The Sleepless Critic

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

Posted on 1 Day Ago by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on 10 Days Ago by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on 13 Days Ago by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

Posted on 14 Days Ago by The Sleepless Critic

“Attack it! Attack it!”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on 16 Days Ago by The Sleepless Critic

How the tables turn for this group of dreamers.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on 18 Days Ago by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Posted on 23 Days Ago by The Sleepless Critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: Comedic suspense and more drives Central Square Theater’s ‘The Mystery of Irma Vep: A Penny Dreadful’

Posted on 26 Days Ago by The Sleepless Critic

Mummies and vampires and werewolves – oh my!

However, as Paul Melendy as Nicodemus quips, “Don’t be skeered.”

Offering much more absurdity and laughter than horror or gore, The Mystery of Irma Vep leans on comedic suspense in 1930s Mandacrest Manor. Seeing a Penny Dreadful for the first time with some hesitancy, I’ll take it.

With striking direction and transformative set design by David R. Gammons, Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep: A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 21. This two hander adult production displays valuable captions, contains nudity, the action is not limited to the stage and runs two hours including one intermission. If you are unaware of what a Penny Dreadful means, see here. Click here for more information and for tickets.

Gabriel Graetz and Paul Melendy Photo credit to Maggie Hall Photography

Taking cues from classic gothic romantic literature, The Mystery of Irma Vep: A Penny Dreadful focuses on the highly anticipated appearance of Paul Melendy as new mistress of Mandacrest Manor Lady Enid Hilcrest, the new wife of Gabriel Graetz as widower and Egyptologist Lord Edgar Hillcrest. However, does Lord Edgar’s late wife, Irma Vep, still haunt these eerie halls?

A gleaming and almost sterile looking white foyer in Mandacrest Manor by David R. Gammons is much more than it seems illuminated by Jeff Adelburg’s flashing, tense and vivid lighting which take on a variety of crude shapes and sizes scattered around the room with a glowing fireplace. Composer Nate Tucker skillfully exacts a carefully executed sound design and special effects crucial in this twisted vintage gothic Victorian mystery. Costumer Seth Bodie creates eccentric, vintage, outrageous and vibrant ensembles varying from grand robes with gold trim to 30s three piece suits to revealing negligees.

Paul Melendy and Gabriel Graetz Photo credit to Maggie Hall Photography

In a production that can be less than subtle, striking the right tone is paramount and this duo certainly has a way with words and sharp comedic timing in every over the top scenario which includes stuffed animals, a picnic table cloth and a tree stump. Gabriel Graetz and Paul Melendy work remarkably well off each other in every incredulous expression, wild accent, or improvisational and self aware moment. They also take a lot of complicated cues from each other even during the production’s most awkward scenarios in this vintage melodrama while inviting the audience in on its campy humor and its occasionally moving moments.

Melendy steps into each melodramatic character distinctly, but boasting scratchy vocals, a meandering gate and a slovenly appearance, Melendy’s Nicodemus may be my favorite character and one that is not to be underestimated. The mysterious groundskeeper is protective and shrewd as he lurks about the manor. Melendy as naïve and vampy chorus girl Lady Enid Hilcrest is self conscious under the suspicion of Graetz as stern and traditional housekeeper Jane who also portrays Lord Edgar Hillcrest…and you get the idea. Depicting an actor reacting to portraying multiple characters is no easy feat, but both do so seamlessly. Special accolades to the costume and stage hands for those glorious lightning fast costume and prop changes!

Not a fan of the superfluous nudity even if it was for bizarre comedic purposes, but this production is funny and two great actors performing this campy gothic mystery made me laugh anyway.

Central Square Theater concludes their season with Charles Ludlam’s gothic satire The Mystery of Irma Vep: A Penny Dreadful continuing live and in person at Central Square Theater in Cambridge, Massachusetts extended through Sunday, June 28. If you enjoy the soundtrack to this production, it is available on Spotify. Click here for more information and for tickets.

REVIEW: Irresistible rhythms get North Shore Music Theatre’s ‘On Your Feet’

Posted on June 10 by The Sleepless Critic

“Washing cleans the clothes. Singing washes the soul.”

Leave it to music trailblazers Gloria and Emilio Estefan to make even folding laundry an exciting event.

With lively direction and chorography by Marcos Santana and Jose Delgado’s upbeat music direction, North Shore Music Theatre presents On Your Feet live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 14. This theatre-in-the-round bilingual production runs 2 hours and 20 minutes with one intermission and the action is not limited to the stage. Click here for more information and for tickets.

From its first few powerful notes flowing under multicolored club lights, On Your Feet is a party from the start. Cuban dancers emerge pounding bongo drums which kick off Gloria’s music fueled upbringing that resonates even in the midst of ordinary chores. North Shore Music Theatre’s distinct theatre-in-the-round and rotating stage brings plenty of surprises as scenes rise from the floor and appear in various parts of the theatre. Santana’s upbeat choreography frames every aspect of this international true story with flair and gusto.

On Your Feet has an equal share of wild, quick, and intense music with complex fancy foot work including Cuban tap as well as poignant and inspiring moments within a few of Gloria Estefan’s famous ballads. Gloria and Emilio Estefan are behind the Latin rhythms, touching original compositions, and orchestrations of some of Gloria Estefan’s biggest hits. This captivating production not only showcases Latin culture and a peek into its history, but Gloria and Emilio’s tenacious struggle to break out into the American music scene.

Costume designer Emilio Sosa skillfully replicates Gloria’s sparkling and iconic outfits featured in her memorable concert appearances. The Estefans’ worldwide travel brings together the colorful styles of the 60s, 80s, and 90s from casual and vibrant floral summer wear to elegant nightclub attire. Jack Mehler’s often romantic scenic design and dynamic vivid spotlight lighting depicts Havana to Miami’s palm tree silhouettes to the glare of the spotlight.

Prior to the show, an array of projected Estefan family photos deliver a personal and authentic touch by Pamela Hersch that permeates throughout the musical. On Your Feet not only explores Gloria and Emilio’s budding romance and their mutual dreams, but their aspirations to pursue music as Latin performers. One of the most fascinating aspects of this musical is Marcello Audino as Emilio and Isabel Leoni as Gloria’s sheer dogged determination to thrive. Audino offers a charming yet driven performance as business minded and determined Emilio with smooth and rich vocals. He delivers a touching rendition of Gloria Estefan’s hit, Don’t Want to Lose You Now and an original song co-written by Gloria Estefan’s daughter, If I Never Got to Tell You, a stirring duet with Karmine Alers as Gloria Estefan’s mother, Gloria Fajardo. Audino is intense, charismatic, and always planning one step ahead.

It is easy to see why Leoni as Gloria has such natural and endearing chemistry with Audino. Leoni as Gloria complements Emilio’s drive through her vibrant, shy, and creative personality. Curly haired and slim with inflections of Gloria Estefan’s distinctive vocals, Leoni is well suited to depict the award-winning singer-songwriter. She engages the audience with a glowing smile while skillfully handling the quick pacing and complex choreography of this production, often breaking out into song and dance on a dime. From a ‘can’t-help-but-sing’ child doing chores in Cuba portrayed sweetly by Massachusetts local Kendall Rivera to a timid woman taking the stage, Gloria’s charismatic stage presence in undeniable. Together, Gloria and Emilio are a force to be reckoned with in their uphill battle to become a music sensation. Their tender song, Here We Are and powerful duet, To Keep From Loving You are particular highlights, showing off their sweet chemistry.

Alers delivers a memorable performance as Gloria Fajardo, Gloria’s protective mother. Alers portrays strong willed Fajardo with passion and soaring vocals, especially during the flirtatious number Mi Tierra sung in a Havana nightclub. Alers as Fajardo is stubborn and hard on Gloria, but with a giving spirit toward Henry Gainza as Gloria’s loving war veteran father, Jose.

On Your Feet not only quite literally encourages the audience to dance to some of Gloria’s most catchy numbers such as 1-2-3, Rhythm is Gonna Get You, Conga and Dr. Beat while also unveiling the journey and sorrows of following a dream including its family turmoil, challenges and past resentments. It also boasts its share of humorous moments in Sydia Cedeño-Genat as Gloria’s heartwarming and discerning grandmother, Consuelo, in her unwavering support of her granddaughter while delivering a few sharp one liners. However, most importantly, On Your Feet certainly brings the beat to this uplifting music celebration.

North Shore Music Theatre’s On Your Feet continues live and in person at Bill Hanney’s North Shore Music Theatre in Beverly, Massachusetts through Sunday, June 14. Click here for more information and for tickets.

REVIEW: Boston Ballet’s ‘The Sleeping Beauty’ remains a regal and enchanting achievement

Posted on June 3 by The Sleepless Critic

When an invitation goes awry…

An unexpected hero, an insulted fairy, true love, and a terrible curse make up this enchanting and haunting fairy tale classic as Boston Ballet proudly presents The Sleeping Beauty. Unfolding with elegant and athletic choreography by Marius Pepita and Sir Frederick Ashton, The Sleeping Beauty has returned to Boston for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. This production runs two hours and forty-seven minutes with two intermissions. Click here for more information and for tickets.

Boston Ballet in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

A full house gathered inside the Citizens Opera House as Mischa Santora conducted Tchaikovsky’s famous and dramatic music score, transporting the enthusiastic crowd into a world of royalty, betrayal, innocence, a few familiar fairy tale faces, and a dose of magic. Disney’s popular animated adaptation possesses some similarities to this captivating tale, but Boston Ballet delivers more to the story. You may even find yourself humming along to the instrumental refrain of the iconic number, Once Upon a Dream.

At the center of The Sleeping Beauty is Ji Young Chae who is radiant as delightful and charming Princess Aurora. A triumph of delicate yet athletic grace, her poised and lithe body masters a few of ballet’s most difficult dance moves with impeccable balance including an array of arabesques that garnered particular applause. Seokjoo Kim, Francisco Schilereff, Tyson Ali Clark and Lawrence Rines Munro as prince suitors are enraptured by Chae’s playfulness, charisma, and charm. Chae as Aurora accepts their roses with a flourish.

Ji Young Chae in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Based on Russia’s Imperial Ballet’s 1890 production, The Sleeping Beauty remains a visual treat, boasting ornate costumes in a wide array of intricate patterns with picturesque and multi-dimensional set design by David Walker richly illuminated by Brandon Stirling Baker. From ornate, lush and colorful rural backdrops in gold, red, and green to the enchanting Renaissance era costumes, each scene is a wonder to behold. Wearing glimmering tiaras and dressed in sparkling pink, green, yellow, and blue, the gracious fairies made up of Lauren Herfindahl, Alexandria Heath, Kyra Muttilainen, Emily Aston, and Evelina Godunova floated, frolicked, and twirled, each displaying their own unique personalities. Muttilainen as the whimsical and tip toeing Woodland Glade Fairy and Godunova performing a joyful, skittering and humorous dance as energetic Golden Vine Fairy were particular highlights.

Chisako Oga in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

With a cruel and mocking laugh arriving in a dark, glimmering carriage was Haley Schwan as treacherous Carabosse. Accompanied by a group of monstrous henchmen performed by Ethan Collins, James Cunningham, Alexander Mockrish, and Clay Murray, Schwan displays vindictiveness as an insulted fairy in a mesmerizing array of sharp and rigid movements.

Chyrstyn Fentroy in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

Tchaikovsky’s uplifting score hits a crescendo as Emma Topalova appears as the serene and captivating Lilac Fairy. In this adaptation, The Lilac Fairy acts as a guide, her warm presence, quick thinking and commanding courage setting her apart. Her charismatic and skillful performance was most evident among her lively lilac fairy attendants in a glorious display of fouettes, plies, and pirouettes. Topalova was also endearing in a compelling scene with Jeffrey Cirio as Prince Desire. Cirio has a regal and noble air, gallantly leaping with joy at Aurora’s image. Ji Young Chae as Aurora and Jeffrey Cirio as Prince Desire exhibit many tender and playful moments and perfectly complement each other in a fancifully-driven dance including extraordinary fish dives, swept up in love.

Ji Young Chae and Jeffrey Cirio in Marius Petipa’s The Sleeping Beauty, photo by Liza Voll, courtesy of Boston Ballet

The Sleeping Beauty delivers many magnificent performances within this large cast taking on multiple roles. From a wild and thrilling duet from Layla Porter as Little Red Riding Hood and Lawrence Rines Munroe as the Wolf to humorous feline flirtation from Emily Aston as The White Cat and Spencer Wetherington as Puss ‘N Boots, many beloved fairy tale characters were presented in a joyous celebration.

Chisako Oga and Derek Dunn in Marius Petipa’s The Sleeping Beauty by Liza Voll, courtesy of Boston Ballet

With two intermissions, The Boston Ballet offers a photo friendly display located in the lower lobby. The Boston Ballet closes its season with The Sleeping Beauty for a limited run by popular demand through Sunday, June 7 live and in person at the Citizens Opera House in Boston, Massachusetts. Click here for more information and for tickets.