The Sleepless Critic

REVIEW: Silence speaks volumes in Gloucester Stage Company’s clever and multi-faceted British play ‘Betrayal’

Posted on 17 Hours Ago by The Sleepless Critic

“I think of you sometimes.”

The passing thought and echoes of an ex can come and go. In the aftermath of an affair, some things may also become crystal clear.

With layered direction by Shana Gozansky, Gloucester Stage Company continues Harold Pinter’s British drama, Betrayal live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Saturday, August 1. This semi-autobiographical and non-linear production runs approximately 85 minutes with no intermission. Click here for more information and for tickets.

Gloucester Stage Company’s production of “Betrayal”, written by Harold Pinter and directed by Shana Gozansky, starring Liza Giangrande, Michael Underhill, Tanner Efinger, and Jeremy Beazlie, runs at the theater from July 11 though August 1, 2026.

© 2026 Shawn G. Henry • 978-590-4869

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Written in 1978, Harold Pinter’s Betrayal is a deeply personal play inspired by Pinter’s illicit real life affair with a BBC journalist. It delves into the lies, danger, suspicions, surprises, and secrets you hide from others as well as the ones you tell yourself when love takes an unexpected turn. I couldn’t help but notice the British holiday film, Love Actually shares a passing resemblance to Betrayal in one of its many popular plot lines and famous playwright Jason Robert Brown was inspired to pattern Pinter’s reverse chronological narrative style in Betrayal into his famous musical, The Last Five Years. Instead of building a story from the beginning, Pinter innovatively begs the question, “How did we all get here?”

Jeffrey Petersen’s intriguing avant guarde set serves as various locations featuring white chairs, a pastel background, a skewed mirror and red carpeting. While Amanda E. Fallon’s flashing shadows, silhouettes and psychedelic lighting in conjunction with Julian Crocamo’s jagged piano-infused sound design reverberates to rewind the clock, it is curious that the audience can bear witness to pieces of the action backstage. Perhaps an act of transparency in this complicated affair.

Time leaping from 1977 to 1968, Betrayal redefines and explores the nature of betrayal in all its forms. This witty cast share captivating chemistry and sharp comic timing. Liza Giangrande depicts romantic, complicated and disillusioned Emma who is married to Tanner Efinger as scholarly book publisher Robert, but sees an opportunity for freedom in Michael Underhill as dashing, married, and Robert’s oldest friend and fellow book publisher Jerry. Rounding out the cast is Jeremy Beazile who offers his own humor as the Waiter. Aside from an immense love of literature, Giangrande is compelling as Emma sharing playful and exciting chemistry with Underhill as Jerry and an enigmatic and restrained rapport with Robert.

Nia Safaar Banks creates posh ensembles not only faithful to the late 70s in psychedelic patterns, floral, and velvet coats, but creations that reflect the distinct personalities and vast differences in one another which is never better defined than in Michael Underhill as relaxed Jerry and Tanner Efinger as intellectual Robert. In sneakers and denim, Jerry is adventurous, dark and dashing while Robert is anxious, serious and seemingly safe in a distinguished sweater vest.

Pinter’s eccentric style of storytelling is always fascinating even at its most absurd which also exposes pointlessness, but here Pinter relies more on subtlety than absurdity. It is a production with a deeply meticulously restrained emotional core. Distressed sighs, ironies, layered conversations, loaded pauses, and the dignified and carefully composed comments are the real allure of this production embedded within Betrayal’s scandal. Betrayal is eccentrically understated with a wealth of humor, repression, symbolism, contradictions and revelations in an innovatively told tale. It takes a novel approach to each scene, especially the lack of awkwardness where it should be awkward and the profound meaning behind what is left unsaid.

Gloucester Stage Company continues Harold Pinter’s British drama, Betrayal live and in person at Gloucester Stage Company in Gloucester, Massachusetts through Sunday, Saturday, August 1. Click here for more information and for tickets.

REVIEW: Not only the coat dazzles in North Shore Music Theatre’s inspiring ‘Joseph and the Amazing Technicolor Dreamcoat’

Posted on 3 Days Ago by The Sleepless Critic

The only thing more magnificent then Joseph’s dream coat is the tale behind it.

Joseph and the Amazing Technicolor Dreamcoat has been entertaining audiences for close to 60 years with its exuberant story fueled by Academy Award-winning duo Andrew Lloyd Webber and Tim Rice’s uplifting and versatile music. An interactive, endearing, and humorous production, Joseph and the Amazing Technicolor Dreamcoat offers a wide spectrum of music genres for any taste and all ages including calypso and rock and roll which accompanies this unique retelling of a sacred tale of treachery and unceasing hope.

Meticulously directed and dynamically choreographed by Gerry McIntyre with lively music direction by Robert L. Rucinski, Bill Hanney’s North Shore Music Theatre continues family-friendly musical, Joseph and the Amazing Technicolor Dreamcoat live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, July 19. This semi-interactive production is not limited to the stage and is exceptionally navigated within its theatre in the round staging. It runs 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

Olivia Valli (Narrator) and Youth Choir in “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Based on the Book of Genesis and set in the land of Canaan and Egypt, Joseph and the Amazing Technicolor Dreamcoat unconventionally explores the incredible journey of Joseph and his brothers as Joseph faces strife from the most unexpected places as he discovers his destiny. It is immensely a collaborative ensemble piece featuring an enthusiastic cast led by Olivia Valli as Narrator who not only shares Joseph’s tale with the audience, but the surrounding energetic youth choir gathered onstage.

Eric Jordan Young (Jacob) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Bursting with vibrantly designed costumes mixing the traditional with the contemporary, costumer Rebecca Glick not only rises to the occasion, but makes a distinct, daring, and memorable impression in each ensemble and most notably in Joseph’s striking coat. From glimmering headdresses to traditional Jewish and Egyptian garb to shimmering and brightly colored designs that recall another defining era, the costumes are consistently remarkable. Set designer Baron E. Pugh leans on Egyptian influence featuring the Egyptian Eye of Horus while José Santiago’s lighting design enhances the show’s kaleidoscopic vision in multi-colored lights and innovative sets which takes full advantage of the theatre in the round staging.

Olivia Valli (Narrator) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

With rich vocals and an unassuming demeanor, Nikita Burshteynr warmly portrays humble, naive and forthright Joseph. Burshteynr’s soothing, heartrending and sympathetic vocals master signature numbers such as Any Dream Will Do and Close Every Door.

Nikita Burshteyn as Joseph in “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Joseph may have a dazzling coat, but the narrator holds her own decked out in Rebecca Glick’s enviable wardrobe. Clever, cheerful and a charismatic silvery soprano, Valli is a compelling Narrator not separate from the plot and it is delightful to watch her relaxed charm provide amusing asides, offer advice and occasionally act as the production’s conscience while sweetly interacting with the beaming Youth Choir.

Carefully arranged as a coordinated rainbow in pinks, greens, purples, blues, yellows and reds, the Youth Choir’s angelic and lively voices bring exuberance while accompanying Joseph and the narrator to a heartwarming Any Dream Will Do and endearing harmony to a memorable candlelit rendition of Close Every Door.

Brent Thiessen (Pharaoh) and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Charming and funny whether rejoicing or scheming, the united choreography between Joseph’s eleven brothers reflects their tight knit bond especially during a country themed tune with the wives, One More Angel in Heaven featuring Brady Miller who possesses great comic timing chewing the scenery as Reuben. Another lively number that highlights the brothers’ united front is Benjamin Calypso, a catchy rendition delivered energetically by Rendell DeBose as Judah who at one point takes part in a conga line.

The cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Rock n roll royalty takes a comedic turn in the show’s rollicking number, Song of the King, featuring Brent Thiessen as Pharaoh. Theissen convincingly captures the essence of a certain king not to be revealed here. Naomi Kakuk dazzles with sleek athleticism as Mrs. Potiphar in a racing rendition of Potiphar.

Naomi Kakuk (Mrs. Potiphar) with Eric Jordan Young (Potiphar), and the cast of “Joseph and the Amazing Technicolor Dreamcoat” at North Shore Music Theatre July 8 – July 19, 2026. Photo © Paul Lyden

Unveiling a world in rich and glorious color, Joseph and the Amazing Technicolor Dreamcoat may be a tale of long ago, but stirs in contemporary touches such as disco balls, sunglasses and soft serve ice cream in amusing and unlikely places to appeal to a younger audience as well as an era-inspired tribute to the original Joseph. It contains valuable life lessons on faith, jealousy, suffering, betrayal, and resilience for dreamers that can be solemn at times, but with far more uplifting and whimsical moments, it’s difficult to feel down for long.

North Shore Music Theatre continues family-friendly musical, Joseph and the Amazing Technicolor Dreamcoat live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, July 19. Click here for more information and for tickets.

REVIEW: Stakes are high in Dan Hunter’s intense and enigmatic ‘Black Cat’

Posted on 7 Days Ago by The Sleepless Critic

A woman paralyzed by fear. What is haunting her?

Dan Hunter creates an intriguing mystery about family, memory, sickness, secrets and science within a trio of skilled neuroscientists in ‘Black Cat.’ It keeps you guessing who is telling the truth until the very end.

Directed insightfully by Steven Bogart and produced by Hathalee Higgs, Hunter Higgs LLC presented Dan Hunter’s mystery drama ‘Black Cat’ as an Incubator and Visiting production live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Sunday, June 28. The production ran approximately 90 minutes with no intermission. Click here for more information.

Boston University’s Boston Playwrights’ Theatre provided a perfect setting for this production which took place inside a university neuroscience laboratory in the near future of November 2026. Cristina Todesco’s detailed and commercial dual level set design featured realistic lab workspaces with a white board strewn with calculations, brimming file cabinets, a wooden staircase connecting each floor and an impressive kitchenette off the second floor. Zachary Connell’s mercurial and multipurpose lighting with Aubrey Dube’s screeching and foreboding piano-infused sound design augments the fluctuating intensity of each scene.

The set of Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Christopher James Webb as Dr. Gideon Wells states, “In science, you need vision, money and time.” When University research grants and funds for Parkinson’s disease are running out, time is of the essence to find a way to move forward, especially after Wells claims to have made a startling discovery. Black Cat featured a trio of skilled scientists seemingly striving for the well being of the lab and the university. Yet, other motivations soon come to light. As each character confronts one another, a number of pieces fall into place.

Liz Eng and Christopher James Webb in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Adrienne Krstansky delivers a layered performance as anxious and witty Dr. Clare Eccles who has just learned she has won the Hall of Fame for her research. She is the head of the department and yet has been guarded, moody and holes herself in her office. Krstansky has previously demonstrated her ample skills in a memorable performance of Gloucester Stage Company’s The Glass Menagerie and it is wonderful to see her again. Krstanky strikes a convincing poker face as she attempts to keeps her fears and escalating state at bay.

The cast of Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Christopher James Webb roars as complicated neuroscientist Dr. Gideon Wells. Webb steers this meaty character with finesse from avid listener to domineering, conceited, condescending and cagey. Both Wells and Eccles are wildly intelligent and share a long history. It is fascinating to see how they bicker, compete, reminisce and get under one another’s skin.

Christopher James Webb and Liz Eng in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Thickening the plot is Liz Eng as clever, determined and ambitious post doctoral neuroscientist Chai Lin Anderson caught in the middle of Wells and Eccles which forces her to make her own difficult choices. Anderson’s encounters with Wells and Eccles range from nurturing to threatening and Eng levelheadedly handles herself with diplomacy. She carefully and cleverly hedges her bets between Wells and Eccles while navigating her own enigmatic motivations behind the scenes.

Liz Eng and Adrianne Krstanky in Dan Hunter’s ‘Black Cat’ at Boston Playwrights’ Theatre. Photo by Ailsa Smith

Boasting a mix of drama and dry humor, Black Cat deftly creates a number of suspicions and illusions as this trio in crisis endures the fears of what the future holds for them. Black Cat is also a snapshot into memory, the inaccessible causes of dementia and Parkinson’s disease which affect so many, and raises a number of questions in which some purposefully go unanswered. It is a production that will leave you still pondering these three compelling characters long after the show is over.

Directed insightfully by Steven Bogart and produced by Hathalee Higgs, Hunter Higgs LLC presented Dan Hunter’s mystery drama ‘Black Cat’ as part of the live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Sunday, June 28. Click here for more information.

REVIEW: Trust and second chances in Psych Drama Company’s uninhibited ‘Frankie and Johnny in the Clair de Lune’

Posted on 11 Days Ago by The Sleepless Critic

Frankie is more than guarded. She’s suspicious and she may have good reason for it.

Sensitively directed by Julia Murney, The Psych Drama Company presented Frankie and Johnny In the Clair de Lune live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, June 28. This uninhibited adult drama contained adult language and nudity and ran approximately two hours and 20 minutes with an intermission. Click here for more information.

Wendy Lippe and Cliffe Blake in ‘Frankie and Johnny in the Clair de Lune’ Photo by Joe Heroun Photography

One of my favorite classical songs of all time is Debussy’s Clair de Lune. The way it builds until it strikes that heavenly crescendo and it has deservedly been featured in so many wonderful movies. Playwright Terrance McNally wrote Frankie and Johnny in the Clair de Lune in 1987 before it was expanded and adapted into a feature romantic comedy film in 1991 starring Michelle Pfeiffer and Al Pacino. Directed by Garry Marshall, it expanded on the basis of the play to include additional characters and diner scenes. Though I have never seen the film, having seen Psych Drama Company’s Frankie and Johnny in the Clair de Lune, I can see why Marshall might see the need to expand the movie into additional scenes and characters.

Wendy Lippe and Cliff Blake in Psych Drama Company’s ‘Frankie and Johnny in the Clair de Lune’ Photo by Joe Heroun Photography

Set in the 1980’s, the play takes place entirely in Frankie’s Hell’s Kitchen apartment. The production’s immersive set design brings the audience intimately close to the action inside Frankie’s lived in one room apartment with a kitchenette, what looks like a fold out couch, a functioning ice box and an antenna television. A broad range of pop culture references are dropped in the dialogue and spread around the room including a glimpse of Cabaret, Studio 54, a Beatles jacket and an open box of Scrabble. Enlivening the space is Adam Elliot Rush’s rich vocals as a radio announcer as a range of piano-infused classical music plays softly in the background back when DJs took live requests. Matthew Breton’s crucial lighting lends to the progression of the evening with romantic moonlight and a peering dawn.

Wendy Lippe and Cliff Blake in ‘Frankie and Johnny in the Clair de Lune’ Photo by Joe Heroun Photography

This is the setting of a first date which becomes an all nighter between Wendy Lippe as waitress Frankie and Cliff Blake as line cook Johnny after dinner and a movie. It also addresses the question whether this night will be a one night stand or something more than just two people loving the same song.

However, this is no When Harry Met Sally. Much more of a drama than comedy, it is a vulnerable and raw piece of theatre and though Blake’s Johnny is open with his feelings and admits to having a crush on Frankie, they hardly know each other. Blake’s Johnny is poetically romantic and humorous yet impulsive while Frankie is tough, defensive, skeptical and still deciding if she ever wants to see Johnny again. Frankie observes thoughtfully while Johnny is a chatterbox. It’s a type of tug of war conversation in which both parties are adamant about how they envision the conclusion of this unorthodox first date to be as they fib, flirt, fight and discover some surprising and difficult revelations about one another that may bring them together or draw them apart.

Frankie and Johnny delight in Debussy’s Clair de Lune and it stands as one of the brighter moments of the production. Blake as Johnny is appreciative, charming and an interesting storyteller while Lippe demonstrates Frankie’s growing vulnerability with candor. Frankie and Johnny are confined to one space which seemed to force the characters to confront their fears, but did not seem to enhance the production’s occasionally stagnant pacing.

Cliff Blake and Wendy Lippe in Psych Drama Company’s ‘Frankie and Johnny in the Clair de Lune’ Photo by Joe Heroun Photography

Frankie and Johnny in the Clair de Lune is an unconventional love story about two wounded and world weary individuals longing for trust and understanding. Even in its cynicism, the production’s revelatory and quieter moments stand out in their shared hope for a brighter future.

The Psych Drama Company presented Frankie and Johnny In the Clair de Lune live and in person at the Boston Center for the Arts in Boston, Massachusetts through Sunday, June 28. Click here for more information.

REVIEW: Featuring a superb comedic pair, chaos ensues with boundless creativity in Arlekin’s exceptional ‘Delirium’

Posted on 20 Days Ago by The Sleepless Critic

“If it’s not the pandemic,” Chulpan Khamatova as Her sadly reflects, “It’s war.”

Set in contemporary war-torn Russia, two very different battles are occurring in and outside this small apartment.

A bubbling aquarium with a single roaming fish sits front and center and plays an important role in this extraordinary piece of brilliant comedy set in a world of chaos. From the first few moments with Andrey Burkovskiy as Him who makes even single handedly entering an apartment entertaining, I knew I was about to see something extraordinarily special.

Andrey Burkovskiy and Chulpan Khamatova (and a fish!) in Arlekin’s ‘Delirium’ Photo by Olga Maturana

Masterfully adapted from Romanian-French playwright Eugène Ionesco‘s Frenzy for Two and directed by Igor Golak, the Elliot Norton award-winning Arlekin Players continue their world premiere of absurdist play, Delirium live and in person for a limited time at the Calderwood Pavilion in Boston, Massachusetts through Thursday, July 2. This semi-interactive one act production runs approximately 80 minutes with no intermission. The action is not limited to the stage. Click here for more information and for tickets.

Burkovskiy demonstrated his vast talents for visual comedy and slapstick humor in small doses in Arlekin’s previous award-winning The Dybbuk, but here Burkovskiy really gets to show off his deadpan comedic skills alongside critically-acclaimed Russian actress Chulpan Khamatova as Her.

Andrey Burkovskiy and Chulpan Khamatova in Arlekin’s ‘Delirium Photo by Olga Maturana

From a polka dot dance floor to streaming spotlights to flashes of sudden darkness, lighting designer Jeff Adelberg and inventive sound designer Denis Zabiyaka work together seamlessly navigating sound effects and the spontaneous underlying intensity of this production. Jan Pappelbaum’s dual level industrial set with metallic columns and scaffolding hold a variety of meticulously placed multi-purpose props including mattresses, a parasol and a scratched mirror to help illustrate their longtime relationship which is not without its ebbs and flows inside this small apartment. In purple tights, sparkling black heels, a leopard patterned fur coat and a sequin dress, Khamatova rocks her distinct ensemble thanks to chic costumer Sasha Ageeva. Burkovskiy complements Khamatova beautifully in a black tuxedo adorned with large purple flower in the lapel.

Delivering energetic performances with sporadic doses of self aware humor and razor sharp comedic timing, Burkovskiy and Khamatova are a suburb comedic match. Khamatova is capricious, thoughtful, flirtatious and fiery while Burkovskiy is a romantic yet practical gentleman. They bicker, belittle, and lament yet their petty arguments are wildly eccentric and creative showcasing an absurdly passionate and wild bond. Never on the same page until it counts. They are also witty, playful, chaotic, imaginative, endearing funny and feed off each other so well that it is easy to forget they are in the throes of war just outside their makeshift window. I could watch them all day.

“The world is upside down,” Khamatova muses and much like this quick witted production, things change on a dime.

Delirium is as unpredictable and funny as it is stirring and startling. I was incredibly moved by the boundless creativity, the complicated emotions, and the timely significance of this entire production. It’s definitely worth it.

Take time to see the world premiere of Arlekin’s absurdist play, Delirium live and in person for a limited time at the Calderwood Pavilion in Boston, Massachusetts through Thursday, July 2. Click here for more information and for tickets.

REVIEW: A profound portrait of discovery and overcoming in Arts Emerson and Front Porch Arts Collective’s ‘In Old Age’

Posted on 23 Days Ago by The Sleepless Critic

“I’m living big inside the right now.” Abasiama enthusiastically exclaims.

Abasiama has come a long way in the seven plays so far in the UFOT Family Cycle and we have now arrived at the penultimate production, In Old Age. As with each of the previous productions, it is never without its surprises.

Profoundly directed by Dawn M. Simmons, Arts Emerson continues Front Porch Arts Collective’s world premiere of Mfoniso Udofia‘s In Old Age, the eighth production in the Ufot’s nine-play family cycle which explores three Ufot Nigerian-American family generations, live and in person at Emerson Paramount Center in Boston, Massachusetts through Sunday, June 28. This groundbreaking two hander bilingual and family friendly production in English and Ibibio runs 1 hour and 45 minutes with no intermission. Having seen Ufot’s second production The Grove, the fourth production of Her Portmanteau, and the fifth production of Kufre and Quay, it was wonderful to see the progression in the Ufot Family, but you can witness and enjoy one without having seen the others. Click here for more information and for tickets.

Abasiama (Ebony Marshall-Oliver) in the Front Porch Arts Collective’s production of IN OLD AGE. PHOTO by Nile Scott Studio

Ever wise and humorous, Ebony Marshall-Oliver is lovely as Abasiama Bassey who has now found herself a widow. Her husband passes away prior to the events of In Old Age and proclaims, “She has no man and she needs no man.” However, Abasiama is flabbergasted to learn that her daughter hires Marvin Bell as Azell Abernathy to renovate the family home as a surprise. Toyoima encourages Abasiama to let Azell know how he can help, but that proves to be more complicated than it seems.

Marvin Bell as Azell Abernathy in the Front Porch Arts Collective production of IN OLD AGE. PHOTO Nile Scott Studios

Infused with a UFot personal touch, scenic designer Jeffrey Peterson emphasizes roots and foundation in Abasiama’s longtime family home in Worcester, Massachusetts. Boasting an impressive towering wood frame and brick backdrop, this house is set on foundational brick blocks featuring remnants of past productions including a gold grandfather clock and an old wood burning stove. Costumer Chloe Moore creates a variety of ensembles for Marshall-Oliver and Bell that reflect each of their distinct personalities and how radiantly their style changes as the production progresses. Sound designer Arshan Gailus with lighting designer Eduardo Ramirez reflect a fluctuating peacefulness and sudden intensity through a variety of spontaneous instances over the course of a few days.

Marshall-Oliver as Abasiama Bassey and Bell as Azell Abernathy are quite a captivating pair to watch through their heated and humorous exchanges and candor and the way they observe each other. In a plaid flannel shirt and work boots, Bell is a natural as seemingly charming, practical and enthusiastic chatterbox Azell while Marshall-Oliver is deeply relatable and endearing as a reserved and anxious widow who is coming into her own while attempting to overcome her insecurities and put aside her urge to remain set in her ways. “What is outside should never enter inside” and “It is like everything has its own kind of beauty” is just a couple of the pearls of generational wisdom and observances reflected by Abasiama.

Ebony Marshall-Oliver as Abasiama in the Front Porch Arts Collective production of IN OLD AGE.

Like in other UFot productions, In Old Age contains surprising and welcome elements of the spiritual and supernatural ingrained into this insightful and moving tale. Though both characters have both lived through remarkable stories, In Old Age shows there is still so much more to tell.

Ebony Marshall-Oliver as Abasiama in the Front Porch Arts Collective production of IN OLD AGE. PHOTO Nile Scott Studios

REVIEW: A ferocious song of desire in American Repertory Theater’s musical, ‘Black Swan’

Posted on 24 Days Ago by The Sleepless Critic

“Attack it! Attack it!”

In Darren Aronofsky’s 2010 psychological thriller horror film Black Swan, Nina’s ballet instructor urges Nina to show him a side to her that she has never known. It’s the side that lets go.

American Repertory Theater’s musical Black Swan may be a bit different than the movie in some respects, but the message remains the same.

With Sonya Tayeh’s taut direction and dynamite choreography and Or Matias’s foreboding music direction, American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12. The action is not limited to the stage and this mature production within a production runs approximately 2 hours and 10 minutes with one intermission. Click here for more information and for tickets.

Melanie Moore and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

The arts can be brutal, competitive and fickle. Especially with the art of ballet, it requires a unique kind of discipline, sacrifice and determination under the constant pressure of perfection.

Black Swan started out as a 2010 Academy award-winning psychological thriller horror film featuring a stellar cast that included Natalie Portman as Nina, Mila Kunis as Lily, Winona Ryder as Beth and the incomparable Barbara Hershey as Nina’s mother Barbara. It’s a mesmerizing yet unsettling film loaded with literal and figurative twists and turns through the eyes of sweet dancer Nina whose reality sporadically becomes skewed as the film progresses.

In the process of making the film, Natalie Portman and Mila Kunis endured rigorous training and followed a strict diet. Kunis had never danced in her life. Both trained for four months on an intense schedule seven days a week and five hours a day which also included Portman swimming a mile every day. Portman lost 20 pounds from her already tiny frame and Kunis tore a ligament, dislocated her shoulder and has visible scarring from training. Kunis also vowed she will never dance again and it was the hardest thing she had ever done.

Based on Jen Silverman‘s book of this musical, a story by Andres Heinz and the Academy Award-winning psychological thriller horror film, this world premiere musical boasts some lighter and more humorous moments while its intensity is laid out from the first scene featuring ambitious characters consistently competing with each other. They are driven by the arduous drive to survive, succeed, and gain power. It is no wonder that the lyrics and dialogue in this new musical are rife with powerfully visceral action words such as tear, scratch, scrape, twist, elongate, crack and attack as the dancers rehearse on a grueling three week deadline for a new production. It makes the audience feel this painstaking process.

Amber Iman and members of the company of A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

For those who have not seen the brilliant yet disquieting film, the film and musical are not a musical for the faint of heart. They explore the dark crevices of mental illness and obsession while emphasizing the struggle and ferocious determination it takes to become the best.

However, the Black Swan musical does not just speak to the art of ballet, but the savage journey one takes to become the best at their craft which often involves relentless focus, determination and sacrifice.

AMP featuring Marissa Todd’s vast and layered Scenography accompanied by Chris Fisher and Skylar Fox’s masterful illusion design exacts a ballet studio with moving Barres, a regal gala featuring a tremendous and glimmering chandelier, a wild psychedelic club scene with a dizzying disco ball, and a transformative and ominous forest. I was fascinated to see how various illusions from the film would translate into a stage production and the results are riveting combined with Lillis Meeh’s stunning blood imagery and Ida Saki’s powerful and athletic performance.

Isabella Byrd’s crackling and flashing lighting devastates and intrigues in this moody tale alongside Kai Harada’s haunting and foreboding fiddle laden rhythms. Shiona Turini’s colorful and dynamic wardrobe varies from silk and sequined gowns to creatively daring statement ensembles.

Melanie Moore in A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

In a pastel leotard, Melanie Moore climbs into the skin of anxious and gentle Nina, a New York City ballet dancer aspiring to become the company’s principal dancer. A perfectionist wrapped in a cluster of timid uncertainty, Nina is childlike, delicate, naïve, impressionable and sheltered under the guidance of her protective mother Barbara, in an increasingly searing performance by understudy Mehry Eslaminia (usually depicted by Kate Jennings Grant). Barbara is fixated on Nina becoming the star ballerina she was prevented from becoming and Nina longs to please her mother. Moore is excellent as Nina, a beautiful dancer and her sympathetic naiveté draws you into her world of uncertainty and longing.

When a bold new choreographer LeRoy, portrayed with easy charm, charisma and sharp comic timing by Amber Iman, arrives to stage a new version of Swan Lake, Nina thinks this might be her chance to shine. When Jada Simone Clark breezes in as mysterious and effervescent free spirit dancer Lily, she catches Nina and LeRoy’s attention. LeRoy is driven by something to prove and Iman and Thom Sesma as company director Jacques share a tense and interesting power dynamic underneath their lighter and more humorous moments.

Tory Trowbridge delivers a chilling performance as worn principal dancer on edge, Beth McIntyre. Consistently aware of her position, McIntyre is sympathetic in her desperation to hold onto her place in the company and her distressed exchanges with Moore will leave you on tenterhooks.

Ava Noble, Martell Ruffin, Adrian Lee, Anthony Santos, and Caleb Marshall lift
Melanie Moore in A.R.T.’s world-premiere production of Black Swan.
Credit: Hawver and Hall.

While the film draws a clearer picture of Nina’s journey, Black Swan musical is intense, haunting, visceral and intriguing deciphering Nina’s precarious state of mind and how it is executed onstage. The conclusion remains stunning. I agree with the moderate differences in the musical than the film for the most part. However, much of the film hinges on the traditional ballet production than a modern new vision which seems like it doesn’t quite fit. In the film, Aronofsky takes the dark nature of this renowned classic and turns it on its ear while enhancing this dancer’s journey running intermittent parallels with Tchaikovsky’s Swan Lake. Aronofky also produces this musical so I am surprised by this change. Though this musical is no romance, it is no less a transformational piece rooted in the desire to become who you believe you are meant to become at whatever the cost.

American Repertory Theater (A.R.T.) continues the world premiere of psychological thriller horror musical, Black Swan live and in person at Loeb Theater in Cambridge, Massachusetts through Sunday, July 12. Click here for more information and for tickets.

REVIEW: Risking it all in Sullivan Rep’s wry and reflective ‘Merrily we Roll Along’

Posted on 25 Days Ago by The Sleepless Critic

How the tables turn for this group of dreamers.

A devoted trio of friends set out to follow their ambitions, but the smell of success may not be all it’s cracked up to be.

With lively direction and choreography by Dan Sullivan and witty musical direction by Jenny Tsai, Sullivan Rep continues Merrily We Roll Along live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, June 27. This time jumping, theatre in the round musical runs two hours and 40 minutes including one intermission. Click here for more information and for tickets.

Carly Evans, Sean Donnelly, and Dan Sullivan in Sullivan Rep’s ‘Merrily We Roll Along’ Photo by Kenly Murray

Following the staggering 14 Tony award-nominations for Sondheim’s musical Company in 1970, Stephen Sondheim reunited with George Furth and Harold Prince for the 1981 musical Merrily We Roll Along. Merrily We Roll Along could very well be Company’s cousin in its similarity in tone, shared themes and its non-linear storyline. Also, Marianne Elliot directed the Broadway musical revivals that went on to win a Tony in 2021 for Company starring Katrina Lenk and featuring Patti Lupone and in 2023 for Merrily We Roll Along starring Jonathan Groff and Daniel Radcliffe.

Both musicals also have in common a conflicted man who makes a variety of decisions which creates some complicated outcomes while his tight knit group of friends stand by to support him, especially as this man starts to lose sight of what is truly important.

Ryan DuBray’s flashing multicolor spotlights form what seems like a disco style time traveling machine surrounding the stage and projections on the wall alternate from the progression of time to rewinding the clock throughout the musical.

DuBray’s era-inspired set along with costumer JeanMarie LaPointe work together to create distinct portraits of various eras from 1959 to 1976. From Post World War II to the disco era to the black and white Andy Warhol era, bold and eye catching colored wardrobes include flowing silk dresses and jumpsuits, polyester leisure suits, plaids, florals, sequins and fringe to depict the hard partying “movers and shakers.” Cast members bring assorted retro props to set up each scene.

Merrily We Roll Along focuses on Sean Donnelly as Franklin Shepard who is thriving from the success of his new musical. He is married to Katie Clark as resentful and consummate performer Gussie, but there is a lot more to their story than meets the eye. Clark establishes and “gussies up” this complicated character well and it is interesting to watch the unmistakable parallels between Clark’s Gussie and Donnelly’s Franklin.

Justin Boudreau, Katie Clark and cast in Sullivan Rep’s ‘Merrily We Roll Along’ Photo by Kenly Murray

As far as the trio of friends, Franklin has a complicated bond with Carly Evans as increasingly unreserved and steadfast Mary Flynn and Daniel Forest Sullivan as Franklin’s business partner Charley Kringas. Evans, Sullivan and Donnelly all share a bond that only old friends can even as it frays at the edges. They demonstrate some wonderful moments in the daydreaming number, Bobbie & Jackie & Jack and warm camaraderie for It’s a Hit and Old Friends.

The musical may start out cynical and seemingly shallow, but becomes more robust as the tale unfolds. A particular highlight is Daniel Forest Sullivan as Charley expressing wry sarcasm and mounting frustration with a tinkling piano and a wink to Fosse for the catchy and rapid fire number, Franklin Shepard, Inc. Carly Evans as Mary offers a heartfelt rendition of Like It Was and Meghan Rose shines as down to earth and reasonable Beth from her very first scene for Not a Day Goes By. Along with Justin Boudreau as ambitious producer Joe, the group form bright harmonies for Opening Doors. Amanda Atkinson and Scott Berozi notably share clever comedic quips as a pair of news anchors.

Sondheim is known for his complex harmonies as well as rapid fire and thickly descriptive lyrics and this musical is no exception. This cast dominates this challenging musical style, but some of the lyrics can get a little lost in acoustics of the venue, so try to sit as close as you can to the stage. The venue also can get a little warm so dress accordingly.

Merrily We Roll Along is an engaging cautionary tale that cleverly carves out fascinating patterns and parallels to focus on the pressures of fame, the fragility of friendship and the risks one takes to follow that dream. As upbeat and funny as it is cynical, it reflects on the realities of this pivotal era and brings to light what is truly important.

Sullivan Rep continues Merrily We Roll Along live and in person at Mother Brook Arts and Community Center in Dedham, Massachusetts through Saturday, June 27. Click here for more information and for tickets.

REVIEW: Chaos and good intentions in The Huntington’s hysterical satirical comedy, ‘Eureka Day’

Posted on 28 Days Ago by The Sleepless Critic

Perhaps it’s the adults might have something more to learn than the students at Eureka Day.

Welcome to a meticulous world of learning where bright ideas are considered and delivered with such surgical accuracy to never offend anyone at Eureka Day School in Berkeley, California. Treading with intense care, Eureka Day is a private school that weaves radical inclusivity, veiled open-mindedness and ultra-progressive ideas into every aspect of their curriculum penetrating from each of the Eureka Day executive committee member’s polite smiles. Bending over backwards to support one another never looked so pained.

Directed with tongue-in-cheek humor by Margot Bordelon, The Huntington continues Jonathan Spector’s satirical comedy Eureka Day live and in person at the Huntington in Boston, Massachusetts through Sunday, June 28. The production is approximately 100 minutes with no intermission. Click here for more information and for tickets.

The cast of The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre (264 Huntington Ave, Boston, MA 02115).

From catchy children’s songs anywhere from Sesame Street to Schoolhouse Rock, Jonathan Spector’s Eureka Day at the Huntington cleverly welcomes the audience back to childhood though Daniela Hart, Noel Nichols, Bailey Trierweiler and Uptown Works’ sound design and the sight of Luciana Stecconi’s imaginative and detailed classroom filled with a wide array of children’s books prior to the production.

Eunice Woods; photo by Liza Voll Eureka Day May 28 – June 28, 2026 Written by Jonathan Spector Directed by Margot Bordelon
The Huntington Theatre, 264 Huntington Ave. Boston, MA 02115

Nothing but vim and vigor erupts from each committee member at the start of the 2018 to 2019 school year. The Eureka Day executive committee are made up of parents who decide on policies in the best interest of the school. Committee member and founder Suzanne portrayed by Nancy Lemenager and Ken Cheeseman as Don alongside Sasha Diamond as Meiko and Japhet Balaban as Eli are to show Eunice Woods as Carina, a new committee member and parent hailing from a Maryland public school, the ropes. However, there is a lot more going on behind the scenes than anyone ever expected at this seemingly quaint elementary day school, especially when an outbreak of the measles surfaces and has the school divided.

The cast of Eureka Day; photo by Liza Voll Eureka Day May 28 – June 28, 2026 Written by Jonathan Spector
Directed by Margot Bordelon The Huntington Theatre, 264 Huntington Ave. Boston, MA 02115

The extraordinary detail in Luciana Stecconi’s set design depicts a large jungle themed classroom adorned with signs, posters, and art work pinned to the walls, bookshelves piled with various children’s books of all sizes, and illustrated winding trees climbing the walls. Plump stuffed animals and stackable shell chairs are scatter around the room as towering trees stem from above the classroom to an open sky. Cha See’s energetic lighting and rhythmic sound design work together to trigger time and progression between scenes with similar flair as school set John Proctor is the Villian, a past production at the Huntington also directed by Margot Bordelon.

Eureka Day tackles a long list of hot topics and painfully awkward conversations including vaccinations, unisex bathrooms, motherhood, school closures, climate change, diversity, inclusion and more. It also does so in a way that just tense enough while also finding some semblance of humor and much of that is due to this complex cast of characters who share everything except what they are truly thinking. Also, Eureka Day contains a scene so hilarious in its resonance, tears rolled from my eyes. This doesn’t happen to me often in the theater, but without spoiling it, this chaotic and rapid fire scene by projection designers John Horzen and Uptown Works is so brutally prevalent in today’s world that it’s no wonder I was hysterically laughing through tears.

Sasha Diamond and Japhet Balaban in The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre (264 Huntington Ave. Boston, MA 02155).

With a tight smile, Nancy Lemenager impressively depicts rigidly careful committee member and school founder Suzanne who goes out of her way to choose her words wisely in an effort to share her viewpoints while sporadically recounting the school’s historical decision-making process. Lemenager’s Suzanne is shrewd, orderly and condescending while hiding a deep secret. Ken Cheeseman as consummate peacemaker Don is likable, diligent and seeming concerned about accommodating everyone. Sasha Diamond as level headed yet cynical single mother Meiko and Japhet Balaban as enthusiastic yet cagey parent Eli share some thought provoking and comical moments and Ebonie Marie as Winter round out this even handed cast.

Sasha Diamond, Nancy Lemenager, Ken Cheeseman, and Eunice Woods in The Huntington’s production of Eureka Day by Jonathan Spector, directed by Margot Bordelon. Photo by Liza Voll. Running May 28 – June 28, 2026 at the Huntington Theatre
(264 Huntington Ave, Boston, MA 02115).

Tension builds, friendships are tested and chaos most assuredly ensues while remaining thoroughly funny and compelling. It also has its share of stirring and surprising moments where people ultimately have to arrive at some painstaking decisions and unleash their true feelings even as they call each other family.

REVIEW: Greater Boston Stage Company adds an illustrated personal touch to uplifting family musical classic ‘Annie’

Posted on June 17 by The Sleepless Critic

There’s nothing like the promise of tomorrow and no one delivers plunky optimism quite like Annie.

Even in the worst of circumstances, Annie can always find a silver lining which can be demonstrated in a moment when a homeless person complains of empty pockets to which Annie responds, ‘At least you got pockets.’

Generations have grown up with some version of little orphan Annie and her trusty dog Sandy who meets billionaire tycoon Oliver Warbucks in 1933 Depression-era New York. It is a classic family tale for all ages with the eternal promise that no matter what happens, there is always hope. As the intimate, sweet-sounding orchestra chimed its first triumphant, horn-infused notes of the overture from the stage highlighting song snippets of It’s a Hard Knock Life, Fully Dressed, and Tomorrow, Greater Boston Stage Company proves this steadfast musical favorite never goes out of style.

Livia Quist as Annie and Gideon as Sandy Photos by Nile Scott Studios.

Warmly directed by Tyler Rosati with Bethany Aiken’s uplifting musical direction and Ceit Zweil’s endearing chorography, Greater Boston Stage Company continues Annie: The Hit Broadway Musical live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts. This family-friendly musical classic runs two and a half hours including an intermission. Click here for more information and for tickets.

Part of what makes Annie such fun to produce is although the tale remains the same, there is always room to perform it a little differently each time. Having originally watched the beloved 1982 film adaptation featuring a brilliant cast including Tim Curry, Carol Burnett, Bernadette Peters, Aileen Quinn as well as the late great Albert Finney, I’ve gone on to see Annie film and stage adaptations performed in a variety of ways featuring a small and large cast. Greater Boston Stage Company features a seemingly smaller cast but the sentiment remains the same and is no less effective.

Ainsley Moulton as Molly and Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Katy Monthei’s layered and folded set appears uniquely illustrated by children and opens like a book playfully illustrated with markers and crayons featuring homemade drawings, rainbows, sunshine and a drawn city skyline. However, the most striking are the orphans’ illustrations of their imagined families. The folded set is impressive as it turns to various scenes, but can occasionally create a tighter space for the characters.

The cast of Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Kelly Baker’s costumes run the gamut of 1930s vintage flair featuring a wide spectrum of patterns faithful to the era including pinstripes, plaids and paisley as well as elegant coat and tails, bowler hats, mother of pearl broaches, pinafore dresses, furs and silks.

Livia Quist as Annie in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Donning a soft curled redheaded bob, signature red sweater and weathered pinafore dress, Livia Quist portrays a little and mighty Annie with angelic features and big expressive eyes. Quist is one of two Annies that take the stage during this musical’s run. Quist is darling, emotive and has a talent for sadness behind a smile and vice versa. Endearing and sympathetic, she is unlike any other Annie I’ve ever seen. Her powerhouse vocals light up Maybe with delicate yet spunky Ainsley Moulton as Molly as well as the show’s signature song, Tomorrow. In long braids and an earnest smile, Moulton’s Molly is mischievous roaming about in the most unexpected of places and Brianna Brien is also impressive as tough talking bully Pepper who tests Annie several times during the musical.

De’Lon Grant as Oliver Warbucks Photos by Nile Scott Studios

Quist’s Annie shares endearing and lighthearted moments with De’Lon Grant as dapper and driven Oliver Warbucks and charming him into seeing a movie in New York City with her is a particular highlight. De’Lon boasts textured and soaring vocals as workaholic, urgent and tough-minded New York City billionaire tycoon Oliver Warbucks as he pays tribute to his beloved city with N.Y.C. before later performing a tender rendition of Something was Missing. Quist also shines with Michael Sáenz as a jovial FDR.

Ceit Zweil as Miss Hannigan in Little Girls in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

In a black haired bob and a whistle around her neck, Ceit Zweil depicts an exasperated and sassy Miss Hannigan and certainly makes the part her own. Dramatic, smarmy and dreaming of a better life, Zweil’s skilled depiction shows a woman who may have once been glamorous, but spends her days stunned, fed up and dreaming of a better life. Tough and street smart, Zweil is a stylish alto demonstrating a sharp vocal growl, belt and a way of turning a phrase. Zweil shows off her strident vocals for Little Girls as the orphans demonstrate their frequently amusing knack for pushing her buttons.

Tader Shipley as Grace and Ceit Zweil as Miss Hannigan in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Tader Shipley warmly depicts sophisticated and determined Grace Farrell, Oliver Warbucks’s levelheaded secretary. Shipley’s bright eyes enliven with admiration and reverence when speaking of De Leon’s Warbucks. Grace’s breezy yet professional demeanor fits in well with Warbuck’s no nonsense moxie. However, Shipley as Grace’s veiled exchanges and frequent battle of wills with Zweil’s Miss Hannigan are a riot.

Livia Quist and the Orphans in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

The orphans’ version of Fully Dressed and A New Deal for Christmas is sure to make you smile. From feigned footsteps to cowbell to kazoo, sound designer Adam Smith fascinatingly rewinds the clock depicting vintage radio programs and how radio created sound effects in the 30s. Christian David delivers lighthearted flair as jocular radio announcer Bert Healey and the gum chewing New Yorker Boylan Sisters were a treat.

Ceit Zweil as Miss Hannigan, Mark Linehan as Rooster and Kathy St. George as Lily St. Regis in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Polished in a pinstriped and purple paisley suit, Mark Linehan brings pizzazz and charisma as smooth talking Rooster, Miss Hannigan’s conman brother. With local favorite Kathy St. George as Lily St. Regis, they make an amusing, sleazy pair and with Zweil, a trio of conspiratorial adversaries with a rollicking version of Easy Street.

Livia Quist as Annie, De’Lon Grant as Oliver Warbucks and cast in Greater Boston Stage Company’s ‘Annie’ Photos by Nile Scott Studios

Wearing thick scarves, layers period hats and surrounded by newspaper headlines, a group of homeless New Yorkers delivered a spirited version of Hooverville which dials into social injustices during the Great Depression and the not so unfamiliar financial tension of today. However, from select city shoppers to matching uniformed house staff to government officials, this enthusiastic cast enhances the joy in this classic tale and Giselle’s noticeably vibrant and knowing smile performing a variety of roles capturing this production’s uplifting spirit.

Raise your spirits with Greater Boston Stage Company Annie: The Hit Broadway Musical continuing live and in person through Sunday, June 28 at Greater Boston Stage Company in Stoneham, Massachusetts. Click here for more information and tickets.