Cast of Actors’ Shakespeare Project’s “A Midsummer Night’s Dream.”Photos: Nile Scott Studios
‘A Midsummer Night’s Dream.’ Written by William Shakespeare. Directed by Maurice Emmanuel Parent. Presented by Actors’ Shakespeare Project at Mosesian Center for the Arts,321 Arsenal St., Watertown through May 4.
By Shelley A. Sackett
A Midsummer Night’s Dream is one of those plays that is firmly etched in most people’s long-term memory banks, whether as a first introduction to Shakespeare in high school or as one of scores of film and theatrical productions. There are countless riffs on the play, from the sci-fi A Midsummer Night’s Gene to recently produced The Donkey Dream. Even The Beatles got in on the act in their 1964 TV special, “Around the Beatles,” when they played the “Pyramus and Thisbe” section of the play to an audience of hecklers and moonstruck fans, especially appropriate for this comedy play within a play. (https://www.youtube.com/watch?v=SvREt_w_KOE)
Cast of Lyric Stage’s ‘The Great Reveal’ Photos by Mark S. Howard
Lyric Stage Boston presents ‘The Great Reveal.’ Written by David Valdes. Directed by Bridget Kathleen O’Leary and Charlotte Snow. Scenic Design by Baron E. Pugh. Costume Design by E. Rosser. Lighting Design by Christopher Brusberg. Sound Design by Kai Bohlman. At Lyric Stage, 140 Clarendon Street, Boston, through April 27, 2025.
By Linda Chin
With concern about revenues and audience attendance – particularly post-pandemic – many theater companies have been skittish about including new titles or playwrights in their seasons. Lyric Stage Boston has boldly programmed a new work, The Great Reveal, by playwright David Valdes, as their spring 2025 production, right before the popular classic Hello, Dolly! as their season closer.
Antonia (Toni) Turilli and Jupiter Lê
The Great Reveal is about a gender reveal party hosted by Lexi and Christopher, a married and expectant cis couple. Set in 2020 during the pandemic, all of the expected guests opt out, except for two – Lexi’s brother, Linus, and his partner, Dosia, a trans couple. Linus and Dosia are conflicted – not only about condoning a celebration that reaffirms society’s gender binarism, but also with each other – Dosia has a plan up her sleeve for making her feelings known that might sabotage the event and damage their relationship; Linus wants to maintain a peaceful relationship with his sister.
Casting plays that put queer and trans characters in the foreground – which Valdes enjoys writing – can also be challenging. With directors Bridget Kathleen O’Leary (who directed Valdes’ The Mermaid Hour at Moonbox last year) and Charlotte Snow at the helm of an ensemble that includes Paige Clark as Lexi, Arthur Gomez as her husband Christopher, Jupiter Lê as Linus, and Antonia Turilli as Dosia, this four-hander dramedy is brought to life with authentic storytellers.
Lê and Paige Clark
Last seen at Lyric Stage in Yellowface (NWOAOC) and in many other productions around town, Jupiter Lê delivers a soft-spoken but powerfully-heard, seen, and felt portrayal of Linus and demonstrates his versatility as an actor. A recent graduate of Northeastern University, Jupiter is a queer trans masculine Vietnamese theater-maker who was born and raised in Boston.
Making her Lyric Stage debut with her portrayal of Dosia, actor Antonia (Toni) Turilli, a recent graduate of The Boston Conservatory at Berklee, who is a “proud transgender woman,” is positively luminous. Her passion for her artistry is palpable, and I look forward to seeing her onstage again.
Both Lê and Turilli seem younger than their characters are written, but they are well-matched and both possess a depth of maturity, poise, and lived experience that never caused a mismatch between their actual age and the script or took me out of the moment.
As the married cis couple Lexi and Christopher, Boston stage veterans Paige Clark and Arthur Gomez add their considerable acting talents to the ensemble (which notably includes 75% BIPOC actors despite none of the characters being specified as BIPOC in the script).
Arthur Gomez’ and Turilli
Playing Lexi in The Great Reveal marks Paige Clark’s Lyric Stage debut, and shows off her generosity as a scene partner. I found the scenes where Lexi and Linus recalled experiences from their childhood – both loving and rivalrous – and bonded over their parents’ limitations and absence (Valdes’ fifth character is their elderly father, who does not appear but whose stubbornness and sense of loneliness and isolation pervades the production) extremely moving – possibly because I couldn’t help but imagine him as an Asian dad like my own.
Returning to the Lyric Stage, where he appeared in Assassins and Kiss of the Spider Woman, Boston actor and director Arthur Gomez’ added humor and heart to the ensemble as father-to-be Christopher. To relieve his anxiety and relax his nerves, he took drugs that he got from Dosia. While amusing at first – and showing off Gomez’s comedy chops – he was high for much of the play/party, and these scenes dragged. (The play in general could benefit from some trimming and attention to pacing.) A scene towards the end of the play – a poignant flashback to Chris and Lexi’s wedding day – when Jupiter helps Chris tie his bow tie, cementing their bond as “brothers from another mother” was worth waiting for.
The life-sized working set, thoughtfully designed for the Lyric’s ¾ thrust stage by Scenic Designer Baron E. Pugh, contributed to this world premiere production’s artistic excellence. Set in a backyard in the Boston area, the clapboard-sided house, painted a lovely sage green, with patio sliders that open onto a fenced wooden deck, provides wonderful stage pictures and views from every seat in the audience and ample playing areas for the two-person scenes.
Turilli, Clark
In the Artist Spotlight in the show program, in response to the question “What has being a part of The Great Reveal meant to you?” Antonia Turilli (Dosia) states, “My hope is that audiences feel seen in the story we share with them, as these characters are truly not that different from any one of us.” Paige Clark (Lexi) notes, “I hope everyone watching gets a chance to recognize their shadow self and find ways to heal it.” My favorite moment was a flashback scene on the beach when Lexi and Dosia connect and bond as the sisters they’ve each wanted. Heartfelt and real, they showed us that their friendship’s foundation was strong enough to withstand some hard conversations. I also related to the important role that chosen family members have in my own life. For more information and tickets, go to: https://www.lyricstage.com/
FlawBored’s Aarian Mehrabani, Samuel Brewer, and Chloe Palmer. Photo Credits: Alex Brenner
‘It’s A Motherf**king Pleasure’ – Written by Samuel Brewer, Aarian Mehrabani and Chloe Palmer. Directed by Josh Roche. Presented by ArtsEmerson at the Emerson Paramount Center, Jackie Liebergott Black Box, 559 Washington Street, Boston, through April 13, 2025
By Mike Hoban
ArtsEmerson’s latest offering, the incongruously-named It’s A Motherf$%*ing Pleasure by disability-led theatre company FlawBored, is a riotous, blistering indictment of identity politics that pushes audiences to look at their own discomfort when interacting with differently-abled or marginalized groups. The production uses ableism (defining people by their disabilities) as a springboard for the absurd lengths people sometimes go to attempt to make “others” feel comfortable – while it’s clear they’re grossly uncomfortable themselves. And although ableism is the focus of this show, it could easily be a stand-in for excessive white guilt or other well-intentioned but ultimately disingenuous gestures.
Cast of the National Tour of ‘Parade’ at the Emerson Colonial Theatre. Photos by Joan Marcus
Parade – Book by Alfred Uhry; Music and lyrics by Jason Robert Brown; Co-conceived by Harold Prince; Directed by Michael Arden; Choreography by Lauren Yalango-Grant & Christopher Cree Grant; Music direction by Charlie Alterman. At the Emerson Colonial Theatre, Boston, through March 23rd.
by Mike Hoban
Theatergoers should prepare for a profoundly conflicted experience with the Broadway revival of Parade, now at the Emerson Colonial on its North American tour. The brilliant artistry of this production is undeniable, with its superb cast and creative staging, but the content is a painful reminder that the more things change, the more they stay the same. Although it’s set in the Deep South in 1913, the mob rule and the institutionalized demonization of the “other” look a lot like America in 2025.
Jenny S. Lee in Boston Playwrights’ Theatre’s ‘Recursion Of A Moth’ Photo Credit: Scornavacca Photography
‘Recursion Of A Moth’ – Written by Brandon Zang. Directed by Katie Brook. Sound Design by Audrey Dube; Lighting Design by Grant Powicki; Scenic Design by Cleo Brooks; Costume Design by Cleo Needleham; Produced by Boston Playwrights’ Theatre, ‘Recursion Of A Moth’ runs from February 27st – March 9th at 949 Commonwealth Ave, Boston, MA 02215.
By Charlotte Snow
The audience walks into the house, filled with incongruous electronic audio, to find a blank stage except for a leather chair adorned with notebooks, two podiums pushed upstage, and a constantly looming giant white semi-circle screen at the center. It’s a disarming and almost chilling effect that promises its audience a unique and singular theatrical experience.
Bill Mootos as Howard Beale in Umbrella Arts’ ‘Network’. Photos by Jim Sabitus
‘Network’ – Based on the screenplay by Paddy Chayefsky. Adapted for the Stage by Lee Hall. Directed by Ashley Kelly Tata. Scenic Designer, Afsoon Pajoufar; Lighting & Projections Designer, Seif Allah Salotto-Cristobal; Audio Designer, Aubrey Dube; Costume Designer, Nancy Leary. Presented by Umbrella Arts Center, Main Stage Theater40 Stow St, Concord, MA, through November 3
by Mike Hoban
It’s always a challenge to bring an iconic movie to the stage, even more so when its signature line, “I’m as mad as hell, and I’m not going to take it anymore!” is one of the most recognizable in film history (#19 on the list of America’s Greatest Movie Quotes according to the American Film Institute). It’s also a lot of pressure to put on an actor, but as the network news anchor turned crazed prophet Howard Beale, Bill Mootos delivers, and he does so without mimicking the brilliantly maniacal performance of Peter Finch (who played Beale in the film). Instead, his portrayal of Beale is more of a world-weary “grand old man of the news” gone mad, and it works beautifully – without losing any of the intensity of the character.
‘Million Dollar Quartet’ – Book by Colin Escott and Floyd Mutux. Directed and choreographed by Greg Santos. Music Director Sam Sherwood. Scenic Design by Kyle Dixon. Original Costume Design by Travis M. Grant. Lighting Design by Jose Santiago. Sound Design by Alex Berg. Hair and Wig Design by Rachel Padilla-Shufelt. Through October 6, 2024, at North Shore Music Theatre, 64 Dunham Road, Beverly, MA.
By Linda Chin
A million shout-outs to the uber-talented cast of the Tony Award-winning musical Million Dollar Quartet at Bill Hanney’s North Shore Music Theatre. For about a hundred minutes, actor-musicians Sam Sherwood (Carl Perkins), Blake Burgess ( Johnny Cash), Brandon Fillette (Jerry Lee Lewis), Noah Barnes (Elvis Presley), Joe Bentley (Brother Joy), Stephen Blauch (Fluke), Zach Cossman (Sam Phillips), and Hailie Lucille (Dyanne, the lone female character) teach us some history and gift us with a whole lot of musical magic.
Cast of ‘Leopoldstadt’ at the Huntington. Photos by Liza Voll Photography
‘Leopoldstadt’ – Play by Tom Stoppard. Directed by Carey Perloff. Scenic Design by Ken MacDonald; Costume design by Alex Jaeger; Original Music and Sound Design by Jane Shaw; Lighting Design by Robert Wierzel; Projection Design by Yuki Izumihara.Presented by The Huntington in association with Shakespeare Theatre Company at the Huntington Theatre, 264 Huntington Ave., Boston, through Oct. 13.
By Mike Hoban
As members of any marginalized group trying to integrate into an established community can tell you from firsthand experience, assimilation doesn’t necessarily mean acceptance. The sad truth is that all too often, money, education, physical attributes, or achievement cannot overcome the deep-rooted prejudices of those who cling to the privilege of their skin color, religion, or nationality. Just ask the Obamas.
Cast of ‘Laughs in Spanish’ at Speakeasy Stage. Photos by Nile Scott Studios
‘Laughs in Spanish’ – Written by Alexis Scheer. Directed by Mariela López-Ponce. Scenic design by Erik D. Diaz. Costume design by Rebecca Glick. Lighting Design by Amanda E. Fallon. Sound Design by Anna Drummond. Presented by SpeakEasy Stage Company at 527 Tremont Street, Boston, MA, 02116, from September 13th to October 12th.
By Helen Ganley
Bright orange chairs sit below bare white walls bearing blank name cards for conspicuously missing paintings. Henry Fiol’s “Ahora me da Pena” (“Now I Feel Sorry”) wafts through the room as the part-telenovela, part-whodunit begins to unfold onstage. Written by Alexis Scheer, Laughs in Spanish is a contemporary play that explores the intersection of culture, identity, and family dynamics through humor. Scheer, a playwright and actress, debuted this work in 2019 at the Boston Playwright’s Theatre. Speakeasy Stage’s rendering is a high-energy and campy production that speaks to family, relationships, and the importance of connection.
Cast of “Yellow Face” at Lyric Stage. Photos by Mark S. Howard
“Yellow Face.” Written by David Henry Hwang. Directed by Ted Hewlett. Scenic Design by Szu-Feng Chen; Projections Design by Megan Reilly; Lighting Design by Baron E. Pugh; Costume Design by Mikayla Reid; Sound Design by Arshan Gailus. Presented by The Lyric Stage Company of Boston, Clarendon St., Boston. Run has ended.
By Shelley A. Sackett
Some plays are just good for you. Like drinking a peanut butter, kale, bone meal, and flax seed smoothie, the benefits outweigh the temporary discomfort. With the smoothie, its promise of increased vigor and decreased ailments offset its taste and texture. With “Yellow Face,” David Henry Hwang’s Obie award-winning play presented by The Lyric Stage Company of Boston, its thought-provoking and post-theater-conversation-inducing messages outweigh the lackluster nature of its two-hour theatrical experience.
