The Sleepless Critic

REVIEW: Company Theatre delivers a radical ‘Jagged Little Pill’

Posted on 14 Hours Ago by The Sleepless Critic

Beware that seemingly perfect little Christmas card and newsletter in the mail. There is often so much more to the story.

One musician with a gift for reading between the lines is Grammy award-winning alternative rock singer-songwriter Alanis Morissette who teams up with like minded Academy and Tony award-winning writer Diablo Cody for Jagged Little Pill the Musical in which Cody went on to win a Tony Award for Best Book of a Musical.

Don’t expect to see an Alanis autobiography in Jagged Little Pill, but this ruminating musical rather integrates themes from her songs into a cautionary tale about a family rife with secrets and resentment unavoidably brimming to the surface.

Bobby Atkinson, Dana Sullivan, Todd Merritt and Nikita DaRosa in Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Under Zoe Bradford and Sally Ashton Forrest’s keen co-direction, Jasmine Dillon’s pulsating and interconnected choreography as well as Robert McDonough’s agile music direction, Company Theatre continues their 46^th season with Alanis Morissette’s Jagged Little Pill the Musical live and in person through Sunday, August 16 at The Company Theatre in Norwell, Massachusetts. It runs approximately two hours and 40 minutes with one intermission and has some mature themes. Click here for more information, for tickets and here for more information on how you can support the Company Theatre’s Project Stage Restoration.

With music by Alanis Morissette and Glen Ballard, an intimate eight piece orchestra delivers synthetic ballads and searing rhythms led by music director Robert McDonough. The setting is as lively and urgent as the musical’s pacing. Dean Palmer Jr. rhapsodically illuminates Ryan Barrow’s rolling and fold out house-inspired set while projection designer Jack Gruman artistically brings to life a gritty, skewed and occasionally kaleidoscopic view of a Connecticut suburb. Gruman enhances a variety of locations including a coffee house, office space, a tumultuous storm window, an array of family photos and fireworks.

The cast and orchestra of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Jagged Little Pill is an intriguing exploration that addresses something that runs rampant in our society. It is the desire and pressure to be perfect or at least looking that way to others. The idea did not originate with social media, but it has intensified that desire often to a crippling degree.

Mary Jane Healy, richly depicted by Dana Sullivan, hides those imperfections in a smug holiday letter alongside the Healy Christmas card, but not ironically, the façade quickly fades in getting to know her seemingly successful family over a one year period. ‘The truth is too hard,’ MJ reflects.

Dana Sullivan and the cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Many of the ensemble cast members demonstrate a modern Greek chorus observing and occasionally contributing to the plot skillfully taking on multiple roles or acting as the musical’s conscience. Some of their messages are unmistakable while others are left to interpretation. Though the musical is set in present day, it boasts a bit of a 90s flair. From The Who to Talking Heads to AC/DC to Green Day, Kiera O’Connor sets the musical’s edgy tone dressing the young cast in rock-n roll-inspired 90s grunge costumes including black starred stockings, tied flannel shirts and converse sneakers while the adults are adorned in classic and casual chic attire.

The cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Jagged Little Pill dials into a number of social issues including addictions, isolation, coming of age, LGBTQ, rape, marital strife and more while exploring significant and complex relationships. Sullivan brings savvy and intensity to Mary Jane who is easier to grow frustrated with than a source of sympathy, but Sullivan manages to accomplish both as the plot thickens. Her exceptional expectations are rooted in trauma, exposing her vulnerability in a stirring version of Smiling and later in a chilling rendition of Uninvited boosted by Claudia McMahon as a spiraling lead dancer among other roles. Bobby Atkinson skillfully depicts Mary Jane’s son, Nick Healy, making it easy to feel the gravity, mounting pressure and clashing intentions with Sullivan’s Mary Jane.

Nikita DaRosa (center0 and the cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Nikita DeRosa as Frankie Healy and Emma Keane as Jo Taylor are both powerful vocalists delivering a playful duet of Hand in My Pocket. With tenacity and soaring vocals, Nikita DaRosa as Frankie has no interest in being perfect, but rather longing to be heard. A passionate activist who was adopted by the Healy family, DaRosa’s Frankie candidly contributes to her family’s reflections in a curt and frank rendition of All I Really Want and an affecting rendition of That I Would be Good with Emma Keane as Jo Taylor and Charlie Solari as mysterious Phoenix.

Emma Keane and the cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

Though a few of Morissette’s tunes lose some of its bite in musical translation, Morissette’s You Oughta Know never loses its ferocity, especially within Emma Keane’s steely and stellar rendition.

Though Jagged Little Pill tackles its share of somber topics, it also boasts lighthearted humor in an unexpected version of Ironic, an effervescent So Pure and a sweet and mellifluous duet of Head Over Feet.

Dana Sullivan, Natalie Spear Claudia McMahon and the cast of Company Theatre’s ‘Jagged Little Pill’ Photo courtesy of Zoe Bradford

As a massive Alanis Morissette fan dating back when she was a child actor in Canada, Morissette has been open about her battles with anxiety and depression. Her struggles infuse a unique depth into her resonating rock anthems which expose hidden truths that can make you angry, bring you to tears or both. Though I do not have the anger I did when I first heard Morissette’s music, she still presents emerging and ongoing reasons to be frustrated with the world. Some of the musical’s messages can be a little heavy handed because it tackles so much, but her hopeful takeaway always ring true. Be bold, authentic and speak up for what is right even if it is uncomfortable or less than perfect.

Bobby Atkinson and the cast of Company Theatre’s ‘Jagged Little Pill’

The Company Theatre continues their 46^th season with Alanis Morissette’s Jagged Little Pill the Musical live and in person through Sunday, August 16 at the Company Theatre in Norwell, Massachusetts. Click here for more information, for tickets and here for more information on how you can support the Company Theatre’s Project Stage Restoration.

REVIEW: Commonwealth Shakespeare Company vividly envisions a spirited ‘A Midsummer Night’s Dream’ on Boston Common

Posted on 6 Days Ago by The Sleepless Critic

Summer love is alive and well in vivid color on Boston Common.

Featuring a strong cast of renowned local performers and vocalists, Commonwealth Shakespeare Company captures the look and vibrant color of love in William Shakespeare’s classic A Midsummer Night’s Dream.

With intricate direction by Steven Maler, Commonwealth Shakespeare Company rings in their thirtieth season with William Shakespeare’s classic comedy A Midsummer Night’s Dream for free live and in person through Sunday, August 9 on the Common in Boston, Massachusetts. Though Amy Rubin’s set is partially likened to a children’s playground, this night production is not for children. The action is not limited to the stage, boasts valuable captions and runs 2 hours and 40 minutes with an intermission. I witnessed the production on CSC’s ASL night on August 2. Click here for more information and reservations.

De’Lon Grant* (Theseus) and Nora Eschenheimer* (Hippolyta). Photo Credit: Nile Scott Studios.

It is not difficult to see why A Midsummer Night’s Dream is one of Shakespeare’s most performed and beloved plays. It is everything but tragic and can be interpreted in a variety of ways featuring magic, mischief, romantic comedy, music, action and much more.

A Midsummer Night’s Dream has multiple story lines, but the cast translates Shakespeare’s work with a lively affinity for the text while infusing improvisation and pop culture references along the way. Part play within a play, part fantasy, and part comedy, A Midsummer Night’s Dream essentially explores love in all of its forms from unrequited to desire to true love to romantic comedy gone awry due to some mystical love potions. Shakespeare’s witty dialogue is an intriguing reminder that his classic story lines translate seamlessly into a wide variety of contemporary scenarios.

Nora Eschenheimer* (Titania) and The Company of A Midsummer Night’s Dream. Photo Credit: Nile Scott Studios.

A Midsummer Night’s Dream is also the source of some of Shakespeare’s most famous reflections on love such as ‘True love does not see with the eyes, but the mind’ and ‘The course of true love never did run smooth.’ Scenic designer Amy Rubin also emblazons Shakespeare’s immortal words about mortals and fools into the very fabric of the production’s multi-tiered and industrial scaffold set. Rubin certainly provides the wow factor in a heart shaped and layered set which is a cross between a playground and a night club complete with slide and ball pit as a glimmering disco ball hangs overhead. Maximo Grano de Oro illuminates this wild landscape with active and multicolored glee as the flashing lighting pursues the actors to the beat of the production’s contemporary music. Costumers Brooke Stanton and Rachel Padula-Shufelt mix glimmering Athenian-inspired costumes with 80s and steam punk flair. The ensembles range from refined and upscale in achromatic classic suits to splashy, florescent, glimmering, tinsel and feathered club wear which includes fringe jackets, cowboy boots, ornamental robes, fingerless studded gloves and bejeweled gold caps. The constantly playful and bold neon fairies seem pulled right out of a 80s night club in glowing ethereal wings and combat boots. Sound designer Ted Kearnan brings a contemporary vibe with a mix of original and popular upbeat rhythms built for comic relief as well as setting the scene.

Nick Cearley as Puck in Commonwealth Shakespeare Company’s ‘A Midsummer Night’s Dream’ Photo by Nile Scott Studios

Coy, roguish and often lighthearted, Shakespeare’s A Midsummer Night’s Dream establishes a world of status and fantasy featuring a cast of powerful and compelling characters often hysterically determined to fight for what they want and will do whatever it takes for a laugh demonstrated by Paul Melendy as slick and bombastic Nick Bottom from exacting accents to integrating a well placed Shrek reference. Putting on a lovely Romanian accent, thick beaded necklace and large red glasses while wielding a ridiculous plastic sword, Karen MacDonald is delightfully unrecognizable as resourceful and charismatic Quince among a group of madcap and dedicated mechanicals including Brooks Reeves as a knitting Robin Starveling who offer more than their fair share of silly humor and bright ideas before the final curtain.

Brooks Reeves (Robin Starveling), Michael Broadhurst* (Francis Flute), Paul Melendy* (Nick Bottom), Karen MacDonald* (Petra Quince), Alex Leondedis (Snug), and John Kuntz* (Snout). Photo Credit: Nile Scott Studios.

Some of this robust cast takes on dual roles which impressively shows off their range. Jaime José Hernández as love struck Lysander shares jubilant adoration and endearing chemistry with Meghan Carey as sweet Hermia, but also has a chance to explore another side of this character. In spiked hair and glimmering Athenian gear, Nick Cearley keeps the mischief flowing as prankster Puck conspiring with De’Lon Grant who adds gravitas to Theseus and Oberon for a string of seemingly harmless pranks.

De’Lon Grant* (Oberon) and Nick Cearley* (Puck). Photo Credit: Nile Scott Studios

Nora Eschenheimer takes on dual roles as sophisticated Hippolyta as well as commanding and seductive Titania. Carey is charming as headstrong Hermia while Annika Burley is comically relentless as crazy in love and wildly frustrated Helena going to arduous lengths to get what she wants. Burley’s Helena shares impetuous moments with Hernández as Lysander and Jack Greenberg as impulsive Demetrius navigated by carefully timed choreography. Another highlight shows off Burely and Carey’s sharp comic wit during another confrontation when love goes awry.

Annika Burley (Helena) with Jaime José Hernández* (Lysander) and Jack Greenberg*(Demetrius). Photo Credit: Nile Scott Studios.

Though the production can be a bit lengthy, Commonwealth Shakespeare Company’s A Midsummer Night’s Dream is a fun way to spend a summer evening under the stars. This vivacious production continues live and in person through Sunday, August 9 on the Boston Common. Click here for more information and reservations.

REVIEW: Retail therapy takes on new meaning in Hub Theatre Company of Boston’s lighthearted comedy ‘Buyer and Cellar’

Posted on 13 Days Ago by The Sleepless Critic

“Well, hello gorgeous.”

What does an unemployed and rather desperate actor and a wealthy multi-talented celebrity have in common?

They share a kit kat bar and a dream.

Exploring the psyche of the have and have nots, Jonathan Tolins’s fictional one man comedy, Buyer and Cellar brings to light the weighty and wild world of excess on the journey of discovering what is truly important.

Victor L. Shopov in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo credit Lauren Elias

With lighthearted direction by Daniel Bourque, Hub Theatre Company of Boston continues Buyer and Cellar live and in person at Club Café in Boston, Massachusetts through Saturday, August 1. The action is not limited to the stage and runs approximately 100 minutes with no intermission. Pay-what-you-can tickets are available. The production occasionally contains adult and unfiltered language. Purchase a drink during this show and Club Café offers a full menu. Click here for more information and for tickets.

Victor L, Shopov in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo by Lauren Elias

Buyer and Cellar is a fictional tale, but is based on real life aspects of Barbara Streisand’s life drawn from Streisand’s book, My Passion for Design which sits on a lighted pedestal. Streisand’s book offers insight into her legacy and the story behind building her dream home. While the show revolves around Barbara Streisand, you do not necessarily need to be a fan to appreciate this production.

From Funny Girl to Yentl, sound designer Gage Baker weaves inflections of Streisand’s most memorable film theme songs into the playful and whimsical sound design. Under a sparkling disco ball, Club Café always offers a little extra in its vibrant space and Justin Lahue takes full advantage of that space through the tiered set and surrounding projections scattered throughout Club Café’s back room. A variety of projections include some of Streisand’s most coveted and iconic ensembles, store fronts, book racks and a peek into the architecture from the book. Two vintage wardrobe stands ostentatiously adorned and topped off with a pink feather boa situated side by side for colorful ambiance and a sophisticated chair and ottoman is a wink to Barbara’s style.

One of the most fascinating aspects and the center of this production is that Barbara Streisand built a shopping mall in the cellar of her Malibu mansion in the late 2000s.

Yes, really. It’s mindboggling to think Streisand has that many possessions and all the more intriguing are the eccentric stories behind them. With a wealth of pop culture references and self aware humor, Victor L. Shopov amicably portrays down-on-his-luck California actor Alex More who has had just about enough working for Disneyland and is looking for his big break. Central Casting arranges a bizarre new opportunity in which Alex is tapped by gravelly throated estate manager Sharon to become the shopping mall’s very first employee. Confusion, havoc, mystery and even monotony ensue on the job before Alex is face-to-face with Streisand herself.

Shopov is a candid and engaging storyteller infusing animated and eccentric voices emphasizing various mannerisms and avoiding impressions. He perfects a mix of imaginative and real life voices with flair including a humorous and exacting take on Barbara delicately sampling a morsel of food with her incomparably long nails. Navigating between awestruck, sarcastic, earnest and dubious, Shopov’s Alex takes this amusing and outrageous journey through Streisand’s wonderland through panic and in stride. However, nothing beats Shopov’s hilarious talent for narrating and delivering commentary on one particular film that won’t be revealed here.

Victor L. Shopov and Barbara in Hub Theatre Company of Boston’s ‘Buyer and Cellar’ Photo by Lauren Elias

Buyer and Cellar is a funny tale about another side of a legend. One may long to be rich. However, not everything is what is seems, even for someone who seems to have it all.

Hub Theatre Company of Boston continues Buyer and Cellar live and in person at Club Café in Boston, Massachusetts through Saturday, August 1. Click here for more information and for tickets.

REVIEW: Things more than go bump in the night in gripping ‘Paranormal Activity’

Posted on 19 Days Ago by The Sleepless Critic

Full Disclosure: I saw Paranormal Activity Live on Stage alone.

Not necessarily a fan of horror with few exceptions, my interests lean more towards thought-provoking science fiction or a psychological thriller. I was hesitant as I arrived at Emerson Colonial Theatre facing a black curtain, but left riveted by the production’s depth, intensity, and a truly remarkable cast.

Paranormal Activity can be chilling, but is also rooted squarely in the human condition with a great deal of darkly relatable humor and lots of twists and turns. It lured me in and never let go.

Superbly directed by Felix Barrett, Levi Halloway’s Paranormal Activity Live on Stage continues its pre-Broadway run through Thursday, July 30 at Emerson Colonial Theatre in Boston, Massachusetts. For the squeamish, this intense and immersive production is not gory. It does contain explicit language, some dark themes and runs two hours and 20 minutes with one intermission. Click here for more information and for tickets.

Cher Álvarez and Travis A. Knight in Paranormal Activity. Photo by Teresa Castracane Photography.

Metal, alternative and hard rock 90s music from musicians such as Soundgarden revs up the audience before the production begins. Paranormal Activity Live on Stage is considered a new story from the original film which inspired six sequels. A seventh film sequel has an anticipated 2027 release date. The original film latched onto the clunky, grainy and less polished amateur film style of The Blair Witch Project which enjoyed great success at the time.

However, the stage production greatly improves on the film predecessor in multiple ways. The film has a grainy home video quality, but this production is all encompassing and in vibrant color. Having witnessed the original film, the Paranormal Activity play is more effective, allowing the audience to experience multiple scenarios at once led with sterling timing by lighting designer Anna Watson. Scenic and costume designer Fly Davis crafts an elaborate and functional dual level house which includes five detailed and sophisticated rooms featuring a modern kitchen, hanging plants and a smart flat screen television. Illusion designer Chris Fisher, the illusionist behind Harry Potter and the Cursed Child on Broadway, creates plenty of riveting moments that will have you fully invested in what will happen next.

Cher Álvarez in Paranormal Activity. Photo by Kyle Flubacker.

Contributing to the production’s unfettered tension, Gareth Fry’s mesmerizing sound design ranges from a steely and hollow hum to sudden rings to what can be likened to a deafening and reverberating wind tunnel.

This engaging cast is so in sync and polished that they will make you almost forget you are watching a horror stage play. Cher Álvarez as Lou Singer and Travis A. Knight as James Singer are incredibly charming as a newly married couple who have just moved into a house in London. Playful with a dynamic sense of humor, Álvarez and Knight demonstrate a heartwarming and genuine connection as they embrace and warmly support each other.

Shannon Cochran is impressive as James’s religious and pushy southern mother who only wants what is best for her son and Eva Kaminsky is captivating as an eerie and insightful famous podcaster Etheline Cotgrave.

Paranormal Activity boasts many darkly funny moments while also delving into serious issues such as depression, trauma, secrets, marital challenges, spiritual warfare and much more with a wealth of unpredictable twists and turns. At one point, this fully invested audience (including me) was at the edge of our seats rooting on the characters and united in the action. Although I came alone to the production, I did not feel alone with this intense and excited crowd.

Isn’t that what live theatre is all about?

Levi Halloway’s Paranormal Activity Live on Stage continues its pre-Broadway run live and in person at Emerson Colonial Theatre in Boston, Massachusetts through Thursday, July 30. Click here for more information and for tickets.

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

Posted on 22 Days 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 25 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 29 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 July 9 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 June 30 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 June 27 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.