world war II

REVIEW:  Calculations, connection, possibilities and their impact in Central Square Theater’s notable ‘Breaking the Code’

Posted on by The Sleepless Critic

A burglary is far more complicated than it seems.

Methodically directed by Scott Edmiston and based on Andrew Hodges’s critically-acclaimed best-selling biography Alan Turing: the Enigma, Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3.  This engaging A Catalyst Collaborative@MIT Production contains some adult content and runs 2 hours and 30 minutes with an intermission.  Click here for more information and for tickets.

I first learned about Alan Turing’s incredible life and accomplishments through the riveting 2014 biopic, The Imitation Game starring Benedict Cumberbatch and Keira Knightley.  It is a shame that before seeing this eye opening film, I hadn’t been taught about this remarkable and renowned British mathematician, coder and computer scientist as part of my academic history. 

Dom Carter, Matthew Beagan and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Edmiston does not necessarily present Turing’s story in chronological order, but through segments or scenes enhanced by enigmatic typewritten statements that become clearer as the production progresses.  Scenic designer Janie E. Howland and SeifAllah Salotto-Christobal cleverly weave together innovation with vintage elements as projections of definitions to garden settings to calculations are vibrantly illuminated by Karen Perlow as tilted shelves stuffed with books, manuals, vintage electronic parts, old telephones and much more hang overhead.  Classic three piece suits, scholarly cardigans and colorful dresses are just a portion of Chloe Moore’s fittingly traditional 50’s era costumes.

Set in England 1952, Eddie Shields as Alan Turing meets Dom Carter as unwavering and discerning detective Mick Ross to report a mysterious burglary at Turing’s home.  When something seems amiss, Carter and Turing skillfully execute their increasingly tense cat and mouse game to a stunning conclusion.

Eddie Shields and David Bryan Jackson in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Eddie Shields embodies inquisitive, driven, blunt, painfully lonely and socially awkward Alan Turing who once considered numbers his imaginary childhood friends.  The deep connection Turing possesses with numbers and technology are elements he longed for in other people. From Turing’s distinctive stutter and tics to his innate inquisitiveness to his distracted social awkwardness, Shields is exemplary as Turing.  David Bryan Jackson adds easygoing humor as instantly likable and mildly muddled Dilwyn Knox who provides a good dose of lightheartedness during this often heavy production.  Jackson also demonstrates his ample range as intimidating John Smith and Jackson’s dual role challenges Turing in distinct ways.

Eddie Shields and Matthew Beagan in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Turing is a relentlessly focused individual who walks a fine line between confidence and arrogance while facing obstacles thinking outside of the box.  Turing’s driven nature and eccentricity rarely meets his match until two significant people enter his life. One is Matthew Beagan who portrays a number of roles including warm and charming Christopher, a man that Turing describes as someone who makes everyone else seem ordinary.  The other is Josephine Moshiri Elwood as fellow coder Pat Green who shares a remarkable rapport and intellect that challenges Turing.  Elwood beautifully depicts sweet, sympathetic and intuitive Pat with an earnest and unassuming sincerity.  Their strongest moments are not in what is said but in the silences of what is left unsaid.

Breaking the Code Eddie Shields and Josephine Moshiri Elwood in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Paula Plum weaves an endearing mix of propriety, amiability and good humor as Turing’s mother Sara Turing who expresses interest and admiration of Turing’s various pursuits.  However, a later pivotal and memorable scene between Plum and Shields is when both actors are at their best.

Paula Plum and Eddie Shields in Central Square Theater’s ‘Breaking the Code’ Photo by Nile Scott Studios

Not only is Turing the father of the computer and played a crucial role in World War II, but his forward thinking ideas back then about technology address the possibilities we are ever closer to making a reality today.  It is fascinating to see just how this production presents technology’s rapid advancement while also making a profound statement about how we experience it in the world today.

Though I might have liked the show to have taken a closer look at how Turing accomplished his monumental feats, the production focuses more significantly on what drives him as well as his personal experiences and hardships that impacted his life.  Turing’s calculations changed the world as we know it and yet, he suffered many unimaginably cruel injustices. 

 Imagine what more he could have done.

Central Square Theater continues Hugh Whitemore’s biographical drama Breaking the Code live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, May 3.  Click here for more information and for tickets.

REVIEW:  Chilling and significant lessons in Arlekin Players’ historical drama, ‘Our Class’

Posted on by The Sleepless Critic

They were classmates with dreams beyond the classroom…and it all changed.

After a successful run in New York, Arlekin Players Theatre continued Tadeusz Slobodzianek’s historical drama, Our Class live and in person at Calderwood Pavilion in Boston, Massachusetts for a limited run through Sunday, June 22.  Directly sharply by Igor Golyak and based around true events, this experimental and interactive work is approximately 2 hours and 45 minutes with one intermission and the action is not limited to the stage.  While the production is not graphic and bloody, it depicts violence through a mix of narration and dramatization that is remains raw and heartbreaking.  Click here for information.

Richard Topol and cast in ‘Our Class’ Photo by Olga Maturana

Spanning from 1926 to 2007, Our Class traces a tumultuous time in history as a group of Polish students, composed of five Jewish and five Catholic students, connect and grow up together through World War II and beyond. While some students end up together, others live to regret ever knowing each other.  From the innocence and mischief of childhood including sing-along, playtime, and crushes to turmoil, prejudice and much worse, this group of students make discoveries about each other in collective joy as well as pain and torment in a raw, unflinching, and harrowing account which includes the horrific Jedwabne pogrom massacre in 1941. 

Richard Topol and cast Photo by Irina Danilova

Presented in an experimental and documentary-style dramatization of historical events, Our Class delivers some beautiful moments through song, camaraderie and childlike wonder as well as how hate, fanaticism, hypocrisy and corruption set in and how those closest to you can turn on each other.  Knowing it is true makes it all the more unsettling and difficult to watch as this account delivers a collection of significant lessons from an enormous and increasingly populated blackboard by chalk drawing designer Andreea Mincic and a steel ladder as part of Jan Pappelbaum’s innovative and unfolding scenic design.

Song of ‘Our Class’ Photo by Irina Dailova

The chalkboard serves multiple purposes as home video, illustration and various forms of cinematography by Projection and Video Designer Eric Dunlap and Igor Golyak who embellish the comic, tense, and heartrending portions of this production.  The props and creations developed onstage by these characters veer from heartwarming to harrowing using balloons and various classroom objects to uniquely chronicle the events onstage.

From glaring brightness to starlight to lurking shadows, Jeff Adelberg’s evocative lighting varies from harsh to haunting and moody alongside Ben Williams’ striking sound design.

Kirill Rubtsov, Ryan Czerwonko, Jeremy Beazlie, Gigi Watson in ‘Our Class’ Photo by Pavel Antonov

Wearing numbered T-shirts for a classroom photo, this collaborative cast skillfully takes on dual roles and the same actors cleverly depict their characters growing up through improvisation and vocal dexterity as decades pass.  In a particularly humorous ensemble moment which weaves in Or Schraiber’s dynamic choreography, the classmates contemplate whether or not to dance to a playful kazoo-infused medley.  It is one of sparingly few pieces of lightheartedness amidst the turmoil. 

Chulpan Khamatova Photo by Irina Danilova

It is difficult to single out standout performances when this production hinges so much on complex and seamless collaboration.  However, it is amazing that Deb Martin as Zocha delivered a dedicated and stellar performance despite her recent real life injury improvising onstage using a wheelchair.  Chulpan Khamatova as Rachelka and Kirill Rubtsov as Rysiek give multilayered performances while Richard Topol as charming and idealistic Abram, Zach Fike Hodges who is especially compelling in dual roles including Jakub, and Gigi Watson as Dora are all unforgettable.

Deborah Martin and Gigi Watson in ‘Our Class’ Photo by Olga Maturana

The production is lengthy and it feels like it at times, though that can also be expected covering over an 80 year time span.  These creative and cautionary lessons are as poignant and significant as they are devastating as these characters face bullying, grief, death, impossible choices and shattered dreams in a world gone mad.  It may be too chilling and tense for some, but powerful nonetheless.

Full cast of ‘Our Class’ Photo by Olga Maturana

Directly sharply by Igor Golyak and based around true events, Arlekin Players Theatre continued Tadeusz Slobodzianek’s historical drama Our Class live and in person at Calderwood Pavilion in Boston, Massachusetts through Sunday, June 22.  Click here for more information.

REVIEW:  Tom Stoppard’s indelible epic ‘Leopoldstadt’ at the Huntington

Posted on by The Sleepless Critic

Flanked with brass and crystal embellishments, a gorgeous Vienna apartment is festively adorned as a beautiful upper class family celebrates Hanukkah….and then Christmas and the Nativity.  It is subtle at first, but there lies a divide in this extended Jewish family reaching further than 1899.  Over the stretch of 56 years through war, strife, turmoil, heartache and tragedy lays a growing divide that impacts generations and it only gets more complicated.

Directed conscientiously by Carey Perloff, The Huntington and Shakespeare Theatre Company presents Tom Stoppard’s epic Tony Award-winning production of Leopoldstadt live and in person at The Huntington in Boston, Massachusetts through October 13.  This multi-generational production is two hours and twenty minutes plus one 15 minute intermission.  Click here for more information and for tickets.

Left to right: The cast of Leopoldstadt b. Forefront (L to R): Brenda Meaney and Rachel Felstein
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

The Huntington has recently been presenting family multi-generational productions which include The Lehman’s Trilogy also directed by Perloff about the Lehman Brothers spanning a 163-year period before exploring the world of the Salomon family in Joshua Harmon’s Prayer for the French Republic spanning almost 70 years. 

Leopoldstadt is inspired by Stoppard’s own family experiences which span a pivotal time from 1899 to 1955.  The show has a large cast which explores resilience, identity, grief, survival, fear, hate, and the struggle with one’s own faith in the face of growing darkness.   

The cast of Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

Scenic designer Ken MacDonald impressively reflects transformation over time starting with the opening of the production in an opulent Vienna apartment with built-in bookshelves packed with various selections, a large decorated window with a stellar view of the city, a feast at the dining room table with a real Christmas tree lit with live burning candles.  The Merz-Jacobovicz family is decked out in their best in colorful embroidered gowns and classic patterns in velvet and lace as the men dress in timely suits by costumer Alex Jaeger.  A portrait of a family celebrating Hanukkah and Christmas on the same day as Phyllis Kay, in a dual role as Eva and here as fascinating Grandma Emilia, uses terms seemingly lightly such as ‘Christianized’ and presenting the tree ‘for the papists.’ 

Left to right: The cast of Leopoldstadt b. Foreground (L to R): Brenda Meaney, Nael Nacer
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

This extended family is its own melting pot of beliefs and heritage which is often explored through deep discussion between Brothers Nael Nacer as textile manufacturer Hermann and Firdous Bamji as mathematician Ludwig.  The conversations intensify as the show progresses between Hermann as a Jew converted to Catholicism and Jewish Ludwig as they explore politics and their stirring reasons behind their demeanors and beliefs as time and turmoil takes hold through two world wars and as a new generation enters the world.

Left to right: Holden King-Farbstein, Joshua Chessin-Yudin, Quinn Murphy, Firdous Bamji
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

Another key figure in the production is Brenda Meaney in a nuanced depiction of Hermann’s complex wife Gretl who is Catholic yet enamored with Jewish tradition and takes part in a scandalous and unpredictable storyline.  Samuel Adams is also memorable in a dual role as egotistical and shrewd Officer Fritz and English journalist Percy.  However, Mishka Yarovoy is haunting in a dual role as devastated soldier Jacob and Leo who are both replete with loss.

Left to right: Mishka Yarovoy, Nael Nacer, Brenda Meaney
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

This historically significant and symbolic production takes some time to build as does the nature of fascism in its escalating subtlety and the revelations in this production are deep and impactful.  The show’s affecting familial layers unfurl with resonance and familiarity as startling details take shape about these critical years including a riveting depiction of The Night of Broken Glass in 1938 infusing Jane Shaw’s stunning sound design, Robert Wierzel’s evocative lighting and Yuki Izumihara’s astonishing projections sure to stay with you long after the production has ended.  Leopoldstadt is a timeless and cautionary piece of theatre not to be missed.

The cast of Leopoldstadt
Tom Stoppard’s Leopoldstadt; directed by Carey Perloff
September 12 – October 13, 2024 at The Huntington Theatre, 264 Huntington Ave.
Photo by Liza Voll

Directed conscientiously by Carey Perloff, The Huntington and Shakespeare Theatre Company presents Tom Stoppard’s epic Tony Award-winning production of Leopoldstadt live and in person at The Huntington in Boston, Massachusetts through October 13.  This multi-generational production is two hours and twenty minutes plus one 15 minute intermission.  Click here for more information and for tickets.

REVIEW:  Love takes a spectacular turn in Reagle Music Theatre of Greater Boston’s picturesque ‘An American in Paris’

Posted on by The Sleepless Critic

Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo.  An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.

With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

Adam Hochberg (Jared Troilo) and Lise (Samantha Barnes) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo Credit Robert Pascucci

By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world.  Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.

A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance.  In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable.  Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm.  It’s simple and yet absolutely extraordinary.

Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance.  Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background.  Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals.  From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.    

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron.  However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill.  Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.

Pictured Lise Dassin (Samantha Barnes) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother.  They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck.  Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.

Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives.  It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me. 

Pictured l to r Milo Davenport (Rebekah Rae Robles) and Jerry Mulligan (Jack Mullen) in Reagle Music Theatre’s ‘An American in Paris’ Credit Robert Pascucci

With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance.  Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up.  It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad.  Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.

Pictured_ l to r- Jerry Mulligan (Jack Mullen), Adam Hochberg (Jared Troilo), and Henri Baurel (Christopher Lewis) in Reagle Music Theatre ‘An American in Paris’ Photo credit Robert Pascucci

Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight!  Get swept up in this beautiful musical as soon as you can.

Pictured Henri Baurel (Christopher Lewis) and Ensemble in Reagle Music Theatre’s ‘An American in Paris’ Photo credit Robert Pascucci

With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

REVIEW:  Reagle Music Theatre of Greater Boston looks at love and sacrifice in a breezy ‘South Pacific’

Posted on by The Sleepless Critic

Long ago and far away on the islands of the South Pacific, the turbulence of World War II leaves the South Pacific in peril.  The challenges that face this particular group of people may be the only thing that turns the tide.

Directed and choreographed by Rachel Bertone and adapted from James A. Michener’s Pulitzer prize-winning novel, Tales of the South Pacific, Reagle Music Theatre of Greater Boston kicked off its 55th season with Rodgers and Hammerstein’s Golden Age musical classic, South Pacific live and in person at the Robinson Theatre in Waltham, Massachusetts through Sunday, June 23.  This family-friendly production is approximately two hours and 30 min with a 15 minute intermission.   Click here for more information and for tickets.

Penelope Rhoads and Lola Rhoads in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Rodgers and Hammerstein’s South Pacific focuses on love, sacrifice, and survival during a turning point in World War II, but also features many lighthearted and humorous moments under Rachel Bertone’s direction and mix of delicate and energetic choreography from the endearing Dites-Moi featuring graceful Penelope Rhoads as Nguana and Lola Rhoads as Jerome to the high-spirited There is Nothing Like a Dame to the carefree comedy of Honey Bun featuring charismatic, wisecracking but well-meaning Luther depicted impressively by Brendan McGrady with a smirk and thick New York accent. With strong and engaging vocals navigated by Music Director David Coleman, South Pacific boasts a long list of Rodgers and Hammerstein’s revered American Standard classic tunes.

 Janie E. Howland’s breezy, tropical, and wicker-infused set includes painted tropical flowers, towering palm trees, and signs of significant locations as well as a surprising special effect with a helicopter.  Blended with Frank Meissner Jr’s radiant lighting, South Pacific illuminates compelling landscapes from dawn to daybreak as well as a gleaming aqua coastline.  Emerald City Theatrical’s terrifically retro costumes range from vintage cheerfully colored casual wear to authentic looking uniforms. 

Jennifer Ellis and Christopher Chew in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Jennifer Ellis blends effervescence and effortless charm as Nellie Forbush, a GI nurse from Arkansas who quickly falls for Christopher Chew as Emile de Becque, an older, worldly and mysterious Frenchman who resides on an island plantation.  Both are incredibly curious about the other and consider each other way out of their league.  Chew and Ellis share romantic tension-fueled chemistry, making it sweet to witness their awkward conversions.  There is warmth between these two and Chew’s marvelous vocals deliver a beautiful rendition of Some Enchanted Evening after Ellis shares her lighthearted nature in an enchanting rendition of Cockeyed Optimist.

Emile and Nellie seem to have a mature love that is often tested as the production progresses.  This show is less about love triangles, but more about love at first sight and the challenges that each one of them face as war hangs in the balance. 

Lisa Yuen in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Another captivating yet fiery presence is Lisa Yuen as determined, practical and shrewd businesswoman Bloody Mary.  Yuen’s candid, direct and persistent demeanor as a Tonkinese woman attempting to find success is excellent, especially as she outsmarts some GIs she encounters for a deal.  She has a wonderful rapport and chumminess with the GIs, especially during the number Bloody Mary through Bertone’s lively choreography.  Yuen shares a funny first encounter with Blake DuBois as cool, collected and enigmatic Lieutenant Joseph Cable who delivers a memorable rendition of Younger than Springtime.  Yuen’s Bloody Mary just might be the most earnest and levelheaded individual in the production, her haunting vocals on full display in Bali Ha’i and heartfelt alongside Calico Valasco as Liat in Happy Talk. 

Lisa Yuen and Calico Valasco in Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Some aspects of South Pacific still seem dated and a little cloying and with much respect to Rodgers and Hammerstein, South Pacific is not as emotionally charged as their other works and often found myself questioning the motivation of some of these characters.  For example, Ellis as Nellie seems impulsive and indecisive just as quickly as she seems so certain.   Perhaps it was just a different time.  Otherwise, Reagle Music Theatre of Greater Boston’s South Pacific is a memorable, family-friendly day at the theatre with a strong and timeless inherent message.

Jennifer Ellis as Nellie and the cast of Reagle Music Theatre of Greater Boston’s ‘South Pacific’ Photo by Bob Pascucci

Directed and choreographed by Rachel Bertone and adapted from James A. Michener’s Pulitzer prize-winning novel, Tales of the South Pacific, Reagle Music Theatre of Greater Boston kicked off its 55th season with Rodgers and Hammerstein’s Golden Age musical classic, South Pacific live and in person at the Robinson Theatre in Waltham, Massachusetts through Sunday, June 23.  This family-friendly production is approximately two hours and 30 min with a 15 minute intermission.   Click here for more information and for tickets.

REVIEW: Boston Lyric Opera’s ‘Madama Butterfly’ a mesmerizing and surprising metamorphosis

Posted on by The Sleepless Critic

‘I gave my tears into the earth, now it must give me back flowers.’ 

This is just a hint of Puccini’s masterful lyrics that encapsulates profound love and loss in Puccini’s epic classic 1904 Italian libretto Madama Butterfly presented live and in person at Emerson Colonial Theatre through Sunday, September 24.  This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1.  Click here for more information and more about Boston Lyric Opera’s season.

After their onstage wedding Butterfly’s Karen Chia-Ling Ho and Pinkerton’s Dominick Chenes love spills out onto the San Francisco streets PHOTO BY KEN YOTSUKURA

With heartrending direction by Phil Chan and stirring choreography by Michael Sakamoto, Madama Butterfly was delivered with an altered setting and contemporary flair over a period of time from 1941 to 1983.  Puccini’s Madama Butterfly is a searing and brilliant love story and the source material for the Tony award-winning Broadway musical, Miss Saigon.  This time, Madama Butterfly’s settings ranged from Hawaii to San Francisco to Arizona.  Jeanette Oi-Suk Yew’s multifaceted lighting not only reflected the shadows and watercolor reflection in a lively nightclub but the rich purple and rose of the horizon at daybreak as moving set pieces transported the audience to contrasting settings. Featuring multicolor fans, contemporary yellow crowns, and regal military uniforms, Sara Ryung Clement’s distinctive, silky, and shimmering costumes in bursting color embellished the festivities of the Club Shangri-La in Chinatown in San Francisco, where Navy officer B. F. Pinkerton, depicted with enigmatic sweetness by tenor Dominick Chenes and soprano Karen Chia-Ling Ho as naïve, proud, bubbly and devoted Butterfly or Cio-Cio San meet in 1941.  It will be a night they never forget.

Uncle Bonze Hyungjin Son center makes a shocking revelation about Butterfly Karen Chia-Ling Ho in BLOs new production of MADAMA-BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s production of Madama Butterfly had the audience gripped in a full range of emotions as the eye level live orchestra led by Annie Rabbat articulated Puccini’s moving array of arias punctuated by magnificent drums.  Boasting angelic vocals, Chia- Ling Ho blossomed as Madama Butterfly, her coy yet fragile depiction poignant and buoyant as she navigated through a plethora of challenges during World War II and Pearl Harbor.  Chenes and Chia-Ling had captivating chemistry only enriched by powerful vocals and enthralling dialogue.  Mezzo soprano Alice Chung at first offered an understated performance as steadfast and loyal Suzuki, but Chung’s depiction gradually culminated into one of the most endearing characters of the production alongside Troy Cook as compassionate and protective Sharpless.   Baritone Junhan Choi had a reduced role as Commissioner/Registrar in Madama Butterfly compared to the engineer’s meaty role in Miss Saigon, but Choi left his mark during each of his memorable scenes in a charismatic portrayal of dark humor and dastardly wit.

Suzuki Alice Chung l. laments the news Pinkerton Dominick Chenes brings with him in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Michael Sakamoto’s dynamic choreography ranged from delicate to fitful, most notably as Butterfly took the stage in a traditional dance with the Club Shangri-La performers and later in a stirring dance featuring Cassie Wang.  Wang’s symbolic performance was peculiar, heartfelt, foreboding and so riveting that it may remain ingrained into the psyche long after the performance has ended.

During a visit from Officer Sharpless Troy Cook r. Butterfly Karen Chia-Ling Ho center reveals a secret in BLOs new production of MADAMA BUTTERFLY PHOTO BY KEN YOTSUKURA

Boston Lyric Opera’s Madama Butterfly took some liberties from the classic libretto that dealt in immigration, bigotry, and patriotism in a surprising array of twists and turns and proved to be a production that will not soon be forgotten.

Boston Lyric Opera presented Puccini’s Madama Butterfly through Sunday, September 24 live and in person at Emerson Colonial Theatre in Boston, Massachusetts.  This expansive production was 2 hours and 25 minutes with one 20-minute intermission after Act 1.  Click here for more information and more about Boston Lyric Opera’s season.

REVIEW: New England Dance Ensemble presents evocative ‘A Child’s View of the Holocaust’

Posted on by The Sleepless Critic

New England Dance Ensemble founder Barbara Mullen knows that if people do not know history, they are doomed to repeat it.

On Sunday, April 16, the New England Dance Ensemble (NEDE) performed A Child’s View of the Holocaust at Temple Beth Abraham in Nashua, NH.  The show was free and a benefit for the nonprofit organization. The temple generously served lunch prior to the production.  This ballet was 40 minutes with no intermission followed by a brief Q and A session and the show is currently streaming online.   The audience was encouraged to pause in quiet reflection rather than applaud.  Click here for more information.

A Child’s View of the Holocaust presented by New England Dance Ensemble Photo credit to NEDE

Barbara Mullen, NEDE’s Artistic Director, first produced A Child’s View of the Holocaust in 1990 and it has become an educational tool for thousands of audiences in its over 30 year history.  Its purpose is to memorialize the youngest victims of the Holocaust to ensure society will never forget and these horrors will not ever be repeated.  Few survived to tell their story, but relatives of a few of the victims were present in the audience on April 16.

Set in 1939, A Child’s View of the Holocaust is a depiction of how insidiously and methodically the new Nazi regime darkened the world and lured millions of victims.  One million out of six million victims of the holocaust were children.  It shows the progression of once innocent school children in braids and plaids as they wave at their friends shortly before a new and harrowing reality unfolds.  The panic, the shame, the indignation, and the implied brutality are difficult to watch, but the discovery and final understanding is the most poignant piece in the production.

The Nazis, led by Anya Petravicz, snake like a menacing train.  Stiff, militaristic, and linear, the dancers invade with expressions vacant and unyielding.  Coordinated by ballet master Andrew Matte, the production has a wealth of physical engagement that implies violence, but is no less powerful. 

Students in ‘A Child’s View of the Holocaust’ Photo credit to NEDE

A Child’s View of the Holocaust is a collaborative and stirring production delivered with careful grace, skill, and sensitivity by these young performers.  However, Harrison Conellier as the Holocaust’s first victim and Ipeksu Yucel as a Jewish mother offer powerful performances in evocative surprise, anger, and anguish as they are forced into impossible decisions in this journey to find light in the depths of loss.

New England Dance Ensemble continues to offer this important production to different institutions for educational purposes.  NEDE will next present The Lorax followed by The Nutcracker in the fall.  Click here for more information.

REVIEW: Celebrity Series of Boston brought vintage effervescence to Boston with renowned touring group Paul Taylor Dance Company

Posted on by The Sleepless Critic

Forget those troubles and get happy with the lively, comedic, and exciting Paul Taylor Dance Company.

Infusing classical, big band, and swing with a modern twist, The Paul Taylor Dance Company zealously delivered comedy, athleticism, romance, drama as well as some reflective moments wrapped in vibrant costumes by Marc Eric and Santo Loquasto with Donald Martiny’s exuberant set design.

Celebrity Series of Boston presented renowned national touring group, Paul Taylor Dance Company for a limited engagement from April 14-16 live and in person at the Boch Center Shubert Theatre.  The show was two hours including two intermissions.  Click here to see where Paul Taylor Dance Company will perform next and here for a look into Celebrity Series of Boston’s upcoming events.

Somewhere in the Middle by Amy Hall Garner Madelyn Ho w L-R Devon Louis Lee Duveneck Austin Kelly John Harnage Photo by Ron Thiele

Bright colors gleam over a black landscape as Count Basie’s booming, horn-infused rhythms measure carefree spins and leaps in Somewhere in the Middle.  Effervescent and gleeful in bursting lime, coral, teal, and mustard by Mark Eric, Madelyn Ho, Lee Duveneck, Devon Lewis, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, and Austin Kelly delivered childlike wonder and an uplifting glow tumbling in somersaults and breezy lifts to heart thumping rhythms by Sarah Vaughan, Count Basie, Duke Ellington, and Bill Evans.  This joyful, upbeat spectacle, with captivating choreography by Amy Hall Garner, was only outdone by the subtle and spontaneous moments prevalent throughout the production.  A cheerful shout, an impulsive wave, a kiss on the cheek, a snap of the fingers, or a swift tap on the shoulder brought unique distinction to the performances, making it all the more thrilling.

Brandenburgs Full Cast photo by Ron Thiele

Brandenburgs, featuring music by Bach and his Brandenberg concertos, is an athletic, sophisticated, and romantic foray into classical ballet.  Featuring piano and fiddle-laden rhythms, dancers John Harnage, Eran Bugge, Madelyn Ho, Lee Duveneck, Alex Clayton, Devon Louis, Maria Ambrose, Shawn Lesniak, and Jake Vincent strut and promenade across the floor in regal stances which are at times, untamed, open, but always seamless by Paul Taylor.  Devon Lewis and Maria Ambrose deliver a romantic and moving Pas de deux which is the first of two reflective pieces within this production. 

Somewhere in the Middle by Amy Hall Garner Maria Ambrose Devon Louis Photo by Ron Thiele

Brandenburgs is a vigorous, rich, and robust performance that continues this compelling celebration, the second in a three part production.   Adorned in gold trimmed and flowing garments in various shades of green, the group’s impressive linear and synchronized movements depict elegance and grace ending their dance as it began. 

Company B Full Cast photo by Ron Thiele

The Paul Taylor Company saved the best for last with Company B, a salute to the famous Andrew Sisters.  Featuring the full cast that includes Christina Lynch Markham, Madelyn Ho, Kristin Draucker, Lee Duveneck, Alex Clayton, John Harnage, Maria Ambrose, Lisa Borres, Jada Pearman, Devon Louis, Jake Vincent, Jessica Ferretti, and Austin Kelly, the ten song tribute features enough liveliness and humor to lift anyone’s spirits.  Accessorized with flowers and simply dressed in flowing skirts and pants, white shirts, and accented red belts faithful to the late 30s and early 40s, Paul Taylor’s timely choreography infuses some popular dances of the era including the jitterbug, swing, the twist, and the polka in a mix of spontaneity, poignant reflections, and comic wit. 

One of the many highlights included a humorous spin to the Andrews’ upbeat and horn-infused rhythms of Oh Johnny, Oh Johnny Oh!  Featuring Lee Duveneck as a skipping Johnny in horned rimmed glasses and a gleeful smile, it is an unconventional, carefree and refreshing swing number about a guy who unwittingly attracts all the girls.  As the Andrew Sisters’ frank vocals state ‘You’re Not Handsome, it’s true’ the catchy song boasts more than its share of amusing, spontaneous, and sweet moments. 

Company B Lee Duveneck w cast Photo by Ron Thiele

Rum and Coca Cola features the art of the gaze as the tables are turned with Madelyn Ho under the captive eye of a spellbound group of men.  In a flowing, red trimmed skirt, Madelyn’s hip shaking, and high kicks as she flirtatious fans herself knock the boys off their feet.

Though the production is mostly spirited and joyous, Company B does make references to the poignancy of wartime with I Can Dream, Can I featuring Christina Lynch Markham’s beautiful solo dance recalling a faraway soldier.  The urgent Joseph! Joseph! depicts women, uncertain of the future, pleading to build a future with their boyfriends before they are shipped off to war.  Maria Ambrose and Devon Louis reunite for another duet for There will Never Be Another You, a bittersweet and symbolic number as memories of men pass by in haunting shadow by Jennifer Tipton. 

Paul Taylor Dance Company had a limited engagement in Boston, but they are still touring.  Click here to see where the Paul Taylor Dance Company will perform next and here for more of Celebrity Series of Boston’s dynamic, upcoming performances this season.

REVIEW:  Fueled by a tight knit cast, August Wilson’s ‘Seven Guitars’ by Actors’ Shakespeare Project strums a spiritual and resonating tune

Posted on by The Sleepless Critic

A shadow lingers over Pittsburgh, Pennsylvania.

In the aftermath of World War II, grief and death lingered like a shadow over the world’s existence.  In the late 40s in the Pittsburgh Hill District of Pennsylvania, that shadow hovers over a close knit group of friends in August Wilson’s gripping mystery, Seven Guitars.  Love, loneliness, grief, friendship, and the blues strike a chord as each character in Seven Guitars search for their share of happiness in an area nicknamed ‘The Crossroads of the World.’

Directed conscientiously by Maurice Emmanuel Parent, Actors’ Shakespeare Project presents August Wilson’s Seven Guitars through March 5 live and in person at Hibernian Hall in Boston, Massachusetts.  Hibernian Hall provides an intimate theatre setting without a bad set in the house.  Seven Guitars is intended for mature audiences and runs for two hours and 45 minutes with one 15 min intermission.  Click here for more information and tickets.

Vera at the Funeral (0034).jpg: Maya Carter (front) with Johnnie Mack, Dereks Thomas, Regine Vital, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Written after August Wilson’s Fences, it is easy to see a few of the earmarks of Wilson’s lauded work including Wilson’s rich and cadenced dialogue.  Fences and Seven Guitars are set in Pittsburgh in a neighborhood backyard, and some of the characters in Seven Guitars and Fences share some loose similarities including the ill-advised, but unwavering loyalty from Rose Maxson in Fences and Vera Dotson in Seven Guitars. 

Jon Savage’s inviting backyard scenic design features a multi-tiered set, colorful garden plot, mood setting hanging string lights, and an inhabited patio dining set. From lively to tense and shocking moments, Amanda E. Fallon’s affective lighting combined with Abe Joyner- Meyers’s mood induced sound design and Dewey Dellay’s haunting and carefully crafted music composition impressively maneuver this evolving and multi-layered production.  Costume Designer Nia Safarr Banks utilizes classic colors and retro patterns to enhance each character’s distinct personality including vintage flowing dresses and plumed bowler hats.

Red at the Funeral (0042).jpg: Johnnie Mack, Dereks Thomas, Maya Carter, Omar Robinson, and Regine Vital in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

However, one of greatest strengths of this particular production is Parent’s great care in the cast’s tight bond.  Whether pondering their own mortality, listening to the radio, shooting the breeze or gripped by a suspenseful moment, the cast easily draws in the audience by their natural and captivating chemistry.

Schoolboy with Bandmates (2793).jpg: Anthony T Goss, Dereks Thomas, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.
Schoolboy with Bandmates (2793).jpg: Anthony T Goss, Dereks Thomas, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Following the funeral of Floyd ‘Schoolboy’ Barton (Anthony T Goss), Seven Guitars follows a group of friends that gather to honor a complicated man.   Goss skillfully depicts Barton’s sass, swagger and charm, but also his admirable determination and dream to be among the haves than the have-nots.  His resolution for success makes him sympathetic despite his egotistically justifiable wrongdoings.  He has compelling chemistry with Maya Carter who delivers a moving performance as devoted, spiritual, and skeptical Vera.  Carter’s intense opening monologue is relatable and heartrending and Carter only gets better from there.  On a lighter note, Regina Vital’s fiercely independent, loyal, and charismatic Louise provides a wealth of humor and fun, especially when she goes toe to toe with Omar Robinson as Canewell, Dereks Thomas as Red Carter, or Valyn Lyric Turner as Louise’s seemingly impressionable niece Ruby.   Robinson as talkative and good natured Canewell, Thomas as ladies man Red, Mack as Hedley and Goss as Floyd share some engrossing camaraderie whether it is for a spontaneous dance with makeshift instruments, playing pranks on each other, or sharing their riveting musings about the future.  However, when they are enjoying themselves, it is a relaxed vibe that is a joy to watch.

Hedley Plays Along (1671).jpg: Johnnie Mack, Dereks Thomas, Anthony T Goss, and Omar Robinson in August Wilson’s Seven Guitars at Actors’ Shakespeare Project. Photo by Ken Yotsukura Photography.

Johnnie Mack delivers a searing and multi-dimensional performance as peculiar, lonely and hardworking dreamer Hedley.  In overalls and an apron, Hedley has lofty dreams and supportive friends, but lives in a sad reality.  Mack seamlessly navigates Hedley’s intermittent moods with rising tension weaved into some compassionate moments. 

Visions of grandeur, ambition, and destiny play more than a medley in August Wilson’s Seven Guitars on a landscape that has experienced harsh realities.  For August Wilson’s richly drawn and dynamic characters, one cannot help but share their hopes for a brighter future.

Actors’ Shakespeare Project presents August Wilson’s Seven Guitars through March 5 live and in person at Hibernian Hall in Boston, Massachusetts.  Click here for more information and tickets.

REVIEW:  Merrimack Repertory Theatre’s insightful ‘Erma Bombeck: At Wit’s End’ will delight more than the domestic housewife

Posted on by The Sleepless Critic

At long last, it is here and I can’t help being thrilled.

When Merrimack Repertory Theatre (MRT) first announced that Erma Bombeck: At Wit’s End would be part of MRT’s upcoming season, my heart leapt.  Having taken great joy in reading Bombeck’s comical works such as The Grass is Always Greener over the Septic Tank and If Life is a Bowl of Cherries, What Am I Doing in the Pits, I had high expectations for this production that ended up being delayed a few times due to Covid. 

Karen MacDonald in ‘Erma Bombeck: At Wit’s End’ Photo credit to Megpix/Meghan Moore

Sponsored in part by WBUR and intuitively directed by Terry Berliner, Merrimack Repertory Theatre presents Erma Bombeck: At Wit’s End virtually and live in-person at the Merrimack Repertory Theatre in Lowell, MA through March 13. The show is just over one hour with no intermission.  Click here for more information and tickets.

Erma Bombeck’s column about life as a housewife made her a household name.  She became the most distributed column in America and it is easy to see why.  Before I ever grasped the concept of being a housewife, I loved reading Erma Bombeck.  As an adult and still not a housewife, I still revel in her sharp and timeless humor.  She never misses a beat relating to women everywhere and though her advice dates back as early as the 60s, most of it remains relevant today.

Dan Zimmerman’s intriguing multi-level and colorful set is a relic of a 1960’s house equipped with period kitchen cabinets, dated upholstery, an old phone, and retro household appliances.  Joel Shier’s lighting is subtly appealing alongside Scott Stauffer’s charming and well-timed sound effects.  Though MacDonald is only present onstage, a supporting cast can be heard that lends to the pacing and a larger sense of realism to the production.

Karen MacDonald in ‘Erma Bombeck: At Wit’s End’ Photo credit to Megpix/Meghan Moore

In classic pearls and a blue floral dress, Karen MacDonald as Erma looks the quintessential housewife as she takes the audience from 1962 through 1996.  Bombeck longed to be a foreign correspondent and instead became a suburban housewife residing in Cherrywood Acres in Dayton, Ohio.  She quipped, ‘I blazed a trail all the way from the laundry room to the sink.’ 

Allison and Margaret Engel’s screenplay is chock full of clever anecdotes and MacDonald’s warm and inviting presence gradually feels like visiting with an old friend.  The quick, peppy, and semi-interactive screenplay is peppered with Bombeck’s astute observations as she shares her remarkable journey to becoming a writer, her zany family life, and gathering her sense of self over the years.   

Much like Julia Child of the same generation, Bombeck is self-deprecating in her imperfections and prides herself on honesty.  MacDonald slips into Bombeck’s natural and relatable tone comfortably brimming with advice, but never in a ‘know-it-all’ sort of way.   A few of her marvelous observational gems include ‘Why take pride in cooking when they don’t take pride in eating?’ or ‘My idea of housework is to sweep the room with a glance’ or ‘What doesn’t kill you now, comes back a few days later to try again.’

Karen MacDonald in ‘Erma Bombeck: At Wit’s End’ Photo credit to Megpix/Meghan Moore

That last piece of advice also resonates with the darker side of Bombeck’s humor.  Surprisingly, Erma Bombeck had her share of haters and struggles.  However, she proves herself a source of strength and fortitude.  Even her most serious reflections and recollections are met with a jovial and contemplative quip.  Though the production is considered mostly lighthearted, MacDonald as Erma manages to find humor in pain which is a rare quality indeed.       

Merrimack Repertory Theatre presents Erma Bombeck’s ‘At Wit’s End’ virtually and live in-person at the Merrimack Repertory Theatre in Lowell, MA through March 13.  Click here for more information and tickets.