The Sleepless Critic

REVIEW: Fueled by powerhouse performances, Lyric Stage’s ‘All My Sons’ a riveting and indelible tale

Posted on 18 Hours Ago by The Sleepless Critic

Come closer.

A little bit closer.

Now you have some idea how close I was leaning forward in my seat, entangled in the rising and palpable tension in Lyric Stage’s All My Sons.

Having never witnessed any iteration of All My Sons before watching Lyric Stage’s gripping production, it was immediately clear why Arthur Miller’s multilayered Post World War II tale is a classic brimming with universal truths. Having recently witnessed the dated 1948 film of the same name, it also became clear to me that Lyric Stage’s All My Sons is so jaw droppingly good, I would gladly see it again.

Directed meticulously by Scott Edminston, Lyric Stage Boston has extended Arthur Miller’s drama All My Sons live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 25. This excellent production runs two hours and 20 minutes with a 15-minute intermission. Click here for more information and for tickets.

Julian Hirshfield and Bill Moots in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

At one time in history, everyone knew their neighbors. They stopped by unannounced. They watched over each other’s children. They bonded like family. They shared their stories, dreams, and hardships…even if relationships became strained.

Scenic designer Janie E. Howland produces an ideal and picturesque 1940s suburban setting at the Keller household with a wraparound porch and white picket fence, surrounding terrace, window garden and cushioned porch swing. Fallen leaves surround the house and the finer details in Karen Perlow’s moody and suspenseful lighting offers glimpses of a tree’s reflection off the second floor window. Taffeta, chiffon, silks, and floral patterns accented with a string of pearls, plaids and distinct 40s patterns shape Chelsea Kerl’s nostalgic costumes. Oleg Smirnov delivers a contemplative and soothing guitar-tinged sound design as secrets and revelations gradually come to light.

Bill Mootos and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Taking place approximately over a 24-hour period in 1947, Mark Sousa as Chris Keller approaches Bill Mootos as his father Joe, to reveal Chris is hopelessly in love with Josephine Moshiri Elwood as Annie. Annie is not only a childhood neighbor Chris grew up with, but his brother, Larry’s girlfriend who has been reportedly missing in action for three years. As Chris attempts to convince his father to let Larry go, Larry’s memorial tree had fallen the night before and Laura Marie Duncan as Chris’s mother Kate insists that it is a sure sign that Larry is still alive.

Laura Marie Duncan and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Not only does this entire cast exude a natural and familial rapport, but each character leaves a lasting impression. Neighbors come by unannounced and visit with a natural affinity for one another. Mootos delivers a remarkable and multilayered performance as Joe who seamlessly fluctuates between charming and a seemingly easygoing neighbor and family patriarch torn between the happiness of one son and the hope that the other will return and a cagey and ambitious businessman recently exonerated for a crime he may or may not have committed.

Sousa is remarkably well cast not only in his tenacious performance as Chris, but his resemblance to Mootos. Their tense familial chemistry makes it easy to see them as father and son.

Josephine Moshiri Elwood and Mark Sousa in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Elwood’s Annie is warm, pleasant and cheerful, but Elwood genuinely shines evoking Annie’s lurking anguish caught in the middle of a family she grew up with. She shares some particularly memorable scenes with Laura Marie Duncan as complicated Kate and Allison Beauregard makes a lasting impression as Sue in a brief yet pivotal scene with Elwood.

Allison Beauregard and Josephine Moshiri Elwood in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Laura Marie Duncan is enthralling as Chris’s mother and gifted homemaker Kate Keller who is incredibly skilled at taking characters under her wing and charismatically making them feel at home. Warm, energetic yet distraught over her missing son, she fusses, but yet there is something more. Duncan is exquisite, especially in a pivotal scene with Quinton Kappel who makes an impact as a seething and determined George. Nurturing and influential, Duncan as Kate expertly disarms George with careful words and an easy embrace. It is a wonder to witness.

Josephine Moshiri Elwood, Bill Mootos, Laura Marie Duncan and Quinton Kappel in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

All My Sons is a multilayered and mysterious tale that contains timeless and complex reflections in a post World War II world, the longing for normalcy, grief and complicated relationships and family conflict. It also boasts humor, an amazing cast, rich characters, gripping scenes and mounting tension that rise to an unpredictable conclusion. It is a show that stayed with me long after the production was over.

Mark Sousa, Laura Marie Duncan, Bill Mootos, and Josephine Moshiri Elwood in Lyric Stage’s ‘All My Sons’ Photo by Benjamin Rose Photography

Lyric Stage Boston has extended Arthur Miller’s All My Sons live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 25. Click here for more information and for tickets.

REVIEW: War and Sacrifice in theatre KAPOW’s stunning ‘Iphanalis in Aulis’

Posted on 2 Days Ago by The Sleepless Critic

The war cannot end unless it begins.

A prophecy, an atrocious act and a man blinded by victory. Stakes and superstitions run high in the Great Trojan War on an exceptional beach…at an unfathomable cost.

Elemental is Theatre KAPOW’s current season’s theme. Their 19^th season returns to basics and explores the power of nature in four distinct productions.

With Matthew Cahoon’s perceptive direction and stunning scenic design as well as Lorraine Chapman’s captivating choreography, theatre KAPOW presented Euripides’s Iphigenia in Aulis which ran for one weekend only from September 18 through 20 live and in person on the BNH Stage in Concord, New Hampshire. Trans adapted by Ann Washburn tying in classic and contemporary elements, this musically-inspired production ran approximately 100 minutes with no intermission. Click here for more information and for Theatre Kapow’s upcoming productions.

The cast of theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

A luminous full moon and a rippling setting sun are just a couple of Cahoon’s striking projections intensified by Tavya Young’s innovative lighting illuminating Aulis’s sandy shores. Strategically-placed clothing is inventively transformed and shadows of the sea and sail come alive inside pristine parasols. Symbolic wooden posts scatter along this beach under a rich sky.

From halo braids to iridescent, flowing and draped Greek-inspired gowns and faithful panoply and sandals to symbolic and translucent veils to colorful and trendier styles, costumer Barbara Holbrook balances these classic and contemporary visuals flawlessly. Samantha Griffin as Iphigenia is a particular vision while Greek chorus Samantha Autumn, Tracy Hickey and Olivia Krick stylishly turn heads without seeming stilted or out of place.

Samantha Autumn, Alex Picard, Olivia Krick and Tracy Hickey in theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

As peaceful as this setting may sound, Euripides’s classic is anything but peaceful as Peter Josephson as Agamemnon, King of Mycenae, wanders onto the beach. Josephson has a gift for bringing depth and sympathy to complex and polarizing characters and he makes it easy to sympathize with Agamemnon’s lament. The goddess Artemis demands Agamemnon sacrifice his favorite daughter to ensure victory in a war that has not yet started.

Alex Picard and Peter Josephson in theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

Barefoot, distressed and lost in thought, Josephson chooses his words carefully while expressing his inner turmoil. He turns to Alex Picard as Agamemnon’s brother and King of Sparta Menelaus for reassurance, but what Picard’s Menelaus returns is far different from what he is expecting.

Even if you know the story of Iphigenia in Aulis, this intense adaptation reveals new perspectives and much more.

Rachel Chapin Longo and Peter Josephson theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

Led by Josephson, Iphigenia in Aulis boasts a skilled and discerning cast as some members take on multiple roles during the production. Picard and Josephson share gripping chemistry as palpable tension and sibling rivalry take hold, leveling each other in deep seated resentment. Trusting, warm, wise and practical, Rachael Chapin Longo holds her own with Josephson and delivers a courageous and powerful performance as Agamemnon’s wife Clytemnestra, Queen of Mycenae. However, Samantha Griffin shines as Agamemnon’s favorite daughter who is not to be underestimated.

Adding context, meaning and atmosphere to this production is a trio of acoustic Greek folk musicians who narrate, participate and articulate a number of perspectives and observations through stirring original music by composer Jake Hudgins. Along with guitar and harmonica tinged rhythms, they muse, “Let this not come to me or my children’s children” and “Water flowing…an excellent daughter…let the winds blow.”

Alex Picard, Tracy Hickey, Olivia Krick and Samatha Griffin as the Chorus in theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

Having never witnessed this classic Greek mythical tale, Iphigenia in Aulis explores a great deal in its tense 100 minute timeframe. It does share moments of dark and clever humor while tackling war, cowardice, sacrifice, jealousy, ambition, obsession, betrayal, honor, and loyalty in a profound exploration of family and country where truth and integrity are so difficult to find.

Samantha Griffin, Samantha Autumn, Olivia Krick, Alex Picard, Tracy Hickey and Rachael Chapin Longo in theatre KAPOW’s Iphigenia in Aulis by Euripides/Anne Washburn, September 18 – 20 at the BNH Stage in Concord, NH. http://www.tkapow.com. Photo by Matthew Lomanno.

Theatre KAPOW particularly excels at bringing something new to classic works and Anne Washburn’s final play Iphigenia in Aulis is an ideal work for Theatre KAPOW, delivering a unique and multilayered journey with a number of unpredictable twists and turns right down to its final shocking seconds.

Theatre KAPOW presented Euripides’s Iphigenia in Aulis which ran for one weekend only from September 18 through 20 live and in person at the BNH Stage in Concord, New Hampshire. Click here for more information and for further details on Theatre Kapow’s upcoming productions.

REVIEW: Kindness stirs in North Shore Music Theatre’s uplifting ‘Come from Away’

Posted on 10 Days Ago by The Sleepless Critic

It’s the furthest place from Disneyland.

In a small town where everyone knows everyone, a melting pot of 7,000 strangers from around the world make an impact on these unsuspecting residents on September 11, 2001, one of the most harrowing days in U.S. history. Abandoning all their self interests and in the middle of a Gander strike, Gander, Newfoundland put everything aside to find out what they can do to help.

Fueled by Kevin P. Hill’s inspired direction and intricate choreography with Dr. Michael McBride’s affecting music direction, Bill Hanney’s North Shore Music Theatre continues the extraordinary folk-rock musical, Come from Away live and in person at North Shore Music Theatre in Beverly Massachusetts through Sunday, September 27. Based on a true story, this semi-interactive theater-in-the-round musical runs approximately 90 minutes with no intermission. Click here for more information and for tickets.

The cast of “Come From Away” at Bill Hanney’s North Shore Music Theatre from September 16 -September 27, 2026. Photo © Paul Lyden

Come from Away first took the stage as the result of a student workshop in Ontario, Canada in 2013 before finding its way to Broadway in 2017 to win a Tony Award for Best Director of a Musical.

This inspiring musical finished its run in Gander, Newfoundland on September 13 days after observing the 25^th anniversary of 9/11 before North Shore Music Theatre’s Come from Away made its timely stage debut on Wednesday, September 16 continuing through Sunday, September 27.

I wasn’t aware of what happened in Newfoundland 25 years ago on September 11 until seeing this production and haven’t witnessed this degree of kindness in a musical since The Huntington’s The Band’s Visit which is also based on a true story. What a revelation.

A group of distinct and strategically-placed chairs form the basis of Jack Mehler’s creative scenic design as the colorful and atmospheric lighting transforms the tiered stage from a crowded plane to a coffee shop to an impromptu celebration. Ryan Marsh’s intense sound design excels, especially during sudden and pivotal moments. From business suits to cultural and traditional attire to flannels to the vibrant Sou’wester, costumer Rebecca Glick distinctively dresses each individual, but brings an entirely new significance to their attire when characters find themselves in someone else’s shoes.

Compelling from its first scene, Come from Away is rich in tone delivering a balanced mix of warmth and urgency. It contains a variety of captivating Celtic-tinged drum, acoustic and fiddle-laden rhythms steeped in enchanting, contemplative, intricate and multilayered harmony. From hopeful to suspenseful to uplifting and everywhere in between, Come from Away boasts a strong collaborative cast who work wonderfully off each other sharing testimonies while articulating a number of resonating emotions looking back on that fateful day.

Based on real life individuals including rookie reporter Janis Moser to trailblazing airline pilot Beverley Bass, each cast member skillfully navigates more than one character with an authenticity and quiet resonance as thousands of strangers from all over the world face an unknown future stranded in a mysterious land.

Laurel Harris as Beverley in “Come From Away” at Bill Hanney’s North Shore Music Theatre from September 16 -September 27, 2026. Photo © Paul Lyden

Matthew Bryan Feld and Susan Oliver share a sweet camaraderie, especially during the reflective number Stop the World. Laurel Harris delivers a memorable and exhilarating rendition of Me and the Sky and Carla Wood is lovely and sympathetic for an earnest rendition of I Am Here. Kevin T. Hannah’s consoling vibrato rises with the cast for a moving Prayer and Welcome to the Rock’s pulsing and infectious rhythms may stay with you long after the musical ends.

Carla Woods (Hannah) and Mary Callanan (Beulah) in “Come From Away” at Bill Hanney’s North Shore Music Theatre from September 16 -September 27, 2026. Photo © Paul Lyden

Come from Away is not without moments of shock, distress and uncertainty, but holds many more moments of warmth, encouragement and humor delivered in rich harmony that could very well spark a renewed faith in humanity.

Bill Hanney’s North Shore Music Theatre continues the extraordinary folk-rock musical, Come from Away live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, September 27. Click here for more information and for tickets.

REVIEW: Path of a trailblazing woman in Central Square Theater’s fascinating ‘Eleanor’

Posted on 12 Days Ago by The Sleepless Critic

Many stories start with love but this one opens with betrayal.

Mark St. Germain’s Eleanor plants one foot inside the past and the other experiencing today’s world from the Rose Garden’s lush greenery in Hyde Park, New York where President Franklin Delano Roosevelt and Eleanor Roosevelt are buried. Donning a classic stylish blue gown, hat and pearls by costumer Rachel Padula-Shufelt, Paula Plum delightfully embodies Eleanor Roosevelt who is more than ready to share her side of the story many years later.

Thoughtfully directed by Bryn Boice, Central Square Theater continues Mark St. Germain’s Eleanor live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, October 11. This enlightening one-woman production boasts valuable captions and runs approximately 90 minutes with no intermission. Click here for more information and for tickets.

Paula Plum in Central Square Theater’s ‘Eleanor’ Photo by Nile Scott Studios

Enhanced by Mackenzie Adamick’s serene sound design and light designer Karen Perlow’s warm and inviting tones, set and projection designer Justin LaHue recreates Hyde Park’s stately and peaceful Rose Garden on a tiered set which includes a birdbath and park bench utilized during the production. Dynamic projections enliven tall green hedges from sweatshops to vintage New York to ocean waves to a comprehensive and illuminated family tree.

The role of a First Lady is undoubtedly an uphill battle, especially a traveling one. Hub Theatre Company explored the distinctive plight of America’s First Ladies in their short play 46 Plays for America’s First Ladies. Eleanor Roosevelt was both a traveling and trailblazing First Lady who faced a wealth of challenges and stood up for her beliefs in the face of many forms of adversity.

Exuding determination, humility, humor and insecurity, Paula Plum remarkably engages the audience exacting Eleanor’s distinct mannerisms as well as her wisdom, quips, insights, anecdotes and recollections while tying in observations of today. Plum’s Eleanor is endearing, charismatic and funny while candidly sharing minor details such as her favorite song to stirring revelations about her past. It is a detailed and deeply personal account diving into her hardships growing up, criticisms throughout her life and her lack of self esteem and loneliness suspecting Franklin Roosevelt may not be what she expected.

Delving into domestic and political squabbles, the issues of the day, family dynamics, revelations, love, motherhood and much more, Plum seamlessly navigates Eleanor as well as other roles Eleanor recalls along the way including frank and cigar smoking Roosevelt secretary and New Yorker Louie Howe and Franklin Roosevelt’s opinionated mother with finesse and without distraction. For example, never flummoxed and ever the professional, Plum, upon encountering boisterous rhythms just outside the theatre during the performance and without missing a cue, cleverly adlibbed whimsically as Eleanor, “Don’t you love the beat?”

Without being preachy or overtly political, Eleanor is a fascinating, educational, inspiring and enriching biographical memory play helmed by Paula Plum’s tremendous performance as Eleanor. While Eleanor knows she has passed away, Plum breathes new life into Eleanor’s indomitable spirit and somehow this First Lady is here again.

Central Square Theater continues Mark St. Germain’s Eleanor live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, October 11. Click here for more information and for tickets.

REVIEW: Fandom takes an all-consuming turn in Samantha Hurley’s dark comedy ‘I’m Gonna Marry You Tobey Maguire’

Posted on 24 Days Ago by The Sleepless Critic

This is not your average teenage crush.

A wild-eyed teenager is determined to make her dreams come true…even if he is under duress.

With zany direction by Sydney T. Grant, Yorick Ensemble continues Samantha Hurley’s dark comedy, ‘I’m Gonna Marry You Tobey Maguire’ live and in person through Saturday, September 13 at Hovey Players in the D’Angio Building in Waltham, Massachusetts. This semi-interactive fringe production is not limited to the stage, contains some mature language and humor and runs approximately two hours with an intermission. Click here for more information and for tickets.

Demi DiCarlo in Yorick Ensemble’s ‘I’m Gonna Marry You Tobey Maguire’

Set in 2004 in secluded South Dakota, I’m Gonna Marry You Tobey Maguire infuses online fandom and Y2K pop hits into a dark coming-of-age comedy with hints of Misery for beginners and a whisper of Carrie. However without the gore, not quite a horror movie and never really takes itself too seriously.

Alexa Erb’s illustrative scenic and props design produces a brightly colored bedroom with traces of Shelby’s various obsessions including a princess petal bed canapé, flowered walls covered in Tobey Maguire photos, gleeful frog printed bed sheets, Barbie dolls and a curious chart of Tobey’s whereabouts. Josh Telepman keeps up the show’s seemingly cheerful façade in jungle prints, fanciful pink layered ensembles with lace gloves and a fanciful wedding dress.

Crossing a soft smile with a seemingly vacant stare, Demi DiCarlo impresses and is occasionally sympathetic as intense Shelby who may be calculating but not diabolical, at least according to her trusty issue of Cosmopolitan Magazine. She quips, “I’m not bad. I’m romantic.” However, her anxious smile, madcap reactions and unsettling actions hint at something more just underneath the surface.

Demi DiCarlo in Yorick Ensemble’s ‘I’m Gonna Marry You Tobey Maguire’ Photo by Josh Telepman

Socially awkward and an only child, Shelby spends her days after school in a basement bedroom as President and founder of the Tobey Maguire Fan Club communicating to members through a handheld camera disassociating and fantasizing about actor Tobey Maguire. Secluded from the rest of the house, her basement bedroom almost seems like she was sent there to be ignored except when her nagging mother needs something.

Learning the facts of life through Cosmo, fairy tales and all things Tobey Maguire, delusional Shelby has deduced that the only solution to her isolation and loneliness is to capture and marry Tobey Maguire at the ripe age of 14.

To make matters more absurd, teenage Shelby does (seemingly impossibly) capture Tobey Maguire and has him chained in the basement. Where is security or his entourage? It is also hard to imagine Tobey Maguire afraid of a 14 year old, but the Tobey in front of her is not the Tobey she imagines. Sam Hackett is quite fittingly not a Tobey Maguire doppelganger portraying far from that sparkling example of optimism and well meaning persona amplified in Spiderman’s No Way Home. Never meet your heroes, right?

Alison Butts and Demi DiCarlo in Yorick Ensemble’s ‘I’m Gonna Marry You Tobey Maguire’ Photo by Josh Telepman

As Shelby’s illusions shatter, things really start to get out of hand.

Alison Butts does double time portraying various roles that move the plot along from the voice of Shelby’s mom to a kooky real estate agent.

With flashes of Y2K nostalgia, I’m Gonna Marry You Tobey Maguire has its moments of intriguing self-aware humor, a wealth of pop culture references and a special appearance which will not be revealed here. It would do better without its share of superfluous and raunchy gags that do not advance the plot and would benefit spending more time fleshing out what makes Hackett’s egotistical, complaining, irascible and drug-addled Tobey tick.

Alison Butts in Yorick Ensemble’s ‘I’m Gonna Marry You Tobey Maguire’ Photo by Josh Telepman

I’m Gonna Marry You Tobey Maguire is a cautionary tale of obsession, loneliness, isolation, trauma and infamy which, like Shelby, loses itself a bit along the way. As someone who has loved something teetering beyond reason, this outlandish tale stretches the imagination to conceive a dark comedy of what happens when fantasy and reality collide.

Demi DiCarlo and Alison Butts in Yorick Ensemble’s ‘I’m Gonna Marry You Tobey Maguire’ Photo by Josh Telepman

Yorick Ensemble continues Samantha Hurley’s dark comedy, I’m Gonna Marry You Tobey Maguire live and in person through Saturday, September 12 at Hovey Players in the D’Angio Building in Waltham, Massachusetts. Click here for more information and for tickets.

REVIEW: The wild pursuit of love and meaning in Gloucester’s Stage’s world premiere of ‘Dalloway: First Love’

Posted on August 27 by The Sleepless Critic

Who knew a sprawling tree would hold such meaning?

In the far off 1890 English countryside, Clarissa, deep in thought, is anticipating her 18^th birthday cradled in a symbolic tree torn between coming of age and missing her late older sister. Like many literary heroines, she does not want to grow up or for her world to change as certain arrangements are being made behind the scenes as she longs to become a writer.

Fueled by Rebecca Bradshaw’s prognosticative direction, Gloucester Stage Company continues the world `premiere of Lindsay Joelle’s romantic dramedy, Dalloway: First Love live and in person at Gloucester Stage in Gloucester, Massachusetts through Saturday, August 29. Playwright Lindsay Joelle introduces this coming-of-age story-within-a-story production which runs approximately two hours with an intermission. Click here for more information and for tickets.

Gloucester Stage Company’s world premiere production of “Dalloway”, written by Lindsay Joelle and directed by Rebecca Bradshaw. The play stars Josephine Moshiri Elwood as Clarisa Parry, Haley Dyana Schwartz as Sally Seton, Shobhit Piasa as Peter Walsh, and Jesse Garlick as The Slew. The production runs August 13 to August 29 at the Natti-Willsky Performance Center, 267 East Main Street in Gloucester, MA.

© 2026 Shawn G. Henry • 978-590-4869

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Dalloway First Love stands as a prequel to Virginia Wolff’s famous novel, Mrs. Dalloway and is also a somewhat modern take on a period piece. I have not read Virginia Wolff’s work, but it does not seem necessary to read it in order to understand or appreciate this production.

With subtle winks to the future of women, Dalloway First Love has one foot inside the world of 1890 and the other exploring women’s contemporary accomplishments. As several suitors compete for Clarissa’s affections, Elwood’s Clarissa, while open to falling in love, dreams of a world with options. The famous English folk ballad, Scarborough Fair, also seems to also serve as a touchstone between classic and modern day interwoven into this period piece.

Enhanced by Aubrey Dube’s soothing sound design, Scenic designer Kristin Loeffler draws from a rural landscape as this large and symbolic tree stands as the production’s centerpiece occasionally surrounded by a Victrola, dangling chandelier, decanter and dining room set. Capitalized by Josephine Moshiri Elwood’s delicately detailed signature lilac gown, costumer Chelsea Kerl’s presents an elegant array of period pieces including puffy silhouette lace dresses as well as stately ties, button down coat and tails in velvet and pinstripes.

Bright eyed Josephine Moshiri Elwood is no stranger to period pieces having previously performed as vivacious Emma in Actors Shakespeare Company’s period play with a modern twist, Emma in 2024. Elwood is in her element and displays charismatic charm and a way with words as pensive Clarissa, especially in a laugh out loud moment when she passionately jokes about being ravaged by gravity. Daring, adventuresome, impressionable and somewhat naïve, Elwood’s Clarissa is an easy individual to root and become protective of as she shares her hopes and dreams apart from societal norms roaming her family’s Bourton estate.

While Elwood shares genuine and unrefined chemistry with Shobhit Piasa as Clarissa’s boastful yet well meaning childhood chum Peter who longs for something more, it is Haley Dyana Schwartz as enigmatic, manipulative, shrewd and persistent Sally who indulges her hopes and is consistently nearby with an agenda all her own. Schwartz is captivating as Sally who boasts a seemingly charismatic zest for life. However, Peter is not to be underestimated.

Jesse Garlick shows off his range and serves ample comic relief stepping into a few characters from egotistical and entitled to outlandish to humble and heroic as The Slew.

Funny and wistful, Dalloway First Love also explores several themes such as grief, status, ambition, growing up, prejudice and discovery. Though the production could be a bit tighter in its narrative, the production is at its best when it explores Clarissa’s profound introspectiveness discovering what will be her next step.

Gloucester Stage continues the world premiere of Lindsay Joelle’s romantic dramedy, Dalloway: First Love live and in person at Gloucester Stage in Gloucester, Massachusetts through Saturday, August 29. Click here for more information and for tickets.

REVIEW: ‘Traveling Shoes’ an uplifting and resonating journey of perseverance

Posted on August 25 by The Sleepless Critic

“Every song is someone’s story.”

This is just a sample of the insightfulness infused into Christian David’s melodious new musical revue workshop, Traveling Shoes. Featuring scattered testimonials, gospel history, mighty vocals and hopeful life lessons, Traveling Shoes demonstrates that traveling armed with faith and the Gospel brings joy and resilience amidst life’s sufferings.

Written and under Christian David’s direction and music direction and co-choreographed with sleek and interconnected choreography by both Christian David and Ramone Owens, C David Entertainment presented Traveling Shoes: A Revival of Sound, Soul and Story live and in person for free and for one night only on Sunday August 9 at 6PM at the Multicultural Arts Center in Cambridge, Massachusetts. This semi-interactive musical revue encourages the audience to clap, sing, stand, praise and respond to the music as they wish and ran 90 minutes with no intermission. This engaging show is also aiming for a Broadway run. Click here for more information and for future performances.

Christian David & Tiffany Binion in ‘Traveling Shoes’ Photo by Najee Brown

Having been to the Multicultural Arts Center before, this pristine setting with wooden doors and immaculate etchings already infuses regality into the production’s modestly staged set which includes chairs posing as pews with Bibles and a grand piano.

Doris Bumpus & Levetta Hall in ‘Traveling Shoes’ Photo by Najee Brown

Welcome to Holy Hail Baptist Church where pastors and church goers share their testimonies, suffering, joy and more importantly, community while encouraging ways in which the Gospel enriches their daily walk with God by serving others. Prior to the performance, classic Gospel recordings softly play until this charismatic group took the stage and lifted their voices for the bright and catchy original opening number, Traveling Shoes followed by the encouraging classic gospel hymn, How I Get Over. Traveling Shoes showcased skilled and powerful voices and it may be the acoustics of the venue, but vocal accompiament occasionally overpowered the lead singer.

Adorned in pearls and sophisticated black and white formal attire from ceremonial gloves right down to their shining shoes, this impressive cast is composed of two local performers and an array of cast members that flew in from California for this event. Traveling Shoes is an original work in progress and combines a tapestry of original and classic gospel songs, hymns and spirituals to demonstrate the power of the Gospel in their daily lives while finding strength during hard times.

Tiffany Binion, Doris Bumpus, Christian David & Levetta Hallin ‘Traveling Shoes’ Photo by Najee Brown

Many of the featured songs are upbeat and lively while others venture into soul stirring experiences and it is difficult to pick out ones that stand out over the others. One of the most quietly stirring moments in the production was a beautiful rendition of Peace Be Still, delivered powerfully by Michael Bradley, Dermel Warren, Tiffany Binion, and Yardley Griffin, Jr. Yardley Griffin, Jr’s You Gotta Move offers urgency in line with the musical’s core theme as well as an incredible version of At the Cross with Yardley Griffin and the cast. Dermel Warren with Christian David, Levetta Hall and Tiffany Binion deliver an inspiring rendition of Mary, Don’t You Weep as well as Were You There by Michael Bradley.

While more of a music showcase than a true narrative, Traveling Shoes delivers classic gospel hymns and spirituals including Give me that Old Time Religion featuring Christian David and the cast, Jamehl Taylor performs Oh When the Saints Go Marching In/This Little Light of Mine medley, Christian David and Yardley Griffin, Jr. perform a lighthearted and hopeful rendition of Swing Low, Sweet Chariot, a powerful His Eye is on the Sparrow by Doris Bumpus and Darren Paul and the entire company for a captivating Amazing Grace.

Doris Bumpus in ‘Traveling Shoes’ Photo by Najee Brown

Various life scenarios run through the production notably a wonderful rendition of Didn’t It Rain featuring Doris Bumpus and Levetta Hall.

Traveling Shoes references and briefly highlights the church pianist and that memorable pastor who makes an impact during the performance. Both individuals carry burdens and it would be interesting to expand on that idea and more than offering a song, insert a particular message that stands out apart from the music that would appeal to those who do not frequent the church pews. Traveling Shoes is a wonderful presentation for a church audience, but expanding on that idea to bring encouragement to those not familiar with the church may make the production that much more extraordinary.

This musical revue offers lightheartedness and humor while it also touches upon historical tragedies and injustices and how to cope when there is no answer. It works well as a segment and perhaps be expanded upon during different intervals of the production staying in line with the Traveling Shoes theme.

Yardley Griffin, Jr in ‘Traveling Shoes’ Photo by Najee Brown

Moonbox Productions presented a musical called Crowns which explores several themes including the significance of church hats as a symbol of much more while running a narrative through that. Though Traveling Shoes is a metaphor, it resonates at key points during the production. I do believe there can also be a story that can run through this, perhaps adding a protagonist surrounded by the company. The viewer can witness the protagonist on a journey of discovery who may be a first-time attendee at the church perhaps wearing the shoes while keeping the theme prevalent throughout the production.

“We declare victory before we see it.”

Traveling Shoes is a multifaceted music revue guaranteed to encourage, uplift and bring hope in these troubled times. It may stay with you long after the production is over.

Christian David & Yardley Griffin in ‘Traveling Shoes’ Photo by Najee Brown

Click here to learn more about C David Entertainment presented Traveling Shoes: A Revival of Sound, Soul and Story and for future performances.

REVIEW: North Shore Music Theatre’s ‘Rock of Ages’ packs big dreams and spectacle into daring wry rock nostalgia

Posted on August 21 by The Sleepless Critic

Break out the crimped hair, fishnets, rhinestones, pleather, mullets, mutton chops and more. Rock of Ages rewinds the clock to the electric and hair-centric 80s.

Back when Rock of Ages was celebrating the tenth anniversary of its Broadway premiere in 2019, the Bourbon Room opened as a real bar and nightclub inspired by the legendary fictional bar and nightclub in jukebox musical Rock of Ages. Though it recently closed down, if it contained half the wild antics of this edgy musical, it would have been quite the trip.

With lively direction by Kevin P. Hill, hair-raising music direction by Peter Leigh-Nilsen, and rambunctiously choreographed by Sara Andreas, North Shore Music Theatre continues Rock of Ages live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 23. Unbridled and untamed, this suggestive and semi-interactive theatre in the round musical contains mature humor and content and the action is not limited to the stage. Click here for more information and for tickets.

We’ve come a long way since the 80s and Rock of Ages serves as a reminder of how things have changed, especially for women. A jukebox rock musical, Rock of Ages is best enjoyed as an extended MTV music video at a time back when music videos were mainly performed on the popular platform. The rock medleys have cheek, sass, abandon and air guitar. While the real world oozes with serious drama, Rock of Ages is meant as pure entertainment and the cast really sinks their teeth into each over the top character representing a freer and bolder time.

Packed with colorful characters doused with a mix of rock raunchiness and self aware humor, Rock of Ages holds a mirror up to the era of excess and distinct self expression. Steering this club is Matt DaSilva who is impressive as Lonny, the Bourbon’s impulsive no-holds-barred manager, resident storyteller, and sometimes lewd yet fun loving narrator. DaSilva’s strong vocals and penchant for dark, self-aware humor, pop culture references and musical commentary work well in a script that never takes itself too seriously. In a blond beard and sunglasses which seem right out of 38 Special, Evan Harrington excellently delivers relaxed charm and dry humor as lovable Dennis Dupre, owner of the Bourbon Room. DaSilva and Harrington share an easy rapport and an unabashed loyalty toward the Bourbon Room and rock and roll.

Evan Harrington (Dennis) and Matt DaSilva (Lonny) in “Rock of Ages” at Bill Hanney’s North Shore Music Theatre from August 12 – August 23, 2026. Photo © Paul Lyden

Part love story, part rebellion, and mostly power rock musical, Rock of Ages is set in 1987 on California’s Sunset Strip where idealistic small town girl Sherrie (Chelsea Williams) and guitar strumming dreamer Drew (EJ Dohring) long for stardom and are not sure where to start. They set their sights inside the fledgling Bourbon Room, an aging nightclub and bar in danger of being shut down unless someone takes action.

Under neon and gleaming spotlights by José Santiago, Jeffrey D. Kmiec’s glitzy set design showcases a number of locations on the Sunset Strip lined with guitars on a jungle patterned rotating stage which includes the legendary Tower Records, seedy Venus Strip Club, Dupre’s Bourbon Room and a certain graffiti nightclub bathroom stall in the distance where you can almost feel the grime. Rebecca Glick’s nostalgic costumes rise to the challenge, running the gamut from bold rock T-shirts to scantily clad to jazzercise and everywhere in between.

The cast of “Rock of Ages” at Bill Hanney’s North Shore Music Theatre from August 12 – August 23, 2026. Photo © Paul Lyden

Performed by costumed musicians ready to rock led by Peter Leigh-Nilson, Rock of Ages is fueled by a wide array of 80’s hits that are clearly a trip down memory lane for some including Journey, Bon Jovi, REO Speedwagon, and Foreigner driven by athletic, slick and over the top moves including pole choreography by Meadow Nguy.

Chelsea Williams is a soaring soprano as wide-eyed yet determined Sherrie and does a terrific job teaming up with Toneisha Harris as complex yet confident Justice in a powerful medley of Quarterflash’s Harden My Heart and Pat Benatar’s Shadows of the Night. Harris boasts powerhouse vocals and would have liked to have heard more from her. Williams also shines in a sweet yet intense rendition with Dohring for Extreme’s More than Words, Bad English’s To Be with You, and Warrant’s Heaven medley which includes a surprise chorus as well as powerful harmony for Damn Yankees’ High Enough.

Chelsea Williams (Sherrie) and EJ Dohring (Drew) in “Rock of Ages” at Bill Hanney’s North Shore Music Theatre from August 12 – August 23, 2026. Photo © Paul Lyden

In cherry red glasses, Lily Kauffman gives off Cheri OTeri comedic vibes as spunky and resourceful renegade Regina. In hippie fringe, she’s all spirit, heart and hilarity for Twisted Sister’s We’re Not Gonna Take it, an amusing rendition of Starship’s We Built this City and Styx’s Too Much Time on My Hands with Tom Galantich as Hertz and Michael Schimmele as Franz and the cast. Schimmele offers some refreshing and sometimes goofy comic relief as naïve Franz and Galantich is of a sterner variety but they both play well off each other, especially featuring a certain wrecking ball in Europe’s The Final Countdown.

With strong vocals and a large ego, Nathaniel Hackman makes a grand entrance as mysterious and charismatic Stacy Jaxx in chaps, cowboy hat and female entourage (in a nod to another famous 80s rocker) to Bon Jovi’s Dead or Alive.

That is just a taste of the wide range of rock numbers in store. The musical is not for everyone, but you may find yourself bobbing your head, singing along, or perhaps a bit stunned at the performances and the catchy tunes you may or may not have lived through, but nonetheless have stood the test of time in their own way. What is great about music is you might change, but the song remains the same.

North Shore Music Theatre continues Rock of Ages live and in person at North Shore Music Theatre in Beverly, Massachusetts through Sunday, August 23. Click here for more information and for tickets.

REVIEW: True North and Exiled Theatre’s ‘M. Refractions from an Evil Act’

Posted on August 18 by The Sleepless Critic

A man disoriented on the floor and a door seemingly with a mind of its own.

A sophisticated Parisian hotel holds a lot more than secrets in James Wilkinson’s M: Refractions from an Evil Act. Is this place escape or a trap?

With unpredictable direction by Joe Juknievich, Exiled Theatre recently presented the world premiere of mystery thriller drama, M: Refractions from an Evil Act live and in person at Boston Playwrights’ Theatre in Boston, Massachusetts through Sunday, August 9. This bilingual production in French and English contained some adult themes and was part of Boston University’s Boston Playwrights’ Theatre’s Incubator productions. It ran 2 hours with a 15 minute intermission. Click here for more information.

Peter Tone and Julia Hertzberg in ‘M: Refractions from an Evil Act’ Photo credit: Morganna Becker

With a classic soundtrack that added a vintage flair, M. Refractions from an Evil Act is an intriguing production that does a lot in its two hour run time. It reaches into a realm of possibilities such as time travel, paranormal activity, possession, loneliness, guilt, and grief when a mysterious woman claims an intruder was in her hotel room. However, when her claims, sordid history and circumstances for being in Paris suspiciously change on a dime, she becomes a person of interest that cannot be trusted.

Julia Hertzberg and Peter Tone in ‘M: Refractions from an Evil Act’ Photo credit: Morganna Becker

Glamorously dressed in a blue romper with a coordinated scarf, Julia Hertzberg as seemingly self-centered “M” is one moment lonely, the next sharing her grim thoughts and then overwhelmed, disoriented and frustrated at her ordeal wishing to drown her sorrows. However, this is no ordinary hotel and the people around her have secrets of their own.

Out of the characters presented, Peter Tone is the most likable as a Hotel Clerk. Tone is instantly accommodating, genuinely concerned and a sincere listener with good chemistry with Hertzberg’s M while Sydney Grant as brisk, determined, genteel and no nonsense Jolene is laser focused on cleanliness and order. Grant as Jolene and Hertzberg as M share an intense dynamic while M’s relationship with Tim Hoover as Lone is a striking puzzle. As soon as things start to become clearer, more and more questions arise.

Tim Hoover and Peter Tone in ‘M: Refractions from an Evil Act’ Photo credit: Morganna Becker.

Producer and costume designer Laura Crook Waxdal delivers chic Parisian style in attire which includes coat and tails, a classic French maid uniform and tailored suit with a brimmed hat. Nick Duffy’s flickering lighting design lends to the production’s suspense and enlivens Joe Juknievich’s foreboding set depicting a historic hotel room with wooden furnishings.

M does not know and is not interested in learning French and much of the production is in French without translation perhaps to put the audience in M’s shoes. For those who understand French, you are in the right place. However, it does make this already complex show more difficult to follow.

Sydney Grant and Julia Hertzberg in ‘M: Refractions from an Evil Act’ Photo credit: Morganna Becker

This production was inspired by the playwright’s bizarre three-day Parisian weekend and I wish I knew more about that experience. Though this thrilling production boasts a lineup of compelling characters while delivering a chilling vibe somewhere between Twilight Zone and Hitchcock with a cryptic sense of humor, it also spends a lot of time deciding the direction of its narrative. This work in progress touches on a lot of themes presented seemingly out of sequence yet does not fully commit to them. There’s loss, crime, revenge, special effects and even some mind tricks and while I love a good mystery and appreciate the concept, so many elements are left to interpretation which becomes confusing and frustrating. The show offers so many possibilities, but leaves more questions than answers.

Exiled Theatre recently presented the world premiere mystery thriller drama, M: Refractions from an Evil Act live and in person at Boston Playwrights Theatre in Boston, Massachusetts through Sunday, August 9. Click here for more information.

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

Posted on August 11 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.