Apollinaire Serves Up Chaos and Control with Witty ‘Lunch Bunch’

Cast of Apollinaire’s ‘Lunch Bunch’. Photos by Danielle Fauteux Jacques

‘The Lunch Bunch’ – Written by Sarah Einspanier; Directed by Danielle Fauteux Jacques; Scenic & Sound Design: Joseph Lark-Riley; Lighting Design: Danielle Fauteux Jacques; Presented by Apollinaire Theatre Company  Chelsea Theatre Works, located at 189 Winnisimmet St., Chelsea, MA through January 21

by Mike Hoban

What do you do when the stress of your thankless job drives you to the brink of madness every single day? You could drink like a fish and do boatloads of cocaine like the brokers in Wolf of Wall Street, or there’s always the healthier options of meditating, doing yoga, getting a therapist, or working out. Or you could try a third option: engage obsessively in a ritual that gives you the illusion of control over your chaotic and unpredictable life. The latter is the route that the characters in Apollinaire’s production of the Lunch Bunch have taken, and while it works just about as well as you would suspect it would for the characters, this very funny sendup of foodie culture is a great stress reliever for audiences.

Cristhian Mancinas-García, Alex Leondedis
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Gamm Theatre’s ‘Who’s Afraid Of Virginia Woolf”’

Jeanine Kane, Tony Estrella, Gunnar Manchester, and Gabrielle McCauley in Gamm Theatre’s “Who’s Afraid of Virginia Woolf?” Photo by Cat Laine

Reviewed by Tony Annicone The 39th season of GAMM Theatre continues with their opening show of 2024, “Who’s Afraid of Virginia Woolf,” a 1963 Tony Award-winning Best Play by Edward Albee. The Broadway show opened on October 13, 1962, ran for 664 performances, and became a movie three years later, starring Richard Burton, Elizabeth Taylor, George Segal, and Sandy Dennis. This play examines the complexities of the marriage of a middle-aged couple, Martha and George. Late one evening after a university faculty party, they receive a visit from two guests, an unwitting younger couple, Nick and Honey, and they draw them into their bitter and frustrated relationship. George and Martha’s consumption of alcohol during the course of the evening reveals secrets about themselves, with Martha denigrating George as not being able to rise to the position of head of the university, which her father expected him to attain. Martha exclaims “He’s a great big fat flop!” and George’s temper gets the better of him as he smashes a bottle on the floor. Honey runs off to the bathroom in a panic. Tensions escalate, and things get scary as revelations about all of them come tumbling out in comic and dramatic moments that keep your attention all night. Director Steve Kidd casts these four iconic roles marvelously and elicits brilliant performances from his talented cast. His wife, Jessica Hill Kidd, aided him in this task with the magnificent set she created for this show. It’s so realistic that the audience would love to move into it. The splendid 1960s costumes are by David T. Howard, with lighting by Jeff Adelberg and sound by Hunter Spoede. Hardworking stage manager Kelsey Emry keeps things running smoothly.

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La Broa’ at Trinity Rep, Educates, Entertains

Cast of La Broa’ at Trinity Rep

Reviewed by Tony Annicone

The first show at Trinity Rep in 2024, which is the continuation of its 60th season, is the world premiere of “La Broa'” by Orlando Hernandez, inspired by “Latino History of Rhode Island: Nuestras Raices,” oral histories collected by Marta V. Martinez. “La Broa”’ (Broad Street) draws from real-life stories of Providence’s Spanish-speaking immigrant communities over sixty years and is directed by Tatyana-Marie Carlo, a resident artistic company member. Hernandez takes these oral histories and weaves interesting, poignant, and awe-inspiring tales into a show that audience members can savor and enjoy. These stories are based on real people with some fictional events mixed in, ranging from gripping to entertaining but, most of all, educating and entrancing the crowd to understand how different cultures exist, not only on Broad Street. Rosa’s Market on Broad Street is the center of the stories Dona Rosa tells Ana, a student at Providence College, in 1992. The show is told with flashbacks to 1947 when Rosa came to New York from The Dominican Republic. She met her husband Tony there, and they eventually moved to Providence. This is where the characters interact during the show as Dona Rosa weaves tales of her past. They speak of immigration, how they adjusted to Providence, and cultural matters that affect them. Marta Martinez has worked on this script for the past ten years, and Trinity Rep performers make her and real-life people extremely proud in this astounding show.

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Everyone Wants to Be Seen, and Must See “Real Women Have Curves” at ART

Cast of “Real Women Have Curves: The Musical” at the A.R.T.
Photos by Nile Hawver and Maggie Hall

‘Real Women Have Curves: The Musical.’ Music & lyrics by Joy Huerta and Benjamin Velez, book by Lisa Loomer. Directed and choreographed by Sergio Trujillo. Music Supervisor Nadia DiGiallonardo; Music direction by Robeto Sinha. Scenic design by Arnulfo Maldonado. Costume design by Wilberth Gonzalez and Paloma Young. Lighting design by Natasha Katz. Sound design by Walter Trarbach. Video design by Hana S. Kim. At the American Repertory Theater’s Loeb Drama Center, Cambridge, through January 21, 2024.

by Linda Chin 

Like the ad campaign from my childhood about Levy’s Real Jewish Rye, you don’t have to be Latinx to love Real Women Have Curves: The Musical, an exuberant and empowering production enjoying its world premiere at the American Repertory Theater. Set in the summer of 1987 in Boyle Heights, LA, home to a growing population of Hispanic and Latino residents, the story centers on the three “real women” of a Mexican family. Matriarch Carmen Garcia (Justina Machado) is a housewife and traditional, old-fashioned wife to her husband Raúl, a house painter (Edward Padilla), and mother to two daughters. The eldest, Estela (Florencia Cuenca), runs a small dressmaking shop but aspires to be a designer. The youngest, new HS graduate Ana (Lucy Godínez), was born in the US and is a citizen, aspires to go to college and pursue a writing career. Despite the many bumps and curves in their immigration and life journeys, all three “Garcia Girls” have not lost their accents nor lost sight of their big dreams. But they, like all of us, are desperate to be seen for their authentic selves, beyond their curves and the stereotypes society has placed on them. 

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Revels Goes Medieval in Swanson’s Swan Song with ‘Feast of Fools’

Vincent Ernest Siders (The King, far left) and the cast of Midwinter Revels: The Feast of Fools
Photos by Paul Buckley

Midwinter Revels: The Feast of Fools: A Medieval Celebration of the Solstice – Written and Directed by Patrick Swanson and Debra Wise.; Musical Direction by Elijah Botkin; Choreography by Susan Dibble; Set Design by Jeremy Barnett; Sound Design by Bill Winn; Lighting Design by Jeff Adelberg; Costume Design by Heidi A. Hermiller; Presented by Revels, Inc. at The Sanders Theater at Harvard University, 45 Quincy Street, Cambridge, through December 28th.

Retiring Revels Artistic Director Paddy Swanson is ending his career on a decidedly high note, delivering on his promise to the Globe’s Terry Byrne to “return to our roots, with brass instruments with their big sound, big carols, and processions.” The result is the highly entertaining Midwinter Revels: The Feast of Fools – and it’s quite possibly the best Revels in years. This year’s edition (the 53rd, 34th with Swanson at the helm) is also marinaded in comedy, bolstered by a trio of talented fools, Folly (René Collins), Fiasco (Eliza Rose Fichter), and Flop (Roger Reed), who serve their king (a regal and affably commanding Vincent Ernest Siders) with irreverent devotion.

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Theater UnCorked’s “Virginia Woolf” is a Dark Gem

Cast of Theater Uncorked’s ‘Whos Afraid of Virginia Woolf? Brooks Reeves, Shana Dirik, AnthonyRinaldi and Brooke Casanova. Photo Credit: Leonard-Chasse

“Who’s Afraid of Virginia Woolf” – Written by Edward Albee. Directed by Ben Delatizky. Presented by Theater UnCorked at the BCA Plaza Black Box Theatre, 539 Tremont St., Boston, December 6–10, 2023

by Mike Hoban

Theatergoers looking for an antidote to the multiple versions of A Christmas Carol or the endless stream of holiday-themed programming on the Hallmark Channel hit pay dirt with Theater UnCorked’s bleak but stunningly executed Who’s Afraid of Virginia Woolf?” Revived for a short run at the BCA Plaza Black Box Theatre in early December, the production was a master class in acting by Boston favorites Shana Dirik and Brooks Reeves, who were ably supported by Brooke Casanova and Anthony Rinaldi and skillfully directed by Ben Delatizky.

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Seriously Motivated by Love, Moonbox presents a Stunning ‘Legally Blonde’

Cast of Moonbox Production’s ‘Legally Blonde’. Photos by Chelcy Garrett.

Moonbox Productions presents ‘Legally Blonde: The Musical.’ Music and lyrics by Laurence O’Keefe and Nell Benjamin. Book by Heather Hach. Directed by Katie Ann Clark. Music Direction by Mindy Cimini. Choreographed by Taavon Gamble. Scenic Design by Sarabeth Spector. Lighting Design by Finn Bamber. Costume Design by William Andrew Young. Properties Design by Julia Wonkka. Sound Design by Gage Baker. At Roberts Studio Theatre, Calderwood Pavilion, Boston Center for the Arts. Though Dec. 31.

By Linda Chin

Right on the heels of a masterful Sweeney Todd in October, Moonbox Productions has pulled off yet another big hairy audacious musical with ‘blood in the water’ – Legally Blonde. This time around, the venue is the BCA, the story is set in current-day SoCal and Cambridge (Sarabeth Spector, scenic, Finn Bamber, lighting, Julia Wonkka, properties design), and the cut-throats are lawyers and law students. Helmed by Katie Anne Clark (in her professional directorial debut), musical director Mindy Cimini, and Choreographer Taavon Gamble, the cast of 21 – 20 humans and one chihuahua – deliver energetic, pitch-perfect performances that keep the audience engaged and entertained from start to finish.

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Singing, Dancing, And Acting Are ‘Supreme’ in Goodspeed’s ‘Dreamgirls’

Shantel Cribbs, Montria Walker, Melanie Loren and Aalon Smith in Goodspeed’s Dreamgirls.
Photos by Diane Sobolewski

‘Dreamgirls’ – Book and lyrics by Tom Eyen. Music by Henry Krieger. Directed by Lili-Anne Brown. Choreography by Breon Arzell. Music Direction by Christie Chiles Twillie. Scenic design by Arnel Sancianco. Costume design by Samantha C. Jones. Co-Lighting design by Adam Honoré and Jason Lynch. Sound design by Jay Hilton. At The Goodspeed, 6 Main Street, East Haddam, CT, through December 30, 2023.

by Linda Chin

The question of whether the plot of the 1981 Tony Award-winning Dreamgirls, which follows the story of an all-girl Motown trio called the Dreams, is based on the real-life stories of the legendary group The Supremes is still the stuff of controversy but there should be little debate about whether Goodspeed Musicals’ production is the stuff dreams are made of. With the dream trio Lili-Anne Brown (director), Breon Arzell (choreographer) and Christie Chiles Twillie (music director) working in collaboration with a tremendously talented cast, this show not only features the dazzling dancing and sensational singing typical of most musical theater works (and yes, every member of this company has impressive technical and performance skills) but supreme and authentic acting, critical for a story that depicts the disappointments and drama that ensue when pursuing big dreams.  

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Huntington’s ‘The Heart Sellers’ Will Steal Your Heart

Judy Song, Jenna Agbayani in ‘The Heart Sellers’ at The Huntington
Photo by T Charles Erickson

‘The Heart Sellers’ – Written by Lloyd Suh. Directed by May Adrales. Scenic and Costume Design by Junghyun Georgia Lee. Lighting Design by Kat C. Zhou. Sound Design and Original Music by Fabian Obispo. Hair and Makeup Design by Rachel Padula-Shufelt. At Boston Center for the Arts Calderwood Pavilion/Wimberly Theatre, 527 Tremont Street, Boston, through December 23, 2023.

by Linda Chin

In this season of gratitude, I am grateful to be seeing more stories about Asians on American stages, and for playwrights, like Lloyd Suh, who create these possibilities. Three of the award-winning American playwright’s plays have been produced on professional stages in metro Boston in the last eight years, and I’ve had the good fortune to see all three. The Wong Kids in the Secret of the Space Chupacabra Go!, brought to ArtsEmerson by Ma-Yi Theater Company in 2016, is the fantastical tale of imaginary modern-day teens Bruce and Violet Wong, who use their newly discovered powers for intergalactic teleportation. The play’s blend of engaging live actors, clever dialogue, puppetry, and an underscore (!) changed people’s perceptions – that theater for young audiences could have broad appeal and that superheroes could be young, extraordinary, and Asian.

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Ogunquit’s ‘Sound Of Music’ Brings Joy (and a Cautionary Tale) to Portsmouth

Emilie Kouatchou and the cast of ‘The Sound Of Music’ at the Portsmouth Music Hall.
Photos by Gary Ng.

‘The Sound Of Music’ – Music By Richard Rodgers; Lyrics By Oscar Hammerstein; Book By Howard Lindsay And Russel Crouse; Suggested By “The Trapp Family Singers” by Maria Augusta Trapp; Directed & Choreographed by Anthony C. Daniel. Presented by Ogunquit Playhouse at the The Music Hall, 28 Chestnut St., Portsmouth, NH, through December 17

by Mike Hoban

Ogunquit Playhouse closes out its 2023 season with one of musical theater’s most iconic musicals, The Sound of Music, presented in downtown Portsmouth’s historic Music Hall. The stage musical, which opened on Broadway in 1959, won five Tony Awards and was adapted into the much beloved Academy-Award-winning film in 1964, but underneath its heartwarming story of how love and music can heal a soul, its dark undercurrent resonates even more loudly in today’s increasingly grim political climate.

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