Opening with a remarkable reflection connecting theatre to the human heart, a bare stage shows signs of life once again.
Potomac Theatre Project (PTP/NYC) opened their virtual summer play series earlier this month with Lunch, a clever show that unconventionally explored the art of conversation. Directed judiciously by Cheryl Faraone, Standing on the Edge of Time waxes both political and poetic in conversation as it explores the bleak yet hopeful state of the world through a selection of works from different authors.
Standing on the Edge of Time is the second of three summer virtual plays presented by PTP/NYC and continues through July 27. Viewings are free and donations are encouraged. This show was filmed adhering to Covid guidelines, runs approximately 90 minutes, and has mature themes. Click here for more information, how to view the show, and how to support PTP/NYC’s mission.
From the haunted balconies of an old, empty theatre, even the dead wrestle with their wild, melancholy, and world-weary experiences in Mac Wellman’sCrowbar. This segment provides the perfect framework leading into various works that delve into contemporary issues from freedom, frustration, road rage, and relationships to downsizing, grief, sex, and paranoia.
Though each segment is written by different authors, its engaging format provides a flow that rarely veers off course. The show boasts poetic and timely musings such as Mornings at the Lake with Madison Middletonand Spell of Motion by Stacie Cassarino with Stephanie Janssen featuring some beautiful outdoor cinematography as well as haunting James Saunders’Next Time I’ll Sing to You with Tara Giordano. Though the majority of Standing on the Edge of Time is thought-provoking, these quieter segments provide respite from the production’s heavier topics and satirical themes.
Some highlights include Dominique Morisseau’s relatable and occasionally humorous Skeleton Crew, the zany and unique ideas presented in David Auburn’sWhat Do You Believe about the Future, and the surprising facts revealed of history repeating in Constance Congdon’sTales of the Lost Formicans.
The cast portray a myriad of roles, but apart from Crowbar, do not seem like they are playing particular characters for the most part. The lively cast seems like a semblance of individuals exploring contemporary issues, fears, and unique ideas of the future.
PTP/NYC’s Standing on the Edge of Time continues streaming through Tuesday, July 27. Click here for more information. Please note there is a final segment following the production’s credits. PTC/NYC will present their final virtual summer show, A Small Handful from August 13-17.
Two people, immediately intrigued by the sight of each other, hesitate to speak to one another. Yet they have such remarkable things to say.
Steven’s Burkoff’sLunch takes off from the start in fascinating and dense musings as Mary, portrayed with perceptive shrewdness by Jackie Sanders and Thomas, depicted with charm and gall by Bill Army sit listening to the sea’s crashing waves as their lives unfold.
Directed meticulously by PTP’s Co-Artistic Director Richard Romagnoli, Potomac Theatre Project (PTP/NYC) presents Lunch virtually through Tuesday, July 13. The play contains some mature themes and is free to watch. Click here for more information and how to support Potomac Theatre Project.
Lunch makes the most of every moment of its approximately 40 minute runtime through Berkoff’s rich and enthralling script and groundbreaking style of dialogue. Letting the audience into each person’s thoughts and conversation, what makes Mary and Thomas mysterious while thoroughly engaging is the distinct contrast between what they say and mean. Their lively imaginations and their tantalizing and sometimes searing observations of one another seem unhinged amid their marginally polite discussions at first. Sanders is particularly astute at capturing Mary’s detachment while Army’s boyish and meandering charm make for some unique chemistry as their encounter escalates into a surprising conclusion.
Passionate, blunt, vivid, and occasionally shocking, Lunch also delves into earnestness and loneliness in a most unexpected way. Lunch continues through Tuesday, July 13. Click here for more information and PTP/NYC’s upcoming events in their 34 1/2 season.
We are all hearing soon. Soon we will be back together in the theatre for a wonderful live theatrical experience. How it has been missed!
However convenient it is sitting in front of a computer for a virtual show, there is nothing quite like the anticipation of live theatre in person with an audience in a shared experience. SpeakEasy Stage Company’s remarkable concert musical benefit show, Songs for a New World, accomplishes quite a bit in its hour and a half runtime. Through clever cinematography that still adheres to Covid guidelines, SpeakEasy Stage Company recreates the thrill of seeing actors together onstage and it is easy to see each cast member’s excitement through their own extraordinary performances. We’re not quite there yet, but this is getting ever closer.
Directed by Paul Daigneault and musically-directed by Jose Delgado, SpeakEasy Stage Company continues their 30th anniversary season with John Robert Brown’sSongs for a New World streaming through June 8. The show was filmed onstage at the Calderwood Pavilion in Boston, Massachusetts. Click here for more information and tickets. Discount tickets are also available. Click here for more information on SpeakEasy Stage Company’s recently announced 2021-22 season.
It is difficult to describe the anticipation of seeing SpeakEasy Stage Company’s concert musical benefit, Jason Robert Brown’s Songs for a New World. The last Jason Robert Brown musical I witnessed was a film adaptation of The Last Five Years. It was a glorious, resonating tear jerker featuring reliable talents Jeremy Jordan and Anna Kendrick.
Songs for a New World explores a variety of characters that are faced with the ultimate, sometimes humorous and other times harrowing life-changing decisions and deciding what to do next. With simple staging and an onstage band conducted by Jose Delgado, Songs for a New World has humor and heartache enhanced by some of Boston’s most recognizable vocal powerhouses.
Songs for a New World is full of powerful performances and each song is as strong as the last, but here are a few highlights. One standout performance is a tender and stirring rendition of On the Deck of a Spanish Ship, 1492 as Monroe exclaims, “Have Mercy Lord” while the cast embarks on a harrowing, life-changing journey. Dressed in a long fur coat, Laura Marie Duncan is wildly entertaining as a scorned woman in an extreme situation in Just One Step. Duncan’s expressive personality and her sheer energy drive this amazing performance.
Jennifer Ellis performs some vocal gymnastics as Mrs. Claus for Sweabaya Santa, reimagining Santa as an absent, judgmental husband whose love is as fleeting as his sleigh. Dwayne P Mitchell literally rises from the ashes of his childhood in this boastful, self-assured rendition of The Steam Train. Ellis and Mitchell have sweet chemistry in a beautiful duet about the complexity of love in I’d Give it All for You.
Rached Al Nuaimi demonstrates zany, emotional turmoil and building frustration in She Cries and Jennifer Ellis delivers a bold and anguished performance in The Flagmaster, 1776.
SpeakEasy Stage Company’s Songs for a New World also boasts an incredible finale not to be missed with Hear My Song. Glad to add John Robert Brown’s Songs for a New World as another memorable musical experience.
SpeakEasy Stage Company continues streaming Songs for a New World through June 8. Click here for more information, tickets, and how to support the SpeakEasy Stage Company.
Transitions have been a strong theme over the past year and a half and with that brings forth a tumult of emotions. Staying true to this season’s theme, “Waves of Change,” the Boston Children’s Chorus depict a vibrant range of emotions through songs of comfort, pressing contemporary issues and dreams of hope of everyone together again in their final concert of the season, Lift Every Voice:At the Table.
Featuring special guest composers Sydney Guillaume, Omar Shahryar, and Layth Sidiq, Lift Every Voice: At the Table was live streamed for free on Sunday, May 30, but is still available to watch on their Facebook page, and YouTube channel. The concert also delivers information about their upcoming summer outdoor concert series, We Sing as well as information about the Kiser Scholarship, a memorial scholarship focused on community building and social healing.
Though each song offers its own message of hope and change, Natalie Hemby, Lori McKenna, and Brandi Carlile’s uplifting Crowded Table and Omar Shahryar’s The Journey of Feelings portrays the dream of unity while reflecting on uncertainty and the exhaustion of the journey through this pandemic from a child’s point of view. Crowded Table brings to life the dream and comfort of finally being together again at the table without worry by a roaring fire. It’s a sweet, joyous, and memorable song that you may never want to end.
Omar Shahryar’s catchy The Journey of Feelings has its amusing moments, but underneath the beat paints a startlingly perfect expression of what kids are feeling from day-to-day over the course of the pandemic. It’s an upbeat and urgent song providing insight into intense and overwhelming feelings and yet delivers a precocious sense of maturity expressing hope of life returning to normal. Omar Shahyar’s There’s a Change A-Coming further enhances this sense of gradual change as they navigate through these uncertain times.
Moving backdrops and colorful, innovative zoom cinematography enhance each song and it is wonderful to hear from Boston Children’s Chorus members from all levels and their reflections on the world. It is also a treat to see the chorus outdoors from bridge to beach to city singing together at various times over the concert’s duration, but this is especially wonderful to watch for Mavis Staples’s inspiring Build a Bridge and Layth Sidiq’s spiritual, haunting, and rhythmic Reflection.
John Mayer’s popular song, Waiting on the World to Change brings its signature insightful flair but BCC enhances this poignant song with a moving dedication to emergency workers and glimpses of the state of the world during the pandemic such as the closure of theatres, empty trains, and elbow bumps instead of hugs. Mayer’s timeless lyrics resonate profoundly while the world is in transition.
Delving into multiple languages and a unique, moving open, The Boston Children’s Chorus also reflects hope and uncertainty through the eyes of Migrants with Joel Thompson’sAmerica Will Be as the BCC proclaims, “I lift my lamp beside the golden door.” Dany Rivera’s charismatic and powerful vocals depict struggle and determination with Gregory Porter’sRunning (Refugee Song).
The Boston Children’s Chorus encapsulates distinctly what many are feeling at this time through their evocative vocals and strong messages while leaving this season on a hopeful note.
Click here for more information on how to join and support the Boston Children’s Chorus, their upcoming events, and digital offerings.
Scandalous secrets unfold and things are not what they seem in Merrimack Repertory Theatre’s (MRT) quintessentially local and fascinating production of A Woman of the World by Rebecca Gilman streaming on demand through Sunday, May 30. Partnering with the Emily Dickinson Museum and directed cleverly by Courtney Sale, this one-woman show led by Massachusetts native Denise Cormier lights up the stage with natural charisma as enigmatic lecturer and historical figure Mabel Loomis Todd. She claims to bring insight into the real life of the late, renowned poet Emily Dickinson, but what she unveils is so much more.
It was wonderful to see another production from MRT filmed onstage. A Woman of the World also offers plenty of local references such as Harvard, MIT, the New England Conservatory, Boston, Amherst and the surrounding areas. The show contains some hinted adult themes. Click here for more information and for tickets.
Scenic designer Bill Clarke and Original Music/Sound Designer David Remedios seamlessly combine the inviting comforts of home with the sights and sounds of a serene Maine setting. However, don’t let the serenity of this island home fool you. Mabel gears up for a quiet storm as the sound of the wind and crickets fill the air.
From welcoming to haunting, Carolina Ortiz Herrera’s soft, dynamic lighting not only transforms each mood in an instant, but does more so with Cormier. At first Denise Cormier as Mabel seems a lively, well-to-do speaker with well coiffed blond hair, but as the show progresses, the subtle lighting reveal tinges of gray.
Though it is a one-woman show, other “cast members” such as Mabel’s daughter Millicent is addressed offstage. Delivering a multi-layered performance, Mabel’s charm to win over her audience first comes off as egotistical, but gradually becomes earnestness and she soon seems like an old friend. Nothing short of a captivating showman, a warm and inviting presence, but the guarded moments intertwined in her storytelling is the stuff that keeps you hooked and her drifting reflections are when the show truly hits its stride. Having had a stroke, Mabel is also somewhat an unreliable narrator in more ways than one.
The show tackles relatable issues on feminism and Cormier as Mabel may make you root for her one moment and against her the next. However, she’s a survivor and an enigma ahead of her time.
Merrimack Repertory Theatre’s production of A Woman of the World by Rebecca Gilman is streaming on demand through Sunday, May 30. Following the production is a short interview between director Courtney Sale and Denise Cormier on the inspiration behind the show. Click here for more information, tickets, and for more about the Merrimack’s Repertory Theatre’s season.
It’s hard to miss the message behind TJ Loves Sally 4 Ever, a bold, semi-interactive satire that takes a deep dive into prominent social issues such as racism and sexual harassment by putting a contemporary spin into troubling pieces of history. Taking cues from Dear White People, TJ and Sally 4 Ever is anything but a love story and highlights the frustration evident within each of its characters as they attempt to convey their own point of view.
Directed by Pascale Florestal, SpeakEasy Stage Company presents TJ Loves Sally 4 Ever virtually through Thursday, May 13. The show run 1 hour and 35 minutes without an intermission and is not suitable for children. Viewer discretion is advised. Click here for more information and tickets. Resources for this production can also be found on speakeasystage.com and a panel discussion is available here after seeing the production.
Speakeasy Stage Company’s TJ Loves Sally 4 Ever heeds social distancing guidelines through some careful blocking and innovative technology. Though a couple of frames look a little awkward, the majority of the show flows naturally.
Sally, portrayed with levelheaded wit by Tah-Janay Shayone, portrays a college student who is starting a job under obnoxious, egotistical, controlling (and much more) Dean Jefferson. Flailing about with a subversive glint in his eye, Jared Troilo delivers an unabashed, grimly humorous performance as Dean Jefferson. Dru Sky Berrian as Pam and Sadiyah Dyce Stephens portray Sally’s caring, protective, and partying sorority sisters and Jordan Pearson as blunt and tenacious Harold will do just about anything for change.
Though this satire at times misses its mark, TJ Loves Sally 4 Ever’s unconventional premise and delivery distinctively portrays Sally and the cast’s exasperation as they bring to light the hypocrisies and arrogance within our society as each try to forge a path toward a brighter future.Choreographed cleverly by Kira Cowan Troilo, a particular highlight involves a dance sequence between Pearson and Troilo that quite literally drives home the scene’s inherent message. Rachel Padula-Shufelt’s colorful and detailed costume design from Sally’s symbolic outfit to a scene featuring colonial gowns enhances the production’s strong and serious subject matter.
The show effectively takes a hard, long look tying in the past, present, and is ultimately optimistic for a compassionate future. Speakeasy Stage Company’s TJ Loves Sally 4 Ever continues virtually through Thursday, May 13. Click here for more information, tickets, and how to support the SpeakEasy Stage Company.
Based on real life accounts gathered in 2014 by Pulitzer prize-winning finalist Dael Orlandersmith, Until the Flood delves deep into the emotional and complicated perspectives and recollections of this community and how it affected each person following the shooting of Michael Brown in Ferguson, Missouri.
A colorful, makeshift memorial is strewn on a chain link fence shrouded in a blue, haunting darkness. Sirens ring out in the distance amid tingling and powerful music. Merrimack Repertory Theatre’s Until the Flood sets a foreboding undertone through Lindsay Jones’s chilling sound design and Bill Clarke’s haunting and true-to-life set pieces.
Encapsulating all the anguish, uncertainty, doubt, fears, and hope is Maiesha McQueen in a tour-de-force performance onstage as she takes on eight individual composites drawn from real life interviews in this one person show. From a 17 year-old teenager to a 75 year-old retired police officer, McQueen digs into the heart of each individual and delivers the kind of multi-layered performance that flows with each individual. From a subtle head tilt and a tumult of emotion brewing in her eyes to the careful movements and creaking in her bones as she takes on the persona of an ailing senior to the confident swagger of a teenager that feels like he can take on the world, McQueen writhes and broods with each character. Dressed in colorful and consistent street clothes by Yao Chen, each perspective and recollection made by each individual is fleshed out and brought together by McQueen as she pours herself into each character and makes each stand on their own. Her pliability transforms her stature, stance, rage, compassion, sadness, and anger “like the flood” over the state of the world.
Until the Flood provides not only each individual account of what they heard, saw, or experienced of the Michael Brown shooting, but a deeper look into how each person lived their life before and after this harrowing incident within this community. It is a raw, gripping look at how ugly and how beautiful a society can be and how easily friendships can change when people do not see eye-to-eye. It delves into anger that can be unleashed too easily, anguish, sadness, harrowing fear, and unbridled hope in fellow human beings in spite of life’s sorrowful circumstances. Most of all, it presents a fairly even handed, but complex account of what truly motivates human nature and how fear and hope takes shape.
Merrimack Repertory Theatre, located in Lowell, Massachusetts continues streaming Until the Flood through Wednesday, May 5. Click here for more information and tickets.
One of the main attractions of virtual concerts is being able to discover new music anywhere in the world.
Inside Copenhagen’s iconic Round Tower that houses a church, library, and an astronomical observatory, three musicians deliver a mesmerizing musical experience as Dreamers Circus. Warmly introduced by violinist Rune Tonsgaard Sorensen, this performance was filmed in Round Tower’s immaculate library as Swarm, a floating exhibit created by female Denmark artists Baskets4Life, contributes to the concert’s surreal setting.
Celebrity Series of Boston welcomes award-winning musical trio Dreamers Circus streaming through Thursday, April 15. The concert premiered as a live streamed concert on Friday, April 9 and includes a Q & A with the group. Click here for more information and for tickets.
Comprised of violinist Rune Tonsgaard Sorensen, pianist and accordionist Nikolaj Busk, and Ale Carr on Nordic Cittern, Dreamers Circus draws from classical, Swedish, and Nordic rhythms to weave a collection of playful, breezy, and mesmerizing selections well suited to the band’s name while providing a haven in this dark time.
Among the many highlights of this performance is the quirky originality and chipper rhythms in their telling song, The World is Waiting from their latest album, White Gold. The sunny piano and whistling medley exudes a lighthearted anticipation of what’s to come. Pentamime delves into hypnotic rhythms, suspense, and building intensity while City Gardens, from their album Rooftop Sessions, offers a fascinating and intricate mix of soothing rhythms, bright notes, as well as haunting, eclectic, and electronic sounds that brings out the song’s unique vibrancy.
Busk introduces Kitchen Stories, a rich number that fluctuates between lively and tranquil while showcasing Sorensen’s nimble artistry with the violin and Busk’s switch to an accordion before joining together for a memorable folk reel.
Hjerter To/Fangden Og Hans Pumpestok has a bright, catchy, and fanciful medley as Busk pulls double duty performing on the piano and the accordion. Introducing what Carr calls “a poor man’s viola,” Carr duets with Sorensen for traditional Swedish song, Folkrothvalsen.
The concert builds to a thrilling finale with A Room in Paris and Prelude to a Song. While A Room in Paris delivers an upbeat and joyful urgency, Prelude to the Sun provides a perfect blend of sonic and dreamlike harmony.
Not to be left out is the engaging and laid back camaraderie between the musicians as they take the audience on an intriguing and inviting musical journey that could suit any musical taste. Celebrity Series of Boston @home presents Dreamers Circus on demand through Thursday, April 15. Click here for more information and tickets.
Celebrity Series of Boston will present their annual Stave Sessions kicking off on Wednesday, April 21. Click here for a closer look at their season and ways to support Celebrity Series of Boston.
Since last August’s inventive Carmen, Boston Ballet has not brought new work to BB@Your Home until now.
Celebrating Jorma Elo not only introduces highly-anticipated new dance back in studio including a Jorma Elo World premiere, but launches a luminous montage of Elo’s innovative and exciting work over a fifteen-year history as Boston Ballet’s Resident Choreographer. Introduced by Artistic Director Mikko Nissenen and Jorma Elo, Boston Ballet took to the studio to record Jorma Elo’s Plan to B, excerpts from Bach Cello Suites, and the world premiere of Story of Memory before presenting a vibrant montage of Jorma Elo’s brilliant past work.
The Boston Ballet’s BB@Your Home’s Celebrating Jorma Elo continues streaming through Sunday, March 7. Click here for more information.
In masks and filmed under one studio light designed by Jon Gonda, Heinrich Ignaz Franz von Biber’s fiddle-laden score lays the groundwork for this joyful and intense dance in Elo’s Plan to B filmed in February 2021. Concise, surefooted, and sharp moves dominate this urgent and sweeping performance that feature Lia Cirio, Ji Young Chae, John Lam, Patric Palkens, Tyson Clark and an impressive solo by Tigran Mkrtchyan.
It is an upbeat, contemporary performance with pulsing movement as dancers slice the air and form seemingly impossible forms and shapes. In purple coordinated leotard, Cirio and Palkens perform a duet with building intensity as Palkens carries and spins Cirio romantically before she hastens forward.
A more intimate performance blooms with excerpts from Bach Cello Suites also taking place in studio February 2021 featuring music from Johann Sebastian Bach performed by cellist Ron Lowry. Lia Cirio and Paolo Arrais dance romantically in shadow as an opaque backdrop softly burgeons into light. This beautiful dance is further enhanced by the nature in which the two perform. Arrais spins and handles her delicately in each movement before they embrace.
Dialogue is rarely introduced into dance and it was fascinating to witness the world premiere of Elo’s Story of Memory and the sheer beauty of this piece’s compelling cinematography filmed in February 2021. Dressed in alternately black and white, Viktorina Kapitanova and Tigran Mkrtchyan depict two people who struggle to understand one another. It has moments of discovery, passion, fury, and mystery wrapped in Pyotr Ilyich Tchaikovsky, Johann Sebastian Bach, and Nancy Euverink’s captivating scores. Kapitanova and Mkrtchayan depict two struggling, determined people in an increasingly intense dance longing for understanding before coming to a stunning realization.
Surely it was quite a challenge to choose the highlights of Jorma Elo’s 15-year tenure of rich and revolutionary dance into one luminous montage. It was about as monumental as it was writing about it having experienced only excerpts of some pieces in its one and a half hour timeframe.
Too many standout moments to count in this wide spectrum of work including various approaches to the same work at different times in the ballet’s history. Each impressive interpretation brings a new dynamic to the performance.
An excerpt of Elo’s 2004 Plan to B kicks off this collection of works at the Wang Theatre featuring Sarah Lamb, Larissa Ponomarenko, Joel Pronty, Jared Redick, Raul Salamanca, and Sabi Varga drawing comparisons from its most recent interpretation. Though both are impressive, but the newest version seems a bit more intense with sharper, more concise choreography.
Featuring solo pianist Bruce Livingston, excerpts from Jorma Elo’s C to C (Close to Chuck) Reborn filmed in February 2014 takes the audience into a dark, mysterious, and transcendent world. C to C showcases the dancers’ athleticism and the human form as they move about in shadow to pulsing rhythms featuring Kathleen Breen Combes, Lia Cirio, Jeffery Cirio, Whitney Jenson, John Lam and Sabi Varga.
Many of Jorma Elo’s chorography and works have a unique spirit, liveliness, and a seemingly freestyle nature. In this Avant Garde piece, Kathleen Breen Combes, Lia Cirio, and Whitney Jenson’s swing like pendulums. Certain moves seem to play with time as the dancers move swiftly in fast forward, rewind, repetition, slow motion, and then wild intonations to the music’s runaway urgency. Similar unconventional moves are performed in Elo Experience.
Elo Experience filmed in March 2011 opens with an audible laugh and dialogue. It also has elements of avant garde work as a large group of dancers gather all in black. Elo’s innovative choreography showcases freestyle, unconventional moves in an upbeat, lively setting featuring a compelling solo by Jeffrey Cirio.
Excerpts from Elo’s Brake the Eye from March 2012 is part of Elo Experience. It is a playful and vibrant piece as dancers swing in angular movements while others remain still. Dressed in purple and crème and performing to the divine works of Mozart, it is a bustling and upbeat performance featuring Larissa Ponomarenko, Jeffrey Cirio, Robert Krenz, John Lam, Sabi Varga, James Whiteside, Lia Cirio, Kathleen Breen Combes, Whitney Jensen, and Dalay Parrondo.
Humming is integrated into excerpts of Elo’s Sharp(er) Side of Dark filmed in February 2012, showcasing different dancers performing in what seems like heaven. Accompanied by a string trio composed of violinist Michael Rosenbloom, Jean Haig on viola, and cellist Ronald Lowry, Lia Cirio and Sabi Varga, lights hover above them as they playfully glide and frolic in bodysuits to lively, urgent, and joyful music by Bach before seeing excerpts of the same dance performed by duos Kathleen Breen Combes and James Whiteside, Corina Gill and Paulo Arrai, and Whitney Jenson and Jeffrey Cirio.
The Boston Ballet revisits excerpts of a past performance of Bach Cello Suites from March 2018 featuring cellist Sergey Antonov and dancers Maria Baranova, Junxiong Zhao, Lia Cirio, Paolo Arrais, Kathleen Breen Combes, Derek Dunn, Misa Kuranga, John Lam, Addie Tapp, and Lasha Khaozashvili. Dressed in black leotard, this lively performance shows a wide range of moods including pain, love, and passion. A particular highlight showed the dancers briefly interacting with the onstage cellist, leaning in as the cellist plays.
The final two performances are on a larger scale exploring the sheer dynamic nature of Elo’s work from the traditional to the contemporary culminating into a jubilant finale. The sheer athleticism in excerpts of Elo’s Creatures of Egmont as dancers form angular, symmetrical shapes under a twilight sky and then Fifth Symphony of Jean Sibelius filmed in November 2017 a joyous and uplifting grand scale finale that reflects Jorma Elo’s continuing luminous, inventive, and astonishing work with the Boston Ballet.
BB@Your Home continues with The Art of the Classical Ballet from March 25 through April 4 which includes excerpts from Swan Lake and Sleeping Beauty. Click here for more information and a look at Boston Ballet’s full season.
One thing rings true: No good can come from a dying phone.
A dark highway and a last minute errand kick off the world premiere of Hub Theatre Company of Boston’s family-friendly supernatural thriller Solitaire Suite, a rich, engaging play by Trent England that explores a family’s strange occurrence over one evening. With a dreamlike and tense score that underlies its various twist and turns, Solitaire Suite’s relatable cast are just part of what makes this as alluring a zoom production as it would be a stirring podcast.
Directed by Daniel Bourque, Solitaire Suite is nestled between two Shakespearean productions in Hub Theatre Company of Boston’s current season. While Shakespeare’s Much Ado about Nothing thrilled audiences last year and next is Shakespeare’s Love’s Labour’s Lost in the spring, Hub Theatre Company of Boston took a break from soliloquies and bravado for this psychological thriller continuing on Hub Theatre’s YouTube page on live stream and on Hub Theatre’s Facebook page through Saturday, February 27. Tickets are on a pay-what-you-can basis. Click here for more information.
Having seen a few of Hub Theatre Company of Boston’s productions, it is refreshing to see them present such a vast array of work over the years from period pieces to dark fantasy to southern rom-coms and now what is deemed twilight zone meets zoom.
Marty Mason bears most of the weight of this production as Celeste, a former city-lover turned suburban mother whose mysterious son keeps her guessing. She delivers a natural and nuanced performance, sharing the evocative, lively, and multi-layered account of her family’s evening. Cristhian Mancinas-Garcia is charismatic as Celeste’s quick-witted and laidback husband Pete and Michael Lin portrays their introverted and mysterious son, Tiger.
Solitaire Suite veers off into different directions and each detail is a window into each character’s psyche. The dramatic and haunting cinematography, with sound design and digital design by Kyle Lampe and Justin Lahue respectively, contributes to the production’s ominous and suspenseful tone that takes on not only some supernatural aspects, but the tension brimming just beneath the surface within this seemingly close family.
Solitaire Suite unpacks a lot within its under an hour runtime and though all your questions might not be answered, the production is thought-provoking well beyond the production’s close.
Solitaire Suite continues through Saturday, February 27 and is also available on Hub Theatre Company of Boston’s Facebook page. Click here for more information and their current production. Hub Theatre’s next production is Shakespeare’s Love’s Labour’s Lost this spring.