winter activities | The Sleepless Critic

REVIEW: Boston Ballet’s exhilarating ‘Winter Experience’ glows in anticipation

Posted on March 12 by The Sleepless Critic

Especially amid winter’s bitter isolation and bleakness, one cannot help but anticipate the crackle and rising glow of spring. Through these two bold works, Boston Ballet shows how to appreciate the wonder of winter and glow in spring’s glorious awakening.

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15. The production is one hour and 50 minutes with one intermission. Click here for more information and for tickets.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Ji Young Chae, Viktorina Kapitonova, Lia Cirio, Seo Hye Han, WanTing Zhao, Haley Schwan, Chisako Oga, Chyrstyn Mariah Fentroy

With a wealth of expectation and powerful expression, Boston Ballet’s wondrous Winter Experience features a visceral pair of complementary works infusing innovative ballet which envisions the intensity of the season as well as the increasing promise of spring in Jorma Elo’s bold classic Le Sacre Du Printemps (The Rite of Spring) and Crystal Pite’s contemporary favorite, The Seasons’ Canon.

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Boasting Jorma’s Elo’s sharp and versatile choreography, Le Sacre Du Printemps depicts rich beauty as dancers shift and sway to Stravinsky’s commanding score that ebbs and flows from tender to thunderous. With incredible choreography by Crystal Pite and exhilarating music by Max Richter, The Seasons’ Canon finale remains one of the most amazing pieces that I have ever witnessed from the Boston Ballet.

Boston Ballet’s ‘Le Sacre Du Printemps’ Photos by Liza Voll
Dancers: Schuyler Wijsen, Daniel R. Durrett, Henry Griffin, Jeffrey Cirio, WanTing Zhao, Tyson Ali Clark, Lia Cirio, Lasha Khozashvili, Viktorina Kapitonova, Haley Schwan

Stravinsky’s Le Sacre Du Printemps is a striking exploration of a ritual dance believed to usher in the spring season. Adorned in Charles Heightchew’s vibrant sequined burgundy costumes as a band of brimming color rises amid a black layered latticed backdrop, dancers slice the air, trot, tick and lunge in pas de deux and in groups delivering unruly yet synchronized grace in their athletic, sharp and intimate steps.

Stravinsky’s powerful drum and horn-infused rhythms ebb and flow from soft and mischievous to urgent and rebellious which reflect in the dancers as they intricately link and divide and in Brandon Stirling Baker’s symbolic and transformative lighting. Pairs form daring and unique patterns as well as mirror each other as Stravinsky’s wielding drive animates dancers from rigid and mechanical to surprising to occasionally humorous within its more spontaneous moments to haunting as the dance intensifies.

Under a gleaming, crackling and morphing gold light by Jay Gower Taylor and Tom Visser, the Boston Ballet unveils a vision like none other with The Seasons’ Canon. Crystal Pite’s intricate and meticulously detailed chorography to Max Richter’s version of Vivaldi’s mesmerizing The Four Seasons makes The Seasons’ Canon a superlative experience. An incredible vision in every sense of the word, The Seasons’ Canon is innovative and unique as dancers pulse, sway, and tumble with intricate fluidity and precision while methodically spilling onto the stage. Moving like one sinewy organism as if waking from hibernation and molding into magnificent shapes, the sheer exactitude and congruent nature of these movements cannot be overstated. An exciting, uplifting and commanding piece with bursts of energy as the landscape transforms into shades of silver, orange, and gold, is exquisite in every season. It is a haunting and brilliant performance sure to stay with you long after the piece has ended.

Boston Ballet’s ‘The Seasons’ Canon’ Photos by Rosalie O’Connor and Brooke Trisolini
Dancers: Sangmin Lee, Chisako Oga, Ji Young Chae, Jeffrey Cirio, Daniel Rubin, Sage Humphries

Boston Ballet’s Winter Experience continues live and in person at Citizens Bank Opera House in Boston, Massachusetts through Sunday, March 15. Click here for more information and for tickets.

REVIEW: Kevin T. Durfee’s ‘Scenes of (Dis)Connections’ at NYC’s The Chain Theatre One Act Winter Festival

Posted on March 11 by The Sleepless Critic

Oh, what might have been….

Don’t let the upbeat opening music fool you. This is one intense table.

Three individuals arrive at a poker game. One individual is earnestly present in spite of her current circumstances and two cannot escape their immediate pressures and distractions even though they all share a common goal – to be present together.

Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Written and directed thoughtfully by Kevin T. Durfee, Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City. Due to a blizzard, this program had to be delayed a week. Click here for more information about the production and here for more information about Chain Theatre, which presents over 90 one act productions during its annual winter festival.

Mary McCarthy in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

A small, floral covered table should bring friends together, but they cannot help but misunderstand each other. In their own way, they all secretly plead for help, but cannot be heard. Durfee uses communication breakdown in a clever way to depict each individual’s perspective through Mary McCarthy as struggling mother One, Griffin Garnett portrays struggling worker Another, and Hannah Wu depicts unemployed Alternative. Athleisure, a business suit, and casually dressed respectively fittingly reflect their distinctive life perspectives. They all aptly underline their distress as they long for the comfort of each other’s company, but cannot escape their various individual pressures.

Griffin Garnett in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Confiding and connecting are so important. Durfee was inspired to write this work through his own experiences meeting up with friends and everyone is so engulfed in their current circumstances, they catch up, but may lack genuine connection. Durfee uses potentially life altering circumstances, but lack of connection is so easy to do in friendship or in any relationship, especially when even the lure of a cell phone is enough of a distraction from making a genuine human connection. Listening, connection and confiding can lighten anyone’s struggles even when things happen.

Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Shannon Adams Creative

Scenes of (Dis) Connections provide just a snapshot of a friendship without a background story, but could be the foundation of a larger narrative. In its brief time, it begs a few questions about these three interesting characters. How they became friends, how they found themselves in these circumstances and how their friendship progresses would make for an excellent larger production.

Mary McCarthy, Griffin Garnett and Hannah Wu in Kevin T. Durfee’s ‘Scenes of (Dis)connections’ Photo by Ryan Blaise and Shannon Adams Creative

Chain Theatre presented Scenes of (Dis) Connections as part of Chain Theatre’s One Act Winter Festival #27 which took place virtually and in person at Chain Theatre in New York City. Click here for more information about the production and here for more information about Chain Theatre.

REVIEW: Searing and stunning, Central Square Theater’s ‘The Moderate’ makes a lasting impact

Posted on February 25 by The Sleepless Critic

To say it is riveting is an understatement.

The Moderate is sure to alter your perspective on the digital world as much as it impacts each member of this small and likable cast. Be sure to see The Moderate as much for its engulfing state of the art technology as for its stunning emotional core.

Innovatively designed and directed by Jared Mezzocchi, Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1. This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission. Click here for more information and for tickets.

Nael Nacer in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

The Moderate is not shared chronologically which helps to make this production a mesmerizing digital journey from its very first frame. Rewinding the clock to March 2020, a humble yet determined Frank Bonner, powerfully and evocatively portrayed by Nael Nacer, interviews for a job as an internet moderate while the world is in COVID isolation.

The Moderate packs a lot into its brief and swiftly moving timeframe. It delves into a wide spectrum of themes including loneliness, isolation, family strife, trauma, the gravity of internet addiction, abuse, the dark web, racism, social media, the raw and exhibitionist side of human nature and the lengths one would endure to provide for family.

Nael Nacer and Jules Talbot in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

We live in an encompassing digital world and it is not likely to change any time soon and this technology is depicted in brilliant and meticulous ways. The show is wisely served up with no intermission which elevates this production’s immersive and gripping style of storytelling. Captivatingly set up and directed, Christian Frederickson’s robust sound design, Mezzocchi’s Multimedia design, and Sibyl Wickersheimer’s distinctive set design invites the audience into not only into what Nael Nacer as Frank sees, but how each character is experiencing one another digitally and in real time. You are not just an observer, but experiencing each frame navigating right along with the cast between the digital world and reality.

Nael Nacer and Celeste Oliva in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

This amazing show boasts an impressive cast. Celeste Oliva is intense and relatable as Frank’s estranged and levelheaded wife, Edyth. Nacer and Oliva fall into difficult and various misunderstandings and both still manage to remain sympathetic under their strained circumstances. Nacer’s Frank is darkly humorous, naïve and charming in his frustrations over technology. Jules Talbot brings a mix of lighthearted and dark humor as Rayne, a young maverick union fellow moderate who offers Nacer’s Frank valuable insight into the digital world. Greg Maraio portrays Frank’s level headed manager Martin who is all too aware of the difficulty and dangers of their positions and the impact it is sure to have on their lives and Sean Wendelken makes a stunning impression as Gus.

Sean Wendelken in Central Square Theater’s ‘The Moderate’ Photo by Nile Scott Studios

However amazing the show’s technology is delivered, what truly sets this show apart is its humanity. It does have genuine lighthearted and humorous moments while remaining unflinching of its emotional toll and remarkably and honestly lays bare the cast’s individual vulnerability and urge to make a difference. Through this shared experience, you may empathize with what they are going through as well and have a better understanding of our real and unpredictable digital landscape.

Jules Talbot and Nael Nacer in Central Square Theatre’s ‘The Moderate’ Photo by Nile Scott Studios

Central Square Theater continues Ken Urban’s The Moderate live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, March 1. This immersive production includes graphic and disquieting but necessary content including nudity and runs 80 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Ambition and belonging in Actors’ Shakespeare Project’s ‘Little Women’

Posted on February 24 by The Sleepless Critic

“We want so badly,” reflects Kaila Pelton-Flavin as Beth, “We don’t see what we have.”

From Jenna McFarland Lord’s dual level wooden set reminiscent of a doll house highlighted by a fireplace, family table and uniquely patterned rug, Beth’s realization rings true of the mercurial March family. With the exception of Kaila Pelton-Flavin as shy and fragile Beth and Sarah Newhouse as nurturing and practical Marmee, the March sisters share an exceptional amount of squabbling with little understanding of what is really important. Aislinn Brophy may be story telling Jo, but Pelton-Flavin’s Beth just may be the wisest of all.

Directed by Shana Gozanky, Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. This production runs 2 hours and twenty minutes including one intermission. Click here for more information and for tickets.

The cast of Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

This is not the first time Actors Shakespeare Project has re-imagined and restaged a literary classic as demonstrated in productions such as Kate Hamill’s refreshing take on Jane Austen’s Emma and Shakespeare’s vibrant Romeo and Juliet.

Louisa May Alcott’s Little Women has been restaged, restyled and recalibrated many times over the years for television, theatre and film. I’ve followed many adaptations of Little Women on both stage and screen most notably Greta Gerwig’s adaptation of Little Women which earned Academy Award-nominations for Saoirse Ronan as Jo and Florence Pugh as Amy. Gerwig’s adaptation jumps timelines and presents a real life meets literary work in a revolutionary way. It doesn’t feel like watching yet another Little Women. The iconic moments from the novel are still present, but delivered in a manner never presented before and approaching issues such as social status in a frank and more obvious way.

While Kate Hamill’s Little Women focuses on the March family, at its core is the sibling relationship between Jo and Beth which unfolds in a distinctive way as they interact together even before the production begins. Hamill’s version also has a lot to say and presents its content in a frank and more obvious manner while preserving its roots as a coming of age tale without sharing Alcott’s work in its entirety. This version is also shaped differently as these March girls march metaphorically and quite literally which says so much about how Hamill adapts these characters from Louisa May Alcott’s beloved book.

Aislinn Brophy, Kaila Pelton-Flavin, and Olivia Fenton in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Zoe Sundra’s audacious costuming includes handlebar mustaches, ties, suspenders, dapper long coats, and multi-patterned dresses with each costume designed to reflect the era and highlight each character’s distinct personalities. Brophy’s Jo wears several mismatched and layered ensembles that enhance her individuality and buck tradition while Chloe McFarlane as Amy’s long braids and traditional dress highlights Amy’s aspirations for refinement. Julian Crocamo’s energetic and defining piano-infused score varies mellifluously from playful to rushing to tender as the production unfolds.

Aislinn Brophy in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Most of the characters, especially the March girls, depict pronounced and less profound versions of themselves. The March sisters are iconic for their subtler qualities as much as for the traits that make them classic characters ahead of their time. Jo is inquisitive, confident and awkward with big ambitions and a temper alleviated by her sensitivity. However, Brophy’s Jo is outspoken, tempestuous and controlling fixated on a man’s world. Like the iconic character, this Jo also longs for the comfort of things to always remain the same. In long thick braids, Chloe McFarlane as haughty, clever and traditional Amy often locks horns with Jo’s unorthodox views. Olivia Fenton’s Megan is boy crazy, impressionable, goofy, and exceedingly optimistic providing awkward humor especially in scenes with Chris Stahl as Mr. Brooks who share a wildly giddy bordering on silly chemistry.

Aislinn Brophy and Sarah Newhouse in Actors’ Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

Only calm, mature and consoling Beth quietly observes with sympathetic and sensible Marmee as Marmee quells and directs her daughters. Newhouse impressively depicts Aunt March in a dual role who is as uncomfortably outspoken as ever while Patrick Vincent Curren charismatically portrays stern and wealthy Mr. Laurence along with Amy Griffin and Chris Stahl who aptly portray multiple roles.

Aislinn Brophy and Jonah Barricklo in Actors Shakespeare Project’s ‘Little Women’ Photo by Benjamin Rose Photography

One of the best parts of this production are the fascinating interactions between Brophy’s Jo and Jonah Barricklo’s Laurie who share some wonderful camaraderie and an endearing rapport. Barricklo as Laurie is lonely, earnest, sensitive and sincere, feels out of place in the world and will do just about anything for Jo. They conspire and tease each other while emphasizing the unique commonalities in which they share their true selves and their unorthodox outlook of the world. Their unique recognition of each other and the manner in which they understand each other is rare, lovely and bittersweet.

Though I am not a fan of the way the March sisters are depicted, there are new elements of the show’s storytelling worth seeing, especially in the work of Newhouse’s Marmee and Pelton-Flavin’s Beth who consistently attempts to bring to light what is important in the midst of all of life’s distractions, noise and ambitions.

Actors’ Shakespeare Project continues Kate Hamill’s Little Women live and in person at Mosesian Center for the Arts in Watertown, Massachusetts through Sunday, March 1. Click here for more information and for tickets.

REVIEW: An amusing battle of wits at Hive Theatre Company’s ‘The 25th Annual Putnam County Spelling Bee’

Posted on January 30 by The Sleepless Critic

It can be a strange form of intellectual entertainment.

The contestants range from excitable to anxious to charismatic while braving through the pressure to succeed. With spell check just a click away, knowing how to spell complex words such as Xanthosis, Autochthonous, or Logorrhea almost seems like an archaic practice. However, Scripps National Spelling Bees are seen all over the world and like any competition, plenty of drama is happening behind the scenes.

Smoothly directed and choreographed by Margaret McFadden with John Eldridge’s witty music direction, The Hive Theatre Company dives into an interesting match of wits with the award-winning musical comedy, The 25^th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. This semi-interactive production runs 1 hour and 45 minutes with one intermission and contains some adult humor. Click here for more information and for tickets.

The cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Based on a book by Rachel Sheinkin and William Finn and featuring playful and insightful songs from its Grammy award-nominated album such as I’m Not That Smart, Pandemonium, and I Speak Six Languages, The 25^th Annual Putnam County Spelling Bee explores the lives of quirky and feverishly ambitious Putnam Valley Middle School students who are not only striving to win the bee, but to find their place in the world.

Alex Kennedy and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Featuring a live four piece band in the background, the BCA Plaza Theatre offers a fitting scholastic vibe for a spelling bee. Kevin Deane Parker’s modestly staged set features a blue school door, colorful metal chairs and auditorium seating. No spelling bee should be without a sponsor and Putnam Optometrists have stepped in with a humorous slogan across the judge’s table. Samantha Wolfrum’s wild and eccentrically charming costumes illustrate each character’s distinctive qualities.

Before addressing each one of the improvisational wizards that compete in Hive Theatre Company’s production of The 25^th Annual Putnam County Spelling Bee, it is important to note that the audience plays their own part in the bee. This small cast makes a big impression, and this zany musical comedy tests the audience’s knowledge as four lucky guest volunteer spellers have the honor of taking the stage to compete with the cast. It is an amazing experience to be a guest speller as the cast keeps them on their toes all in good fun.

Amanda Wade and Cameron Nye in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

If offered this opportunity, do not let fear and the unknown override a wonderful chance to join in the excitement of the bee along with the outside possibility of getting serenaded by some real talent. The interactive antics are just part of what makes this improvisational musical comedy unique and doused in a bit of the “reality show” flavor. Each performance of The 25^th Annual Putnam County Spelling Bee leaves its own individual and lasting impression.

From caricature voices to bizarre antics, this spelling bee cast leans into and emphasizes character quirks much more than endearing qualities than other version I have seen while relishing in their own various idiosyncrasies. To these students, spelling can be ruthless and punishing and are certainly feeling the pressure. Full of anxiety and neurotic awkwardness, each adolescent has their own humorous ways of coping to achieve a win paired with the difficulties of growing up. Learning each speller’s story and why they are participating in the Putnam County Spelling Bee (and needs a win) can be insightful, comical, and moving.

Salvatore Guillermo Garcia, Amanda Wade and Maya Gopalswamy in The Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Running the Bee is Amanda Wade as Rona Lisa Peretti, former winner of Putnam’s Spelling Bee. Peppy, orderly, and with polished vocals, Wade doles out fun facts about the contestants with palpable enthusiasm especially during the excitable number, Rona Moment #1. She and Josh Telepman as Vice Principal Douglas Panch are responsible for quite a few clever one liners during the show, feeding off each other’s varied personalities.

Anna Wright and Salvatore Guillermo Garcia in cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Salvatore Guillermo Garcia is impressive as intense, firm, but sensitive Mitch Mahoney who hands out cure-all juice boxes to eliminated contestants as he supervises the competition.

Maya Golalswamy and Kaden Mays in Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

Outlandish and peculiar, the remarkable spellers play well off each other and boast particular chemistry and harmony during the numbers, Pandemonium, My Friend, the Dictionary, and Magic Foot which fittingly features a kick line. Maya Gapalswamy as Olive and Kayden Mays as William display some awkwardly cute chemistry. Gapalswamy as hesitant and sweet Olive Ostrovsky is also sympathetic in a stirring rendition of The I Love You Song with Amanda Wade and Salvatore Guillermo Garcia. Anna Wright as Logainne Schwartzandgrubenniere, an anxiously outspoken bright-eyed girl in braids with a lisp forlornly laments Whoa is Me and Alex Kennedy is memorable as Leaf Coneybear, an intense, wildly dressed savant in a cape and bow tie while Cameron Nye has more than spelling on his mind as shy and daydreaming Chip Tolentino. Ashley Ha is ironically charismatic as socially awkward and rigid perfectionist Marcy Park especially for the athletic number, I Speak Six Languages.

Kaden Mays (center) and the cast of Hive Theatre Company’s ‘The 15th Annual Putnam County Spelling Bee’ Photo credit to Margaret McFadden

In a tricky environment where so much rides on improvisation, the cast navigates their characters while gliding through any challenging circumstances. The show inserts a few interesting pop references and contemporary issues into this timeless musical comedy. Some elevate the comedy while others seem out of place. Overall, The Hive Theatre Company’s musical comedy, The 25^th Annual Putnam County Spelling Bee is a clever and original musical production that may just leave the audience feeling a little smarter.

The Hive Theatre Company continues musical comedy, The 25^th Annual Putnam County Spelling Bee continuing live and in person through Sunday, February 1 at BCA Plaza Theatre at Boston Center for the Arts in Boston, Massachusetts. Click here for more information and for tickets.

REVIEW: Vivo Performing Arts presents ‘What Makes it Great?’ with Rob Kapilow highlights the brilliance of Broadway’s Lerner and Loewe

Posted on January 25 by The Sleepless Critic

What elements contribute to a great song?

On a grand piano alongside a trio of talented singers at center stage, NPR’s popular composer, conductor, and master music analyst Rob Kapilow continues his 27^th year captivating audiences with his vast musical knowledge, sense of humor, and careful analysis of what makes the best songs tick. Every note, lyric, and rhythm is meticulously constructed to bring out the excitement and enrich the scope of the piece and Rob Kapilow shows you just how they do it. Though music styles and genres inevitably change, Rob Kapilow may make you see your favorite songs in a whole new light.

Rob Kapilow as Vivo Performing Arts presents ‘What Makes It Great’ Credit Robert Torres

Vivo Performing Arts, formally Celebrity Series of Boston, presented What Makes it Great? with Rob Kapilow live and in person at New England Conservatory’s Jordan Hall in Boston, Massachusetts for one night only Saturday, January 17 at 8PM. This semi-interactive performance ran 90 minutes and included a short question and answer session. Click here for more information on the performance and here for a closer look at Vivo Performing Arts’ upcoming events. Click here to learn about all of Rob Kapilow’s works including his next stop in his What Makes it Great series.

Whether you are music virtuosos or a casual music listener, Kapilow consistently offers something new that in some way will change the way you hear music for the better. Though often speaking to a large audience, Rob Kapilow is so personal, relaxed and friendly during his talks, it often feels like a one-on-one session on a baby grand piano. He is so popular with the Vivo Performing Arts crowd, he offers at least two appearances a season tackling everything from swing to dance to classical to Broadway music revealing each song’s inherent brilliance.

Rob Kapilow, Emily Albrink and Ben Jones in Vivo Performing Arts Presents ‘What Makes it Great’ Credit Robert Torres

Featuring a few of American lyricist and librettist Alan Jay Lerner and Austrian composer Frederick Loewe’s classic Broadway songs from Camelot, My Fair Lady and Brigadoon, Kapilow uses a mix of sophistication, humor and an easy to follow delivery to explore each song’s appeal and emotional undertones through its carefully selected musical notes.

Delving into the Golden Age of Broadway as well as Lerner and Loewe’s dynamic history, Kapilow chose a selection of lighthearted and dreamy songs as well as pivotal numbers from musicals that leads to a character’s imminent transformation. With humor and grace, Kapilow also reveals what each song might have sounded like without its individuality and as he peels back each layer, What Makes It Great? becomes an eye-opening experience.

Calling on a couple of Broadway love songs, Kapilow was accompanied by soprano Emily Albrink and stirring singer, actor, and musician Ben Jones. Jones and Albrink share gorgeous harmony and lighthearted chemistry for duets Brigadoon’s Almost Like Being in Love and playful Heather on the Hill.

Rob Kapilow, Ben Jones, and Emily Albrink as Vivo Performing Arts

Touching upon Rex Harrison’s complex casting in My Fair Lady, Kapilow ties in music and lyrics which waltz together teetering on so many emotions for I’ve Grown Accustomed to Her Face in which Jones articulates in an animated and humorous rendition.

Rob Kapilow, Emily Albrink and Hayden Lockhart as Vivio Performing Arts presents ‘What Makes it Great’ Credit Robert Torres

In an elegant flowing dress, Albrink brimmed with excitement evident is her full and rich vibrato as she delivered an exuberant rendition of My Fair Lady’s I Could Have Danced All Night. In a jacket, tie, and bathed in rose lighting, Jones croons, mastering the complex and emotional weight of Camelot’s stirring ballad If Ever I Should Leave You, before concluding with a bold finish.

Rob Kapilow, Emily Albrink, and Ben Jones as Vivo Performing Arts presents ‘What Makes it Great’ Credit Robert Torres

From classic songs and American Standards such as It’s Almost like Being in Love from Brigadoon to the high-spirited I Could Have Danced All Night from My Fair Lady to a humorous and not to be missed I Remember it Well from Gigi, Rob shows how compulsive American lyricist Lerner of the famed retail stores and poverty-raised and frugal Austrian composer Loewe poured themselves and their imaginations into their music to create some real Broadway magic.

Vivo Performing Arts, formally Celebrity Series of Boston, presented What Makes it Great? with Rob Kapilow live and in person at New England Conservatory’s Jordan Hall in Boston, Massachusetts for one night only Saturday, January 17 at 8PM. Click here for more information on the performance and here for a closer look at Vivo Performing Arts’ upcoming events. Click here to learn about all of Rob Kapilow’s works including his next stop in his What Makes it Great series.

REVIEW: Adam Theater’s whimsical ‘Library Lion’ sings and wonderfully inspires

Posted on January 23 by The Sleepless Critic

“A book’s cover is like a big door.”

As an avid bibliophile, this significant quote from Library Lion could not ring more true. Extraordinary things do happen when you read.

One of the big doors that unleash a limitless imagination is the library. Unlike streaming, movies or television, a book is a movie for your mind and Library Lion, one of Time Magazine’s top 100 Children’s books, highlights the joys of reading and what to expect at the library until someone unexpected arrives.

Wisely directed by Ran Bechor with impactful music by Yoni Rechtor and dynamic music direction by Tomer Sne, Adam Theater continues Michelle Knudsen’s Library Lion live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, January 25. This enchanting, semi-interactive, and family-friendly musical play is not limited to the stage and runs approximately one hour and 10 minutes with no intermission. Click here for more information and for tickets.

The full cast of Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studios

The commotion is electric among this youthful crowd anticipating what is about to take place onstage. Whether young or old, this charming musical production does not disappoint. Books and other set pieces come to life in subtle, yet charming special effects refreshingly crafted with limited use of CGI or sophisticated digital screens.

Cast members from Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio

Unveiling Cameron Anderson’s stunning multicolor and vibrant, multilayered rolling set, Library Lion features an exuberant cast which includes a realistic lion puppet created by Jim Hensen’s Creature Shop waltzing to Irene Wang’s mischievous and playful sound design. In striped garments, a puppetry trio which includes Sophie Kauffman, Sydney Grant and Sarah Nolen directed by Kate Brehm, operate and deliver a beautifully stylized lion portrayal from its powerful roars to its intricately blinking big blue eyes adorned with a multi-toned mane.

Puppeteers Sophie Kauffman, Sydney Grant and Sarah Nolen from Adam Theater’s production of LIBRARY LION. Photo by Nile Scott Studio

Eli Bijaoui’s clever and occasionally rhyming dialogue and simple, yet catchy songs by an intimate, three piece orchestra are well paced and mostly jovial as Jayden Declet as precocious Michelle and Aaron Mancaniello as reserved Kevin discover the wonders and virtues of the library with the help of Janis Hudson as charismatic and practical Ms. Merriweather, Robert Saoud as moody yet endearing Mr. McBee, and Clara Hevia as a lively yet frenzied storyteller.

l.-r. Janis Hudson, Jayden Declet and Ken Crossman in Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studio

Declet and Mancaniello share an easy rapport and start some minor chaos as they venture through the library’s doors as a clock is perpetually set to when the library opens at 9AM. In a distinctive velvet coat and bowtie, Saoud is wonderful as Mr. McBee in a sympathetic depiction of a librarian who sticks by the rules but longs for something more. In a flowing floral dress, a pleasant voiced Janis Hudson depicts Ms. Merriweather with a breezy practicality and in this performance, more than a passing resemblance to Laura Linney. It is amazing how Hudson slips into characters with such finesse. Hevia rounds out the cast with quirky style and unique energy as the library’s storyteller.

Janis Hudson as Mrs. Merriweather confronts the Lion in Adam Theater’s 2025 production of LIBRARY LION. Photo by Nile Scott Studios

You don’t need to be familiar with the pop culture references or books to enjoy this production, but you may wish to revisit or read them for the first time when they are introduced into the story.

The library is a treasured sanctuary for many reasons and the Library Lion sings its well deserved praises where you can occasionally sing-along. Library Lion offers much more than life lessons, but delivers a compassionate and imaginative storyline that does not come off as preachy or condescending. It offers humor, silliness and heart that will keep children engaged and at one point, brings the audience right into the story. I say that is time well spent.

Adam Theater continues Library Lion live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, January 25. Click here for more information and for tickets.

REVIEW: American Repertory Theater’s world premiere an imaginative and optimistic ‘Wonder the Musical’

Posted on January 20 by The Sleepless Critic

A violet pixelated galactic sky is marvelously portrayed from a spaceship bed and that is only the beginning.

Garrett McNally delivers a moving portrayal as inquisitive Auggie whose vibrant imagination spans the vast cosmos. Born with Treacher Collins Syndrome, Auggie’s world has always been limited to home schooling. However, when Auggie is about to attend fifth grade, Alison Luff as Auggie’s practical mother Isabel insists he attend public school. With guarded optimism, Auggie ventures apprehensively on this new journey.

Nathan Salstone, Garrett McNally, and members of the cast of Wonder.
Photo: Hawver and Hall

Insightfully directed by Taibi Magar with Katie Spelman’s enchanting choreography and Ryan Cantwell’s uplifting music direction, American Repertory Theater (A.R.T.) continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. This family-friendly and engaging production is approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

In 2012, R.J Palachio’s first novel Wonder became a New York Times best seller before it was adapted into a heartwarming 2017 film of the same name starring Julia Roberts, Owen Wilson and Jacob Tremblay. It seems only natural that this remarkable story has now been warmly transformed into a compelling musical.

Wonder Production Photo Nathan Salstone, Javier Muñoz, Alison Luff, Garrett McNally, and Kaylin Hedges in Wonder.
Photo: Hawver and Hall

Though Wonder is not based on a true story, Auggie’s story draws from real life experiences of individuals who struggle with this craniofacial condition. It tackles bullying, prejudice, empathy and kindness, but what sets this intriguing musical apart is how it delves into perspectives. Auggie may be the central figure in this musical, but a large part of the story focuses on each character’s perspective and the unexpected struggles of those who seem to have it better than Auggie at first glance. Learning to walk in another’s shoes has never been so important.

Set designer Matt Saunders with lighting designer Bradley King richly articulates this glowing musical’s significant themes symbolically through a multicolored and animated pixilated landscape rhythmically peppering a revolving stage. These pixels can enhance, enliven and moderate the musical’s weightier scenes, but particularly illuminating Auggie’s amazing cosmic universe. Imaginative backpacks, colorful streamers, expressive T-shirts and detailed, fanciful costumes are just a sample of Linda Cho’s exuberant costume design.

Wonder Production Photo Alison Luff and Garrett McNally in Wonder.
Photo: Hawver and Hall

Wonder boasts its share of feel good moments featuring a strong cast. The chiming pop-infused score with lyrics and music by A Great Big World with Cody Spencer’s robust sound design keeps the show hopeful and optimistic even in the face of its heavier and poignant moments. Alison Luff as Isabel, Javier Muñoz as Nate, Kaylin Hedges as Via and Garrett McNally share a natural tight-knit chemistry facing the world as Hedges as Via affectionately calls her family ‘our little galaxy.’ There is a quiet earnestness built into this family when they step aside for one another. Hedges brings an affinity to this complex role with quiet yearning as Via through soaring vocals who consistently puts Auggie first in her solo, Around the Sun. Luff and McNally share a stirring bond in a fiddle-laden and powerful rendition of You are Beautiful.

Led by Melvin Abston as energetic Mr. Tushman, Beecher Prep School teachers share an idyllic infectious glee, enthusiasm, and occasionally lovable awkwardness as they navigate the curriculum with verve and charm.

Wonder Production Photo
Garrett McNally and Donovan Louis Bazemore in Wonder.
Photo: Hawver and Hall

Skylar Matthews charismatically shines as excitable and precocious theatre student Charlotte, especially during her engaging solo, You Didn’t Hear it From Me as she waltzes across the stage. Donovan Louis Bazemore seamlessly navigates conflicted Jack who brings warmth and sincerity to the number, Shoes. Paravi shows off sharp comedic timing while lightening a heartfelt moment with Hedges.

Garrett McNally (Auggie) and the cast of A.R.T.’s world-premiere production of Wonder bow in front of the Opening Night audience.

Nathan Salstone is no ordinary Moon Boy. From the exciting 3-2-1 Blast Off and throughout the production, Salstone’s mellifluous vocals and reflective demeanor with Auggie brilliantly elevates each scene.

Wonder is an intuitive, imaginative and heartfelt creation that celebrates the value of loyalty and friendship while sharing significant life lessons prevalent for all ages. You may step away from Wonder the Musical seeing a brighter world too.

American Repertory Theater continues its world premiere of Wonder the Musical recently extended through Sunday, February 15 live and in person at Loeb Theater in Cambridge, Massachusetts. Click here for more information and for tickets.

REVIEW: Natural and supernatural lessons in Company One’s ‘Haunted’

Posted on February 13, 2025 by The Sleepless Critic

What more could be haunting this haunted house?

Spiritually stuck in the Y2K era and in an often vacant house for the past 20 years, two indigenous brother ghosts long to rise to the great beyond and reunite with Creator and their ancestors. However, something more is haunting this house beyond the antics they use to chase prospective home buyers away. Using dance as escapism and as a way to cope, Bradley Lewis depicts an over the top Ash who never had the chance to grow up while older brother Aaron, portrayed with reticence by Chingwe Padraig Sullivan, carries a lot that he cannot move beyond as well.

Bradley Lewis, Katherine Callaway, Evan Turissini, Tanya Avendaño Stockler (Photo by Ken Yotsukura Photography)

Written, directed and choreographed by Tara Moses, Company One presents thought provoking horror comedy Haunted continuing live and in person in Rabb Hall at the Boston Public Library through Saturday, February 15. The show runs approximately two hours with one 15 minute intermission and tickets are available at a pay what you can basis. Click here for more information and for tickets.

Chingwe Padraig Sullivan, Katherine Callaway, Bradley Lewis (Photo by Ken Yotsukura Photography)

Y2K reigns supreme as two brothers are culturally frozen in time having never moved beyond Ash’s adoration of Britney Spears or Aaron rocking out to Creed since their deaths in 2003. However, Danielle Delafuente’s scenic design reflects how frequently time marches on as books, furniture and portraits change as the brothers imagine and fret over an all too predictable future. A nice touch is the ice film on the windows to indicate paranormal activity. However, the brothers often play music and can make the living see things, yet it is a wonder why the living do not acknowledge when Ash plays one song after another. Is the living so steeped in their world that they cannot hear or see what is playing on a boom box?

Elmer Martinez’s symbolic lighting and Aubrey Dube’s foreboding sound design builds intensity and keeps the lines of communication going embodying this unknown entity through flashing pink and purple lights, ominous chimes and illuminated images on the walls.

Evan Turissini (Photo by Ken Yotsukura Photography)

With the exception of the two brothers and JāQuan Malik Jones as Vincent, the remaining cast members portray a number of unlikable stereotypes. From a righteous Quaker to a scholarly intellectual historian, Evan Turissini often portrays these shallow characters with a mix of dark humor and audacity while Katherine Callaway and Tanya Avendaño Stockler become increasingly more manipulative with each newcomer. The ghosts often make assumptions everyone acts a certain way perhaps in fear of being disappointed. It might have been more intriguing if Vincent and the brothers saw more than one side of these characters.

Chingwe Padraig Sullivan, Katherine Callaway, Evan Turissini, Tanya Avendaño Stockler, Bradley Lewis (Photo by Ken Yotsukura Photography)

On the flip side, JāQuan Malik Jones delivers an impressive performance as level headed Vincent whose actions are anything but predictable. Lewis as Ash and Sullivan as Aaron share a likable rapport as paranormal brothers whose bickering and conflicts often stem from too much time together, but they also share a mutual respect partly due to this supernatural bonding time.

Chingwe Padraig Sullivan, JāQuan Malik Jones, Bradley Lewis (Photo by Ken Yotsukura Photography)

Haunted has some inconsistencies and may have benefited by a shorter run time, but offers a lot of educational insights into man’s connection to the land, indigenous culture, the Land Back movement, and how one can learn more and contribute to change.

Company One presents thought provoking horror comedy Haunted continuing live and in person in Rabb Hall at the Boston Public Library through Saturday, February 15. The show runs approximately two hours with one 15 minute intermission and all tickets are available at a pay what you can basis. Click here for more information and for tickets.

After a night out, enjoy MET Bar and Grill’s ‘Boston Hot Chocolate Experience’

Posted on January 6, 2019 by The Sleepless Critic

The holidays may be over, but any time during the winter is a good time for hot chocolate. The MET Grill and Bar brings back their popular refreshment, ‘Boston Hot Chocolate Experience’ through Valentine’s Day. With a wide variety of hot chocolate available in ‘adult versions’ topped with extra large marshmallows, whipped cream, and more, it is a special treat at the end of a concert or a great night out.

‘Boston Hot Chocolate Experience’ is offered at MET Bar and Grill locations in Natick and Back Bay in Boston, Massachusetts. Click here for more information.

Hot chocolate options include Classic Hot Chocolate featuring vanilla chocolate and whipped cream, Spiced Mexican with chili and grated Mexican chocolate, Dolce De Leche with marshmallows and salted caramel, and Peppermint White Hot Chocolate featuring candy cane flavors and whipped cream. Each treat can be enhanced with Peppermint Liquor, Caramel Vodka, Bailey’s, and more.

Enjoy them as ‘A Flight of Four’ experience featuring four miniature glasses or attendees can order one flavor as ‘One Big One’ presentation.

Visit MET Back Bay in Boston and in Natick, Massachusetts. MET offers breakfast, lunch, and dinner as well as Saturday and Sunday Brunch. They also are available for private events and gift cards are available online for the perfect gift.