Author Archives: craigidlebrook

Nov 26

A Peek Inside the Funhouse of Our Minds: “Mindplay”

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“Mindplay” photo by Chris Ruggiero.

Presented by the Huntington Theatre Company
Created by Vinny DePonto
Written by Vinny DePonto and Josh Koenigsberg
Director – Andrew Neisler
Scenic Design – Sibyl Wickersheimer
Lighting Design – Christopher Bowser
Sound Design – Kathy Ruvuna
Composer – Alex Harris

November 13 – December 1, 2024
Calderwood Pavilion
527 Tremont Street,
Boston, MA 02115

Critique by Craig Idlebrook

1.5 hours with no intermission

May be too intense for younger children

BOSTON — Towards the beginning of the intriguing one-man show Mindplay, mentalist Vinny DePonto was frank with the audience, telling them that the mind was easily manipulatable, and that he was good at doing it. DePonto was true to his word, as he mesmerized the audience with his quiet charm, sharp memory, and his apparent gift to read minds. However, the mentalist later attempted to mix frankness with artifice when he chose to tell his own story with a dazzling stage display as a prop, and this momentarily threatened to break the show’s spell. It may have been his greatest trick to still create a captivating theatrical experience despite this misstep. Continue reading →

Oct 08

The Subjectiveness of Sanity: “The Search for Signs of Intelligent Life in the Universe”

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Photo by Meg Moore/megpix.com; Kathryn Van Meter as Trudy.

Presented by Merrimack Repertory Theatre
Written by Jane Wagner
Directed by Courtney Sale
Featuring Kathryn Van Meter

October 2-20, 2024
Nancy L. Donahue Theatre at Liberty Hall
50 E. Merrimack St.
Lowell, MA

Online Playbill

Run Time: approx. 2 hours 25 minutes including one 15-minute intermission

Please note the following content advisories: Adult Language, Death by Suicide, Suicide Ideation, Drug Use, Sexual Violence

Review by Craig Idlebrook

LOWELL, Mass. — There is a tightrope act-feel to a one-person show, as audiences can become painfully aware there is nowhere for the performer to hide, or even catch a breath. Flubbed lines, low energy, or a lack of connection to the source material can lead to a long night for both actor and audience.

Luckily for the audience of Merrimack Repertory Theater’s The Search for Signs of Intelligent Life in the Universe, Kathryn Van Meter (Trudy) deftly dodges all potential pitfalls of a solo performer. She works hand-in-hand within the exquisite source material provided by playwright Jane Wagner for us to see the interconnectedness between an off-kilter woman living on the streets and the universe. Continue reading →

Aug 05

Nothin’ But a Good Time: “Rock of Ages”

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Photo by Isaac Mishkit.

Presented by Seacoast Repertory Theatre
Book by Chris D’Arienzo
Arrangements and orchestrations by Ethan Popp
Direction by Alyssa Dumas
Music Direction by Andrew Strout
Choreography by Alyssa Dumas and Dargan Cole
Featuring Jared LeMay, Sophie Mings, Christopher Hobson, Jamie Bradley, Michelle Faria, Tobin Moss, Spencer “Skip” Stewart, Sean Mullaney, Alexandra Mullaney, Sieglinda Fox, Michael Thompson, Dargan Cole, Hadley Withington, Heather Conti-Clark, Briar MacDonald, Finn Graff, Max Cavanaugh, Robert Fabricio Armstrong, and Shaina Schwartz

July 18 – September 8, 2024
Seacoast Rep.
125 Bow St.
Portsmouth, NH 03801

Review by Craig Idlebrook

PORTSMOUTH, New Hampshire — The production team of the Seacoast Repertory Theatre likely faced a dilemma when considering to stage Rock of Ages, the big-hair-metal jukebox musical. The theater is small and intimate, with limited seating surrounding the stage on three sides. How, in this environment do you stage a musical in which the musical genre calls for soaring guitar solos and high notes belted to the rafters? Do you pull back to fit the space or do you say, “(bleep) it, let’s turn it up to 11?”

Luckily, this production chose the latter, wisely deciding that many theatergoers misspent their youth playing metal so loudly on Walkman cassette players that all they could hear afterwards was ringing sounds. Like Grease before it, the only way this nostalgia trip works is by going full tilt. Continue reading →

Jul 23

Bizarre and Heartbreaking Beats of History: “46 Plays for America’s First Ladies”

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4 out of 5 cast members looking patriotic. Photo by Andrew Keefe.

Presented by Hub Theatre Company of Boston
Written by Genevra Gallo-Bayiates, Chloe Johnston, Andy Bayiates, Bilal Dardai, and Sharon Greene
Direction and Choreography: Ilyse Robbins
Music Direction by Jack Cline
Puppet Design by E. Rosser and Samantha Mastrati
Produced by Lauren Elias
Lighting Design by Emily Bearce
Scenic Desig by Justin Lahue
Costume Design by E. Rosser
Featuring Yasmeen Duncan, Lauren Elias, Eleni Kontzamanys, Sophia Muharram, Katie Pickett

July 20 – August 3, 2024
Club Cafe
209 Columbus Ave. Back Bay
Boston, MA 02116

Article by Craig Idlebrook

BOSTON — When is history actually in the rear-view mirror?

That was the question that intentionally and unintentionally arose on a Sunday matinee showing of 46 Plays for America’s First Ladies, being performed by Hub Theatre Company of Boston. When the play began, it offered a complete telling of the lives of the women most closely connected to U.S. presidents through marriage, bloodlines, or involuntary servitude, or some combination of the three. When the play ended, it felt glaringly incomplete, as news had broken that the current occupant of the Oval Office had ended his reelection campaign and endorsed Vice President Kamala Harris to be the new Democratic nominee. Continue reading →

May 07

Glimpses of Brilliance: “Ailey Classics”

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Photo: Alvin Ailey American Dance Theater in Alvin Ailey’s “For Bird – With Love.” Photo by Paul Kolnik

Presented by the Celebrity Series of Boston
Performed by the Alvin Ailey American Dance Theater
Alvin Ailey, founder
Judith Jamison, artistic director emerita
Matthew Rushing, interim artistic director

May 2 – 5, 2024
Boch Center, Wang Theatre
270 Tremont St.
Boston, MA 02116

Review by Craig Idlebrook

BOSTON, Mass. — Choreographer Alvin Ailey often felt the need to mask much of his private life to the public, but he unabashedly shared the emotion of his art with audiences. A publicly closeted gay Black man with bipolar disorder who grew up in the southern United States during the height of the brutality of the Jim Crow era, he staged heartfelt shows reflecting the highs and lows of Black life through dance.

In a 1973 New York Times Magazine interview, he said of his shows, “They are as honest and truthful as we can make them. I’m interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance.”

That emotional integrity of Ailey’s work was evident in the recent staging of Ailey Classics, featuring excerpts of his most well-known works by the dance troupe he founded. More than 30 years after Ailey’s death, there were moments on stage when it felt as if he were personally greeting each member of the audience through his art. Continue reading →

Apr 29

Fate’s Meat Puppets: “Hadestown” at The Wang Theater

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Hadestown North American Tour. Photo by T Charles Erickson.

Presented by the Boch Center
Developed With/Directed by Rachel Chavkin
Music and lyrics by Anaïs Mitchell
Featuring Amaya Braganza, Lana Gordon, Will Mann, J. Antonio Rodriguez, Marla Louissant, Lizzie Markson, Hannah Schreer, Sevon Askew, Jamal Lee Harris, Cate Hayman, Quiana Onrae’l Holmes, and Daniel Tracht
Music Supervisor and Vocal Arrangements by Liam Robinson
Choreography by David Neumann
Lighting by Bradley King
Scenic Design by Rachel Hauck

April 23-28, 2024
Boch Center, Wang Theatre
270 Tremont St.
Boston, MA 02116

HADESTOWN runs approximately 2 hours and 30 minutes, including a 20-minute intermission.

Review by Craig Idlebrook

BOSTON, Mass. — It can be said that mainstream American storytelling often takes its tone from modern Christianity, centering stories on a struggle between good and evil. Through this individualistic lens, if our hero is good enough and smart enough, they can decide their fate and overcome all challenges.

The ancient Greeks? They were not so optimistic about the chances of the individual in their stories. In Greek mythology, there are a bewildering number of gods, and they are just as likely to mess with humans as they are with each other. Mere mortals often get caught in the crossfire of inter-god rivalries, and there is little they can do to escape their fates, as The Fates have almost all the action on pre-determined lockdown.

This is the backdrop for Hadestown, the popular musical currently touring New England. It re-tells the tragedy of Eurydice (Amaya Braganza) and Orpheus (J. Antonio Rodriguez), a pair of lovers who almost go to hell and back to try and find their happily ever after. Orpheus has some godly parentage and is working on a song to sing-oh when Eurydice blows into his life without two coins to put over her eyes. He is immediately smitten with her and soon wins her over. Continue reading →

Feb 12

Flipping a Tragedy on Its Head: “Duel Reality”

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Duel Reality – Mât Chinois, Credit: Arata Urawa

Presented by Arts Emerson
Originally produced and created with Virgin Voyages
Directed by Shana Carrol
Performed by The 7 Fingers
Based on Romeo and Juliet by William Shakespeare
Featuring Nicolas Jelmoni, Soen Geinaert, Danny Vrijsen, Einar Kling-Odencrants, Anni Küpper,
Andreas De Ryck, Aerial Emery ou Méliejade Tremblay-Bouchard, Andrew Price, Kalani June,
Arata Urawa
Music by Colin Gagné
Lighting by Alexander Nichols
Acrobatic Coach: Francisco Cruz

February 7-19, 2024
Emerson Cutler Majestic Theatre
219 Tremont St.
Boston, MA 02116

Review by Craig Idlebrook

BOSTON, Mass. — In a presidential election year, can American audiences find joy in a Shakespeare-based tragedy about red-versus-blue factionalism?

Yes, thanks to the joyous movement-based storytelling that The 7 Fingers artistic collaborative brings to the stage. This troupe dazzles by combining snippets of dialogue and the heart of Romeo and Juliet with an hour-long air-defying spectacle of acrobatics that is likely to leave you smiling and at the edge of your seat. Continue reading →

Jun 05

Defiant Like It’s Banned in Florida: “As You Like It”

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Genevieve Simon and the cast of Actors’ Shakespeare Project’s As You Like It (2023). Photo by Nile Scott Studios.

Presented by Actors’ Shakespeare Project in partnership with The Theater Offensive
Directed by Harold Steward
Associated Directed by Brooke Hardman
Featuring Fady Demian, Lindsay Eagle, Gabriel Graetz, Jaime Josè Hernández, Doug Lockwood, Nathan Malin, Gavin Rasmussen, Genevieve Simon, Bobbie Steinbach, Regine Vital, Mishka Yarovoy

June 2 – 25, 2023
Tufts University’s Balch Arena Theater
40 Talbot Ave
Medford, MA 02155

Critique by Craig Idlebrook

MEDFORD, Mass. — At first glance, Actors’ Shakespeare Project’s declaration that its production of As You Like It “leans into (the play’s) famed crossdressing mayhem and gender euphoria” in defiance of the passage of anti-LGBTQ+ legislation could be as empty a stretch as a corporate Pride Month initiative. After all, As You Like It already is one of Shakespeare’s gender-bending plays, in which female protagonists find reasons to dress as men, woo men as men, and then be wooed in turn by women. Add to this that men played all the female parts in the original runs of these comedies, and on paper it seems like there would be little space to add more LGBTQ+ focus.

That is why it is all the more impressive that this production, done in partnership with The Theater Offensive, finds new ways to turn this absurd play into a weapon against the absurdity of a new wave of anti-LGBTQ+ hate. Continue reading →

Dec 07

Joy to the Sacred and the Ordinary: “Black Nativity”

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Image from “Black Nativity” Facebook page.

Presented by The National Center of Afro-American Artists
https://blacknativity.org/
Executive Producer and Director: Voncille Ross
Choreographer: George Howard
Ballet Mistress: Desiree Springer
Choral Director, Children of Black Persuasion: Marilyn Andry
Choral Director, Voices of Black Persuasion: Milton L. Wright
Stage Manager: Brion-Michael Rock
Board of Directors – Margaret Burnham and Vivian Johnson, Co-Chairpersons, Kafi Meadows, Frances Bernat, Denzil D. McKenzie, Melissa Nobles, Amy Olatunji, Honorable Milton L. Wright

December 2 – 18, 2022, weekends, with matinees at 3:30 pm and evening shows at 8 pm
Robert J. Orchard Stage
Paramount Center
559 Washington Street
Boston, MA 02111

Review by Craig Idlebrook

BOSTON, Mass — There are competing ideas in the narrative of the traditional Christian nativity story – that the son of God is born and that a young woman who is temporarily homeless gives birth to a child in a barn and the child is loved. One of the most profound aspects of Black Nativity, a long-running production of Langston Hughes’ holiday show, is that it deftly gives equal weight to both.

The poet Hughes, who wrote the book and utilized traditional Christmas carols for this musical, first staged Black Nativity off-Broadway in 1961. Less than a decade later, in 1969, the play was first performed in Boston. The Boston production has become a beloved, if sometimes overlooked, holiday tradition here for more than a half century, and taking part in the cast has become an intergenerational endeavor for some Black families in the area. Continue reading →

Dec 05

Slick Christmas Dreams: “‘Twas the Night Before…”

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Presented by Cirque du Soleil
Facebook  Twitter  Instagram  Snapchat

November 25 – December 11th, Wednesdays Through Sundays, various times
Boch Center – Wang Theatre
270 Tremont St
Boston, MA 02116

Review by Craig Idlebrook

BOSTON — If you are an aspiring fiction writer in whatever genre and have a good idea for a Christmas-themed show, I suggest you pursue it. If our 365-day lust for Hallmark Christmas movies is any indication, there is always a need for more content, and, frankly, most of the ideas that are out there are mediocre at best.

Of course, as an honest critic, I should always take my own idiosyncrasies into account, and how it might differ from the viewpoint of others. I like a low-key Christmas season, and many people don’t, and this difference can color our perspectives on yuletide spectacle. Continue reading →