The Sleepless Critic

REVIEW: Live and love Lyric Stage’s sparkling ‘The Drowsy Chaperone’

Posted on 2 Days Ago by The Sleepless Critic

Imagine a world where nothing is taken too seriously. For a hilarious and somewhat melancholy Paul Melendy as Man in Chair, The Drowsy Chaperone is a frothy, charming, and joyous piece of escapism from the reality outside his cozy apartment.

Masterfully directed and choreographed by Larry Sousa with lively musical direction by Matthew Stern, celebrate Lyric Stage Company’s 50^th season with Golden Age musical satire The Drowsy Chaperone live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, May 12. This partially interactive production is approximately one hour and 45 minutes with no intermission. Click here for more information and for tickets.

Joy Clark, Paul Melendy and Maureen Keiller Photo by Mark S. Howard

Having seen this gem of a musical done before at other venues, it was with great anticipation to witness this jubilant musical performed by another stellar cast. An average gloomy apartment is much more than it seems as a delightful Paul Melendy’s Man in Chair, tea in hand, decides to share his 1928 record, The Drowsy Chaperone, with the audience. As soon as the needle hits the vinyl, life is transformed.

Joy Clark and the cast of the Lyric Stage’s ‘The Drowsy Chaperone’ Photo by Mark S. Howard

From shimmering canary yellow feathered ensembles to timely velvet dresses and fishnets, furs, show stopping silver uniforms, colorful flapper flair, silks, polka dots, pinstripe suits and tails as well as nostalgic 20s hairstyles, costume designer Seth Bodie perfectly captures the vintage style and heightened glamour of the roaring 20s and Musical’s Golden Age. Cameron McEachern beautifully rewinds the clock with classic posters on brick walls, an enchanted old fashioned refrigerator and a stage on a stage likened to a vintage Cathedral radio illuminated by John Malinowski’s vibrant marquee lighting.

Mark Linehan and Jared Troilo Photos by Mark S. Howard

In a mismatched cardigan, button down shirt, maroon pants and mischievous mustache, the real magic behind The Drowsy Chaperone is in the introverted Man in Chair himself. Melendy is an enthusiastic jumble of observational quips, improvisation, Broadway wisdom, and impressive comedic chops while also infusing the past with wonderful contemporary nuances and truisms about life. Watching Melendy’s relatable, animated expressions and natural delivery absorbed in living vicariously is just engaging enough to not scene steal from the other marvelous characters onstage. However, it is such great fun watching Melendy observe and sometimes say what everyone else is thinking in this somewhat play-within-a play.

Jared Troilo and the cast of Lyric Stage’s ‘The Drowsy Chaperone’ Photo by Mark. S. Howard

Mistaken identity, a prohibition wedding, a self assured Aviatrix, and lots of champagne is just the tip of the iceberg as an assortment of wonderful characters join together for the 1928 wedding of Joy Clark as determined showgirl Janet and her love struck fiancé, Robert Martin portrayed by Jared Troilo. Clark shines in a glorious and flirtatious rendition of Show Off delivering snappy comedic timing and exuberant chorography as cameras flash. Though Clark’s Janet claims to be fiercely independent, she and Troilo make a cute pair with perfectly timed chemistry in the quirky number Accident Waiting to Happen. Troilo and Mark Linehan as best man George deliver an exceptional tap routine for the catchy number Cold Feet. Troilo’s physical comedy is terrific especially at a moment when he is quite literally knuckling across the stage for a laugh.

Todd Yard and Carolyn Saxon in Lyric Stage’s ‘The Drowsy Chaperone’ Photo by Mark S. Howard

In purple furs and a dramatic delivery reminiscent of a cross between Jennifer Saunders and Lucille Ball, Maureen Keiller kills it as The Drowsy Chaperone. Keiller’s dry humored style of nonchalance and extravagant spectacle is a fabulous combination as she delivers a show stopping rendition of As We Stumble Along and later sharing a wild encounter with Cristhian Mancinas-Garcia as self obsessed Latino Aldolfo who is sporting a striped suit and gleaming rings.

Kristian Espiritu. Damon Singletary and the cast of Lyric Stage’s ‘The Drowsy Chaperone Photo by Mark S. Howard

In a sharp pinstripe suit, Damon Singletary, recently seen as a pivotal gangster in Lyric Stage’s Sister Act, means business in his portrayal of calculating Feldzieg while Ilyse Robbins and Kathy St. George provide lots of laughs portraying a dynamic and tough talking pastry chef duo with an amusing affinity to puns. Robbins and St. George lead a rousing rendition of Toledo Surprise in a grand dance number fueled by some of the most popular dances of the era.

Yasmeen Duncan and the cast of Lyric Stage’s ‘The Drowsy Chaperone’ Photo by Mark S. Howard

What this all comes down to is raise a glass and enjoy the endlessly charming The Drowsy Chaperone! The Man in Chair will surely make room for you.

Masterfully directed and choreographed by Larry Sousa with lively musical direction by Matthew Stern, celebrate Lyric Stage Company’s 50^th season with Golden Age musical satire The Drowsy Chaperone live and in person at Lyric Stage Company in Boston Massachusetts through Sunday, May 12. This partially interactive production is approximately one hour and 45 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Packing and unpacking Praxis Stage’s impactful ‘The Birthday Party’

Posted on 5 Days Ago by The Sleepless Critic

‘What came first, the chicken or the egg?!!’

This line of interrogation provides an element of a number of surprises delivered by a pair of possible gangsters in Noble prize-winner Harold Pinter’s The Birthday Party. Harold Pinter’s thought-provoking work and style inspired many famous playwrights as well as greats in film and television. For example, it is rumored that Quentin Tarantino, inspired by Harold Pinter, patterned gangsters Samuel L. Jackson’s Jules Winnfield and John Travolta’s Vincent Vega in Pulp Fiction and their absurdist style of dialogue to Goldberg and McCann in The Birthday Party. The art of the chicken and the egg conversation to a dialogue about a Royal with Cheese gets curiouser and curiouser.

Keenly directed by James Wilkinson, Praxis Stage presented Harold Pinter’s comedy of menace The Birthday Party live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, April 28. Click here for more information.

Zair Silva, Daniel Boudreau, Kevin Paquette, Darya Denisova, Paul Valley, and Sharon Mason in Praxis Stage’s ‘The Birthday Party’ Photos by Alex Aroyan

Taking place exclusively in a seaside boarding house, The Birthday Party focuses on unassuming Petey, depicted with an air of laidback serenity by Paul Valley, his anxious and chatty wife Meg, portrayed with tightly wound cheerfulness by Sharon Mason as well as boarder and unemployed pianist Stanley in an impressively mercurial performance by Zair Silva. With Petey and Stanley’s mixed participation, Meg navigates her daily routines at the boarding house with a plastered smile and a meticulous, yet monotonous zeal. However, a monkey wrench is thrown into the equation when two mysterious guests named Goldberg and McCann suddenly rent a room and everyone anticipates their imminent arrival while Stanley instantly feels a sense of doom.

Make no mistake, The Birthday Party is indeed about a birthday party which is a joyous occasion celebrating a milestone, but what if it is also merely an annual ritual done on any given day in which one is expected to celebrate?

The Birthday Party may render you speechless, a bit disoriented and frustrated, yet you will find yourself invested in this peculiar production’s motivations and outcomes. This dark comedy examines human nature from a Noble prize-winning playwright’s absurdist perspective leaving much to interpretation. Pinter shakes up each character’s expectations and was known to loath explaining his craft and or his characters’ real motivations.

This gripping cast is more than up to the challenges this complicated show offers with quick witted timing as moods and situations change on a dime often with breakneck speed. Mason’s Meg instinctive caretaking habits build a warm rapport with Petey while she shares a bizarre maternal affinity toward Stanley with the exception of a scene using the unnerving word, ‘succulent.’ Beautiful Darya Denisova as adventurous and flirtatious Lulu has ideas of her own.

Kevin Paquette in Praxis Stage’s ‘The Birthday Party’ Photo by Nile Scott Studios

Daniel Boudreau as Goldberg and Kevin Paquette as McCann make an intriguing, focused and stealthy pair. An avid and smooth storyteller, Boudreau is a natural as Goldberg, swaggering with unmitigated charm and authority while brawny McCann is a sly sidekick. Whether they are deliberate and threatening or schmoosing with feigned gallantry, each of Goldberg and McCann’s movements keeps the audience guessing. Some of the most intense and challenging sequences occur between Silva, Boudreau and Paquette demonstrating a rollercoaster of emotions that will leave you at the edge of your seat with questions left unanswered.

The Birthday Party is shrewd, shocking, and suspenseful, even over what seems like the ridiculous. More often than not, Pinter’s work is not what it seems and reality is often blurred. However, order, chaos, and delusion all play massive roles in this cast of ambiguous characters. Where there is warmth, there is order. Where there is panic, there is chaos and where there is delusion, compassion creeps in.

Keenly directed by James Wilkinson, Praxis Stage presented The Birthday Party, a comedy of menace, live and in person at Chelsea Theatre Works in Chelsea, Massachusetts through Sunday, April 28. Click here for more information.

REVIEW: Ben Makinen offers a fresh take on Jazz history and more in new documentary ‘Echoes of Tradition’

Posted on 9 Days Ago by The Sleepless Critic

Mary Lou Williams, featured in the National Women’s History Museum in Virginia, mentored jazz greats such as ‘Dizzy’ Gillespie and Charlie Parker. The latter two names may have become legendary, yet the former name is not quite as familiar. However, the significant impact she had on Jazz should have put her on equal footing. Among many other topics, Ben Makinen’s Echoes of Tradition offers an explanation.

Since Jazz’s roots are about breaking the rules, Ben Makinen’s latest documentary breaks tradition by highlighting exceptional and groundbreaking musicians while calling for change.

Written, directed, and produced with remarkable reflection by Ben Makinen, Echoes of Tradition is a comprehensive and absorbing jazz documentary that runs just under an hour. Click here for more information.

In Who Killed Jazz, featured at the New York City Indie Film Festival in 2022, Makinen explored the evolution of live music and the impact of today’s surging technology, the expansion of creativity and simultaneously the lack of original ideas, the use of sampled music and jazz’s vast array of music influences. Echoes of Tradition looks back at jazz’s history and fascinating roots while also highlighting some notable talents such as Dean of Jazz Arts at the Manhattan School of Music and Canadian trumpeter Ingrid Jenson, Berklee College of Music’s Brass Department Chair and Trumpeter Tanya Darby, Indian DJ Harleen “Leen Tree” Singh, and Native American trumpeter Delbert Anderson who share their outlooks on Jazz’s lack of inclusiveness as well as their love for the genre. Both documentaries place an emphasis on music as a universal language, a source of camaraderie, and one of the most powerful forms of therapy and healing. Losing sight of music’s inherent unifying power could make for a bleak future.

Echoes of Tradition is an enlightening and optimistic film which brings thought provoking insight to a number of prevalent topics. Filmed all over the world with multilayered cinematography and a blend of modern and vintage flair of city landscapes as well as historical portraits and photos, Echoes of Tradition offers wonderful behind the scenes footage, insight from distinctive jazz musicians, some memorable jam sessions and much more. Among some of the notable performances include Delbert Anderson’s Heart Passage, a gorgeous acapella rendition of an Indian hymn sung by Harleen ‘Leen Tree’ Singh, and Julia Keefe’s lively rendition of You’d Be So Nice to Come To.

Ingrid Jansen and Julia Keefe are among the many musicians taking the stage at the Mary Lou Williams Jazz Festival live and in person on May 10 and 11 at the Kennedy Center in New York City. Click here for more information and tickets.

REVIEW: ‘Hadestown’ a soulful and eternally hopeful journey

Posted on 13 Days Ago by The Sleepless Critic

In Hadestown, there is nothing quite like a song.

Though I’m not normally a fan of mythology, Hadestown has a universal appeal as a soulful journey through faith and love with idealistic expectations and earnestness of what could be. A dream awakened of a love not tethered to a world of capitalism and poverty. Pure and untarnished was Orpheus and Eurydice.

Will Mann, Amaya Braganza, J. Antonio Rodriguez and Company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Directed intuitively by Rachel Chavkin with pulsing and dynamic choreography by David Neumann and stirring music, lyrics and book by Anaïs Mitchell, Tony award-winning Hadestown continues at the Boch Center Wang Theatre in Boston, Massachusetts live and in person through Sunday, April 28. The production is two hours and 30 minutes including one intermission. Click here for more information and tickets and here for its next stop on its national tour.

Will Mann and company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Set in a New Orleans-style depression era with a steam punk vibe and fueled by Bradley King’s brilliant lighting, Hadestown explores a mystical world of gods, men, and the social divide of the haves and have nots. This world is dark in more ways than one, but King’s amazing lighting dances like the characters onstage through spotlights to glowing lanterns to strobe lights to illuminating headlights – fierce, occasionally harsh, luminous and lively. Accented with a wrought iron balcony, etchings and green walls, scenic designer Rachel Hauck infuses classic New Orleans finesse with hidden tunnels and functioning railroad whistle. A sparkling black umbrella is just a hint of the unique, Victorian, steam punk-inspired costumes by Michael Krass steeped in mostly black and white that emphasize vibrant bursts of color featuring pinstripes, metal, and leather.

J. Antonio Rodriguez and company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

With a haunting horn and fiddle-infused soundtrack that blends folk, blues, and New Orleans-style jazz delivered by an intimate onstage band, Hadestown boasts a plethora of edgy, powerful and distinctive vocals unique to each character. Chant and Way Down Hadestown are especially catchy and inventive tracks in a unique collection of pops, clicks, and layered harmonies.

Will Mann in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Narrator, advisor, and consoler Will Mann affably portrays Hermes with self aware warmth and an interactive hint of wistfulness skillfully drawing the audience into this multilayered tale. With soaring vocals and an exuberant yet tough exterior, Amaya Braganza glows as wanderer Eurydice. Sporting blue hair, ripped stockings, and black boots, Braganza as Eurydice is vibrant and helplessly taken by naïve, romantic, humble, and spontaneous musician Orpheus, depicted with endearing charm by J. Antonio Rodriguez. Together they perform a soothing and vulnerable rendition All I’ve Ever Known. High tenor Rodriguez has an angelic falsetto hitting notes that seem otherworldly for Doubt Comes In.

J. Antonio Rodriguez and Amaya Braganza in ‘Hadestown’ North American Tour 2023. Photo by T Charles Erickson

With a rock star swagger and strut, Matthew Patrick Quinn breaths into Hades a rich and authoritative baritone and scene stealing wit behind thin dark shades. He wields the atmosphere driven by coal, capitalism, and soulless innovation especially prevalent in Quinn’s rendition of Why We Build a Wall. With electric blue eye shadow and a lustrous lime dress with florals, Lana Gordon is striking as Persephone with fervent vocals to match. Gordon performs a memorable duet with Quinn for How Long and navigates Our Lady of the Underground with a remarkable belt.

Lana Gordon and company in ‘Hadestown’ North American Tour 2023. Photo by T Charles Erickson

Marla Louissaint, Lizzie Markson, Hannah Schreer depict three mesmerizing and elusive Fates. They personify the conscience, the doubt, the fear, and the creeping proclamation of humanity’s shortcomings in a trio of chiming harmony. Burning into the psyche, their ascending vocal prowess is emphasized in an impressive and partially acapella rendition of Nothing Changes, soaring When the Chips are Down and in their role in Hadestown’s signature number Wait for Me.

J. Antonio Rodriguez, Marla Louissaint, Lizzie Markson and Hannah Schreer in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Hadestown reflects the shortcomings of being human while the pettiness of the gods weighs in the balance of everyone’s fates culminating into a gripping finale. Eternally hopeful, Hadestown is a profound journey definitely worth the trip.

REVIEW: Firecracker moments drive Hub Theatre Company of Boston’s ‘Burn This’

Posted on 20 Days Ago by The Sleepless Critic

A freak accident and a strange wake beg a lot of questions. Then suddenly, a combustible force enters Anna’s smoldering world and there is little she can do to stop it.

With nimble direction by Daniel Bourque, Hub Theatre Company of Boston sparks its 12^th season with Lanford Wilson’s Burn This live and in person at Boston Center for the Arts in Boston, Massachusetts through Sunday, April 21. This show contains strong language as well as adult themes and runs approximately two and a half hours with one intermission. All shows are at a pay what you can basis. Click here for more information and for tickets.

Steve Auger, Tim Hoover, Kiki Samko, and Victor L Shopov in Hub Theatre Company of Boston’s ‘Burn This’

Inside an upscale New York City loft apartment, Burn This delivers firecracker moments which starts as a slow burn. The one with the long fuse is Kiko Samko as Anna, an often saintly dancer who is experiencing a creative block after the death of her roommate, Robbie. With flirtatious flair and a dramatic persona that relieves some of the production’s tense moments, Steve Auger humorously portrays Anna’s other roommate, Larry. Anna is involved in a complicated relationship with Tim Hoover as wealthy screenwriter Burton who is struggling with his next screenplay. United in their grief over the loss of Robbie, they share hesitation about their future.

Kiki Samko in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

With the audience situated on two sides of the stage, Justin Lahue’s elegant and spacious set design of an upscale loft apartment features a cluttered kitchen, modern furniture and a broad black and white staircase as well as elements of artistic flair including a shadow painting of a dancer. Distinct modern light bulbs hang from the ceiling and well-timed lighting by Emily Bearce bolsters the production’s warm and intense moments along with Asad Harwick’s occasionally startling sound design. Costume designer Nohely Roman blends sophisticated and athleisure leaning on silks and a (surely) designer black tracksuit, pinstripes, and lace in bold and classic colors.

Kiki Samko and Tim Hoover in Hub Theatre Company of Boston’s ‘Burn This’ Photo credit to Tim Gurczak

Samko’s Anna is a complex character who shares a natural camaraderie with Auger and Hoover as they embark on some animated discussions about life and their artistic challenges. Hoover as Burton is sensitive and protective of Anna and they clearly share a sweet rapport. Anna is drawn to taking care of people and her patience and considerate nature does not always serve her well.

Kiki Samko and Victor L. Shopov in Hub Theatre Company of Boston ‘Burn This’ Photo credit to Tim Gurczak

Making a firecracker of an entrance is Victor L. Shopov as Robbie’s fast talking, furious, and often tumultuous brother, Pale and suddenly, Anna’s mostly predictable world abruptly experiences some chaos. Samko and Shopov possess some genuine chemistry and Burn This dives into extremes between calm and calamity in the form of Pale who infuses a lightning rod of energy into each appearance. In a gray suit, Shopov’s Pale is an all business workaholic while Samko’s Anna is meditative and nonviolent. Their encounters are fascinating and at times infuriating as Anna’s long fuse is perpetually tested to the point when you just want Anna to finally say enough while Samko and Shopov keeps the audience invested in the outcome. Samko’s horrified stares and Shopov’s potent audacity are much more than meets the eye and this unique connection delivers some surprising results.

Burn This is an exploration of loss, the confusion that ensues, and the journey of finding hope when all looks bleak. That journey can be uncomfortable but necessary in order to find the way through and Burn This lends some humor and hope, even in an uncertain future.

REVIEW: Joy and grief co-exist in Anthony Rapp’s moving ‘Without You’

Posted on 28 Days Ago by The Sleepless Critic

Author Nancy Berns once reflected, ‘There is freedom in knowing you can carry joy and grief together.’

Joy and grief coexist in Without You, a one man production performed by award-winning actor and singer Anthony Rapp. Known for his performance in the Pulitzer prize-winning musical Rent, Rapp weaves together a deeply personal portrait of the story behind the hit musical, his experiences as an actor, and the love and losses in his life. Featuring a mix of original music and beloved songs from Rent and based on Rapp’s 2006 memoir Without You: A Memoir of Love, Loss and the Musical Rent, Without You is a moving production for those who have seen Rent, but it is not necessary to see Rent in order to appreciate this production. It might encourage you to see it for the first time or revisit it after the production is over.

Seasons of Love

Directed conscientiously by Stephen Maler with insightful Music Direction by Daniel A. Weiss, ATG Colonial presents Anthony Rapp’s one man musical show Without You live and in person at the Calderwood Pavilion in Boston, Massachusetts through Sunday, April 14 and is also touring. This production is 90 without an intermission. Click here for more information and for tickets and here for the production’s tour schedule.

Anthony Rapp’s ‘Without You’ Photo by Russ Rowland

Rapp is contemplative of what he has been through privately and professionally with a variety of personal nuances to make it his own. With authentic scrapbook style flair by light and scene designer Eric Southern, a projected brick wall boasts a variety of Rapp’s taped newspaper clippings, vintage playbills, and weathered New York City landmark photographs, Rapp’s apartment, and even an touching handwritten note. The resplendent multicolor lighting and ambiance seem inspired by Rent itself. The production has a casual 90’s vibe with Rapp in a flannel shirt and sneakers by Angela Vesco and Rapp sets his own props during the production.

Having had phenomenal success as an acclaimed hit musical in the 90s that became one of the longest running shows on Broadway and gone one to be performed around the world as well as a film adaptation of the same name that also starred Anthony Rapp in 2005, it is amazing to think that Rent is closing in on its 30^th anniversary since Rapp’s first Rent audition. Rent is a daring, joyous, raw, and poignant musical about a group of 20-somethings living in New York City. It explores love, loss, hardships, dreams and realizations all while this group struggles to make the rent.

Anthony Rapp is speaking from personal experience as a struggling actor in New York City who worked at Starbucks to make ends meet as he embarked on auditions. Rapp’s mother encouraged his singing more than his acting recalling Rapp’s childhood roles as Snoopy and Oliver. With an innovative onstage band, Rapp tells an engaging and inspiring account recalling the invaluable friendships he made along the way including a beautiful event called the Peasant Feast. Rapp sings Seasons of Love wistfully, talks of his affinity for La Vie Bohème, hopeful Another Day, and a sweet rendition of Without You as well as the endearing original Carry Me Home, and the darkly quirky Wild Bill.

Having lost my father recently, Without You genuinely captures the sting and elusive solace of grief while Rapp immerses himself in mimicking the voice and mannerisms of each significant character in his heartfelt story including his mother, Rent creator Jonathan Larson and music director Michael Greif. Rapp’s warm, humorous, and spirited inflections were especially memorable in a stunning moment with Cy coaxing Rapp that the only way out is through.

REVIEW: A toast to Patti Lupone’s fabulous ‘A Life in Notes’ presented by Celebrity Series of Boston

Posted on April 9 by The Sleepless Critic

To say it was an honor to witness Patti Lupone’s brilliance onstage is an understatement. Having won three Tony Awards and two Grammy Awards, this Julliard-trained American Theater Hall of Famer from Long Island has proven time and again she is a master of her craft and it is easy to see why through her personal musical memoir A Life in Notes.

Conceived and warmly directed by Scott Wittman with inspiring music direction by Joseph Thalken, Celebrity Series of Boston presented Patti Lupone: A Life in Notes live and in person at Symphony Hall in Boston, Massachusetts for one night only on April 2. The show was 2 hours including one intermission and is touring around the country. Click here for more information and here for what is up next during Celebrity Series of Boston’s exciting season.

Patti Lupone and Brad Phillips Photo credit Robert Torres/Celebrity Series of Boston

Accompanied by pianist Joseph Thalken and Brad Phillips on strings, Patti Lupone made an endearing emotional entrance having been greeted by a roaring standing ovation from the audience. Donning a glimmering flirty black suit and sparkling earrings before later stepping into a shimmering showstopper with flowing cape, Lupone launched into a heartfelt and stirring rendition of Leon Russell’s A Song for You. The opening number was just the first of several touching moments during this production.

Part autobiography and part love letter to her fans, A Life in Notes is a beautiful tapestry of music which includes American Standards and Broadway that have made an indelible impact on this mezzo-soprano’s life and career so far. Humble and gracious, Lupone is a sharp and avid storyteller sharing her personal experiences while reflecting on valuable life lessons. She delivered each refreshing number with a mix of charisma, wit, style and creativity as the tale behind the song unfolds sharing her reflections on growing up on Long Island before establishing her decades -long career. Bathed in luminous purple, orange and gold lights, Lupone took the stage in front of a baby grand piano topped with a large bouquet of elegant roses as Thalken and Phillips provided accompaniment and smooth harmony to Lupone’s exceptional vocals.

Patti Lupone and Joseph Thalken Photo credit Robert Torres/Celebrity Series of Boston

As a fan who hoped to hear Sondheim’s Ladies Who Lunch in which she offered with all the incomparable passion and attitude that this song suggests, her selections covered some of her most memorable numbers and a few unexpected gems. Andrew Lloyd Webber and Tim Rice’s distinctive Don’t Cry for Me Argentina on strings sounded as epic as it did when she originated the role as Eva Peron in Evita. Lupone cheekily shook to Bagdasarian and Saroyan’s upbeat Come On-A My House and boasted fiery vocals for Jules Stein and Stephen Sondheim’s commanding Some People. Shelton’s yearning Lilac Wine and catchy Jameson and Feller’s Summertime, Summertime captured her experiences falling in love.

Patti Lupone Photo credit Robert Torres/Celebrity Series of Boston

Patti Lupone’s exciting life has had its tumultuous times living during the age of the Atomic Bomb and the turmoil of the 60s as well as building her success in New York City. She took the time to movingly pay tribute to loved ones as well as those who have passed away. Lupone’s pliable vocals and amazing range shine for Cole Porter’s Every time we Say Goodbye as well as for a darkly humorous, saucy and surprising rendition of Jerry Lieber and Mike Stoller’s Ready to Begin Again, which after hearing it for first time, has become of my favorite numbers. All of Patti Lupone’s personal touches, reflections, and compelling music selections made for a wonderful evening worth celebrating.

REVIEW: ‘Driving in Circles’ a winding and resilient concert journey at Boston Playwrights’ Theatre

Posted on April 3 by The Sleepless Critic

Now here is something refreshingly different.

Directed with energizing flair by Sam Plattus, innovative sound design by Gage Baker and cleverly written and performed by Jay Eddy, Boston Playwrights’ Theatre presents Driving in Circles live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Saturday, April 6. This new, deeply personal concert-style work is 100 minutes with no intermission. Click here for more information and for tickets.

Jordan Palmer Zach Fontanez and Jay Eddy in Driving in Circles Photo credit to Scornavacca Photography

Infusing storytelling, relatable humor, and a fascinating blend of hard hitting and uplifting original music, Everett-born Jay Eddy as Jill/Bill is a witty individual who has faced a daunting set of physical and emotional challenges at a young age. Eddy is raw, honest, funny, and self deprecating tackling trauma at its core as well as the aftershocks of these events demonstrated in a catchy opening number that explains how to survive an earthquake. Eddy counts backwards in time at the prevalent ages in which Eddy endured these hardships.

Jay Eddy on guitar in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Scenic designer Danielle DelaFuente with set construction by Carly Stegall has fittingly set up a highway rest stop with a dart board, colorful vintage license plates and vinyl records. A hanging pink bathrobe is just one of the significant Easter eggs shown on Eddy’s reflective journey. Wearing red eye shadow and white boots, Jay Eddy, keyboardist Jordan Palmer, and guitarist Zach Fontanez sport similar blue uniforms by costume designer Eric Tran as they perform on a staged road while lighting designer Kevin Fulton sets an atmospheric vibe including twinkling lights and multicolored linear array lights that illumine each performer’s space.

Jay Eddy sharing a humorous weather report in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Driving in Circles is essentially an emotionally-charged concert road trip through a variety of beautiful and traumatic events that have shaped Eddy’s life. It is powerful, sad, and disturbing at times, but is also hopeful, charming and lighthearted on this unpredictable road to healing. This is not lighthearted fare and the material is a bit too serious to be considered standup, but Eddy’s enthusiasm and interactive style is relatable, warm, sincere, and funny. Sharing home movies creatively projected by Maria Servellón, Eddy is not limited to the stage and engages the audience in a compelling manner that makes you feel a part of her journey brimming with detours, twists and turns on past road trips and misadventures that include destinations such as Seattle, Nashville, Vermont and Maine. Driving in Circles contains plenty of local references and Eddy shares a compelling and relatable tale getting lost on the road in what should have been a simple trip to the dentist.

Jay Eddy in ‘Driving in Circles’ Photo credit to Scornavacca Photography

Eddy’s original electronic music is performed on the spot as lead vocals in a three piece band. Eddy is a master on the audio board expertly delivering vocals and sound effects while keyboardist Jordan Palmer and guitarist Zach Fontanez enhance this dynamic blend of lively songs. Eddy is a powerful, edgy and expressive singer and it is amazing to listen to it navigated through the audio board, but Eddy’s bare vocals are also incredibly affective. Shrill Woman, Time Traveler, Another Day, the soothing You’ll Feel Better with Fontanez delivering a notable guitar solo, uplifting The Dog Days of Summertime and hopeful The World is Ending Anyway are just a few highlights.

Jay Eddy in ‘Driving in Circles’ Photo Credit Scornavacca Photography

A perceptive work with plenty of heart, Driving in Circles is a powerful and original work about resilience and hope even through harrowing events. Eddy demonstrates music’s healing power through art as well as the music that helped Eddy cope from artists such as Simon and Garfunkel and Tom Petty. After all, Driving in Circles can still lead to beautiful destinations.

Jordan Palmer, Jay Eddy, and Zach Fontanez in ‘Driving in Circles’ Photo credit to Scornavacca Photography

REVIEW: The Company Theatre’s ‘A Gentleman’s Guide to Love and Murder’ less mystery and more refined humor

Posted on March 29 by The Sleepless Critic

How far would you go to get ahead in the world as well as get the object of your desire?

Co-directed drolly by Zoe Bradford and Sally Ashton Forrest with jolly musical direction by Robert McDonough, The Company Theatre takes a satirical look at the haves, the have nots, and the ones desperate to rise above their station in Robert L. Freedman’s musical comedy A Gentleman’s Guide to Love and Murder continuing live and in person at the Company Theatre in Norwell, MA through Saturday, March 30. This zany production is a lengthy 2 hours and 20 minutes including one intermission. Click here for more information and for tickets.

Ryan Barrow’s partially projected set with Dean Palmer Jr. is quite literally a vintage gold and marble stage within a stage boasting some elaborate backdrops with a portion of it used to set up some dark comedy including a towering chapel, royal mail, a floral garden adorned with English lavender, a positively pink aristocratic parlor, an aesthetically animated snow-covered ski resort and a dour grave site. Ostentatious and detailed rich velvet dresses, top hats, corsets, high boots, and lacy frills are just part of what Joe Michienzie costumes with specialty costume pieces by Kathryn Ridder use to authenticate the propriety of Edwardian England.

A grave event in ‘A Gentleman’s Guide to Love and Murder’ Photo by Zoe Bradford

The show opens with a juicy Warning to the Audience of more elaborate treachery and danger than the actual musical delivers. Leaning far more on humor and murder and less on mystery, what starts as a surprising discovery becomes a plot so thick and absurd that even a gentleman can not quite believe it. Down on his luck Monty suddenly discovers he just might be eighth in line in the revered D’Ysquith (emphasis on the DIE with a rat a tat ring to each family name) family to become the Earl of Highhurst Castle shortly after his mother’s death. Bonnie Gardner as kindly and direct Miss Shingle is the bearer of this questionably reliable news in You’re a D’Ysquith. Becoming an Earl would mean a massive fortune and a sterling reputation. How does a gentleman consider murder to win the object of his desires and become an Earl?

A Gentleman’s Guide to Love and Murder has a lively and engaging cast especially during a bit of humorous shuffling at Highhurst Castle and a comically grim scene for Why are all the D’Ysquiths Dying? This brand of refined humor right out of the BBC is tailor made for Anglophiles and though it is about love and murder, its satirical tone makes for a gallivant into the misdeeds of one Monty Navarro, depicted with a polished air and a hint of desperation by Justin Maloney. Maloney as Monty is a proper chap and is part narrator as he guides us through this fiendish journey, but he is more matter of fact than dangerous and it would benefit him to exhibit at least some hidden dastardly tendencies. Perhaps this is part of the absurdity of it all. Monty’s character is exemplified in a championing rendition of The Last One You’d Expect.

Justin Maloney and Dru Daniels Photo by Zoe Bradford

Dru Daniels, who dazzled as Lily in Company Theatre’s The Secret Garden, lends her wonderful vocals to depict Sibella Halliward, a status-hungry gold digger and the object of Monty’s desire. Prim and proper surrounded by extravagance, Sibella is a woman who knows what she wants but otherwise her feelings for Monty seem genuine. The numbers I’ve Decided to Marry You and That Horrible Woman alongside Stephanie Mann as Cousin Phoebe D’Ysquith boasts clever staging and one of the most exciting parts of the production.

Jason Denton meets the challenge of depicting a number of short lived characters where some work better than others, but the two characters that stood out was a buck toothed, architecture-obsessed Reverend Lord Ezekiel D’ Ysquith, and thick mustached fox hunter called Lord Adalbert D’Ysquith. With lively and dusty portraits in the background, Denton’s I Don’t Understand the Poor is heightened by Denton’s humorous delivery and madcap charm. Also Denton as Lord Adalbert D’Ysquith and Alyssa Norton as his Lady Eugenie’s passive aggressive banter is comic gold.

Alyssa Norton and Jason Denton Photo by Zoe Bradford

REVIEW: The risk of depending on one another in SpeakEasy Stage Company’s tender ‘Cost of Living’

Posted on March 29 by The Sleepless Critic

‘It’s just unfortunate that some people have already lived a lot of life before they meet other people.’

This introspective observance is one of several pearls of wisdom from Martyna Majok’s insightful and perceptive script focusing on four struggling individuals in two parallel and intersecting stories as SpeakEasy Stage presents Pulitzer Prize-winning play, Cost of Living live and in person at Calderwood Pavilion in Boston, Massachusetts through Saturday, March 30. Sensitively directed by Alex Lonati, this thought provoking production contains strong language, adult themes, and runs 1 hour and 40 minutes with no intermission. Click here for more information and for tickets.

Scenic director Janie E Howland’s muted colored set includes blocks of windows stacked in various sizes as shadows of individuals glow in pastel illumination by lighting designer Amanda E. Fallon. We are the observers of these two pairs of individuals and Fallon infuses subtle and colorful lighting on Howland’s muted colored set seemingly to illustrate not only the other tenants in the building, but the art of observing.

Lewis D. Wheeler as Eddie in ‘Cost of Living’ Photo by Nile Scott Studios

Cost of Living focuses on the journey of living itself including the kindnesses and the sufferings people can endure externally and internally. These four individuals have been through different degrees of hardship and find themselves having to depend upon one another for some relief as they each attempt to make a new start in life. With easygoing demeanor and insightful charm, Lewis D. Wheeler is mesmerizing as a recovering alcoholic and unemployed truck driver Eddie. Wheeler’s engaging opening and personable monologue pulls the audience into his consuming thoughts and complicated heartache. Tough talking yet with penetrating vulnerability, Stephanie Gould movingly depicts Eddie’s estranged wife Ani who suffers from a shattered spinal cord as a result of a devastating accident. Both lonely individuals in North Jersey, Gould’s dark wit with a dash of satirical humor as Ani blends intriguingly well with Eddie’s ease and their sporadically humorous banter and relatable conversations sharing their innermost thoughts, dreams, hopes, and fears reflect the nature of their longevity together. Their tense familiarity is apparent even in their physical interactions. As Anna Drummond’s adsorbing sound design delivers Erik Satie’s Gymnopédie in the background, this familiarity is exemplified in a rush of emotions as Eddie and Ani discuss the therapeutic power of music.

Gina Fonseca as candid yet secretive Princeton graduate and immigrant Jess struggles to make ends meet in Brooklyn, NY and is being considered to care for Sean Leviashvilli as steadfast, cautious, and wealthy graduate student John who has cerebral palsy. John needs someone who as he states ‘will keep me handsome’ such as shower and shave him daily. Jess is driven and insistent that she is the person for the job, but John is hesitant because he has had other caretakers who have not worked out. Fonseca as Jess and Leviashvilli as John share a chatty and awkward tension as they discover nuances about each other and at times strike up endearing camaraderie.

Stephanie Gould as Ani and Lewis D. Wheeler as Eddie in ‘Cost of Living’ Photo by Nile Scott Studios

Martya Majok’s Cost of Living not only explores surviving financially, but the risk and agony of putting trust in another person. This show tackles some difficult and heartrending topics with a resonating message delivered with eloquence, humor and sincerity as unpredictable as life itself.

SpeakEasy Stage Company presents Pulitzer Prize-winning play, Cost of Living live and in person at Calderwood Pavilion in Boston, Massachusetts through March 30. Sensitively directed by Alex Lonati, this thought provoking production is 1 hour and 40 minutes with no intermission. Click here for more information and for tickets.