James and the Giant Peach is Family Theater at its Best

April 18, 2019 michaelhobanLeave a comment

(Cast of WFT’s “James and the Giant Peach”)

By Nicholas Whittaker

‘James and the Giant Peach’ – Words and Music by Benj Pasek & Justin Paul. Book by Timothy Allen McDonald. Based on the book, James and the Giant Peach by Roald Dahl. Directed by Emily Ranii. Musical Direction: Matthew Stern. Choreography: Juanita Pearl. Production Stage Manager: Nicky Carbone. Presented by Wheelock Family Theater at Boston University; Fenway Campus, 200 The Riverway, Boston, MA 02215 through May 12th

Wheelock labels itself a “Family Theater” company. Such a phrase may send many a “theatrical connoisseur” into a conniption, promising puppetry and slapstick humor and inane characterizations. Wheelock, to their credit, couldn’t care less what those snobs think. James and the Giant Peach is family theater at its very best: absolute, complex, emotionally nuanced, fun. This is not a production for one to plop their children in front of before dipping out into the lobby for two hours; no adult should miss the fun. Nor is it one that tries too hard to be “smart”, to betray its most earnest audience – children – with unwarranted cynicism. James is thrilling in its accessibility, forcing any audience member to embrace its ludicrous logic for the sake of a good time.

ArtsEmerson’s ‘American Moor’ Reimagines Black Performance

April 16, 2019April 16, 2019 michaelhobanLeave a comment

by Nicholas Whittaker

‘American Moor’ – Written and performed by Keith Hamilton Cobb (with additional performance by Josh Tyson). Directed by Kim Weild. Set Designer: Wilson Chin. Lighting Designer: Alan C. Edwards. Sound Designer: Christian Frederickson. Stage Coordinator: Tareena D. Barbe. Presented by ArtsEmerson at the Emerson Paramount Center through April 21st.

Who is American Moor for? For what audience is it meant? This question becomes complicated in any work directly concerned with race and racism, which always involves at least two parties: the marginalized and those who marginalize, the victims of racism and its perpetrators. The question of audience is in this case, then, political. If a production on Blackness is meant for Black viewers, then we might say it presents Black viewers with too-scarce representation, but we might also worry that it does nothing the change the hearts and minds of non-Black folks. But if that Black artwork is meant for non-Black viewers, while we may laud its potential to heal racial strife, we also may worry that Black audiences are, once again, being deprived of art for their own sake.

Theater Mirror Interviews American Classics’ Ben & Brad As They Prepare for George M. Cohan Tribute

April 15, 2019April 16, 2019 michaelhobanLeave a comment

by Mike Hoban

‘George M. Cohan 2019 Revue’ – Presented by American Classics. Performances: Friday, April 26, 2019 at 7:30pm, First Parish Church, 75 The Great Road, Bedford, Massachusetts; Sunday, April 28, 2019 at 3:00pm, Pickman Concert Hall, Longy School of Music, 27 Garden Street, Cambridge, Massachusetts

Bradford Conner and Ben Sears of American Classics have been entertaining audiences with their unique offerings for over 20 years. Part history lesson, part musical theatre revue, the shows take a deep dive into the American Songbook by featuring the works of influential individual composers as well as exploring broad themes and specific eras from the 20^th century.The duo has been aided through the years by a bevy of Boston theater luminaries, including Leigh Barrett, Amelia Broome, Mary Callanan, Bob Jolly, Kerry Dowling, and Davron S. Monroe, as well as John O’Neil, Brian De Lorenzo, Tracey O’Farrell, and the song duo Valerie Anastasio & Tim Harbold.

Trinity Rep’s “LITTLE SHOP OF HORRORS” a Musical Comedy Gem

April 15, 2019April 19, 2019 michaelhobanLeave a comment

Review by Tony Annicone

Welcome back to 1960’s Providence and Trinity Rep’s current musical production of their 54th season which is “Little Shop of Horrors.” This 1986 musical is based on the 1960 Roger Corman film. It is a tongue in cheek musical comedy that will make you think twice about buying that potted plant and is one of the longest running off-Broadway shows. This musical version is by Harold Ashman and Alan Menken who also wrote Disney’s “The Little Mermaid”, “Beauty and the Beast” and “Aladdin.” Meek flower shop assistant Seymour Krelborn stumbles across a new breed of plant he names “Audrey II” after his coworker crush. This foul-mouthed R&B singing carnivore promises unending fame and fortune to the down and out Krelborn as long as he keeps feeding it blood! Over time though Seymour discovers Audrey II’s out of this world origins and dastardly intent on world domination. We find out the plant has a hidden agenda in this boy meets girl, plant eats world campy musical comedy set in the 1960’s. Director Tyler Dobrowsky, musical director Esther Zabinski and choreographer yon Tande lead this marvelously talented cast as they act, sing and dance their way into the hearts of a very appreciative audience on a fun-filled journey to Skid Row in Providence.

TRUE WEST (GAMM Theatre)

April 15, 2019April 17, 2019 michaelhobanLeave a comment

(Steve Kidd, Anthony Goes, Rae Mancini in Gamm’s ‘True West’

Reviewed by Tony Annicone

GAMM Theatre’s closing show of their 34th season in their new theatre in Warwick is “True West” by Sam Shepard. It was a 1983 Finalist for Pulitzer Prize. “True West” is about a young ambitious writer and his brother who is a drifter and petty thief who has been living in the desert and takes place in 1980 about 40 miles east of Los Angeles. The screenwriter, Austin meets his producer to discuss his script but Austin’s unscrupulous brother, Lee usurps the meeting and hijacks the producer into accepting his “script” about the West which hasn’t even been written yet. Sibling rivalries abound and a certain Cain and Abel dynamic occurs. Complications ensue during a long exposition and talky first act. The meat of this show is seen in the dynamics of Act 2 which eventually explodes in the pent up violence between the two brothers. The awesome fighting is choreographed by Normand Beauregard and leaves the audience mesmerized by it. Director Tony Estrella brings out the best in his four performers. The incredible set is by Michael McGarty and the marvelous mood lighting is by Jeff Adelberg.

Wellesley College’s “She Kills Monsters” rolls a nat20

April 13, 2019April 13, 2019 michaelhobanLeave a comment

By Deanna Dement Myers

‘She Kills Monsters’ by Qui Nguyen. Directed by Marta Rainer. Production Manager/Set Design: David Towlun; Costume Design: Chelsea Kerl; Sound Design: George Cook; Fight Choreographer: Sarah Flanagan; Dance Choreographer: Katie Suchyta;; Lighting Design: Siena Wise; Stage Manager: Natalie Solomon; Assistant Stage Manager: Mieke Bovbjerg;; Fight Captain: Anna Beyette. Through April 14.

“I’m no nerd, I have a girlfriend.”

Oversized polyhedron shapes dominate the stage at the Ruth Nagel Jones Theater at Wellesley College. Upbeat music from the early 90s fades out as a hooded figure emerges from behind the d20. The first of many shadow puppets act out the tragedy that engenders our story. For it is 1995 and we are in Athens, Ohio, where internet operates at a blazing fast 56 kilobytes per second.

Hub Theatre Steps into ‘The Clearing’

April 13, 2019 michaelhobanLeave a comment

Review by James Wilkinson

‘The Clearing’ – Written by Helen Edmundson. Directed by Daniel Bourque. Set Design: Cassie Chapados. Lighting Design: Chris Bocchiaro. Sound Design: Ian Conway. Costume Design: Erica Desautels and Nancy Ishara. Props Designer: Justin Lahue. Presented by Hub Theatre Company at First Church in Boston, April 5-20, 2019.

For the first ten minutes of Hub Theatre Company’s production of The Clearing I had a sinking feeling in my gut that I was convinced would be with me the whole evening. I had purposefully gone into the theater knowing as little as possible about the plot of Helen Edmundson’s play, so I wasn’t really sure what I was getting into. That sinking feeling began when the lights went down and a projection revealed that we were stepping into 17^th century Ireland and got worse when actress Lily Steven ran onstage in period costume and actor Jon Vellante began speaking in a thick Irish brogue. It’s clear that the design team has gone all out for the production (more on that in a bit), but in my own humble experience, historical narratives tend to run dry on stage, featuring characters and dialogue that’s practically upholstered. So when a production telegraphs that we’re going to be traveling long ago and far away, I usually start looking for the exit and wondering if I can make a break for it.

Colder Than Here, a Comedy About Dying

April 10, 2019 michaelhobanLeave a comment

By Deanna Dement Myers

“Colder Than Here” – Written by Laura Wade. Directed by Nicole Galland, Featuring Noni Lewis, Matt Winberg, Abigail Dickson, Ellie Brelis. Stage Manager: Lynda Johnson. Presented by the Newton Nomadic Theater at various interesting venues in and around Newton, April 5 to 28.

“While I’m here, I can help. When I kick it, you’re on your own.”

The performance opens on lovely fall day, with two women setting a picnic with all of their favorite things. The younger woman, Jenna (Abigail Dickson), can’t find anything to like about her surroundings, while the older woman, Myra (Noni Lewis), who is quickly revealed to be her mother, is trying to have a more positive view. After all, this could possibly be her eternal resting place. Yes, this family outing is designed to find a burial spot for Myra, who has bone cancer and has been given six months to live.

Don’t Say His Name…The Underlings Take on the Scottish Play

April 10, 2019 michaelhobanLeave a comment

Underlings Theatre Co. production of ‘Macbeth’

Review by James Wilkinson

‘Macbeth’ – Written by William Shakespeare. Directed by Daniel Thomas Blackwell. Scenic Design: Zachary A. L. Stern. Lighting Design: Erik Fox. Projection Design: Elizabeth Gove. Costume Design: Evelyn Quinn. Music and Sound Design: Josh Garcia. Fight Director: Lauren Squier. Presented by the Underlings Theatre Co April 5-13, 2019 at the Mosesian Center for the Arts.

As I said to my friend as we left the venue, it’s just not theater unless it ends with a severed head in a bag. On this, it would seem that William Shakespeare and I are on the same page, at least when it comes to his tragedies (though imagine how a severed head in a bag might liven up the ending of The Comedy of Errors. Oh, the possibilities!). You might find something strangely familiar in the air when attending the Underlings Theatre Co.’s production of Macbeth. That’s by design. For their fifth (and sadly final in Boston) production, the Underlings have found inspiration for their take on the Bard’s story in a bevy of modern horror movies. There’s a dash of Evil Dead, a smattering of Paranormal Activity, and a whole lot of The Blair Witch Project. To lay my cards on the table, I’ll say that Macbeth has long been my favorite Shakespeare play, so the Underlings probably could have done the show as a staged reading with scripts in hand and I’d have loved the show. My own personal bias aside, though, I still think there’s a lot to recommend this production of Macbeth, not least of all a fantastic lead performance and handful of visuals that tap into the eerie nature of the play.

Apollinaire’s ‘Prudencia Hart’ a Rare Theatrical Find

April 10, 2019April 10, 2019 michaelhoban3 Comments

by Nicholas Whittaker

‘The Strange Undoing of Prudencia Hart’ – Written by David Greig. Directed by Danielle Fauteux Jacques. Music Direction and Sound Design by David Reiffel. Stage Manager/Choreographer: Christie Lee Gibson. ASM: Robin Mackey. Costume Design. Elizabeth Rocha. Set/Lighting Design: Danielle Fauteux Jacques. Dialect Coach: Christopher Sherwood Davis. Box Office Manager: Nina Weiss. Presented by Apollinaire Theatre Company at Chelsea Theater Works through May 4th.

When one walks into the theater for The Strange Undoing of Prudencia Hart, they should be forgiven for thinking that they were in the wrong place. Rather than standing before a standard stage, one finds themselves surrounded by long wooden benches and stools, with a beer-and-wine stocked bar to one side. The cast loudly sings traditional Scottish melodies in the corner, and the buzzing room feels more like a warmly-lit tavern than a playhouse minutes before a show begins. This kind of transformational power is the calling card of Apollinaire Theatre Company’s production, The Strange Undoing of Prudencia Hart. With tremendous wit, elegance, and bawdy energy, the play rethinks the theatrical and dramatic tradition, combining the past and future in a thrilling exploration of the power and complexity of narrative.