“Stereophonic” A Grueling Celebration of Making Art

Cast of “Stereophonic” at the Emerson Colonial. Photos: Julieta Cervantes
 

“Stereophonic”.  Written by David Adjami.  Original Songs by Will Butler.  Directed by Daniel Aukin. Presented at Emerson Colonial Theatre, 106 Boylston Street, Boston, through March 15.

By Michele Markarian

When I first saw “Stereophonic” a few years ago in New York, I was surprised at how familiar I was with some of the dialogue. “It’s the book!” I whispered to my husband, who had no idea what I was talking about. The book, “Making Rumours: The Inside Story of the Classic Fleetwood Mac Album” by Ken Caillat with Steven Stiefel, had been given to me as a birthday present by a friend ten years before. Caillat had been the co-producer of “Rumours” and wrote a book describing the exhilarating and often harrowing process, a journey Mick Fleetwood corroborates in his book “My Life and Adventures in Fleetwood Mac”. The playwright eventually settled out of court with Caillat. In fairness to Adjami, while the book is good, the play, which depicts the arduous recording sessions of a seminal album by a band loosely based on Fleetwood Mac, is better.

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“Penelope” Plays an Emotional Waiting Game

Marissa Licata, Dan-Rodriguez, Aimee Doherty and Kett-Lee in Lyric Stage’s ‘Penelope’

“Penelope”.  Music, lyrics and arrangements by Alex Bechtel.  Book by Alex Bechtel, Grace McLean, Eva Steinmetz. Directed by Courtney O’Connor.  Music Direction by Dan Rodriguez.  Presented by The Lyric Stage Company of Boston, 140 Clarendon Street, Boston, through March 1.

By Michele Markarian

Odysseus is a popular figure these days. In 2018, he appeared in Madeline Miller’s novel “Circe” as a virile and manipulative broken warrior.  There was Kate Hamill’s “Odyssey” that premiered at A.R.T. last year. There’s an upcoming film version, directed by Christopher Nolan and starring Matt Damon, scheduled for release this July. “Penelope”, written by Alex Bechtel, is a one-woman cabaret depicting a waiting, sometimes patiently, sometimes not, wife of Odysseus, whose loyalty and love is played adoringly by Aimee Doherty.

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The Hive Theatre Company’s “…Spelling Bee” Buzzes with Eccentricity

Cast of Hive Theatre Company’s “The 25th Annual Putnam County Spelling Bee”

‘The 25th Annual Putnam County Spelling Bee’ Music and lyrics by William Finn. Book by Rachel Sheinkin. Directed by Margaret McFadden. Music Directed by John Eldridge. Stage Management from Kayla Copping. Scenic Design by Kevin Deane Parker. Sound Design by Geoffrey Edwards. Lighting Design by Narissa “Nars” Kelliher. Costume Design by Samantha Wolfrum. The Hive Theatre Company’s ‘The 25th Annual Putnam County Spelling Bee’ runs from January 22nd to February 1st at 539 Tremont Street, Boston, MA 02116. 

By Charlotte Snow 

It’s not every day that Boston is treated to a new theatre company…it seems like every month. However, it has been many years since a Boston theatre has focused on engaging a rather underrepresented demographic: teens and young adults. This is The Hive Theatre Company’s inaugural season, centered around “Competition, Community, and Coming of Age,” opening with The Wolves and now closing out with The 25th Annual Putnam County Spelling Bee.

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Short Take: “Wonder” Delivers a Joyful Ride to a Kinder Landscape

Garrett McNally and Donovan Louis Bazemore in ‘Wonder’ at the A.R.T.
Photos by Hawver and Hall

“Wonder”. Book by Sarah Ruhl. Music and Lyrics by A Great Big World (Ian Axel and Chad King). Directed by Taibi Magar. Presented by American Repertory Theater, 64 Brattle Street, Cambridge, through February 8.

By Michele Markarian

“I like ice cream, outer space and video games,” Auggie (Garrett McNally), a typical seventh grader, tells us at the beginning of “Wonder”. Auggie, however, has a facial difference that sets him apart from other kids, making him a target of bullying and ostracization. For years, his mother, Isabel (Alison Luff), has been homeschooling him, but now she fears he has more to learn than what she can teach him. To counter this, Isabel has enrolled Auggie in middle school, much to his dismay. While his oversized space helmet and invisible friend Moonboy (Nathan Salstone) keep him feeling safe at home, they won’t serve Auggie well at school. Auggie’s sister Via (Kaylin Hedges) is also on edge. As the sibling of someone whose facial differences account for a lot of his parents’ attention, Via doesn’t always get her fair share; the fact that her best friend Miranda (Paravi) isn’t speaking to her for unknown reasons doesn’t help. Miranda, as it turns out, is having a hard time dealing with her parents’ divorce. As one of Auggie’s teachers, Mr. Browne (Raymond J. Lee) likes to say, “Be kind, for everyone is fighting an invisible battle.” 

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A.R.T.’s Uplifting ‘Wonder’ Wonders What Makes A Life Wonderful

Nathan Salstone, Garrett McNally, and members of the cast of ‘Wonder’ at the A.R.T.
Photos by Hawver and Hall

‘Wonder’ — Book by Sarah Ruhl. Music and lyrics by A Great Big World (Ian Axel and Chad King). Directed by Taibi Magar. Choreographed by Katie Spelman. Music supervision by Nadia DiGiallonardo. Presented by American Repertory Theater at Loeb Drama Center, 64 Brattle St., Cambridge, through Feb. 8.

By Shelley A. Sackett

Middle school is widely recognized as one of life’s toughest crucibles, a time of major physical, emotional and social change. A petri dish of hormonal upheaval, intense social pressures and increased academic demands, it has all the ingredients for an emotive perfect storm.

Now imagine navigating these turbulent waters as a boy with facial differences facing transition from homeschooling to private school, where he will, for the first time, have to mix with other kids, and that perfect storm suddenly lurks as a tsunami of epic proportions.

This is the premise of Wonder, the new coming-of-age musical drama débuting at American Repertory Theater. Based on R.J. Palacio’s best-selling 2012 young adult novel, Sarah Ruhl’s play tells the story of Auggie Pullman, a boy born with Treacher Collins syndrome, a rare genetic disorder that interferes with the development of facial features.

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The Huntington’s Superb Musical ‘Fun Home’ Plumbs Memories and Memoirs

Caleb Levin, Odin Vega, Lyla Randall in ‘Fun Home’ at the Huntington. Photos by Marc J Franklin

‘Fun Home’ — Music by Jeanine Tesori. Book and Lyrics by Lisa Kron. Based on the graphic novel by Alison Bechdel. Directed by Logan Ellis. At the Huntington Theatre, Huntington Ave., Boston through Dec. 14.

By Shelley A. Sackett

In less capable hands, the multiple Tony Award-winning Fun Home, at the Huntington through Dec. 14, could have been a disaster. Adapted from Alison Bechdel’s graphic novel memoir, the storyline follows a family’s journey through sexual orientation, gender roles, suicide, emotional abuse, grief, loss, and lesbian Bechdel’s complicated relationship with her tightly closeted father. To boot, the title refers to the family funeral parlor, where her father worked and she and her siblings played.

Doesn’t sound like the raw material for one of the year’s outstanding Boston area productions? Think again.

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Trinity Rep’s ‘A Christmas Carol’: Nothing New, But Always Heartwarming

Felese Kparyea as Martha, Jeff Church as Bob Cratchit, Salvador Rivera Scotti as Tiny Tim, Stephen Thorne as Ebenezer Scrooge, and Henry Nwaru as Nephew Fred in Trinity Rep’s “A Christmas Carol,” Photos by Mark Turek

‘A Christmas Carol’ Written by Charles Dickens; Adapted by Adrian Hall with additional adaptations by Richard Jenkins; Co-directed by Sharon and Richard Jenkins. Featuring Nate Dendy, Stephen Thorne, Jeff Church, Kayla Dumont, Evie Dumont, Taavon Gamble, Gillian Williams, Allison Russo. Original Music by Richard Cumming; Music Direction by James Wood; Stage Manager Anais Bustos; Sound Designer Peter Sasha Hurowitz; Lighting Design by Brian Lilienthal; Costume Design by Toni Spadafora-Sadler. Presented by Trinity Repertory Theatre, Providence, RI, running November 12 through December 31.

By CJ Williams

Trinity Repertory’s A Christmas Carol has a 49-year tradition, but add that to the publication date of Dickens’ original story, and that’s 182 years. That’s all to say that there’s a good reason audiences return to this narrative of miser-redeemed year after year. A Christmas Carol may remind us year after year not to succumb to that sneaking hardness of heart we’re vulnerable to. But it’s also just rollicking good fun to watch an old grumpy geezer get pulled out of bed and thrust into a ghost-haunted pantomime of his past.

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‘Murder for Two’ Is A Goofy, Musical Valentine to Classic Whodunits.

Will McGarrahan and Jared Troilo in “Murder for Two” at Greater Boston Stage
Photos: Niles Scott Studios

‘Murder for Two’ — Book and Music by Joe Kinosian. Book and Lyrics by Kellen Blair. Directed by Tyler Rosati. Music Direction by Bethany Aiken; Scenic Design by Katy Monthei; Lighting Design by Matt Cost; Sound Design by Adam Smith. Presented by Greater Boston Stage Company, 395 Main St., Stoneham, MA through Nov. 9.

By Shelley A. Sackett

Murder for Two is a loving parody of classic murder mysteries. A two-person musical, the 100-minute (no intermission) production is more vaudevillian revue than its genre’s prototypes, relying on gimmicks, songs, and quick changes to tell a familiar story in a new way.

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Speakeasy’s ‘Lizard Boy’ Artfully Combines Indie Rock with Comic Book Sensibility

Chelsie Nectow, Keiji Ishiguri, and Peter DiMaggio in ‘Lizard Boy’ at SpeakEasy Stage.
Photos by Benjamin Rose Photography.

‘Lizard Boy’Book, music, and lyrics by Justin Huertas. Directed by Lyndsay Allyn Cox; Music Direction by Violet Wang; Scenic Design by Qingan Zhang; Sound Design by Sean Doyle; Costume Design by Zoë Sundra, Lighting Design by Deb Sullivan. Presented by SpeakEasy Stage at the Calderwood Pavilion. Through Nov. 22.

By Mike Hoban

There are any number of musicals that examine the hardships of not fitting in − from the 1960s Rankin-Bass television special Rudolph the Red-Nosed Nose Reindeer to Wicked to Bat Boy: The Musical. The challenges of “being different” and the struggle to be accepted can be compelling fodder for any storytelling vehicle, and SpeakEasy’s delightfully silly but poignant Lizard Boy is no exception.

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“Tick, Tick…Boom”  Delivers a Dynamic Exploration of Love, Loss and Adulthood

Anthony Pires Jr, Vanessa Calantropo, Johnny Shea in Umbrella Stage Company’s ‘Tick, Tick… Boom!’ 

“Tick, Tick…Boom”. Book, Music, and Lyrics by Jonathan Larson. Directed and Choreographed by Ilyse Robbins. Lighting Design by Ben Rush; Sound Design by Alex Berg
Scenic Designer by Erik D. Diaz. Music Direction by Jordan Oczkowski. Presented by The Umbrella Stage Company, 40 Stow Street, Concord, through November 23.

By Michele Markarian

The world of childhood promises an open road, where any and all dreams are possible, ignoring any pesky variables, like personality, talent, looks, connections, socioeconomics, and, well, fate.  Which, as Carl Jung said, “Until you make the unconscious conscious, it will direct your life and you will call it fate”.  At some point in our twenties, we decide what kind of people we want to be and the kind of life we would like to live, as it dawns on us that we really can’t have it all.  We are forced to choose, and the choosing isn’t always easy, especially for those of us who have our hearts set on a career in the performing arts.

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