Month: April 2025

Moonbox’s ‘Crowns’ Raises the Roof

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Cast of Moonbox Productions’ “Crowns” at Arrow Street Arts. Photos: Chelcy Garrett

Moonbox Productions presents ‘Crowns’ by Regina Taylor, adapted from the book by Michael Cunningham and Craig Mayberry. Regine Vital, Director. David Coleman, Musical Director. Davron Monroe, Associate Director. Kurt Douglas, Choreographer. Isaak Olson, Lighting Designer. Baron E. Pugh, Scenic Designer. James Cannon, Sound Designer. Danielle Ibrahim, Props Designer. E Rosser, Costume Designer. Schanaya Barrows, Wig Designer. At Arrow Street Arts, 2 Arrow Street, Cambridge, through May 4, 2025.

By Shelley A. Sackett

In Crowns, playwright Regina Taylor’s paean to the Black women who held their families, churches and communities together, gospel music, fanciful hats and swanky dresses take center stage. For 90 intermission-less minutes, this jukebox musical rocks the intimate Arrow St. Arts with two dozen songs and a narrative that traces the history of Blacks in America, from slavery to the Jim Crow south to the Civil Rights movement to present-day Black-on-Black violence in Brooklyn’s tougher neighborhoods.

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In Sullivan Rep’s ‘Company’ “What Do You Get?”

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Cast of Sullivan Rep’s ‘Company’ (Dan Sullivan center, Meghan Rose, Kevin Hanley, foreground)

Sullivan Rep presents ‘Company’ – Music & Lyrics by Stephen Sondheim. Book by George Furth. Direction & Choreography by Dan Sullivan. Musical Direction by Andrew Wray. Hair & Makeup Design by Bridget Sullivan. Costume Design by Dan Sullivan. Lighting Design by Erik Fox. Properties Design by Rick Grenier. Sound Design by Andrew Mulholland. At the American Legion Nonantum Post 440, Newton. Run has ended.

By Linda Chin

Once again, Sullivan Rep has shown that they are the little company that could — do justice to the work of late, great musical theater giant Stephen Sondheim, that is. Last year’s production of A Little Night Music garnered Norton nominations for Outstanding Musical (in good company with established giants ART, SpeakEasy, Central Square & Front Porch) and Outstanding Musical Direction (Jenny Tsai). Sullivan Rep’s limited engagement (four-show run) of Company on Easter/Passover holiday weekend has ended – but could easily have been enjoyed by another hundred people – or two, three, or four hundred more –  if an extension, or expanded audience capacity, had been possible.

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Alvin Ailey‘s Legacy Uplifts and Transforms — As Always

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Alvin Ailey American Dance Theater at Boch Center Wang Theatre. Photos by Paul Kolnik

Alvin Ailey American Dance Theater. Presented by Celebrity Series of Boston. At Boch Center Wang Theatre. Run has ended.

By Shelley A. Sackett

Like daylight savings time, red-winged blackbirds and early flowering trees, Celebrity Series of Boston’s presentation of Alvin Ailey American Dance Theater is an annual harbinger of spring. Its arrival is cause for celebration for the reliably breathtaking performances that await and as a sign that, at last, the long, dark, COLD winter months are behind us.

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Creative, Tragicomic and Complex, Apollinaire’s ‘The Squirrels’ Should Not Be Missed!

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Cast of Apollinaire Theater Co.’s ‘The Squirrels’. Photos by Danielle Fauteux Jacques

‘The Squirrels.’ Written by Robert Askins. Directed by Brooks Reeves. Movement Choreography by Audrey Johnson; Fight Choreography by Matt Dray; Scenic and Sound Design by Joseph Lark-Riley; Costume Design by Susan Paino. Presented by Apollinaire Theater Co. at Chelsea Theatre Works, 189 Winnisimmet St., Chelsea through May 18th.

By Shelley A. Sackett

Playwright Robert Askins is known for fusing razor-edged socio-political insights and wacky, ingenious extended metaphors. In the irreverent comedy, Hand to God, he uses puppetry, including a possessed Christian ministry puppet, to explore themes of faith, morality, and the ties that bind us. In The Squirrels, he taps the squirrel world as a conceit through which to expose and study our own instinctual compulsion towards tribalism and ultimate self-destruction.

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Strong Performances Lift Mystic Evidence Productions’ ‘Skazki: A Spell of Ice and Snow’

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‘Skazki: Spell of Ice and Snow.’ Written by J.X.M. Corriss. Words and Music by Jonathan Blackshire. Musical Direction by Sam McLoughlin. Directed by Sean Robinson. Choreography by Katie Formosi. Costume Design by Kitty Prue. Lighting Design by Nick Tavares. Stage Management by Max Cavanaugh, assisted by Mason West. Presented by Mystic Evidence Productions at the Boston Center for the Arts, 539 Tremont St, Boston, MA 02116

By C.J. Williams

“Culture is also a casualty of war.” So what’s culture? And is its loss akin to losing a limb – or a family member?

Skazki: A Spell of Ice and Snow recently wrapped up its run at the Boston Center of the Arts. The brand-new musical, written by a first-time playwright (but veteran poet and novelist, X.M. Corriss), is a whimsical musical with a cold as steel fairy tale edge, and where it may falter in pacing, it more than evens out in its cast and crew’s passionate performances. If culture is indeed a casualty of war, Skazki is perhaps the result of artists who know that all art is a kind of healing.

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A.R.T.’s ‘Night Side Songs’ Is Magical, Boundary-Breaking Theater

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Jonathan Raviv and Brooke Ishibashi in A.R.T.’s ‘Night Side Songs’. Photo: Nile Scott Studios

‘Night Side Songs.’ Words and Music by the Daniel and Patrick Lazour. Directed by Taibi Magar. Scenic Design by Matt Saunders; Costume Design by Jason A. Goodwin; Lighting Design by Amith Chandrashaker; Sound Design by Justin Stasiw. Music Direction and Piano Arrangements by Alex Bechtel. Presented by American Repertory Theater in association with Philadelphia Theatre Company at Hibernian Hall, 184 Dudley St., Boston through April 20.

By Shelley A. Sackett

Night Side Songs, the remarkable production by A.R.T. now at Hibernian Hall, bills itself as “communal music-theater experience performed for—and with—an intimate audience that gives voice to doctors, patients, researchers, and caregivers to celebrate the resilience of the human spirit.” This description barely scratches the surface of the uncharted grounds this play explores, and the transfixing heights it reaches.

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Moonbox Productions’ CROWNS is Studded with Multifaceted Jewels

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Cast of Moonbox Productions’ “Crowns” at Arrow Street Arts. Photos: Chelcy Garrett

Moonbox Productions presents ‘Crowns’ by Regina Taylor, adapted from the book by Michael Cunningham and Craig Mayberry. Regine Vital, Director. David Coleman, Musical Director. Davron Monroe, Associate Director. Kurt Douglas, Choreographer. Isaak Olson, Lighting Designer. Baron E. Pugh, Scenic Designer. James Cannon, Sound Designer. Danielle Ibrahim, Props Designer. E Rosser, Costume Designer. Schanaya Barrows, Wig Designer. At Arrow Street Arts, 2 Arrow Street, Cambridge, through May 4, 2025.

By Linda Chin

At Arrow Street Arts in Cambridge, American playwright Regina Taylor’s award-winning Crowns – the most performed musical in the country in 2006 – is getting the royal treatment from resident company Moonbox Productions.  As are the audience members. Based on a series of ‘Portraits of Black Women in Church Hats’ whose images and personal narratives were captured by photographer Michael Cunningham and journalist Craig Mayberry in their book of the same name, Crowns takes us on a journey that teaches us about the significance of hats in Black culture, tantalizes us with glorious gospel, soul and hip hop sounds and treats us to the work of talented theater artists.

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ASP’s Rowdy ‘A Midsummer Night’s Dream’ Flips the Bard’s Gem on its Breakdancing Head

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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 )

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Everyone Wants Some in  ASP’s “A Midsummer Night’s Dream”

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Cast of Actors’ Shakespeare Project’s “A Midsummer Night’s Dream.”Photos: Nile Scott Studios

“A Midsummer Night’s Dream”, by William Shakespeare. Directed by Maurice Emmanuel Parent. Presented by Actors’ Shakespeare Project, 321 Arsenal Street, Watertown through May 4.

Cast of Actors’ Shakespeare Project’s “A Midsummer Night’s Dream.”Photos: Nile Scott Studios

By Michele Markarian

“Love looks not with the eyes, but with the mind”, insists Helena (Deb Martin), a maid musing on the unreasonable and unpredictable foibles of attraction. The minds in this production of “A Midsummer Night’s Dream” are busy at work, their bodies preening and pursuing the objects of their lusty desires, a kind of Beltane in the middle of summer. This vigorous production is set in a disco, with all the dangers and dreams that go with it. 

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BLO’s ‘Carousel’ Is More Miss Than Hit

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Cast of Boston Lyric Opera’s ‘Carousel’. Photo by Nile Scott Studios.

Rodgers and Hammerstein’s ‘Carousel,’ 80th Anniversary Production. Music by Richard Rodgers. Book and Lyrics by Oscar Hammerstein II. Conducted by David Angus. Directed by Anne Bogart. Presented by Boston Lyric Opera, Emerson Colonial Theatre, 106 Boylston Street, Boston. Run has ended

By Shelley A. Sackett

Boston Lyric Opera’s production of Carousel is being touted on many levels. It is a return of Rogers and Hammerstein’s second musical (written just two years after the smash hit Oklahoma) on the same stage where it débuted in 1945 with John Raitt (Bonnie Raitt’s late father) as the lead, Billy Bigelow. Director Anne Bogart’s program notes stress the tension inherent in staging a show with such strong nostalgic ties to tradition for a contemporary audience. She checks the reverence box by not changing a syllable of the original script or lyrics. The notes refer to checking the innovation box by envisioning the players-within-the-play as “a group of refugees who arrive from a great distance to perform the play, seeking to gain access and acceptance,” but, at least for this viewer, that intention yielded only confusion.

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