations in Oh What a Circus, his humorous duet in Good Night and Thank You with Huberdeau, and the reflective ballad, High Flying Adored, you’ll be glad to be taking this musical journey with Bayliss.

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With rich, charming vocals for his signature song. On This Night of a Thousand Stars, Ryan Barrow blends sensitivity, melodrama, and humor to night club singer, Magaldi and was a hit with the audience. A couple of other notable numbers include a sweet rendition of Another Suitcase in Another Hall by Sydney Palmer and a stirring, candlelit rendition of Santa Evita.

The Company Theatre proudly presents Andrew Lloyd Webber’s Tony award-winning musical, Evita through March 31 at the Company Theatre, 30 Accord Park Drive in Norwell, Massachusetts. This production is currently sold out. Click here for more information and and how to support Company Theatre’s future. Follow Company Theatre on Facebook, Instagram and Twitter for more on their upcoming events.