‘The Band’s Visit’ appeared on all four reviewers Top Ten lists for 2023
2023 was not only the year that the COVID masks literally came off in theaters (although with the recent spike in cases, they’re wisely coming back on in some venues), it also saw a minimizing of COVID-related cancellations thanks to a downturn in cases and an explosion of understudies for critical roles. It was also a year when theaters realized they could offer quality programming instead of well-intentioned but artistically weak messaging plays and still achieve diversity goals. Not surprisingly, that meant bringing back works by masters like Lorraine Hansberry, August Wilson, and Tony Kushner while still presenting new works by talents like Josh Harmon and newcomers Lenelle Moïse (K-I-S-S-I-N-G) and LaDarrion Williams (Boulevard of Bold Dreams). Here are the Top 10 picks for 2023 by our reviewing staff:
Cast of “Real Women Have Curves: The Musical” at the A.R.T. Photos by Nile Hawver and Maggie Hall
‘Real Women Have Curves: The Musical.’ Music & lyrics by Joy Huerta and Benjamin Velez, book by Lisa Loomer. Directed and choreographed by Sergio Trujillo. Music Supervisor Nadia DiGiallonardo; Music direction by Robeto Sinha. Scenic design by Arnulfo Maldonado. Costume design by Wilberth Gonzalez and Paloma Young. Lighting design by Natasha Katz. Sound design by Walter Trarbach. Video design by Hana S. Kim. At the American Repertory Theater’s Loeb Drama Center, Cambridge, through January 21, 2024.
by Linda Chin
Like the ad campaign from my childhood about Levy’s Real Jewish Rye, you don’t have to be Latinx to love Real Women Have Curves: The Musical, an exuberant and empowering production enjoying its world premiere at the American Repertory Theater. Set in the summer of 1987 in Boyle Heights, LA, home to a growing population of Hispanic and Latino residents, the story centers on the three “real women” of a Mexican family. Matriarch Carmen Garcia (Justina Machado) is a housewife and traditional, old-fashioned wife to her husband Raúl, a house painter (Edward Padilla), and mother to two daughters. The eldest, Estela (Florencia Cuenca), runs a small dressmaking shop but aspires to be a designer. The youngest, new HS graduate Ana (Lucy Godínez), was born in the US and is a citizen, aspires to go to college and pursue a writing career. Despite the many bumps and curves in their immigration and life journeys, all three “Garcia Girls” have not lost their accents nor lost sight of their big dreams. But they, like all of us, are desperate to be seen for their authentic selves, beyond their curves and the stereotypes society has placed on them.
Vincent Ernest Siders (The King, far left) and the cast of Midwinter Revels: The Feast of Fools Photos by Paul Buckley
Midwinter Revels: The Feast of Fools: A Medieval Celebration of the Solstice – Written and Directed by Patrick Swanson and Debra Wise.; Musical Direction by Elijah Botkin; Choreography by Susan Dibble; Set Design by Jeremy Barnett; Sound Design by Bill Winn; Lighting Design by Jeff Adelberg; Costume Design by Heidi A. Hermiller; Presented by Revels, Inc. at The Sanders Theater at Harvard University, 45 Quincy Street, Cambridge, through December 28th.
Retiring Revels Artistic Director Paddy Swanson is ending his career on a decidedly high note, delivering on his promise to the Globe’s Terry Byrne to “return to our roots, with brass instruments with their big sound, big carols, and processions.” The result is the highly entertaining Midwinter Revels: The Feast of Fools – and it’s quite possibly the best Revels in years. This year’s edition (the 53rd, 34th with Swanson at the helm) is also marinaded in comedy, bolstered by a trio of talented fools, Folly (René Collins), Fiasco (Eliza Rose Fichter), and Flop (Roger Reed), who serve their king (a regal and affably commanding Vincent Ernest Siders) with irreverent devotion.
Cast of Theater Uncorked’s ‘Whos Afraid of Virginia Woolf? Brooks Reeves, Shana Dirik, AnthonyRinaldi and Brooke Casanova. Photo Credit: Leonard-Chasse
“Who’s Afraid of Virginia Woolf” – Written by Edward Albee. Directed by Ben Delatizky. Presented by Theater UnCorked at the BCA Plaza Black Box Theatre, 539 Tremont St., Boston, December 6–10, 2023
by Mike Hoban
Theatergoers looking for an antidote to the multiple versions of A Christmas Carol or the endless stream of holiday-themed programming on the Hallmark Channel hit pay dirt with Theater UnCorked’s bleak but stunningly executed Who’s Afraid of Virginia Woolf?” Revived for a short run at the BCA Plaza Black Box Theatre in early December, the production was a master class in acting by Boston favorites Shana Dirik and Brooks Reeves, who were ably supported by Brooke Casanova and Anthony Rinaldi and skillfully directed by Ben Delatizky.
Cast of “Real Women Have Curves: The Musical” at the A.R.T. Photos by Nile Hawver and Maggie Hall
By Michele Markarian
“Real Women Have Curves: The Musical”. Music and Lyrics by Joy Huerta and Benjamin Velez, Book by Lisa Loomer. Based on the play by Josefina Lopez and HBO’s “Real Women Have Curves”, Screenplay by Josefina Lopez and George Lavoo. Directed and Choreographed by Sergio Trujillo. Presented by American Repertory Theater, Loeb Drama Center, 64 Brattle Street, Cambridge, through January 21, 2024.
Ana (Lucy Godinez) is the second daughter of an undocumented Mexican family living in Los Angeles, and the only one to have citizenship. She has just received a letter from Columbia University, admitting her as a college student with a full scholarship. However, her sister, Estela (Florencia Cuenca), owner of a dressmaking business, has a huge order to fulfill and needs help. The sisters’ mother, Carmen (Justina Machado), fully expects Ana to work in the family dress factory with Estela. As the only US citizen in the family, Ana has negotiating skills that the rest of the family does not feel comfortable executing themselves. Ana is too afraid to let her parents know her dream of going to a prestigious school, as family, in her case, must come before individual desires. As Carmen likes to say to her, “You have big dreams. Try sleeping less”.
Cast of Moonbox Production’s ‘Legally Blonde’. Photos by Chelcy Garrett.
Moonbox Productions presents ‘Legally Blonde: The Musical.’ Music and lyrics by Laurence O’Keefe and Nell Benjamin. Book by Heather Hach. Directed by Katie Ann Clark. Music Direction by Mindy Cimini. Choreographed by Taavon Gamble. Scenic Design by Sarabeth Spector. Lighting Design by Finn Bamber. Costume Design by William Andrew Young. Properties Design by Julia Wonkka. Sound Design by Gage Baker. At Roberts Studio Theatre, Calderwood Pavilion, Boston Center for the Arts. Though Dec. 31.
By Linda Chin
Right on the heels of a masterful Sweeney Todd in October, Moonbox Productions has pulled off yet another big hairy audacious musical with ‘blood in the water’ – Legally Blonde. This time around, the venue is the BCA, the story is set in current-day SoCal and Cambridge (Sarabeth Spector, scenic, Finn Bamber, lighting, Julia Wonkka, properties design), and the cut-throats are lawyers and law students. Helmed by Katie Anne Clark (in her professional directorial debut), musical director Mindy Cimini, and Choreographer Taavon Gamble, the cast of 21 – 20 humans and one chihuahua – deliver energetic, pitch-perfect performances that keep the audience engaged and entertained from start to finish.
Cast of ‘All is Calm’ at Greater Boston Stage Company
‘All is Calm: The Christmas Truce of 1914.’ – Written by Peter Rothstein with vocal arrangements by Erick Lichte and Timothy C. Takach. Directed by Arthur Gomez. Music Direction by Lea Peterson. Original direction and choreography by Ilyse Robbins. Scenic Design by Erik Diaz. Lighting Design by Jeff Adelberg. Costume Design by Bethany Mullins. Sound Design by David Remedios. Properties Design by Sarajane Mullins. At GBSC, 395 Main Street, Stoneham, through December 23, 2023.
When GBSC announced their 2023-24 season earlier this year, with All is Calm: The Christmas Truce of 1914 – winner of the Elliot Norton Award for Outstanding Musical – returning to fill the holiday slot, I had mixed emotions. Having absolutely adored last year’s Little Women the Musical, which was also directed and choreographed by Ilyse Robbins (and which garnered Norton nominations for Liza Giangrande as Jo March, and Amy Barker as Marmee, for Outstanding Leading and Featured Performances in a Musical, respectively), I was hoping the Company would be mounting another new musical that was familiar, family-friendly, and full of big feels. Yet being all-too-aware of the economics of producing musical theater (high ticket prices/attendance/revenue that exceeds high costs), a risky business that has become even more risky in these highly uncertain ‘post’-pandemic times – I was relieved they were making a sensible choice. And having missed seeing the highly-touted production two years ago, I was especially excited for the chance to see it.
Shantel Cribbs, Montria Walker, Melanie Loren and Aalon Smith in Goodspeed’s Dreamgirls. Photos by Diane Sobolewski
‘Dreamgirls’ – Book and lyrics by Tom Eyen. Music by Henry Krieger. Directed by Lili-Anne Brown. Choreography by Breon Arzell. Music Direction by Christie Chiles Twillie. Scenic design by Arnel Sancianco. Costume design by Samantha C. Jones. Co-Lighting design by Adam Honoré and Jason Lynch. Sound design by Jay Hilton. At The Goodspeed, 6 Main Street, East Haddam, CT, through December 30, 2023.
by Linda Chin
The question of whether the plot of the 1981 Tony Award-winning Dreamgirls, which follows the story of an all-girl Motown trio called the Dreams, is based on the real-life stories of the legendary group The Supremes is still the stuff of controversy but there should be little debate about whether Goodspeed Musicals’ production is the stuff dreams are made of. With the dream trio Lili-Anne Brown (director), Breon Arzell (choreographer) and Christie Chiles Twillie (music director) working in collaboration with a tremendously talented cast, this show not only features the dazzling dancing and sensational singing typical of most musical theater works (and yes, every member of this company has impressive technical and performance skills) but supreme and authentic acting, critical for a story that depicts the disappointments and drama that ensue when pursuing big dreams.
Judy Song, Jenna Agbayani in ‘The Heart Sellers’ at The Huntington Photo by T Charles Erickson
‘The Heart Sellers’ – Written by Lloyd Suh. Directed by May Adrales. Scenic and Costume Design by Junghyun Georgia Lee. Lighting Design by Kat C. Zhou. Sound Design and Original Music by Fabian Obispo. Hair and Makeup Design by Rachel Padula-Shufelt. At Boston Center for the Arts Calderwood Pavilion/Wimberly Theatre, 527 Tremont Street, Boston, through December 23, 2023.
by Linda Chin
In this season of gratitude, I am grateful to be seeing more stories about Asians on American stages, and for playwrights, like Lloyd Suh, who create these possibilities. Three of the award-winning American playwright’s plays have been produced on professional stages in metro Boston in the last eight years, and I’ve had the good fortune to see all three. The Wong Kids in the Secret of the Space Chupacabra Go!, brought to ArtsEmerson by Ma-Yi Theater Company in 2016, is the fantastical tale of imaginary modern-day teens Bruce and Violet Wong, who use their newly discovered powers for intergalactic teleportation. The play’s blend of engaging live actors, clever dialogue, puppetry, and an underscore (!) changed people’s perceptions – that theater for young audiences could have broad appeal and that superheroes could be young, extraordinary, and Asian.
Emilie Kouatchou and the cast of ‘The Sound Of Music’ at the Portsmouth Music Hall. Photos by Gary Ng.
‘The Sound Of Music’ – Music By Richard Rodgers; Lyrics By Oscar Hammerstein; Book By Howard Lindsay And Russel Crouse; Suggested By “The Trapp Family Singers” by Maria Augusta Trapp; Directed & Choreographed by Anthony C. Daniel. Presented by Ogunquit Playhouse at the The Music Hall, 28 Chestnut St., Portsmouth, NH, through December 17
by Mike Hoban
Ogunquit Playhouse closes out its 2023 season with one of musical theater’s most iconic musicals, The Sound of Music, presented in downtown Portsmouth’s historic Music Hall. The stage musical, which opened on Broadway in 1959, won five Tony Awards and was adapted into the much beloved Academy-Award-winning film in 1964, but underneath its heartwarming story of how love and music can heal a soul, its dark undercurrent resonates even more loudly in today’s increasingly grim political climate.
