Motif

Author: Alison O’Donnell

  • Jagged Little Pill: A piercing glimpse of Americana

    Jagged Little Pill: A piercing glimpse of Americana

    Heidi Blickenstaff, Allison Sheppard and Jena VanElslander in the North American Tour of Jagged Little Pill. Photo by Matthew Murphy for MurphyMade, 2022.

    Life has its ups and downs, and we ride the coaster feeling the gambit of emotions throughout the spin. The highs are great if you can get ’em, and nobody escapes the lows. Based on Alanis Morissette’s journey-changing music, this exhilarating and fearless musical enters ground-breaking territory and will have you, too, feeling the wave of emotions. You can’t go wrong with a production directed by Tony Award winner Diane Paulus, adapted from a Tony-winning book by Diablo Cody, plus a Grammy-winning score. While the word ‘family’ seems to get us rolling our eyes, this electrifying production about a perfectly imperfect family will have you laughing and crying out loud.

    As the production pushes the envelope, we find it is as bold as it is funny. Especially thanks to the perfect comedic delivery of leading lady Heidi Blickenstaff, portraying Mary Jane Healy, we even laugh at her trying times as she keeps her sense of humor throughout her life’s ups and downs. Others also deliver the laughs sporadically but do keep a tissue handy as the wave of emotions sometimes dispenses some pretty tough pills to swallow.

    Of course, this being a jukebox musical, all actors have strong vocal ability. Beautiful vocals from Allison Sheppard, who portrays survivor Bella, are surprisingly sweet. Alas, she solos in only one song. Jade McLeod, who portrays Jo, belts out a gut-wrenching rendition of You Oughtta Know, which gets resounding applause from the audience. Lighting by Justin Townsend is purposefully intense at times, particularly during this song. Choreography by Sidi Larbi Cherkaoui is everything you’d expect from a Broadway musical, expertly depicting even the darkest subject matter.

    Jade McLeod and the North American Touring Company of Jagged Little Pill. Photo by Matthew Murphy for MurphyMade, 2022.

    Don’t expect this to be an ode to Morissette’s music. The musical score is used to underscore the controversial themes presented in the play: joy, pain, healing, empowerment, fear, imperfection, addiction, LGBTQIA+, racism, social responsibility and awareness among them. This pairing seems to lack continuity in some places. While the score fits the mood set by Morissette, the words and feel are sometimes changed to force-fit the production’s agenda. Other times, you feel the monkey on the back, especially with Morissette’s song Uninvited. The ensemble actor/dancer portraying what could be described as Mary Jane’s troubled inner child, Jena Vanelslander, impeccably shows us what it’s like to slide into the abyss as she melts into the dance. This is a perfect example of when the score seamlessly complements the script, and the choreography leaves us floored.

    You live, you learn, and you feel life at Jagged Little Pill. The production does feel longer than it needs to be, however, the undaunted and indomitable vocals will surely keep you roused. Also, the set design by Riccardo Hernandez is mesmerizing as the pieces are seamlessly repurposed from one scene to the next, making you deliberately conscious. Some surprisingly powerful protest signage throughout the production will have you nodding your head, or at least thinking in ways you might not have explored before, especially at the cathartic end. 

    PPAC presents Jagged Little Pill through January 22. Contains adult themes and strong language. For more info, visit ppacri.org/events.

    Lauren Chanel and the company of the North American Tour of Jagged Little Pill. Photo by Matthew Murphy and Evan Zimmerman for MurphyMade.
  • A Christmas Carmella: Yo, Ant’ny, who is Christmas Carol?

    A Christmas Carmella: Yo, Ant’ny, who is Christmas Carol?

    What better way to get into the Christmas spirit than to spend it on Miserable Spring, Italian style! The Academy Players present A Christmas Carmella, written and directed by Comedian Frank O’Donnell (and co-directed by Shannon Donnelly, also plucked from the audience as Bella) so it’s sure to make you laugh. Dickens would be rolling in his grave if he had to spend Christmas with the Cracciatori’s and Scrugini’s, but you will love this fun holiday play within a play! This time, the kids want Grandma to tell them the story of Scrooge, but Grandma no longer has the book and must shoot the tale from memory… Ooodee!  

    Paula Faber skillfully portrays Carmella Senior, the matriarch who runs the show. Her comedic timing is spot on as she leads the crew through the various scenes. Also lending on-the-spot uproarious comedic talent is John Morris as Cracciatori. The very funny Ace Aceto appears as Vito/Fuzziwig and others throughout the production, and Christina Myers enthralls us with her various gleeful accents as Carmella Junior and others. With a full cast also lending jocular talent, you’re sure to have flaky fun throughout!

    O’Donnell (no relation to me, so he says) is no stranger to the characters as this is an evolving annual performance. “A Christmas Carmella is the third installment in my ANT’NY CLAUS series. It’s been produced twice before. This version is a rewrite, for the first time incorporating many of the characters from the previous shows,” explains O’Donnell. “I love this cast, and the best part of the process has been the collaboration. Many of the bits in the show were not in the original rewrite. Cast members came up with them during rehearsals, and we refined them. Many of the performers are ANT’NY veterans so they’re very familiar with the story and the way I work. I’m very happy with the cast and crew and the way the show has come together.”

    There will also be a pre-announced celebrity cameo performer each night, such as ABC 6’s Kelly Bates. On this night the guest of honor was NBC 10’s Mario Hilario. We were treated to (spoiler alert!) Hilarious Hilario’s classic eye pinch maneuver!

    Set construction (by Tom Maron) includes a hand-painted living room wall (by Nicole Barone) with windows offering a view of several storefronts along Mineral Spring Ave. in Nort’ Providence. Players move in and out of two doors with a non-distracting homey feel. Lighting by Jaydon Geyer keeps your eye on the action.

    Bring the cannoli.

    A Christmas Carmella runs through December 11 at the James and Gloria Maron Cultural Arts Center in Providence. For more info, visit: academyplayersri.org.

    All photos by Alison O’Donnell

  • Working 9 to 5 – You Think About It, Don’t You?: 9 to 5 The Musical

    Working 9 to 5 – You Think About It, Don’t You?: 9 to 5 The Musical

    We’ve all been there. The alarm goes off, you need to drag your butt out of bed and get to a job where you feel underappreciated. But what can you do? Fantasize about murdering the boss, maybe? While that may not sound very funny, just wait until you see this hilarious musical, based on the book by Patricia Resnick and featuring a score and narration by the beloved Dolly Parton who starred in the original motion picture.

    Director Marcia Zammarelli, who is also responsible for set and costume design, has done a fine job of using this wonderfully memorable score to keep her performers dancing throughout the office space. Choreographer Leslie Racine Vazquez is credited with those moves. With musical direction by Esther Zabinski, it’s also refreshing to hear a live band performing! Lighting by Alex Sprague is perfectly timed to move with the scenes as they change.

    The Community Players bring us back to 1979 when women were very undervalued and exploited. Fear not though, as this comedy, like all others, has a happy ending! In this tale, three unlikely friends conspire to take control of their company, which is led by a misogynistic (lying, sexist, hypocritical, egotistical, bigot) womanizing CEO, Mr. Hart, perfectly portrayed by Ron Martin. You’ll love to hate him whether he’s mistreating a staffer at work or swinging from the ceiling at home (No spoiler alerts here!).

    Leading ladies Lia Del Sesto McAlpine as Violet, Kaelyn Boss as the voluptuous (think Dolly) Doralee, and Becky Minda as the meek newbie, Judy, each lend their dance and vocal talents to the stage while otherwise making us laugh at every turn. Likewise for Karen Gail Kessler, who portrays the annoying coworker Roz with both precision and grace. You’ll love her solo, as well as the fun fantasy sequences by the others!

    The cohesion among the cast is apparent. Says Minda, “This was my first time working with the Community Players and it was so wonderful how quickly they brought me into the family! It’s been a truly awesome experience.”

    Zammarelli added, “The cast and crew worked so hard on this production. They have been a wonder. Would also like to send a shout out to my partner and producer, Vincent Lupino. I couldn’t have done this without him.”

    The performance will run through December 11 at the Jenks Junior High auditorium in Pawtucket. In conjunction with the production, The Community Players will be accepting donations for the Blackstone Valley Advocacy Center, providing services to victims of domestic and sexual violence. Suggested donations include grooming items and towels, pillows, pillowcases and twin-size sheets, which can be left at any performance. For more information, please visit thecommunityplayers.net or call 401-726-6860.

    All photos by Alison O’Donnell. Featured cover image courtesy of The Community Players.

  • The Humans: We’re only human after all

    The Humans: We’re only human after all

    The Humans, by Brown grad Stephen Karam and directed by The Wilbury’s Josh Short, is originative for several reasons. The script is clever, so while you’re interjected into this typical family turmoil, there is comedic relief throughout. This is largely due to the spot-on timing by Rachel Dulude, who portrays daughter Aimee Blake. She makes light of her problems in self-deprecating style, which we can all appreciate. Also, Jim O’Brien as dad Erik Blake skillfully has us laughing throughout by using others as the butt of his antics.

    Set and prop design by Monica Shinn, together with light and sound design by Andy Russ, are very innovative. The set is bilevel, with six rooms that have things happening spontaneously at various times like a life-size doll house (It can be a bit rough on the neck if you’re viewing from the front row, so choose a rear seat if that might be an issue for you). This creates the occasional cacophony that is a bit hard to follow, as cast members purposely talk over each other, but these don’t last long. Carol Varden portrays Fiona “Momo” Blake who suffers from Alzheimer’s often yells out loudly, which lasts just long enough for you to empathize with the frustration the family feels. There are also sporadic loud bangs, which draw laughter after the initial fright.

    The Blake family survives the holiday as they toast gratitude for Thanksgiving. Photo by Erin X. Smithers.

    Costume design by Matt Oxley suits the personalities of each individual whether it be Dad’s and Aimee’s professional attire, mom Deidre Blake’s (Jeanine Kane) and Momo’s relaxed attire, or the more bohemian-ish garb of daughter Brigid Blake (Jessie March) and her somewhat-older partner Richard Saad (Dave Rabinow).

    Family can bring out the best and the worst in us as we gather for the feast. These folks run the gamut of feelings together as they tackle such topics of the human condition as physical and mental illness, money and joblessness, marriage and fidelity, heartbreak and disappointment, death and alcoholism. You will ride the roller coaster of impassioned emotions with them as they bob through the issues, and just might laugh and cry along with them as well! Despite some rough patches, the tender love and caring is there throughout.

    “It feels really special going into the holidays with this production,” says March. “Some people might see themselves, or say thank God my family isn’t like that! Hopefully, everyone has someone they call family.”

    The production runs through Dec. 18 at the Wilbury Theatre, WaterFire Arts Center. For more info, visit www.thewilburygroup.org.

  • Tootsie: He/She/They Are Causing Laughter

    Tootsie: He/She/They Are Causing Laughter

    The cast of the National Tour of TOOTSIE. Photo by Evan Zimmerman for MurphyMade.

    PPAC presents Tootsie, featuring the clever, Tony-winning book by Robert Horn and brilliant score by Tony-winner David Yazbek. You likely recall the beloved story of struggling NY actor Michael Dorsey, skillfully portrayed by Drew Becker. Michael may be talented but his perfectionism gains him a reputation for being difficult to work with. Even his agent doesn’t want to work with him, and in an act of desperation he makes the decision to create a female persona, Dorothy Michaels, in order to win an ideal role. Kathy Halenda comically portrays the quintessential agent, Rita — neurotic, anxious and obnoxiously self-serving. In fact, the production calls out many stereotypes within the business, especially misogynistic males. You may find yourself continuously laughing as punchlines zing,  double entendres tickle and inside jokes abound throughout the production!

    Becker does an amazing job portraying this alter persona. One could easily forget he’s a man. While this is entirely impressive, I found myself wishing he’d accidentally slip here and there with some awkward male mannerisms, sometimes being a bit gruff in women’s garb.

    We do see Michael as himself while interacting with roommate Jeff and friend Sandy in his apartment. This is where the comic relief really shines! Jared David Michael Grant, who portrays Jeff, delivers his perfectly-timed lines so sarcastically you quickly come to love him best. Payton Reilly as Sandy perfectly portrays an annoying pessimist you can’t help but love too. 

     Act I could have been shorter. It lacks the energy one would expect from a Broadway production, and the play-within-a-play thing doesn’t always work here. Act II, however, comes in energized. Ashley Alexandra, who portrays Julie, packs a powerful punch as she belts out “Gone, Gone, Gone.” Prior to this, she wows us with her sweet, soulful sound. You really feel the chemistry between Julie and Dorothy as they share heartfelt moments. Sadly, this chemistry is only established between the other cast members and Dorothy when they tell us it is so.

    Hilarious mentionables are thanks to Matthew Rella as a dim-witted, narcissistic actor, Max, who falls for Dorothy and flexes muscle using games right out of Kelso’s playbook. Also, Adam Du Plessis as Ron, the dramatically anal director/choreographer, has us in stitches whenever he appears.

    Scenic design by David Rockwell and Christine Peters is perfection. These include the use of pastel backdrops for calm moments, beautiful turquoise and cobalt cityscapes for reflection. Business offices and quick-fold apartment are a few of the impressive movable settings that flow in and out. 

    Dance arrangements by David Chase and Denis Jones are a major highlight of the show. While the songs are not the typically memorable sing-alongs we love in musicals, hats off to Musical Directors Josh Ceballos and Andrew David Sotomayor. Hilarious lyrics add to the fun. Additional kudos go to Don Holder, Brian Ronan and William Ivey Long for appropriate lighting design, sound design and costuming respectively.

    Tootsie runs through Sunday, October 30. Strong language (but you’ll love it!). For more info, visit ppacri.org.

  • Silhouette of a Silhouette: Wilbury in the shadows

    Silhouette of a Silhouette: Wilbury in the shadows

    Weaver of tales

    The Wilbury Theatre Group presents the world premiere of Silhouette of a Silhouette by RI icon Rose Weaver and directed by Don Mays. Based on Weaver’s life, with threads of magical realism, Silhouette of a Silhouette is a story of redemption and hope inspired by loss, and told through music, song, and artistically expressive scenes — the story of a family struck by tragedy — a how-to for picking up the pieces in order to move forward.

    We’ve been fortunate to have Weaver here in RI, her second home to Atlanta, GA where she grew up and currently resides. Weaver began her career at Providence’s Trinity Repertory Company in 1973 as an acting fellow. An award-winning playwright, Weaver is the author and actress of the one-woman play Menopause Mama and Black Women Taking Off the Masks. She received a recent Papitto POC award to write a play about slavery in RI. Rose is published in Monologues for Women by Women, Heinemann, and NuMuse: An Anthology of Plays from Brown University. She received her Bachelor of Arts degree from Wheaton College, a Master of Fine Arts in Creative Writing from Brown University at the age of 50, and holds three Honorary Doctor of Fine Arts Degrees from Wheaton College, Marymount Manhattan College and Providence College.

    “Rose Weaver is one of our state’s most treasured artists and it’s always a joy to work with her, especially on this personal story,” said Artistic Director Josh Short. “Rose has been part of sharing so many stories with the people of RI for decades, and it’s a privilege for us to kick off the Wilbury Group’s twelfth season by sharing hers.”

    Rudy in Silhouette

    Weaver’s deeply personal story takes us back to a time where the remnants of slavery live on, overshadowing the ghosts of past and present. “This semi-autobiographical story reveals how my late brother saw the Devil while hallucinating in the woods of Georgia,” she explains. “He seeks redemption for his poor life choices. Told through humor, rousing songs, spoken word and southern mythology, Silhouette of a Silhouette is a mini saga of a family’s painful struggle out of cycles of self-destruction and an attempt at deliverance.”

    The cast is small but glowing. Notable performances include Rudy Cabrera as Bobby, giving a powerful performance, artistically moving and deeply-rooted in pain. He emulates his father’s (Daddy Lewis, skillfully portrayed by Jomo Peters) domineering racketeering lifestyle in a sensitive way, yet still as q silhouette of his dad. Brianna Rosario as Doleful Creature and Helena Tafuri as Dog Ghost symbolize the proverbial angel and demon over one’s shoulder as they jockey for position to taunt and claim souls. Veteran Wilbury thespian Jason Quinn as Prosecutor (and Reverend) wows us with his stern lectures and smilingly forbidding opinions.

    Simple set design by Max Ponticelli enhances the ambiance and does not distract from the action, making you feel as though you’re a part of it. ​Light and sound design by Andy Russ reflects the feel of the scenes and moves with the characters, both living and other-worldly. Costume Design by Jaimy Escobedo emphasizes the persona of each character, whether straightforward or risqué.

    Show runs Sep 30 – Oct 16, Wilbury Theatre Group at WaterFire Arts Center. Adult content and strong language. Production Photos by Erin X. Smithers

    More can be seen here: https://thewilburygroup.org/silhouette-of-a-silhouette.html

  • Kismet Improv: Making a Fest on the Fly

    Kismet Improv: Making a Fest on the Fly

    Love to laugh? Does anyone not? Kismet Improv, which recently celebrated their first anniversary, is a live-comedy theater in Pawtucket owned by a husband and wife team. Artistic Director Luke Bruneaux has been providing improvisational comic relief since 2008, first in Chicago then later Boston. Executive Director Taylor Bruneaux started in Boston in 2012. Together they have created unique shows offering 90 minutes of improvised comedy. I spoke with Luke to learn more about this fun twist on the comedy scene.

    Alison O’Donnell (Motif): What exactly is improv comedy? 

    Luke Brneaux: It’s a spontaneous comedy show, basically a funny play literally made up on the spot, with experienced performers engaging the audience’s participation. Unlike with TV, an improv audience is there to laugh out loud. The scenes are dynamic, the characters are interesting. It doesn’t really have a parallel. We have a very professional take on improv where our teams train hard to entertain the audience in a way they haven’t seen before. It’s pretty sophisticated, physical. Very fun for the audience to watch.

    AO:  How does it work? 

    LB: Unlike standup comedy, improv is opposite muscles, where you’re training yourself to be spontaneous in such a way that that’s what the audience is responding to. You’re calling out the reality of the scene in such a way that the audience is enraptured with the live action in front of them. It’s truth in a very Seinfeld kind of way, connecting with the people you’re on stage with, almost like comedy as a sport. That’s an analogy that helps you understand it – like basketball players playing all together.

    AO: KISMETFEST marks the beginning of year two for the theater. What can we expect?

    LB: It will really embody our change in programming … every performer, including guest performers, will be on stage at some point that weekend. Improv Jones, the longest-running improv team in RI, will be part of KISMETFEST. That’s a showcase of real improv veterans; and out-of-town acts as well. Our Kismet Players bring their signature wacky, creative and weird personalities to the stage. 

    There’s also a kids’ show, where they get to play with other kids in the show. Especially after the pandemic, these kids get to interact with each other, be the star on stage. We find, as the show goes on, these kids who were a little reserved really get into it. It’s very guided to celebrate the kids. The director, Jess Halpin, is experienced, especially with kids with disabilities. Jess has been performing for 10 years. Ayla Ahlquist, director of Operations, has been with Kismet Improv since the beginning, managing the theater’s daily operations including the school. A new director of Education, Kate Hopkins, will start in September. She’s one of the most well-known players on the improv stage. 

    AO: What if someone wants to try their hand at improv? 

    LB: Most people can learn. Some people are naturals. I know how hard it is to learn, and I want to have a theater where people could learn. You have to get on stage over and over again. What we’re really working on is creating a performer base to grow the improv community. It’s very rewarding. Many people find it adds to their lives. 

    AO: How do your classes work? 

    They run in four-week intervals. The whole program takes probably a year. The classes are extremely important, and we have a great set of teachers – veterans from Boston that are very welcoming, creating a warm environment, especially if you’re scared to do it. BIPOC folks are free using the code COMMUNITY. We also offer scholarships – you may request any level – especially to low-income individuals. 

    AO: Where can folks see a show?

    LB: KISMETFEST runs September 9 – 11 for a full weekend of shows, workshops and parties. There’s also Kismet and Friends on Saturday, September 17, 7:30-9:30pm as part of this year’s Pawtucket Arts Festival. There were waves of time people weren’t coming out due to the pandemic. If you haven’t seen a show in a while, come on out and see the show! We have beer, wine, soda and a snack bar available.

    Kismet Improv is located at 1005 Main St., Suite 2205 in Pawtucket. They are kindly offering a $5 discount on all tickets if you use the code “Motif.” For more information, visit www.kismetimprov.com/ or call 401-205-2552. You may also visit their Instagram page, kismetimprovri.com
    Note: some answers were lightly edited for length or clarity.

  • Kinda Kinky, Boots and All: KINKY BOOTS comes to Theatre by the Sea

    Kinda Kinky, Boots and All: KINKY BOOTS comes to Theatre by the Sea

    Luke Hamilton (Charlie Price), Julian Malone (Lola/Simon) and Audrey Belle Adams (Lauren) in KINKY BOOTS playing at Theatre By The Sea thru September 11, 2022. Photo by Mark Turek

    Happy 89th birthday to Theatre By The Sea! The 300-seat converted barn theater opened on August 7, 1933 with a production of Strictly Dynamite. The tradition of providing local audiences with exhilarating energy, joy and laughter continues with KINKY BOOTS!

    “It’s hard to believe we are opening the final production of our 2022 season,” said TBTS owner and producer Bill Hanney, “and what better way to close out our first full season back after the shutdown than with an uplifting, positive musical that’s fresh, funny, and a great night at the theater. Though the title is a bit cheeky, the show has a huge heart and delivers the universal message about how opening your heart and mind can change your life and the lives of those around you.”

    Entertaining AF, this fun, feel-good musical struts its stuff with nonstop laughter throughout the show. KINKY BOOTS has been called the “freshest, most fabulous, joyous musical” and has been the winner of every major award, including the 2013 Tony Award for Best Musical. With songs by Grammy- and Tony-winning pop icon Cyndi Lauper, and book by Broadway legend Harvey Fierstein, this dazzling, sassy and encouraging musical takes you from the assembly line of a men’s shoe factory to the glamorous catwalks of Milan. KINKY BOOTS is based on a true story about Steve Pateman and the attempt made to save his family-owned shoe factory (W.J. Brooks Ltd. in England). As they say, “sometimes the best way to fit in is to stand out!” 

    Enter Lola. Don’t be confused by the Kinks’ lady of the evening here– there’s no connection. However, this Lola/Simon, portrayed by Julian Malone, goes above and beyond to entertain their audience! There has never been a more perfect marriage between character and actor. You’ll laugh, you’ll cry—and everything in between—but mostly you’ll be in awe when Malone opens his mouth and shows that winning smile! Malone says the message of this show is to “Just be,” and we are all allowed to do just that by the end of the performance. Lola quotes Oscar Wilde as saying, “Be yourself, everyone else is already taken!” and even gives us her six steps to success and happiness! 

    The chemistry among the entire cast is electric. There’s a symbiotic relationship you can feel as characters transition onstage that keeps a rhythmic flow. Sometimes the actors forget they’re portraying English folk, but you can easily excuse the accent faux pas when you hear the beautiful vocals lent by each and every performer. You’ll be impressed by everyone’s sheer talent, especially when Luke Hamilton’s Charlie vents his grief. Audrey Belle Adams (Lauren) will also surprise you with not only her vocal savvy, but her comedic timing as well!

    Kyle Dixon creates intricate set designs to set the scene that hosts fabulous dancing (sweet surprises here!) choreographed and directed by Producing Artistic Director Kevin P. Hill. Kinky’s original costume designs by Gregg Barnes ‘light’ the stage with the help of  Lighting Designer Jose Santiago. Musical direction by Jacob Priddy completes the experience with euphoric sounds that’ll make you want to jump out of your seat. I swear, I saw a member of the light crew bopping in the rafters during a song belted out by Lola! You’ll walk away feeling touched with a sense of heart-warming happiness that this jubilant exulting show delivers.

    TBTS will be showcasing KINKY BOOTS through September 11. For more info, visit www.theatrebythesea.com/kinkyboots.

  • Footloose Flies Fancy-Free at Theatre By The Sea

    Footloose Flies Fancy-Free at Theatre By The Sea

    Candace Haynes (Rusty) and the cast of FOOTLOOSE at Theatre By The Sea thru July 16. Photo by Mark Turek.

    Footloose is loosely based on events that took place in the small, rural and fanatically religious farming town of Elmore City, OK in 1978. Dances had been banned by an ordinance from the late 1800s until a group of teens challenged it. In the 1984 movie, as well as in this musical stage adaptation by Dean Pitchford and Walter Bobbie (Artistic Director Kevin P. Hill), the town of Beaumont is hurting over the loss of four youths in a fatal car crash. It took a teen transplant from Chicago, also suffering the pain of loss from his father’s abandonment, to turn the town around and bring back the joy they so vehemently need.

    The dancing starts right out the gate– as soon as the curtain rises— but it’s not until the second half that the momentum really picks up. It’s when we learn that one of the teens who’d perished was the son of the local clergyman, Rev. Shaw Moore, that we start to feel the hurt and loss suffered by all. Artfully portrayed by Matthew J. Taylor, the man of religion sets the sullen pace of the town due to his own grieving. His daughter Ariel, skillfully portrayed by Emma Wilcox, seeks attention in sultry ways, and wife Vi (Aimee Doherty) shows she misses him as well. Once Rev. Moore has a heart-to-heart with Ren McCormack, our pioneering and pirouetting lead character portrayed by JP Qualters, he puts his self-centered ego aside and free will is restored; the town once again laughs and dances in joy. Nothing heals the morose heart like a good boot-scootin’ boogie!

    Standout performances by certain other veteran actors steal the show, including James Oblak as Chuck Cranston, the perfect bad boy. Melanie Souza provides comic relief as Betty Blast, the witty diner owner with a flair all her own (not to mention her country line dancing, as many actors played dual roles). Kristen Gehling portrays Ethel McCormack, Ren’s mother, in a performance that tugs on our heartstrings. Ren’s Geeky friend, Hewitt Willard, portrayed by Ethan James Lynch, is a total show-stealer, especially with his surprisingly awesome vocals. Equally impressive is the attractive scenic design by Kyle Dixon. Large, easily moved pieces without the use of smaller props make the settings as eye-catching as they are time-saving.

    You’ll be tapping your feet to the ol’ familiar Oscar-winning (Best Original Score for Maurice Jarre) and Tony-nominated top 40 score from the early ‘80s. Take a twirl down memory lane as this production celebrates the wisdom of not only listening to our youth, but guiding them with a warm heart and open mind.

    Footloose runs through July 16. For more info, visit www.theatrebythesea.com or call the box office at 782-TKTS (8587).

  • Stepping into Art: A Review of Beyond Van Gogh

    Stepping into Art: A Review of Beyond Van Gogh

    Remember when you were a kid, putting a kaleidoscope to your eye, twisting it to get the visual overload of swirling colors and patterns? Imagine if you could walk through that kaleidoscope! Through the use of cutting-edge projection technology and an original score, Beyond Van Gogh breathes new life into over 300 of Vincent Van Gogh’s artworks.

    Entering the exhibit, the first room is full of Baroque paintings to get you in the appreciation zone for beautiful artworks by various artists. The second room has a string of many large canvases with colorful splashes serving as the backdrop for a sampling of Van Gogh’s many messages to his younger brother, Theo, giving us some insight into who the painter was. The brothers were very close and it didn’t hurt that Theo was an art dealer who got Vincent on the artist map. 

    From here you exit into the Waterfall Room for a visual explosion of changing color, mesmerizing you for five minutes. If you choose to stay here for the full rotation, you will see five different images of Van Gogh cascading down the wall, dripping onto the floor and washing toward you amongst all the other melding colors. Imagine if he were alive today to see this spectacle!

    Next you enter the main room of the experience, showing many of Van Gogh’s most popular works. They remain stationary for a bit so you can see them in their full splendor, although you may catch a portrait winking if you don’t look away! You continue watching as images larger than the walls they’re cast on roll across the room like a giant wave of changing color and imagery (If you are prone to motion sickness or vertigo, you may want to close your eyes during these times or take a motion sickness pill prior to arrival). The entire rotation here takes about 37 minutes, and you might want to plan to watch it twice. There’s so much going on, if you blink you might miss something!

    There is limited seating, but you might even choose to lie on the floor to further immerse yourself in the flood of visuals. Of course there’s a neat gift shop that you will walk through as you exit. Grab a sweatshirt with sunflowers on it, or perhaps a framed image of a skeleton smoking a cigarette. 

    One could argue that viewing these images larger than life defeats the purpose of seeing them the way they were meant to be seen. We see a realm of impressionism, minus the revelation of how the artist transitioned into this style of painting. It might have been nice to see smaller replicas of the original artworks for comparison. However, that isn’t the purpose of the immersive experience. Comprised of over four trillion content pixels, this high-resolution portrayal of Van Gogh’s work gives you the opportunity to literally immerse yourself into his paintings like never before.

    This exciting new way of experiencing Van Gogh’s artwork is currently traveling the world, and we are fortunate to welcome the attraction for several weeks at the Providence Convention Center. Occupying over 30,000 sq ft, Beyond Van Gogh is the largest immersive experience in the country, offering guests plenty of room to safely enjoy the exhibit. 

    It takes about one hour to walk through the exhibit, which runs through July 8. For more information, visit VanGoghProvidence.com or call 1-800-441-0819.