Gamm Theatre’s Gritty ‘Sweat’ Brings Home the Demise of the American Worker

November 1, 2022November 14, 2022 Theater MirrorLeave a comment

Cast of ‘Sweat’ at Gamm Theatre. Kym Gomes, Steve Kidd, and Jamie Jose Hernandez. Photos by Cat Laine

by Tony Annicone

The second show of Gamm Theatre’s 38th season is The Pulitzer Prize winning play “Sweat” by Lynn Nottage. “Sweat” premiered in 2015 and tackles the loss of work and de-industrialization in modern America. Based on interviews with residents of Reading, a small town in Pennsylvania, the play vividly portrays the betrayal and resentments of striking female workers during the decline of the industry and how it destroys their families. Unfortunately, it also helped Trump win over the small towns of this state in 2016. Nottage delves into the plight of the working class. Two ex-cons being interviewed by their parole officer open and close the show in 2008. This last segment is where the audience learns of the results that led to their arrest and rips your heart out. The main action takes place in 2000. African American Cynthia is given a promotion over her oldest white friend, Tracey. The personal betrayal becomes more apparent when she learns she must tell the workers they must take a 60% cut in their wages. This leads to a lockout, and scabs enter the situation, which leads to violence (which explains the parole interview scenes.) Director Rachel Walshe casts these nine roles splendidly and has her cast delve into what makes each of them tick as they examine their motives for the approval or disapproval of Cynthia’s rise to her position of power. Rachel also gives each member of her cast their moment to shine with outstanding speeches or what the effects of their actions result in and the consequences they must face. Rachel always does a marvelous job with all of the shows I have seen her direct and this one is no exception. Brava!

Trinity Rep’s ‘A Christmas Carol’ Updates Holiday Classic

November 1, 2022November 14, 2022 Theater MirrorLeave a comment

Cast of ‘A Christmas Carol’ at Trinity Rep. Photos by Mark Turek

by Tony Annicone

Trinity Repertory Company ushers the holiday season in with their live yearly presentation of their 46th production of “A Christmas Carol” by Charles Dickens adapted by Adrian Hall and Richard Cumming. This is Trinity’s third show of its 59th season and is performed in 90 minutes with no intermission. This show’s underlying themes of charity, forbearance and benevolence are universal and are equally relevant to people of all religions and backgrounds especially now after the Big Lie Theory of the 2020 election is still being promoted by the former, twice impeached ex-President, the important hearings about the Insurrection of the Capital on January 6th with fingers crossed for a conclusive outcome and the still contentious climate of this country observed in the recent 2022 midterm election. This familiar tale is about the curmudgeonly miser, Ebenezer Scrooge, who is visited by the ghosts of Marley, Christmas Past, Present and Yet to Come who hope to change in this version her destiny and save her soul to ultimately to discover the true meaning of Christmas. Director Aileen Wen McGroody directs this show for the first time. She creates a huge encompassing tale which needs more focus at times in telling of this Christmas tale. McGroody explores bigotry, gay marriage, people of different cultures and economic standings. The set is starker than in years past and doesn’t come into full color until Christmas Present appears and near the very end of the show. The process of Scrooge finding a way to reenter a world again that is what “A Christmas Carol is all about and she brings the cast, orchestra onstage to witness Scrooge’s reconciliation with her nephew, Fred which is one of the most poignant moments of the evening. Aileen brings the comic moments to the forefront this year and uses a great deal of musical numbers to convey the story. Musical director Andrew Smithson brings out the best in the cast for their many songs, plays lead keyboards and conducts a 6 piece orchestra. Choreographer Shura Baryshnikov creates the dances for the show. The enthusiastic audience thoroughly enjoy the show with thunderous applause at curtain call.

‘WINTER WONDERETTES’ at the Ivoryton Playhouse

November 1, 2022November 29, 2022 Theater MirrorLeave a comment

reviewed by Tony Annicone

Ivoryton Playhouse’s holiday show this year is “Winter Wonderettes” created by Roger Bean. It is 1968 and the audience is at the annual Christmas party at the Essex Hardware Store. The quartet of Missy, Suzy, Betty Jean and Cindy Lou, first introduced to us in “The Marvelous Wonderettes”, have decorated the hardware store and are now prepared to entertain the crowd. Some of their numbers include the 1960’s classics “Santa Claus is Comin’ to Town”, “Jingle Bell Rock”, “Run Rudolph Run” and “Winter Wonderland” and these gals will knock your socks off all night long.

Bill Irwin Is Brilliant in ArtsEmerson’s Not-to-Be-Missed “On Beckett.”

October 30, 2022 Theater MirrorLeave a comment

Bill Irwin in “On Beckett” at ArtsEmerson

‘On Beckett’ — Conceived and Performed by Bill Irwin. Produced by Octopus Theatricals; Scenic Design by Charles Corcoran; Costume Consultation by Martha Hally; Lighting Design by Michael Gottlieb; Sound Design by M. Florian Staab. Presented by Arts Emerson at the Emerson Paramount Center, 559 Washington St., Boston, MA through October 30.

by Shelley A. Sackett

Bill Irwin is a legendary actor, writer, director and clown artist. The Tony award-winner is as known for serious theatrical roles on Broadway as he is for his beloved Mr. Noodle on television’s “Elmo’s World.”

Just Wanna Have Fun? Say Yeah to ‘Kinky Boots’ at NSMT

October 30, 2022October 31, 2022 Theater MirrorLeave a comment

The cast of KINKY BOOTS at North Shore Music Theatre thru Photo © Paul Lyden

Kinky Boots – Kevin P. Hill, director and choreographer, Dan Rodriguez, musical director, Kyle Dixon, scenic designer, Gregg Barnes, original costume design, Kelly Baker, costume coordinator/additional costume design, Jose Santiago, lighting designer, Adam Bates, sound designer, Josh Marquette, original wig design, Rachel Padua-Shufelt, additional hair and wig design. At North Shore Music Theatre, October 25 – November 6.

by Linda Chin

With pop icon Cyndi Lauper’s triumphant “Raise You Up/Just Be” as its grand finale, NSMT’s Kinky Boots ends on a high note – and not just because everyone on stage is singing and dancing in glittery 4 to 5-inch heels. Rather, the characters we have come to adore have stories with happy endings, and inspire the audience to celebrate themselves and make their own.

A Thoughtful Lesson in Speakeasy’s “English”

October 25, 2022 Theater MirrorLeave a comment

Cast of ‘*English’ at Speakeasy Stage.* From left: Deniz Khateri, Josephine Moshiri Elwood, Lily Gilan James, Zaven Ovian, and Leyla Modirzadeh. Photos by Nile Scott Studios.

“English” – By Sanaz Toossi. Directed by Melory Mirashrafi. Presented by Speakeasy Stage, Boston Center for the Arts, 527 Tremont Street, Boston, MA through November 19.

by Michele Markarian

“Why do we learn language?” Marjan, a teacher (Deniz Khateri) asks her four Iranian students, who are taking her English class to prepare for the TOEFL exam. The year is 2008, the place is Karaj, Iran. The students are Roya, a grandmother (Leyla Modirzadeh), Elham, a young woman (Josephine Moshiri Elwood), teenager Goli (Lily Gilan James) and Omid (Zaven Ovian).

A Magnificent ‘Joe Turner’s Come and Gone’ Heralds the Huntington’s Jubilant Homecoming

October 25, 2022October 26, 2022 Theater MirrorLeave a comment

Patrese D. McClain and James Ricardo Milord (foreground) and cast in ‘Joe Turner’s Come and Gone’ at The Huntington.

‘August Wilson’s Joe Turner’s Come and Gone’ by August Wilson. Directed by Lili-Anne Brown; Arnel Sancianco, Scenic Design; Samantha C. Jones, Costume Design; Jason Lynch, Lighting Design; Aubrey Dube, Sound Design. Presented by The Huntington Theatre through November 13.

by Shelley A. Sackett

What a pleasure it is to have the Huntington Theatre Company back. With its sleek Narragansett Green walls, gold domed ceiling and cherry red extra legroom seats, an always pleasurable theatrical experience is now also one full of creature comforts. Even more stunning, however, is the magnificent production of August Wilson’s Joe Turner’s Come and Gone, with which the Huntington christened its reopening. If Joe Turner’s footprints lingered long after he had gone, it’s because Wilson’s unforgettable presence (and titular title as the Huntington’s creative patron saint) enveloped the stage.

Melendy Rockets into Comedy Stratosphere with ‘Legend of Sleepy Hollow’ at GBSC

October 23, 2022October 24, 2022 Theater MirrorLeave a comment

Paul Melendy in ‘The Legend of Sleepy Hollow’ at Greater Boston Sage Company, Photos: Nile Scott Studio

The Legend of Sleepy Hollow – Adapted from the story by Washington Irving by John Minigan. Directed by Producing Artistic Director Weylin Symes. Scenic Design by Kathy Monthei. Lighting Design by Corey Whittemore. Costume Design by Deirdre McCabe Gerrard. Sound Design by David Remedios. Presented by the Greater Boston Stage Company through November 6, 2022.

by Tom Boudrot

The Greater Boston Stage Company bills “The Legend of Sleepy Hollow” as a ‘One-Man Show’ but the incredibly funny and talented Paul Melendy summons more characters than most shows put on stage for a large-scale production. I’m not just talking about Washington Irving’s Connecticut townsfolk – Ichabod Crane, Katrina Von Tassel, Brom Bones and others. But just imagine a cast that includes the likes of Jim Carrey, Mr. Bean, Don Knotts, Martin Short, Patrick McKenna and Sponge Bob SquarePants telling Washington Irving’s classic New England ghost story, and you’ll get a better picture of the night you have ahead of you when you visit the Greater Boston Stage Company in Stoneham.

Huntington Returns Home with Compelling ‘Joe Turner’s Come and Gone’

October 21, 2022October 25, 2022 Theater MirrorLeave a comment

Robert Cornelius, Shannon Lamb, Maurice Emmanuel Parent and Stewart Evan Smith in ‘Joe Turner’s Come and Gone’ at The Huntington

by Mike Hoban

The road to recovery, a friend once told me, does not begin until we are broken. When we reach our bottom, that’s when the journey begins. August Wilson’s Joe Turner’s Come and Gone, now being presented by the Huntington Theatre Company, is jam-packed with broken people searching for a way to ease their pain. But with some guidance from a healer, some may find the path to a new life. Brilliantly acted, and infused with a surprising amount of genuine humor, Joe Turner takes us on a spiritual journey during the turn of the century (20^th)in Pittsburgh, the setting for Wilson’s 10 play cycle chronicling the Black experience.

Stephen Sondheim’s ‘Sweeney Todd’ – Meaty Material Performed to Perfection at Company Theatre

October 19, 2022October 20, 2022 Theater Mirror8 Comments

MaryAnn Zschau, Peter Adams in ‘Sweeney Todd” at Company Theatre

Sweeney Todd – Music and Lyrics by Stephen Sondheim. Book by Hugh Wheeler. Directed by Sally Ashton Forrest. Musical Direction by Steve Bass. Lighting Design by Dean Palmer Jr. Costume Design by Bri Plummer. Set Design by Ryan Barrow. Presented by Company Theatre, Norwell, through October 23.

by Linda Chin

Legendary lyricist-composer Stephen Sondheim, who became a “giant in the sky” in November 2021 at the age of 91, is arguably the most important figure in musical theater history, and Sweeney Todd is arguably his masterpiece. Yet it is produced less frequently by regional and community theaters than Company, Gypsy, or Into the Woods. Set in London during the Industrial Revolution, the story of a villainous duo who make meat pies filled with human remains is brilliant, but more macabre than Sondheim’s other works, and most musicals in general. Its dark presentation of lust, murder, obsession and revenge, societal and mental health decline, may not appeal to audiences looking for light-hearted entertainment in these depressing times. Even in the best of times, it is a colossal undertaking that asks for customized set pieces and scenic elements, and actors and musicians who can play the complicated characters and handle Sondheim’s challenging score.