SpeakEasy’s ‘The Inheritance’ is a Beautifully Realized Production of an Ambitious and Imperfect Play

May 3, 2022 Theater MirrorLeave a comment

Jared Reinfeldt (left center), Eddie Shields (right center), and members of the cast of SpeakEasy Stage’s ‘The Inheritance’. Photos by Nile Scott Studios.

by Julie-Anne Whitney

‘The Inheritance’ – Written by Matthew López; directed by Paul Daigneault; movement and intimacy direction by Yo-El Cassell; scenic design by Cristina Todesco; costume design by Charles Schoonmaker; lighting design by Karen Perlow; sound design by Dewey Dellay; stage-managed by Thomas M. Kauffman. Produced by SpeakEasy Stage Company at the BCA/Calderwood Pavilion through June 11, 2022.

Matthew López’s Tony Award-winning play, The Inheritance, loosely transposes E.M. Forster’s 1910 novel, Howard’s End, to 21st Century New York where Forster (a closeted gay man all his life) acts as a spiritual guide to a group of young gay men, teaching them the art of effective storytelling. The group then collectively narrates the fictional tale of three generations of gay men from different social and economic backgrounds whose lives become inexplicably linked by way of friendship, betrayal, loss, and love. The story they write follows 50-something billionaire real estate owner Henry and his long-time partner Walter, both of whom become emotionally tied to 35-year-old activist Eric, whose self-destructive playwright boyfriend, Toby, falls for their new actor friend, Adam. Toby ends up befriending and becoming lovers with a lonely 19-year-old sex worker named Leo, who later is saved by Eric’s unwavering kindness.

‘The Prom’ at Hanover Theater is a Musical Comedy Blast

April 27, 2022April 28, 2022 Theater MirrorLeave a comment

Cast of ‘Prom’ at Hanover Theatre in Worcester

The Prom – Music by Matthew Sklar and lyrics by Chad Beguelin. Book by Bob Martin and Beguelin. Directed and choreographed by Casey Nicholaw. Scenic design, Scott Pask; costumes, Ann Roth and Matthew Pachtman; lighting, Natasha Katz; sound, Brian Ronan; wigs and hair, Josh Marquette; arrangements and orchestrations, Mary-Mitchell Campbell, Larry Hochman and Glen Kelly; music direction, Chris Gurr. Presented at the Hanover Theatre through May 1.

by Mike Hoban

The Prom, now playing at Worcester’s HanoverTheatre through Sunday, is a show that really accentuates the ‘comedy’ in musical comedy. This witty send-up of celebrity activism hits its comic mark far more often than not, as a quartet of chronically self-absorbed Broadway actors try to rehabilitate their reputations by embracing a cause célèbre, with painful but often hilarious results.

“Head Over Heels” at the Umbrella a Wild and Wacky Good Time

April 27, 2022April 27, 2022 Theater MirrorLeave a comment

Cast of ‘Head Over Heels’ at the The Umbrella Stage in Concord

by Michele Markarian

“Head Over Heels: The Musical” – Based on “The Arcadia” by Sir Philip Sidney. Conceived and Original Book by James Whitty. Adapted by James Magruder. Produced and directed by Brian Boruta. Music Direction by David Wright. Choreographed by Lara Finn Banister. Presented by The Umbrella Stage Company, 40 Stow Street, Concord, through May 8.

“Arcadian culture has flourished with its adherence to tradition,” boasts King Basilius (Damon Singletary), who runs a tight, patriarchal ship that includes his wife, the Queen Gynecia (Katie Pickett) and two daughters, Philiclea (Temma Beaudreau) and Pamela (Bri Ryder). Pamela is already proving to be a problem, as none of the suitors her parents present to her year after year are to her taste. Younger sister Philiclea is also a problem, having fallen in love with a man beneath her station, a shepherd named Musidorus (John Breen). At the end of his patience, Basilius goes to visit the oracle Pythio (the magnificent Kai Clifton), who gives him four prophesies. Basilius, liking none of them, decides to hide the truth from his wife and daughters, much to the dismay of his manservant Dametas (Robert Saoud). What follows is two hours of light-hearted, gender-bending frivolity as the kingdom’s inhabitants vacate for Bohemia’s gates. With seventeen songs by the Go-Gos, this is an impossible show not to like.

In Huntington’s ‘Our Daughters, Like Pillars’, Family Comes First – at a Price

April 23, 2022April 23, 2022 Theater MirrorLeave a comment

Lyndsay Allyn Cox, Arie Thompson and Nikkole Salter in “Our Daughters, Like Pillars” at the Huntington (Photos by T Charles Erickson)

‘Our Daughters, Like Pillars’ – Written by Kirsten Greenidge; directed by Kimberly Senior; set design by Marion Williams; costume design by Sarita Fellows; lighting design by Mary Louise Geiger; sound design and original music by Jane Shaw; wig/hair and makeup design by Tommy Kurzman; stage managed by Kevin Schlagle. Produced by The Huntington Theatre at the Calderwood Pavilion/BCA through May 8, 2022.

by Julieanne Whitney

Our Daughters, Like Pillars is a story about complex family dynamics and the struggle to break free from the roles we are forced into playing within the family unit. Kirsten Greenidge’s new play focuses on a Black family at the center of which are three sisters doing what they can (or must) to hold themselves and each other together.

ArtsEmerson’s ‘Parable’ Brings Light to a Dystopian Future

April 22, 2022April 24, 2022 Theater MirrorLeave a comment

Cast of ‘Parable of the Sower’ at the Emerson Cutler Majestic Theatre

‘Octavia E. Butler’s Parable of the Sower’ – Created by Toshi Reagon and Bernice Johnson Reagon; Co-Directed by Eric Ting & Signe V. Harriday;Music and Lyrics by Toshi Reagon and Bernice Johnson Reagon; Music Direction by Toshi Reagon. Choreography by Millicent Johnnie; Scenic Design by Arnulfo Maldonado; Costumes by Dede M. Ayite; Lighting Design by Christopher Kuhl. Presented by ArtsEmerson at the Emerson Cutler Majestic Theatre, 219 Tremont St., Boston through April 24.

by Mike Hoban

As the U.S. and the rest of the world appears headed for a slide into a 21^st century version of the Dark Ages, propelled by corporate greed, a warped interpretation of the Bible and willful neglect of the planet, at least it’s fodder for some terrific music in the form of Octavia E. Butler’s Parable of the Sower. The post-apocalyptic sci-fi rock opera returns to the Emerson Cutler Majestic Theatre after a workshop concert version wowed audiences in 2017, and powered by a luminous cast, the show again delivers sustained brilliant musical moments.

Family Matters in Huntington’s “Our Daughters Like Pillars”

April 22, 2022April 22, 2022 Theater MirrorLeave a comment

by Michele Markarian

“Our Daughters Like Pillars” – Written by Kirsten Greenidge. Directed by Kimberly Senior. Presented by The Huntington, Calderwood Pavilion at the BCA, 527 Tremont Street, Boston through May 8.

Lavinia Shaw Williams (Nikkole Salter), the oldest sister of a Black family, has organized a week-long stay at an Airbnb in North Conway, New Hampshire, for siblings Octavia (Arie Thompson) and Zelda (Lyndsay Allyn Cox). Their mother, Yvonne (Lizan Mitchell) is there as well; she has been living with Lavinia and Lavinia’s husband, Morris (Postell Pringle). What appears to be a mere vacation is actually part of a larger plan that Lavinia – or Vinny as she’s called – has for her family; to live together forever under one roof. What Vinny hasn’t counted on is Zelda’s arrival with her new self-sustaining tiny house and new boyfriend, Paul (Julian Parker), as well as the arrival of their negligent father’s second wife, Missy Shaw (Cheryl D. Singleton). Family, with all of its flaws, betrayals, loyalties and secrets, are at the heart of the play.

Trinity Rep’s ‘Sueno’ a Superb Dramedy

April 22, 2022 Theater MirrorLeave a comment

Cast of ‘Sueno’ at Trinity Rep (Photos by Mark Turek)

by Tony Annicone

Welcome to yesteryear with Trinity Rep’s fourth show of their 58th season. The show is Sueno, which is based on Life is a Dream, an old Spanish Golden age classic play. It contains all the elements of an adventure show, including many laughs mixed with love, betrayal, revenge, dreams and forgiveness. At Trinity Rep, the show is presented as a Telenovela. It’s hilarious, but with some serious ideas to ponder as well. After the birth of his son, King Basilio (who believes in astrology) banishes his newborn son, Segismundo, to be imprisoned in a tower for life because he caused the death of his mother. He perceives this as an omen that his son will destroy his kingdom. Translated, ‘Sueno’ means ‘great desire’ – which is felt by relatives when the show fast forwards to 25 years later. Estrella and Astolfo appear on the scene to take over the kingdom but eventually learn that Segismundo is to be released from prison. Basilio tests his son twice with dismal results as the imprisoned son fights with a soldier and falls immediately in love with a servant girl. Segismundo ends up back in the tower where he ruminates about his plight. Things turn on a dime with some astonishing sword fights while the audience is surprised at the sudden turn of events and lessons about nature and nurture. Director Tatanya-Marie Carlo casts this show splendidly and elicits marvelous performances from her nine-member cast. The flamenco music also adds to the flavor of this play. A word of praise to Patrick Lynch for his astounding turntable set of the palace and a tower prison, to Shahrzad Mazaheri for beautiful and intricate costumes and especially to Mark A. Rose for his energetic and brilliant fight choreography which makes these segments mesmerize you.

Park is Over the Rainbow in Wheelock’s ‘The Wizard of Oz’

April 13, 2022April 14, 2022 Theater MirrorLeave a comment

Cast of ‘The Wizard of Oz’ at Wheelock Family Theatre

by Mike Hoban

‘The Wizard of Oz’ – By L. Frank Baum. Music and Lyrics by Harold Arlen and E.Y. Harburg. Background Music by Herbert Stothart. Based on the Classic Motion Picture owned by Turner Entertainment Co. and distributed in all media by Warner Bros. Directed by Nick Vargas; Choreographed by Tiffany Lau; Music Direction by Todd Gordon. Presented by the Wheelock Family Theatre at 180 Riverway, Boston through May 1.

The Wheelock Family Theatre returned to the stage this past weekend after a 765-day hiatus with a stripped down production of The Wizard of Oz, with nine actors playing all of the roles – from leading characters to the ensemble players. The family favorite is buoyed by a terrific performance by Lily Park as Dorothy, the young girl who is swept away in a tornado and transported to the magical world of Oz to find out that “there’s no place like home”.

Seacoast Rep’s La Cage aux Folles is Spectacular

April 10, 2022 Theater MirrorLeave a comment

By Linda Chin

I didn’t get to see La Cage aux Folles until late in its nearly sold-out run, but several days later I am still singing the songs, laughing at some of the show’s many funny lines and campy bits, and feeling the feels of this incredibly heartwarming production. Seacoast Repertory Theatre’s production of La Cage demonstrates how musical theatre is a truly collaborative art form, how it can entertain and educate, how a production that first opened 40 years ago is still relevant, and how unbelievably good it feels to be back at live theatre again.

‘Freestyle Love Supreme’ at Colonial a High Energy Comic Blast

March 21, 2022March 21, 2022 Theater MirrorLeave a comment

Chris Sullivan, Wayne Brady, Anthony Veneziale, Aneesa Folds in Freestyle Love Supreme at the Emerson Colonial Theater. Photos by Joan Marcus. (Brady is not part of the cast for the Boston dates).

“Freestyle Love Supreme” – Conceived by Anthony Veneziale. Created by Thomas Kail, Lin-Manuel Miranda and Anthony Veneziale. Directed by Thomas Kail. Presented by the Ambassador Theatre Group at the Emerson Colonial Theatre, 106 Boylston St., Boston through April 2.

by Mike Hoban

What do you get when you cross improvisational comedy with hip-hop? Freestyle Love Supreme is what, and it’s a musical comedy blast. Boston is the second leg of the national tour of this unique entertainment experience, following a four-month return engagement to the Booth Theater on Broadway after the show won a special Tony Award last September. The concept of the show itself isn’t entirely new, as improvisational comedy groups have long incorporated long-form musicals into their shows, but the added degree of difficulty – fitting the improvised songs into a rhyming scheme in harmony with a beatbox – is nothing short of amazing.