Motif

Author: Alison O’Donnell

  • ANGELS IN AMERICA, PART TWO: PERESTROIKA

    ANGELS IN AMERICA, PART TWO: PERESTROIKA

    Silence = Death

    Under Brian McEleney’s direction, the much-anticipated Angels in America, Part Two: Perestroika, wowed audiences just as much as part 1, Millennium Approaches. This continuation revisits the lives of its beloved, memorable characters as they confront illness, identity, the shifting tides of history and the human heart. Highly regarded as the greatest play in the last 40 years, this Pulitzer Prize, Tony and Emmy award-winning masterpiece is set in 1980s New York City during the height of the AIDS epidemic. The wondrously surprising conclusion to Tony Kushner’s epic, Perestroika picks up where Millennium Approaches left off, diving even deeper into the complexities of love, sex, religion, family, and politics in Reagan-era America. As the AIDS crisis intensifies and the transcendental importance of each character’s soul unfolds, Perestroika becomes a powerful culmination of hope, justice, and the possibility of change.

    “Angels in America: Part One ends with a declaration, ‘The great work begins.’ Part Two starts with equally weighty words, ‘Can we change?’” says McEleney. “This provocative question, in many ways even more urgent than it was 30 years ago, is a call to arms for Kushner’s characters and for all of us who join them on their journey. I look forward to continuing the story we began last spring, and to sharing its vision of hope amid painful progress with the audience who so generously embraced Angel’s brilliant first half.”

    Harper is more dependent on Valium and vanishes into one of her hallucinations. Louis and Joe explore their complicated relationship. Roy’s anger is roused as his health declines. An angel appears to Prior and tells him he is a prophet. And thus the great work begins!

    What this small cast of eight has achieved is nothing short of amazing. Perestroika trusts the incredible actors and script to supply its wings. Haas Regen as Prior is agonizingly bed-ridden with the virus, portraying his undying sarcastic sense of humor as well as his tenderness with unwavering verve. Prior’s former lover, Louis, is equally complicated. Ben Steinfeld’s portrayal carries self-loathing penitence, and intellectual irritation. The knowledge that sometimes love cannot endure self-betrayal is a reminder that we are all human despite our condition, or are victims of the human condition.

    GAMM’s Artistic Director Tony Estrella reprises his role as the complex and controversial lawyer Roy Cohn, a most vile, despicable human. To see this sweet man excel in this vulgar role is a true testament to his stage prowess. Jeff Church’s unflagging anguish as Joe Pitt convinces us he cannot stand alone as Cohn’s patsy, Louis’ lover, or Harper’s husband. Joe even has a troubled relationship with his mother, adeptly portrayed by Jeanine Kane, who takes on multiple roles. 

    Rachael Warren portrays the angel not so much as a celestial body, but with human-like bluntness, sass and lofty vim. Rodney Witherspoon II as Belize brings saucy sarcasm and loving compassion to the table. Gabrielle McCauley as Harper Pitt makes real her Valium-induced vivid hallucinations — until she comes to terms with her failed marriage — and they no longer serve her. 

    Patrick Lynch’s set backdrop is the same used in Millennium Approaches, where obscene graffiti covers white-tiled walls in a men’s public bathroom. This artistic representation serves surprisingly well for the hospital rooms, asylum and personal bedrooms. When the angel appears, she’s exalted through the use of a rolling stair unit. Jeff Adelberg’s subtle lighting, and sound design by Peter Sasha Hurowitz make transitions between hallucination and reality dignified, supporting the emotional structure.

    This masterpiece is a perfect blend of heavily weighted angst lifted by comic relief that will surely stay with you long after you leave the theater. The last scene could have been shorter, but Perestroika ends on a powerful note, reminding us that, even among cruelty and trepidation, you must live every day with intention and carry it forward. Don’t be surprised if you walk away feeling the gravitational pull toward hope — despite the dread that history repeats itself, and humans are what they are — willing you to convey it forward. 

    Advisory: discussion of AIDS, illness, death, grief, sexuality, and addiction. The GAMM presents Angels in America: Perestroika through October 19. Production runs just over three hours including two intermissions. For more information, visit gammtheatre.org. 

  • AND THEN THERE WERE NONE: Ten Little Suspects

    AND THEN THERE WERE NONE: Ten Little Suspects

    Photo: David Cantelli

    Agatha Christie’s And Then There Were None remains one of the crown jewels of the mystery genre. It’s a story driven by the tension of dread. When a community theatre takes on an Agatha Christie whodunit, stakes are high. Clarity, tension, and ensemble chemistry must all align. In Attleboro Community Theatre’s case, the gamble pays off. Director Marissa Simas achieves steady pacing and clear character distinctions with satisfying intrigue and suspicion. From the moment the ten guests arrive — strangers with secrets, drawn to a remote island by mysterious invitations, isolated in a mansion and picked off one by one — the foreboding tone is set. 

    Simas found directing this show to be challenging and yet a privilege. “I got to work with a cast that is nothing short of exceptional. They took risks, trusted the story, and brought me more ideas than I could have imagined. They were not afraid to go dark or make bold choices. They threw themselves into this play with tons of heart, creativity, and fearlessness.” The chemistry among all cast members, especially as the mystery deepens and suspicions rise, enhances the emotional draw.

    With ten different speaking roles, these talented actors avoid confusion by using varying speech rhythms, postures, and motion patterns. At the center is Justice Wargrave, brought to life by John Softcheck with a steely calm and unnerving gravitas. He commands the stage, planting seeds of doubt with judicial precision. Emily Rizza as Vera Claythorne displays a wide-eyed unraveling that’s both believable and moving. James Laurent as Philip Lombard delivers confident charm that masks something darker beneath. Sheila Kelleher, as the pious Emily Brent, walks a fine line between moral decay and indignation.

    The first act lingers a bit as each guest is introduced, but is cushioned with consistent moments of fluid tension, so the dramatic engine never idles. As stakes rise, the action snowballs, tension escalates, and anticipated doom takes hold. The final act, with its last unmasking, holds its theatrical landing. Moments of silence are used to good effect, giving the audience a chance to absorb clues, suspect motives, and anticipate what’s to come.

    Lighting by Jason Lamb includes sudden, ominous blackouts that leave the audience holding their breath. The foyer-lit approach gives way to ominous effects as the death toll mounts. The minimalist set by Simas and Lamb consists of one tastefully decorated sitting room, leaving space for the characters’ psychological unraveling to be front and center, with doors and windows opening and shutting as needed. Well-timed entrances and exits all contribute to a creeping sense of unease. Sound cues by Jennifer Keating, such as waves and thunder, are among the production’s silent protagonists, adding emotional heft in lieu of dialogue. Simas’ costumes make evident the time period, as well as each character’s class and temperament. 

    The production is engaging and often gripping. If you enjoy a classic mystery where your inner detective goes into action, ACT’s production is well worth your time. According to Simas, whether you come for the mystery, suspense, or the strange sense of justice this play delivers, “I hope you leave thinking about the shadows we all carry and the ways we try to outrun them. Now sit back, enjoy the show, and trust no one!”Come play sleuth! ACT presented And Then There Were None through October 5. For more information, visit attleborocommunitytheatre.net.

  • FROM HERE TO WHERE: Do it loud!

    FROM HERE TO WHERE: Do it loud!

    As you enter the Wilbury Theatre, you see a sign hanging that reads in Italian, “In bocca al lupo.” This is an Italian idiom translating to “into the wolf’s mouth,” which is commonly used to wish someone good luck, especially before a performance or challenging task, similar to ‘break a leg.’ A typical response might be, “Crepi il lupo,” meaning “May the wolf die.” This production screams, ‘There’s something wrong. I need to fix this now! Let’s do it!’ As art is open to interpretation, you get to decide who, or what, the wolf is.


    This improvisational and experimental performance drew its inspiration from an art book by well-known local artist Umberto “Bert” Crenca, and music by Gillen Street Ensemble consisting of Heather Ahern, Chris Anderson, Susan Clausen, Bert Crenca, Alan Greco, Alice Jackson, Mitch Mackenzie, and Cliff Wood. Interesting to note, Clausen hosts weekly ‘family’ dinners at her house with her husband and the ensemble for improvisational jam sessions, which sometimes become public performances. This production was born of that collaboration.


    The ensemble serves as catalysts and anchors. Their performances depict characters that move as though their desired reality is already fact. Ahern’s movements and percussion resonate with the current vibe. Jackson’s instrumentation conjures menace and yearning. Clausen’s bass, along with Greco’s drums, build a rhythm that underlies the chaos, reminiscent of our need to stay grounded when foundations begin to crack.


    “Our intention is not to entertain but to provoke,” says Crenca. Sometimes scattered, it works because it’s real, and it’s raw. Within the play he says, “Sometimes I write this sht and I ask myself, ‘What the fck am I talking about?!” When Crenca says he doesn’t stop for red lights, it’s a metaphor for the rest. It doesn’t stop, having a cacophonous momentum that runs the gambit of emotions from rebellious, to poignant, even sometimes comical. Referring to a poster on the wall of TWG listing his pieces for this production, he says, “Some of those pieces are 25 years old, and some I just wrote, but they’re meant to be timeless.”
    It’s loud and messy, so if you’re sensitive to noise, consider grabbing some free earplugs in the lobby as you enter, but keep an open mind to the concept. Greco, who gives a pulsating drum solo halfway through, says of the show’s volume, “It should be powerful! It should be impactful!” The loosely structured improvisation means each show is slightly different, which can impact the length of the show a bit, but ya gotta love the unpredictability. At one point, they sustain a note indefinitely. “It’s a B♭ note— the sound of a black hole,” explains Greco. “It’s supposed to leave an impression!”


    This incantation does not comfort, it convinces. The insistence, even when fractured, lingers with hope. From Here to Where is not easily categorized. The structure— devised, improvisational, fluid— carries risk. There are moments when the cascade of sound and image overwhelms, when abstraction struggles with clarity, but maybe that’s the point. In our laden society, discomfort is part of the truth.


    With a strong sense of relationship, what initially seems formless gradually connects voices, gestures, audience and performers. When three interpretive dancers (Amy Maria Burns, Nina Kossler, Michelle Saguiero) move about in various costumes, the ritualistic and intimate coexist. You leave From Here to Where not with answers but questions: Who are we? Where are we going? How do we move forward in the current climate?


    Visually and design‑wise the set is dense. Monica Shinn’s use of sculpture, film and space hover in abstraction. Andy Russ’s lighting shapes those elements with darkness lit by Christmas lights that feel alive, as if the dark has its own stories. The stage at times feels like a cave of memory, with twin screens featuring visuals and words prompting deep thought. There’s a wire stretched over nothing but possibility. It’s in those liminal spaces— when light catches momentum, when instrumental drones shift, when ensemble voices overlay with satire and ritual— that From Here to Where convincingly reveals what is often suppressed, encouraging us to riot against erasure.


    “In the theatre,” says Artistic Director Josh Short, “sometimes we’re tempted to force our work— new work especially— into bites that we think might be more easily digestible for audiences. To give them a clear, linear construct to follow. From Here to Where doesn’t tell a linear story. Designers Monica Shinn and Andy Russ have resisted the urge to turn this communion with the Gillen Street Ensemble into something that conforms to today’s theater-going experience, and chosen instead to lean into the impulses that make this work so special. The result is a ‘happening’ unlike anything we’ve ever had here in the theater. And with our designers, the management of Maxime Hendrikse Liu and our staff, the seemingly bottomless talents of these dancers, the Gillen Street Ensemble, and Bert’s writing, it’s become a gorgeous, chaotic meditation on what it means to be alive.”


    Wilbury presents From Here to Where through October 5. For more information, visit https://thewilburygroup.org/index.html.

  • Every Brilliant Thing: Theater review

    Every Brilliant Thing: Theater review

    Burbage Theatre Co presents the heart-wrenching, hysterical, and life-affirming one-man show Every Brilliant Thing, by Duncan Macmillan with Jonny Donahoe, and directed by Angela Brazil. The production features Stephen Thorne in a monodrama the whole audience can participate in. This means every show, despite the script, will be slightly different! Thorne effortlessly rolls with on-the-spot banter that always results in laughter. Funny how this production deals with depression and suicide, yet you walk away feeling renewed.


    “We’ve been hoping to produce this play for years, and we couldn’t be more excited to open our 14th season with it— especially in the hands of two legends of Rhode Island theatre,” says BTC’s Artistic Director Jeff Church. “Duncan Macmillan’s Every Brilliant Thing is a triumph of storytelling: honest, challenging, often hilarious, and one of the most life-affirming pieces I’ve ever encountered. It captures the profound sadness and joy of living, examining and revealing, with great care and originality— something essential in all of us. I feel incredibly fortunate to have them leading this production, and can’t imagine a better team to bring Every Brilliant Thing to life. They’re joined by an exceptional group of Burbage artists— some of our very best— to support and shape this beautiful piece of theatre.”
    As Burbage tells it, imagine you’re seven years old. Mom’s in the hospital. Dad says she’s “done something stupid.” She finds it hard to be happy. So you start to make a numbered list of everything that’s brilliant about the world. Everything that’s worth living for: ice cream, Kung Fu movies, laughing so hard you shoot milk out your nose… and you leave it on her pillow. You know she’s read it because she’s corrected your spelling.

    Soon, the list will take on a life of its own, growing throughout the years listing, well, every brilliant thing. It’s a play about depression and the lengths we will go to for those we love.

    Thorne, who carefully handles childhood emotion evolving into adult problems, does an amazing job of directing us gently through the list while never missing a beat. Quick with improv as needed, he guides us through the laughter (and the tears) as he enlists the audience into his world. He has said, “It’s essentially a one-actor show and it was written in about 2012. It’s about depression and it’s about resilience. I say depression, but it’s actually an incredibly funny show. The energy of the show is incredibly light and up. It’s about hope as well, and how to kind of navigate incredibly difficult situations, in this really unique format. It’s a one-of-a-kind piece.” Maybe even a masterpiece.


    “As a director, you just kind of try and support the actor as much as you can,” says Brazil. “This is a little bit of a unique situation because he’s actually also my husband. We’ve been long-time colleagues at Trinity Rep in Providence and we have a really good working relationship. We also have a really good shorthand as colleagues, so I guess my job is to sort of, as with any director, sort of see all the great stuff that the actor is bringing and help shape it. But in this context, also try to help provide some of that audience energy that is so necessary for this particular piece. The actor in this piece has a really unique relationship with the audience. I find it really exciting. It’s doesn’t work like a typical play where you sit back and just watch the story, and that’s been a really exciting and fun thing to play with.”


    You don’t really know what to expect when you enter Burbage Theatre and take a seat in the round set. The only prop is a braided rug before you, so as not to distract from Thorne’s dynamic activity. Do take a moment to notice behind the seats to the left, where set designer Trevor Elliott and ATD Brittany Costello have created a thoughtful, nostalgic setting with an array of props that sit quietly.


    Brazil and Thorne hope you’ll walk away with a feeling for how the production explores this character’s Journey— how to navigate life, particularly things that are very difficult, and to allow yourself to find joy and hope, even how to earn hope.


    “You do not want to miss this production,” says Church. “It’s got everything that drives us to the theatre in the first place— comedy, drama, honesty, deep feeling, and challenging subject-matter, all framed by the simple shared experience— the shared struggle and joy of living.”
    Burbage Theatre presents Every Brilliant Thing through September 28. For more information, visit https://www.burbagetheatre.org/.

  • Harvey: Believe in the pooka!

    There’s something subtly magical about stepping into The Arctic Playhouse, a venue that feels more like a living room shared by close friends rather than a theater. With oven-baked cookies, coffee or cocktail in hand, the audience settles in for Harvey, Mary Chase’s Pulitzer-winning play about a man and his giant invisible rabbit. Yes, you read that right. A little suspension of disbelief is required here. Directed with a light but deliberate touch by David Jepson, this production revives a classic, reaffirming why we humans need stories like this.


    Chase wrote Harvey toward the end of World War II as a way of helping her community and country cope with loss. It’s centered around an amiable and downright charming protagonist who escapes— or embraces— reality through imagination, a touch of magic, and an acceptance of the miraculous. Harvey fed audiences hungry for some humor and hope in the throes of war. 


    “Harvey has always been a favorite of mine,” says Jepson. “It will always evoke across generations an era of stories of gentler sentiments. Harvey is wonderfully evocative of the 40s when a play with a sweet, simple message is summed up in Elwood’s line— ‘My mother always said, “Elwood, in this life you must be oh so smart or oh so pleasant. Well, for years I tried smart. I recommend pleasant.’” Elwood finds a way to get along with everybody. Civility! I think he may be on to something. For a few hours, let’s brush aside reality as we consider instead the possibility of a 6-foot tall white rabbit!”


    Elwood P. Dowd, adroitly portrayed by Paul Nolette with gentle eccentricity and unwavering grace, insists on including his imaginary friend Harvey in all of his sister’s social gatherings. However, Veta, deftly played by Lynda DiStefano, decides to have Elwood committed to a sanitarium, never dreaming she, or anyone else, might succumb to this infectious hallucination.


    Harvey has everyone questioning reality and their own sanity. The ensemble cast brings a sweet rhythm to the ridiculous blunders, with Veta’s revelation (No spoilers here!) providing both comedic tension and emotional depth. Things can feel a bit tedious at times, but the laughs circle back and catch you off guard. Everyone— especially the devoted yet frazzled Veta— delivers comedic timing that isn’t overplayed, and emotional beats that sneak up on you with surprising depth.

    Lloyd Felix’s set design includes an easily moved wall that separates Veta’s house from the sanitarium. Kudos to Nancy Spirito for her period costume design. Everyone looks svelte, especially Elwood in his red plaid suit!


    Elwood’s unwavering belief in his pooka (look it up!) friend feels gently rebellious. Harvey makes you ponder if maybe people who see things that others don’t aren’t crazy, they’re just ahead of the curve. It’s a meditation on kindness, imagination, choosing joy over conformity, and the quiet power of being unapologetically true to self.


    Treat yourself to laughter, heart, and a touch of the surreal. The Arctic Playhouse isn’t afraid to embrace that imaginative vision. Who knows? You might just leave believing in Harvey too— not because you see him, but because you want to!


    Harvey runs through September 14. For more information, visit https://thearcticplayhouse.com/.

  • Heartbreak Hotel: A spirited tribute to the King

    Heartbreak Hotel: A spirited tribute to the King

    They called him The King of Rock and Roll. Elvis the Pelvis. The Hardest Working Man in Hollywood. You may have even heard him referred to as “The Hillbilly Cat,” reflecting Presley’s blend of country and rock, and “The Memphis Flash”, in homage to his hometown and energetic performances. Theatre By The Sea presents this hip-swiveling, soul-stirring acclamation to Elvis Presley’s early years, from his impoverished childhood to global fame, combining musical nostalgia with theatrical prowess. Written by Sean Cercone and David Abbinanti, Heartbreak Hotel reaches beyond a mere musical tribute, with Floyd Mutrux’s script adding such emotional depth. Never overshadowed by swagger and sequins, this charismatic yet poignant tribute to the legend’s notable career features the music only he could make. Elvis sang it all, from heartfelt ballads to infectious rhythms that made the ladies scream.


    “Elvis Presley! Need I say more?” said owner/Producer Bill Hanney. “Although he’s been gone for decades, he’s still as popular as ever! His special blend of music, his stage presence, and his ability to captivate an audience all contributed to his becoming a legend. Heartbreak Hotel is a very special show which celebrates one of the best-selling music icons of all time. What a great way to close out the season!”
    Directed and choreographed by Nikki Snelson, the production, featuring over 40 Elvis hits and iconic songs, captures The King’s magnetism while exploring emotional undercurrents of stardom, family, and artistic identity. Set during his early rise, Heartbreak Hotel is more than a sentimental jukebox musical. It’s a snapshot into a prodigy’s fame, ambition, and the people who supported him along his incredible journey. Opening with creative strobes (lighting by Paul Jonathan Davis) and unconstrained energy, lead actor Joe Hebel launches into “That’s All Right.” We then get swept into the superstar’s whirlwind rise to fame from Sun Studio to household name. His emblematic numbers like “Blue Suede Shoes,” “Jailhouse Rock,” and of course “Heartbreak Hotel” take us through his rocketing fame, and later frustration.

    With this, Hebel doesn’t simply impersonate the superstar, he slips into those blue suede shoes, offering a stacked portrayal that convincingly balances stardom’s lure with the loneliness this historically merciless industry often brings. Emma Wilcox as Priscilla harmonizes beautifully with Hebel, and adeptly morphs from vivacious young lady to frustrated wife and mother. You’d love to see more of her, but the lens is focused on Elvis.


    Indya Cherise portrays Sister Rosetta Tharpe, the unheralded champion of Elvis’s early love of music, who offers shrewd maternal mentoring in a world dominated by egotistical men. Even amid the high-energy musical numbers and hopping choreography, Cherise’s depth and magnetic presence anchor with emotional depth and calm intensity. You’ll be mesmerized by her poignant monologue describing the cost of chasing greatness, giving voice to the industry’s overlooked women. With subtle gestures, Cherise captures the complexity of a woman navigating her own dreams, disappointments and compromises, believing in Elvis long before the rest of the world.


    The production delves into Elvis’s bonds with key figures such as: Sam Phillips and Frank Sinatra, both portrayed by Kevin Patrick Martin; his complex relationship with Colonel Tom Parker, as portrayed by Kevin. B. McGlynn; and with his beloved mother, Gladys, in a heartfelt portrayal by Melanie Souza. This solemnity humanizes the celebrity, adding mental weight while reminding us behind the fame was a young human struggling with ambition, family, identity and loss.


    Musical direction by James Woods and sound design by Ryan Marsh keep arrangements authentic to the intimate solos and incendiary ensemble numbers. While the music is undeniably the appeal, it’s the ensemble cast’s delivery of these spirited renditions that gives the production its soul.
    Scenic design by Cassie McKnight evokes the camaraderie of Sun Records and the rich tradition of Memphis culture. Original costume design by Travis M. Grant transports us to 1950s and ‘60s flair, from rhinestone-studded jumpsuits to capri pants.


    ‘Kid Elvis’ Laird LaCoste opened the show, evoking a powerful emotional response with an adorable vulnerability that extends beyond cuteness. He’s got the chops, charm and presence of a future king. Alternating performances are shared by Brandon Lopes.

    Whether you’re a huge Elvis fan or simply love a well-executed musical, this production achieves the right pitch. With powerful performances, impactful musical numbers, and heartfelt storytelling, it’s a great way to close out your summer— all shook up! Come see before it leaves the building!
    TBTS presents Heartbreak Hotel through September 14. For more information, visit https://www.theatrebythesea.com/elvis.html.

  • CCRI PLAYERS’ SUMMER REP CONCLUDES WITH ADAPTION OF SHAKESPEARE’S RICHARD III

    CCRI PLAYERS’ SUMMER REP CONCLUDES WITH ADAPTION OF SHAKESPEARE’S RICHARD III

    The Community College of Rhode Island Players’ 2025 Summer Rep will conclude their annual theater season with their adaptation of William Shakespeare’s Richard III, directed by Jonathan Pitts-Wiley. The performance is the second of a two-part series that began in July with a four-day run of Shakespeare’s The Comedy of Errors. Theatre fans know Shakespeare performances are not only challenging, but can have lengthy dialogue, and content not for the faint of heart! Opening night on August 21 showed us just how capable these hard-working students are.


    Established in 2017, the Summer Rep program welcomes non-CCRI students and gives participants an opportunity to design and produce two shows in eight weeks while replicating a professional setting. This is no small task!


    “The CCRI Summer Rep project serves as a vital learning journey for our students, helping them become accustomed to the intensity of the summer stock model, an important component of professional theatre experience,” said CCRI Theatre Program Coordinator Ted Clement. “As a project that’s open to the wider community, it provides the program with an essential recruiting device.”


    “Audiences can expect a lean and dynamic production featuring a wonderfully diverse ensemble of performers,” said Pitts-Wiley. “I’m truly looking forward to what this acting company will bring to one of Shakespeare’s most challenging and compelling works.”


    Kai Babas-Corvelo, a recent graduate of the Jacqueline Walsh School for the Arts, has fully enjoyed the program. “At first, I was so intimidated to work with everyone since this is my first production of a play outside of high school. But everyone has been so supporting and kind throughout the experience, and it’s helped me to be my best self both on and offstage!”


    Max Hayden, who also graduated in spring, will continue his career this fall at the Gamm Theater as one of three new fellows in its 2025-26 Gamm Fellowship Program. The 10-month paid program is a partnership between the theater and Rhode Island’s higher-education institutions to provide on-the-job opportunities for artists of color.


    Stage Manager Rae Chiaverini and Assistant Stage Manager/Lighting Designer Alivia Verasammy serve as stage manager and assistant stage manager, respectively. They filled the opposite roles for CCRI’s performance of Comedy of Errors.


    Sebastian Arboleda, in the lead role as Richard, has trained with master teachers in voice, movement, classical text, and on-camera technique, specializing in bringing emotional precision and physical intensity to his roles, this one no exception!


    Other cast members include Nicole Labresh, Nayeli Vazquez, Jalen Rodriguez, Anthony Sanchez, Eddie Cardona, Mary Paolino, Sonny Wong, Brandon Soriano, Puck Schmidt, Connor Madix, Mikey McGowan, Jaelyn Batiz and Sophie Bryant.


    “Summer rep is a vital part of the program because it provides students with an opportunity to collaborate and learn beyond the classroom by taking on significant responsibilities in all aspects of theatrical production,” said Acting Managing Director Tammy Moore, a CCRI alumna and adjunct faculty member in both the English and Performing Arts departments. “Additionally, it serves as a crucial fundraiser that helps support student participation in the Kennedy Center, American College Theatre Festival (ACTF), which exposes students to workshops and performances that help them grow as performers and technicians, and offers real world experience and lasting connections.”


    Your ticket purchase supports CCRI’s Theatre Program. The play will be held at the Bobby Hackett Theater in the rear of CCRI’s Knight Campus in Warwick. Tickets are available online or at the door, with showings on August 22, 23, and 24. For more information and tickets, visit https://cur8.com/18038/project/133247.

  • Waitress: Serves up a slice of heart and community

    Waitress: Serves up a slice of heart and community

    In a world where musicals often lean on spectacle, Waitress finds its power in intimacy, honesty, a spoonful of sugar and a puff of flour. Based on the 2007 beloved film by Adrienne Shelly and book by Jessie Nelson, this heartfelt stage adaptation with orchestrations by Sara Bareilles & The Waitress Band continues to resonate deeply with audiences far and wide. Directed and choreographed by Theatre by the Sea’s Producing Artistic Director Kevin P. Hill, Waitress is woven with melodies both tender and triumphant, beautifully capturing small-town America while celebrating camaraderie, resilience and the pursuit of happiness.

    “So many regional theaters have been vying for the rights to produce this wildly popular musical, and I’m so pleased to have been able to get the rights for both of my theaters,” says TBTS owner and Producer Bill Hanney. “The music by Sara Bareilles is just beautiful and her lyrics are quite clever. I love that she utilizes many different styles of music, which help to define the characters.”

    Between misery and the prospect of new love, the show walks a delicate line between heartbreak and hope with remarkable grace. This musical tells the story of Jenna, a talented pie-maker working in a local diner, trapped in an abusive marriage and suddenly grappling with an unexpected pregnancy. With all this on her plate, she begins to dream of a better life, maybe even one that includes her own pie shop. Jenna is adept at creating new pies, and uses her feelings to bake the flavor of the day. Dakota Mackey-McGee’s incredible performance brings a grounded vulnerability with emotional depth and vocal warmth. 

    Jenna gets by with a little help from her friends. Becky, portrayed by Anny Jules, is a force. She’s blunt and sarcastic, living life on her terms, and is fully present while supporting Jenna in having the life she desires. Equally adroit at singing and making us laugh is Dawn, portrayed by Emelie Latzer. Nerds unite when Dawn is wooed by Ogie, the awkward man she meets from an online ad. Matt DaSilva takes on this schmaltzy role with a zest you can’t help but love.

    Christopher deProphetis as Dr. Pomatter is the awkward doctor who makes Jenna feel alive again, albeit via forbidden love. Kevin McGlynn portrays Joe, an elder who offers his own brand of awakening for Jenna with his worldly advice and in-your-face observations. All these performers have excellent vocals and comedic timing. Emmalyn June Brown as Young Jenna/Lulu is adorable without having to say a word. She shares the role with Tèa Migliazza on alternating nights, and is just as precious.

    We’d like to see more of James Channing as Earl, who plays one mean bad boy with velvety vocals, but is in absentia during most of Jenna’s pregnancy. He eventually reappears, calling her out for concealing money, but we’re left with questions of how Jenna manages to pay all the bills, save up for baby items, and finance her non-working useless spouse to drink like the sponge he is. This is a faux pas of the writing though, not a reflection of TBTS’s production. The focus is entirely on Jenna, following her metamorphosis throughout, with a nice balance between humor and gravity.

    The music is quintessential Bareilles—lyrical, melodic, and emotionally rich. The song “She Used to Be Mine” is a show-stopper with raw honesty and breathtaking shadow play, while ensemble numbers like “Opening Up” and “When He Sees Me” add levity and charm. The choreography and staging keep the action fluid and visually engaging, uniquely complementing the vernacular of the diner setting, guiding the ensemble through bustling kitchen scenes and emotional crescendos. Musical direction ensures each note resonates clearly, harmonizing elegantly with the rustic warmth of the venue. Sound, lighting and costumes are polished and efficient. 

    What truly elevates Waitress is its salute to female friendship and the resulting resilience. Jenna’s bond with her fellow waitresses provides both comic relief and emotional ballast. These relationships, along with the show’s nuanced portrayal of motherhood and self-discovery, make Waitress more than just a feel-good musical — it’s a quietly reformative ode to women finding their voices. If you think Act I is hot, hang onto your seats for Act II’s rising action!

    Whether you’re drawn in by the music, the message, or the mouthwatering pie metaphors, Waitress is a theatrical treat. It leaves a lasting impression with a seamless flow that’s light and witty one moment, wrenchingly raw the next. Be prepared to laugh, cry, tap your foot, and maybe leave craving pie.

    Theatre By The Sea presents Waitress through July 19. For more information, visit https://www.theatrebythesea.com/. 

  • Back to the Future: The Musical, A journey worth taking

    The Providence Performing Arts Center (PPAC) is currently hosting the national tour of Back to the Future: The Musical, having opened to a packed house on June 10. That’s a testament to how beloved this movie was, and that it has stood the test of time. This extraordinary adaptation of the 1985 film brings time travel, rock ‘n’ roll, and high-energy choreography to the stage, offering audiences a nostalgic yet innovative and fun theatrical experience you can’t miss!

    Directed by Tony Award winner John Rando, the musical follows Marty McFly, adeptly portrayed by Lucas Hallauer (who even resembles Michael J. Fox from afar!), a teenager who fortuitously travels back to 1955 in a DeLorean-turned-time-machine. This device is built by the eccentric scientist, Doc Brown, hysterically portrayed by David Josefsberg. The production captures the essence of the film by including original songs by Alan Silvestri and Glen Ballard, and classic hits like “The Power of Love” and “Johnny B. Goode”, but it’s the relationship between these two main characters that tugs on our memory and heart strings.

    Mike Bindeman couldn’t be more perfect in the role of George McFly! Then there’s Zan Berube, as Marty’s mother Lorraine, who makes us feel the sexual tension between the two before they know what the deal is! While the main cast delivers energetic performances that capture the spirit of the original characters, the ensemble supports the narrative with dynamic choreography by Chris Bailey, and strong vocals throughout, enhancing the overall theatrical experience. Kudos to Music Director Matt Doebler for leading the flawless band.

    The show’s design team, including Tim Hatley (set and costume design), Tim Lutkin and Hugh Vanstone (lighting), Gareth Owen (sound), and Finn Ross (video), has created a visually stunning, jaw-dropping production. The stage is brought to life with innovative projections and lighting effects, seamlessly blending the live action with arresting digital imagery. The DeLorean, central to the plot, is a highlight, with its time-traveling sequences flawlessly executed. Arrive early and you can have your picture taken with it outside before the show!

    Themes of failure before success, ambition, courage and self-belief are present in the production, as Doc comments on several of his failed inventions despite having discovered time travel. These are important qualities to have if you’re to succeed in the face of adversity.

    “If you take nothing else from this study experience, it’s that you should understand that EVERYBODY gets rejected sometimes, even fails sometimes,” says creator and writer of Back to the Future Bob Gale. “It hurts, but we can all help one another deal with that pain, just by showing a little kindness to somebody in that situation, just as you would appreciate that from somebody else. Just as our characters do in Back to the Future, and to see it as an opportunity to learn and to do better.”

    Back to the Future: The Musical, with its captivating performances, impressive technical design, and timeless story, is a must-see for theatergoers of all ages. Whether you’re a longtime fan of the sensation or new to the story, this spectacular musical adaptation promises an unforgettable journey through time.

    Don’t interrupt the space continuum! Relive the magic through this high-flying, time-traveling spectacle! Flux capacitor not included. Hurry, before you’re outatime! Production runs through June 15. For more information, visit www.ppacri.org.

  • Sly Fox: Greed never felt so funny

    Sly Fox: Greed never felt so funny

    Attleboro Community Theatre‘s production of Sly Fox, Larry Gelbart’s uproarious adaptation of Ben Jonson’s Volpone, delivers a fun and farcical comedy. Directed by Jeanne Smith, marking her 19th production with ACT, the play is set in 19th-century San Francisco during the Gold Rush.

    “Sly Fox is a play about greed and transformation,” says Smith. “Nine weeks ago, we started with a blank stage, a cast of 15 or so people, a partial crew, and a vision shared by myself and my assistant director, Doug Greene. Together we all experienced the reality of transformation as we worked together to bring the story to life and to the stage. Together, we were able to add some unique ideas to the hysterical comedy. We were blessed with a truly talented cast, including some new to the stage and some seasoned performers, who were eager and excited to help us transform this rather complicated stage production into an outstanding comedy that will, hopefully, give you, our patrons, a rib-aching theatre experience!”

    At the heart of this whimsical production is the conniving Foxwell J. Sly, as portrayed by Fred Wambolt, whose impeccable timing and commanding stage presence bring the character’s cunning and charm to life. Wambolt, who also portrays the Judge, makes Sly appear both despicable and endearing. Supporting roles are equally strong, with all actors embracing the absurdity of their characters. The interplay between Sly and his loyal servant, Simon Able— portrayed by Chase Struss—showcases a master-servant relationship filled with comedic tension and mutual respect. Connie Denesha as the Court Clerk doesn’t say much, but when she does there’s practically an audible punch in the air.

    Set design by Tammy England and Smith effectively captures the opulence and decay of the era, with lavish interiors contrasting against the characters’ moral bankruptcy. Many of the production crew members at ACT fill various roles, such as set building and costuming. The period-appropriate costumes add authenticity to the visual storytelling, perhaps non more so than that of flashy Miss Fancy, seductively portrayed by Dawn Ferrisi.

    Another standout feature of this production is the palpable sense of community. The theater’s cozy setting allows for a personal connection between the performers and the audience, enhancing the overall experience. Although the production feels longer than it needs to be, the laughs are constant. A cleverly hilarious script and Smith’s direction ensure the farce unfolds at a steady pace, maintaining audience engagement throughout.

    Sly Fox is a testament to the power of community theatre to entertain and delight. ACT’s commitment to providing quality theatre experiences is evident in every aspect of the show. With its sharp humor, strong performances, and cohesive direction, the production offers a memorable theatrical experience, promising laughter and enjoyment.

    Sly Fox runs through June 22. For more information, visit https://www.attleborocommunitytheatre.com