To celebrate their return, ArtsBoston is launching it 50% holiday season tickets online at www.bostix.org.  Among the performances expected to be available for $25 (fees included) exclusively at BosTix Faneuil Hall are “The Nutcracker” (José Mateo Ballet Theatre), “Christmas with the Back Bay Ringers,” “A Midsummer Night’s Dream” (Sh!t-Faced Shakespeare) “Bring Your Own Bells” (Boston Gay Men’s Chorus), “Winter Wonderettes” (Greater Boston Stage Company), and “Crumbs from the Table of Joy” (Lyric Stage Company). More performances and organizations are expected to be added. The iconic landmark in Faneuil Hall was established 50 years ago but was shuttered during the 2020 Covid crisis. Now, this signature program from ArtsBoston, the nonprofit marketing and audience development organization that provides access to the performing arts through lower-cost tickets, has reopened. Bostix has unparalleled access to the best performances and tourist attractions in the city, providing exclusive ticket offers as well as pop-up performances, and interactive arts experiences. Available tickets throughout the season can be found at www.BosTix.org. For information about special offers throughout the the city, visit https://calendar.artsboston.org/categories/bostix-deals

MARCH 1 & 2: BEASTLY: AN AUTOBIOGRAPHICAL FEMINIST FOLK TALE (BENEFIT)

The Boston Center for the Arts Plaza Theatre at 539 Tremont Street in Boston’s South End, again hosts the return of Melissa Hale Woodman’s previously sold-out house that raised $6,000 for three NGO (Non Governmental Organizations) partners: Corporate Accountability, Reproductive Equity Now, and Movement Voter Project. Written and performed by Ms. Woodman, she utilizes a blend of standup comedy and poetic reverie to invoke a call to action. Following this previous performance, an audience member enthusiastically observed, “We came in as strangers, and we left as a tribe.” Woodman has described “Beastly” as part Roald Dahl’s Revolting Rhymes, which are grotesquely yet very funny twists on traditional fairy tales, along with The Vagina Monologues, described as “An ode to truth, women, and empowerment”. They in turn would metaphorically create a baby with Bernie Sanders, who used to challenge the tenets of our society. “Beastly” begins in the not-too-distant future. Tech bros (slang term for stereotypical masculine programmers…or ‘brogrammers’, bent on making huge amounts of money with technology join a large cluster of  proverbial oil tycoons. Together, these men have sequestered themselves in hidden bunkers and are focused on counting their massive profits. Meanwhile, outside the world is burning. Our heroine travels back in time and begins mining wisdom from past experiences. She visits her rebellious teen years, moves on to the days of motherhood and spit-up-spattered clothes. As she races to turn back the clock she comes upon a time of an unexpected pivot to social justice and attempts at organizing the focus on a better path—before it’s too late. As she relates her whimsical Dahlesque type poems, Woodman takes audiences on an increasingly dark journey–imploring a sense of commitment to the vision of a future that should be desired as well as certainly deserved. Her gifted humor tends to shatter the current emotional paralysis that seems to have trapped society in a politically insane mire while providing a guide beyond those feeling of helplessness to one of action. “We need humor right now to counter the despair and the (sense of being) overwhelm(ed) engendered/driven by the power-hungry corporate and political elites,” says Woodman. “The stakes are too high to stand idly by. That’s why Beastly exists– to light a fire under us with joy, laughter, and raunch..” Woodman boasts an extensively long and productive theatrical career. All performances are fundraisers! Proceeds from these performances will go again to Corporate Accountability, as well as the Neighborhood Birth Center and Brew & Forge. The performance runs for one (1) hour with no intermission. For more performance and ticket information or this insightful event, visit www.BostonTheatreScene.com

FEB. 28 – MARCH 16: THE IRISH AND HOW THEY GOT THAT WAY

 Greater Boston Stage Company at 395 Main St. Stoneham presents this musical tribute just in time for St. Patrick’s Day. Written by Frank McCourt, Pulitzer Prize Winner and author of the famed book, “Angela’s Ashes”. The original music arrangements are by Rusty Magee. The show is under the direction of A. Nora Long. This unforgettable theatrical concert returns after a triumphant run in 2018, to again allow everyone to celebrate Ireland’s, rich history and culture through song and storytelling. The theatre company promises to shine a light on the indomitable spirit of the Irish people. Come and enjoy classic Irish melodies, sung by solid Irish tenors, revel in fantastical stories surrounding Irish legends, as well as enjoy some laugh out loud jokes from an Irish catalogue. For those who really want to delve deeper into the spirit of the “Wearing of the Green”, there are twelve special onstage seats available for each show at an increased cost. They come with ta choice of wo Guinness, two Jameson, or two bottled waters.. Tickets for this fun event may be obtained here at www.greaterbostonstage.org

MARCH 7 – APRIL 6: THE TRIUMPH OF LOVE

The Huntington, located at 264 Huntington Ave. in Boston is excited to bring this classic romantic comedy that was originally written by the 18th century playwright, Pierre Carlet de Marivaux. Stephen Wadsworth’s recent translation has brought new light to this play on the American stage. Now under the exceptionally artistic hand of the multi award-winning director, Loretta Greco, this uproariously funny French comedy brings the tale of a clever princess who finds herself smitten at first sight of a handsome prince. But, to win his undying affections, she must woo him in disguise. Of course this results in a delightful hodgepodge of mistaken identities and hilarious complications as deeply felt desires collide head on with Rationalist Philosophies resulting in even more surprising romantic entanglements! “I am thrilled to bring Stephen’s intoxicating adaptation of Marivaux’s 18th century play to life here at The Huntington,” says Huntington Artistic Director Loretta Greco. “Full of playful deception, romance, hilarity and hope, The Triumph of Love is a surprising, deeply moving and modern examination of our ability to grow over time. That this play which premiered in 1732 feels so alive today owes much to the singular passion of Stephen Wadsworth and this definitive adaptation.” The production embraces the beauty and classic elegance of the time and of the tale. Exquisite French costumes and stunning pastoral set designs by Junghyun Georgia Le ,(The Heart Sellers at The Huntington). All are carefully bathed in romantic lighting by Christopher Akerlind (Prayer for the French Republic at The Huntington). The sound design and original music are by Fan Zhang (Prayer for the French Republic at The Huntington). The hair, wig, and makeup designer is Tom Watson (Leopoldstadt at The Huntington). The assistant director is Lydia Cochran, and the dramaturg is Charles Haugland. The commedia dell’arte consultant is Judith Chaffee, the fight and intimacy coordinator is Jesse Hinson, and the voice and text coach is Lee Nishri-Howitt. The production stage manager is Deirdre Benson and the stage manager is Ashley Pitchford. Casting is by Janet Foster. The cast consists of Allison Altman (Birthday Candles on Broadway, Mother, Daughter, Sisterwife Off Broadway, Anna Karenina at the Denver Center) as Léonide, the very clever princess. Avanthika Srinivasan (Elyria Off Broadway, Candid at Gringold Theatrical Group, Daredevil: Born Again on Disney) as Corine, Léonide’s maid. Vincent Randazzo (The Servant of Two Masters at Lanes Coven Theatre, Survival of the Unfit at Great Barrington Public Theatre, Crime and Punishmen at The Old Globe) as Harlequin, Hermocrate’s valet.:Patrick Kerr (Travesties; You Can’t Take It with You on Broadway, The Big Door Prize on Apple T.) as Dimas, Hermocrate’s gardener. Rob Kellogg (Romeo and Juliet Off Broadway, the films The Bride; No Later Light, and the TV series Pretty Little Liars: Original Sin), as Agis, the Hermocrate’s ward, sworn off love and rightful heir to the throne. Marianna Bassham (Nassim; The Band’s Visit (co-produced with SpeakEasy Stage); Hurricane Diane at The Huntington) as Léontine, Hermocrate’s sister and a spinster. Nael Nacer (Nassim; Leopoldstadt at The Huntington; and Prayer for the French Republic at The Huntington and on Broadway) as Hermocrate, a philosopher uninterested in love. Understudies include: Morgan Ford, Joanna Strapp, Nick Sulfaro, and Lewis D. Wheeler.Laughter and love are le plat du jour in this dazzling production at The Huntington. Tickets may be obtained here at https://www.huntingtontheatre.org/whats-on/the-triumph-of-love/ 

The Reagle Music Theatre of Greater Boston located at the Robinson Theatre, 617 Lexington St. in Waltham, once again brings their delightfully fun show that celebrates all that is Irish. Get ready to experience the enchanting allure of Ireland like never before with Reagle Music Theatre’s The Magic Of Ireland: A St. Patrick’s Day Concert. Headlined by spellbinding talent from Broadway and Boston, this celebration will be sure to transport you to the heart of the Emerald Isle with traditional melodies, comedy, poetry, step dancing, and more! Headlined by Ciarán Sheehan (Broadway’s The Phantom of the Opera, Les Misérables), Kathy St. George (Broadway’s Fiddler on the Roof, Off Broadway: I Love You, You’re Perfect, Now Change), Jennifer Ellis (RMT’s Wonderful Town, Carousel), and Rick Sherburne (RMT’s Oklahoma, West Side Story),  The Harney Academy of Irish Dancing  In addition, The Harney Academy of Irish Dancing will again wow audiences with performance of outstanding Step Dancing choreographed by two-time World Champion and accredited teacher and adjudicator with the An Coimisiun Le Rince Gaelacha in Ireland, Liam Harney. Heather Swanson, Boston area violinist will have the audience tapping their toes to traditional Irish music. Ryan Douglas, an Irish multi-instrumentalist, will be featured on the bodhrán expressing the haunting rhythms from this traditional Irish frame drum. Elliot Norton and five time IRNE Awards winner for Best Music Direction, Dan Rodriguez will wrap up the entire musical components of the show and deliver them with a huge shamrock on top. To obtain tickets for this upbeat annual tradition click here at www.reaglemusictheatre.org/shows/9/magic-of-ireland

THROUGH MARCH 9: BOSTON PLAYWRIGHTS THEATRE SPRING REP FESTIVAL

Boston Playwrights’ Theatre is an award-winning professional theatre dedicated to new works for the stage founded in 1981 by Nobel Laureate Derek Walcott. Located on the campus of Boston University, we produce a season of new work, an annual “marathon” of ten-minute plays, and a festival of teenage writers. As the home of the Boston University MFA in Playwriting, we nurture the work of our graduate students through workshops and developmental productions. In addition, MFA Playwrights are closely involved in all facets of BPT—backstage, front of house, and everywhere in between, from education programs to social media management to curation and season selection. This year’s Spring Festival presents two diverse productions. Included is “The Fig Tree, and The Phoenix, and The Desire to Be Reborn”.

It was written by Isabelle Fereshteh Sanatdar Stevens and directed by Nikta Sabouri.The tale is set in the Iranian province of Zanjan, in an orchard where all of the trees have gone to sleep, except for one that remains ripe with fruit. Underneath its fig-studded branches. On the chilliest August night of 1988, eight-year-olds Mandana and Javeed meet for the first time—except somehow it doesn’t feel like the first time. This is a story of what the world has been, what it is now, and what it could be. The second one is titled                            “The Recursion of a Moth”.

It was written by Brandon Zang and Directed by Katie Brook. The story surrounds Icarus and Mikey, who are in love. They time travel…then Icarus and Mikey fall out of love. Icarus and Mikey then meet each other for the first time at a job interview. Somewhere else, sometime else, Chrys buys a yellow house. The rules of Time Travel are: you can travel to any timeline as long as you don’t change anything. But of course, there’s always someone who thinks the rules don’t apply to them. Tickets for these engaging new plays may be obtained at www.BostonPlaywrights.org

THROUGH MARCH 9: THE GROVE

The Huntington brings the second play by Mfoniso Udofia’s in her 9 play Ufot Family Cycle to the stage of the Wimberly Theatre in the Calderwood Pavilion located at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End. The first play in the series, “Sojourners”, is set in 1978, and introduces Nigerian immigrant, Abasiama who has come to America with her husband, Ukpong. Both aspired to gain an education and return to their homeland to family and friends, and contribute to their people. But life is hard as she is pregnant, studying and working while her husband is discovered has abandoned school and often her as well. No longer a student, Abasiama’s husband returns to Nigeria, taking with him their newborn daughter to be raised by family there. She also meets a Nigerian student, Disciple Ufot, who at the end of the play wants to marry her. “The Grove” fast forwards to 2009. Abasiama, who does not quite share her husband’s excessive religious zeal, has been married decades to Disciple Ufot. He is a religious zealot as well as a narcistic, overbearing and culturally chauvinistic partner as well as also as a parent and even as eventually seen to his friends. 

Left to right: Joshua Olumide (Disciple Ufot), Abigail C. Onwunali (Adiaha Ufot), and Patrice Johnson Chevannes (Abasiama Ufot):Photo by Nile Hawver Their first born, Adiaha Ufot, is the shining star in her father’s eyes. She appears to be an over achiever, not only because she is home for a family celebration surrounding her graduation with a Masters Degree in Writing, but that fact is readily noted by the plethora of trophies on display in her bedroom. Something is not right about this home coming, punctuated by frequent calls from someone named Kim, Adiaha’s anxiety ridden facial expressions, and her occasional fleeing to her bedroom to obsessively write what she is not sure of the meaning of what she sees she has written. Also, Shadows (Female ancestors that seem to create something akin to a Greek chorus) hover around her in the background speaking in lbibio (one pf the Nigerian dialects).

Janelle Grace and Ekemini Ekpo (Shadows of ancestors): Photo by Marc J. Franklin  She is harboring a secret and is painfully struggling to find a way to be released from it. Adiaha’s college graduation party brings her parents, uncles, siblings, and friends together as each provides a customary Nigerian, hands on blessing for the girl. After a somewhat strange, no hands on blessing from her mother, Adiaha flees to her room where her younger sister Toyoima Ufot speaks to her reluctant to talk sister by utilizing a favorite childhood stuffed animal. It is then we hear the word ‘lesbian’ uttered. Now we know the secret. But how can Adiaha tell that to someone like her over righteous, unreasonable, domineering father? How does she tell her mother who so desires her daughter to find a nice Nigerian husband to marry? Meanwhile, Adiaha is under duress by her long time, best friend and lover Kim to just tell her parents. And too, the Shadows of the previous long dead family members become increasingly present in their attempt to help free Adiaha from the pain of her indecision.

Abigail C. Onwunali (Adiaha Ufot) and Valyn Lyric Turner (Kimberley Gaines) : Photo by Marc J. Franklin Like the struggles we see with Tevye in Fiddler On the Roof….to break from ingrained traditions can turn a family upside down. But actor Abigail C. Onwunali* as Adiaha rides out the emotional storm, gloriously, in a most surprising way. Patrice Johnson Chevannes* in the role of Abasiama, as the often long-suffering spouse yet inwardly strong, diplomatic woman, faces the chronic abuse of Disciple, her ego centric, psychotically unreasonable and overtly religious husband played by Joshua Olumide*. Their other two children, Toyoima, played by Aisha Wura Akorede and Ekong, played by Amani Kojo, were excellent in radiating their frustration and tolerance with their overbearing home life as well as quickly curbing attempts to tell their father off at times. Valyn Lyric Turner* plays Kimberley Gaines, Adiaha’s impatient, not too practical but excellent artist as well as romantic partner. Additional cast members are Paul-Robert Pryce* as Udosen Udoh; Maduka Steady* as Godwin Inyang; and Chibuba Bloom Osuala as Godwin’s wife, Victoria. The Shadows are Ekemini Ekpo, Janelle Grace, Dayenne Walters, Patrice Jean-Baptiste* and Chibuba Bloom Osuala (dual role).

The cast of The Huntington’s production of Mfoniso Udofia’s The Grove: Photo by Marc J. Franklin. The stunning, interactive and highly creative scenic design is by Jason Ardizzone-West. The lovely traditional costume designs are by Sarita Fellows. The Sound Design and Original Music is by Rob Milburn and Michael Bodeen. Again, the Huntington reunites with Awoye Timpo (The Bluest Eye at The Huntington) as the director. Timpo has artfully staged this unique family homecoming by enthusiastically as well as accurately integrating a number of cultural traditions and behavioral characteristics, that illustrate the struggle for a young person to be caught between two worlds while growing up. She in turn, through this production, helps illustrate Udofia’s words to visually express what it means to find wisdom and help from those who came before us. Especially when raised in an environment where, “to our own self be true” becomes no easy task. This is truly a cultural exploration surrounding how a child, born and raised in America can find their own path. It is a tale of one who can be caught up in a proverbial web of life in everyday America while living under the thumb of a father who still dwells deeply and strictly in his own Nigerian traditions. Plus add hyper religious focus and customs that was personally integrated by a father that never evolved beyond where he has always stood. Thus this second play in the Ufot series uniquely takes us on a journey that brings a person to a place in their life where they can finally embrace who they really are. The Ufot Family Cycle is a two-year city-wide festival where 30+ theatres and arts organizations around Greater Boston have joined to produce Mfoniso Udofia’s cycle of plays. This has also been accomplished with a number of  supportive interactions with universities, social organizations, non-profits, and a host of community activation partners. Tickets for this thought provoking play may be obtained at www.huntingtontheatre.org

THROUGH MARCH 9: FLORA & ULYSESS

The Wheelock Family Theatre located at 180 Riverway in Boston brings to their stage this delightful tale directed by Joshua Rashon Streeter. It has been adapted by John Glore from the Newbury Award winning children’s’ book that was written by Kate DiCamillo. The story follows an innocent squirrel who is accidently sucked up by a vacuum cleaner owned by a neighbor. He is rescued by the 10 year old, quite cynical, Flora Belle Buckman, who spends most of her time reading comic books as well as trying to understand her parents’ recent divorce which has resulted in her being at odds with her mother. She discovers that all of the poor squirrel’s fur has been vacuumed off, but is astonished that his near death experience has evolved him into a super hero that can fly, can communicate with Flora, and can even write poetry, sort of telepathically with a typewriter. Flora decides to name him Ulysess and the relationship evolves into a series of adventures that include escaping her mother’s insistence that Flora’s father kill Ulysess, his escape, and Ulysess poetic ability to restore the love lost between Flora and her Mother. The cast includes Livia Ketri in the role of Flora Belle Buckman, while Chris Stahl * takes on the role of Ulysess. Cheryl McMahon* performs the multiple roles of Tootie Tickham/ Rita and Dr. Meescham, and Damon Singeltary* is George Buckman/ Alfred T. Slipper and Incandesto. Kayla Shimizu performs the role of Phyllis Buckman as well as Ernie. Jack Baumrind takes the role of William Spiver. Supporting cast members include Eli Ditkoff, Brandon Lee, Katie Picket, and Millar Vigoda. Tickets for this magically creative adventure (which may not be suitable for children under 8) may be obtained at www.wheelockfamilytheatre.org/performances/current-season/flora-ulysses/

MARCH 11 – 23: PARADE

The producers of the acclaimed Broadway revival of Parade, which captured the 2023 Tony Award® for Best Revival of a Musical, are bringing the 2025 North American Tour to Boston’s Emerson Colonial Theatre, 106 Boylston Street in Boston. Directed by Tony Award® winner Michael Arden (who also directed the pre-Broadway world premiere musical The Queen of Versailles, starring Kristin Chenoweth, this past summer), the production boasts a book by two-time Tony Award® winner, Pulitzer Prize winner, and Academy Award® winner Alfred Uhry, along with music and lyrics by three-time Tony Award® winner Jason Robert Brown. It was co-conceived by 21-time Tony Award®-winning legend Harold Prince. The producers of Parade said, “When Jason Robert Brown’s and Alfred Uhry’s masterpiece played its record-breaking and sold-out runs at New York City Center and on Broadway, it was heralded by critics for its stellar performances, magnificent score, impassioned direction, and of course, its timeliness. We are honored that we can bring Parade to audiences across North America so that they too can experience this once in a lifetime production in this moment in history.” The story is based on true events that surrounded 29 year old Leo Frank, a factory manager in Atlanta, Georgia. Married to his beloved wife, Lucille, this  newlywed Jewish couple, while struggling to make a life together, found their life irrevocably disrupted when in April of 1913, Leo was arrested and imprisoned for allegedly raping and murdering a 13 year old girl who worked in his plant. With his wife, faithfully supporting him, Leo’s fate is put into the hands, not of any true justice system at the time, but by a system driven by anti-Semitism, racial divides, and mob rule that was fueled by media sensationalism, and political maneuvering. Such a system is sadly still grossly rampant in our world today! The tale is riveting as as it reminds us that to truly love, we must see into the heart and souls of  one another. Since its debut, the production has received overwhelming acclaim. The New York Times said, “this revival, filled with deft flourishes by director Michael Arden, recalls an era of big casts, big stories, and big talent – a time when musicals actually felt like events.” Entertainment Weekly called Parade “the most gorgeous production on Broadway.” Deadline proclaimed that Parade is “a work of art! As commanding as any musical revival to hit Broadway in years.” Time Out New York stated that “Parade will echo for a long time to come. See it before the parade passes by.” The creative team for Parade includes Lauren Yalango-Grant & Christopher Cree Grant (choreography), Tony Award® nominee Dane Laffrey (scenic design), Tony Award® winner Susan Hilferty (costume design), Tony Award® nominee Heather Gilbert (lighting design), Drama Desk Award nominee Jon Weston (sound design), Tony Award® nominee Sven Ortel (projection design), Tom Watson (hair and wig design), and Kimberlee Wertz (music coordinator). Parade was originally directed on Broadway by Harold Prince. The Parade (2023 Broadway Cast Recording), was nominated for a 2023 Grammy Award® for Best Musical Theater Album and is available on all digital platforms. The stellar cast includes Max Chernin (Broadway Revival of Parade) as Leo Frank and Talia Suskauer,  in the role of Lucille Frank. They are joined by Griffin Binnicker, Evan Harrington, Ramone Nelson, Jack Roden, Andrew Samonsky, Chris Shyer, Michael Tacconi, Alison Ewing, Olivia Goosman, Jenny Hickman, Oluchi Nwaokorie, Robert Knight, Prentiss E. Mouton (Broadway Revival of Parade), Danielle Lee Greaves (Broadway Revival of Parade), Ben Cherington, Emily Rose DeMartino (Broadway Revival of Parade), Bailee Endebrock (Broadway Revival of Parade), Caroline Fairweather (Broadway Revival of Parade), Trevor James, Sophia Manicone (Broadway Revival of  Parade), Trista Moldovan, Ethan Riordan, Brian Vaughn and Jason Simon.  William Bishop, Jerquintez A. Gipson, Brianna Javis, Benjamin Magnuson, Jodi Snyder, Eden Witvoet and Jake Ziman will be the swings. Tickets for one of the most passionately exquisite musical production are available here at www.EmersonColonialTheatre.com

MARCH 12 – 16: THE SEASONS

 The Boston Lyric Opera and ArtsEmerson Co-present this World Premiere of a bold reimagining of Antonio Vivaldi’s “The Four Seasons.” on the Robert J. Orchard Stage, at the Emerson Paramount Center, 559 Washington St. in Boston. Vivaldi’s The Four Seasons is considered to be the best known of Vivaldi’s works. It was composed around 1718–1720 and first published in 1725. A known lover of nature, Vivaldi’s music stunningly projected mages of flowing creeks, various species of song birds, buzzing flies, violent rain storms, frozen landscapes, and even cozy fires in Winter. He artfully managed o bring the sounds of a shepherd and his barking dog, hunting parties galloping though the brush along with the sound of their fleeing prey. He could even summon up visions of drunken revilers dancing in the streets. His music was published with sonnets, assumed to be written by the composer, that he added to accompany the music to help illuminate what his music was describing. Now, the Tony-winning playwright Sarah Ruhl (“Eurydice”) and the Grammy-winning countertenor Anthony Roth Costanzo have collaborated in creating a new libretto plus added some additional arias and ensembles to Vivaldi’s famed work.

L.-r.: four artists from Pam Tanowitz Dance, Anthony Roth Costanzo (c.), singers Whitney Morrison and Brandon Cedel, and pianist Dmitri Dover take a curtain call after a recent Works & Process preview of THE SEASONS. Photo Titus Ogilvie-Laing  Produced by Boston Lyric Opera, AMOC* (American Modern Opera Company) and SCENE, the production tells the story of five contemporary artists who retreat to a remote farm to make art inspired by the beauty of nature. But increasingly, they begin to succumb to the extremely erratic and highly unpredictable weather which is disrupting their nature paradise. It, in turn, makes the artists creative concepts for their artwork become arduously more complicated as the weather patterns literally impact their plans as well as their emotional selves. With each unexpected storm, lives, creative visions, as well as personalities quickly begin to seemingly change forever. But, when hope arrives in an unexpected form, a bright future opens for them on the horizon. Our Seasons Seasons is a meditation on the relationship between our contemporary moments and Vivaldi’s iconic music, which was inspired by the apparently harmonious seasons in the early 1700’s. Directed by Zack Winokur with choreography by Pam Tanowitz, the storyline makes a vigorous nod to our increasing, unpredictable, and totally bizarre global climate issues. But The Seasons is equally focused on the affect that this weather has to our psyche. As Ruhl elucidates that fact when she states that the opera is, “a contemporary Baroque opera about the weather, inside and out.” Thus, it also affects, “the emotional weather we experience inside ourselves.” Vivaldi’s exquisite violin masterpiece becomes a launch point from which, with this new production, we can see our own disordered seasons more clearly. The cast for THE SEASONS includes includes – in alphabetical order, Brandon Cedel (BLO’s 2023 La Cenerentola), Grammy-winning artist Anthony Roth Costanzo making his BLO debut, Ashley Emerson (2024 The Anonymous Lover), Kangmin Justin Kim and Whitney Morrison (both making BLO debuts) and Alexis Peart (BLO Emerging Artist alum; 2024’s Mitridate). An extremely unique and innovative, eco-friendly set design has been created through a partnership between BLO and MIT, Tony Award-winning scenic designer Mimi Lien and MIT Media Lab Design and Materials Technologist Jack Forman. The set is created largely from bubbles that in turn give the impression of ephemeral weather effects such as rain, smoke and snowy mountains. Traditional wood and steel construction are replaced by crafting water and soap mixtures, treated with a variety of processes.  Forman has developed specialized soap formulas and built new machinery to animate and manipulate his unique substances. BLO Artistic Director Nina Yoshida Nelsen says THE SEASONS promises an eye-popping and ear-pleasing experience for audiences. “This extraordinarily talented creative team and fantastic cast is bringing that rare thing to contemporary baroque opera…a supremely accessible musical world and a brilliant libretto that brings relatable characters into a resonant story with real stakes. This is a profound meditation on humanity’s relationship with nature and the changing seasons; I’m certain it will be the must-see performance of the spring.” Tickets for this stunningly memorable production may be obtained at www.ArtsEmerson.org

MARCH 12 – 30: THE COMEDY OF HAMLET (A PREQUEL)

Reed Martin & Austin Tichenor bring their Reduced Shakespeare Company back to the stage of the Merrimack Repertory Theatre in the Nancy L. Donahue Theatre at Liberty Hall 50 E. Merrimack Street in Lowell (Adjacent to Lowell Memorial Auditorium).  The Reduced Shakespeare Company has a long-standing tradition of bringing their trademark comedic approach to the Merrimack Repertory Theatre stage, with previous productions like The Complete Works of William Shakespeare (Abridged) and The Reduced History of America that received rave reviews. Now, they’re back with The Comedy of Hamlet, offering a hilarious take on the iconic characters and events that set the stage for the dark drama we all know so well. Nothing is rotten in the state of Denmark until young Hamlet leaps into action to save the nunnery with the help of Ophelia and Yorick the jester. What could possibly go wrong? Three performers, Geoffrey Barnes, Doug Harvey, and Austin Tichenor will leave the audience in fits of laughter as they deftly switch between characters with rapid-fire costume changes, witty dialogue, and impeccable timing. Their energetic performances bring the absurdity of the story to life, making for an unforgettable experience .With its signature blend of sharp wit, slapstick humor, and clever wordplay, the Reduced Shakespeare Company offers an entertaining look at the iconic tragedy’s characters and events, long before the famous “To be or not to be” soliloquy. This hysterical prequel answers all the important questions, like:
• Why can’t Ophelia take swimming lessons?
• Where the hell is Mrs. Polonius?
• And why does Hamlet’s mother spend so much time at his uncle’s house?
According to the Napa Valley Register, Reed Martin and Austin Tichenor have written a
hilarious production that is “part satire, part musical, part knee slapping, guffaw-inducing,
completely silly romp”. Three performers, Geoffrey Barnes, Doug Harvey, and Austin
Tichenor will leave the audience in fits of laughter as they deftly switch between characters
with rapid-fire costume changes, witty dialogue, and impeccable timing. Their energetic
performances bring the absurdity of the story to life, making for an unforgettable
experience. This is a fast, funny, and physical extravaganza filled with scary ghosts, wee Scots, singing nuns, and a mysterious vassal in the castle. These MRT friends, The Reduced Shakespeare Company, take audiences on a deep, irreverent dive into the greatest play ever written. Tickets for this fun and engaging production filled with some delightfully sophisticated laughs may be obtained at www.mrt.org

MARCH 14: ALTON BROWN’S “LAST BITE”TOUR Television personality, author, and famed foodist Alton Brown, brings to the stage of the Boch Center Wang Theatre at 270 Tremont St. in Boston, now celebrating their 100th Anniversary under the continued Sponsorship of Ernie Boch, Jr, a taste of his often quirky, culinary expertise. Brown, who has more than eight million social media followers, has created some of the most popular and successful live, interactive culinary variety shows ever. His “Edible Inevitable,” “Eat Your Science,” and “Beyond the Eats” tours have been performed in more than 200 cities with more than 550,000 fans in attendance. Now, Brown is cooking up a buffet of new surprises for this new tour show, which Brown has declared will be his last. “Last Bite will be my farewell tour and my last culinary variety show, as it’s time for me to make my full-time return to male modeling,” says Brown. Brown’s tenth book, a collection of essays and ruminations, ‘Food for Thought’, will be published by Gallery Books in February this year, just in time for the tour launch. Before performing to sell-out crowds around the country, Brown started his career directing TV commercials when he got the crazy idea to go to culinary school and reinvent the cooking show. The result was “Good Eats,” an irreverent, science-forward program with Brown as its star. The show aired 256 episodes, across 16 seasons. He also hosted the iconic programs “Iron Chef America,” “Food Network Star,” and “Cutthroat Kitchen.” He has garnered a pair of James Beard awards as well as a Peabody. He lives in Atlanta with his wife, the designer Elizabeth Ingram, and a trio of nefarious canines. Tickets for this tasty treat of a show are available at www.bochcenter.org

 MARCH 14: DUSTY SLAY’s NIGHT SHIFT TOUR

The Boch Center, Shubert Theatre at 265 Tremont Street in Boston hosts this stand up comedian who has recently come off his Netflix special, Workin’ Man, which Paste [pastemagazine.com] calls “an instant classic,” Slay states, ” “I am pumped to continue my ‘Night Shift Tour’ all over America. Stand up is the best job I have ever had, and I cannot wait to hit these cities with new hot material.” Long hair, tobacco, over-sized glasses and a trucker hat, Dusty Slay is the self-effacing bourbon-voiced Southern comedian next door with a knack for observational, blue-collar humor and the nerve to say what everyone else is thinking. He grew up the son of a single mom in an Alabama trailer park and evokes laughs about everything from Cracker Barrel to his aversion to soap. The 40-year-old Nashville native is a mainstay on the country music scene, making his Grand Ole Opry debut in 2019 – the youngest at the time, and adding dozens of appearances in the historic Circle ever since. He has also appeared on The Tonight Show with Jimmy Fallon and Jimmy Kimmel Live, has a Comedy Central special to his credit and just released his first hour-long Netflix special “Workin’ Man” that he filmed about three hours from home, at the Bijou theater in Knoxville, Tennessee. With almost 20 years of eliciting guffaws through his laidback observations, comedic cadence and conversational style, Dusty is just getting started bringing his brand of relatable working-class comedy to audience’s coast to coast. Tickets are available at www.dustyslay.com/tour-dates

THROUGH MARCH 16: THE ODYSSEY

The American. Repertory Theater at their Loeb Drama Center, .64 Brattle Street in Cambridge presents this world premiere| by Kate Hamill (Sense & Sensibility, Vanity Fair, Dracula). Commissioned by A.R.T. Directed by Shana Cooper, this play was adapted from Homer’s epic tale. Kate Hamill turns a contemporary lens on Homer’s Odyssey in this new play that reimagines the stories of both Odysseus and his wife, Penelope.

Alejandra Escalante, Kate Hamill, Nike Imoru, and Wayne T. Carr: Photo by: Nile Scott Studios and Maggie Hall. From the Cyclops to the Sirens, experience cultural touchstones with the legendary adventures of Odysseus, who roamed and his wife Penelope had to endure trials at home. like never before. “Ms. Hamill’s adaptations of the classics are endlessly ingenious. She flourishes with seemingly unlimited talent that is manifested in whatever she decides to do. The Odyssey, Hamill’s latest play reimagines the adventures incurred by this couple while prompting us to ask ourselves how we can learn to embrace healing and forgiveness in order to end cycles of violence and revenge. “This play is half about Penelope, half about Odysseus,” says Hamill, “But it’s also about: if you’ve gone through something traumatic, can you ever go back to who you were? Can you ever go back home? “It’s really, really meaningful to be working on this now and it takes a really special theater to take this on.”  Wayne T. Carr and Andrus Nichols lead the cast as Odysseus and Penelope, respectively. They are joined by Carlo Albán (Telemachus and Nausithous), Abigail Baird (Puppeteer), Benjamin Bonenfant (Elpenor and Suitor), Alejandra Escalante (Woman 1 and Nausicaa), Kate Hamill (Woman 2 and Circe), Nike Imoru (Woman 3 and Anticlea and Andromache), Keshav Moodliar (Amphinomous and Antinous), Jason O’Connell (Polites and Polyphemus/Suitor), and Chris Thorn (Eurylochus and Agamemnon and Suitor). Kristian Espiritu and Alexandria King are understudies. Additional understudies will be announced at a later date. Hamill is joined on the creative team by Princess Grace Award winner Shana Cooper (director), Stephanie Martinez (movement director), Kate Brehm (puppetry director and designer), Sibyl Wickersheimer (scenic design), An-Lin Dauber (costume design), Obie Award winner Jeanette Oi-Suk Yew (lighting and projection design), and Paul James Prendergast (sound design and music composition). Ted Hewlett is the fight director and Kayleigh Kane is the intimacy coordinator. Support for the development of The Odyssey was provided by The Bob and Alison Murchison New Work Development Fund. With additional support provided by The Robert Brustein Endowment Fund for New Works. Recommended for age 14+.Tickets may be purchased at www.americanrepertorytheater.org

THROUGH MARCH 16: ART

The Lyric Stage Company at 140 Clarendon St, in Boston brings to their stage Yasmina Reza’s delightful comedy. Originally written in French, ART has been produced in 45 countries, translated into over 30 languages, and has won numerous awards including the 1997 Olivier Award for Best New Comedy and 1998 Tony Award for Best Play. This English version was translated by Christopher Hampton. Currently under the direction of Courtney O’Connor, this delightfully intimate as well as sophisticated comedy has been set within a minimalist scenic design created by Shelly Barish. The creative lighting design by Elmer Martinez perfectly isolates cast members during the story as they intermittently and independently punctuate their revelatory feelings with the audience. Can a work of art actually be an antagonist for three fast friends? It certainly seems so. Like the set design, the object of antagonism,  is minimalistic. It is a 4 foot by 5 foot white canvas with indiscernible white diagonal  slashes of paint across it.  There are three actors in this story. Three equal yet completely diverse protagonists. But these three have been carefully gleaned from some of Boston’s favorite as well as most gifted actors.

Michael Kaye* is Serge, John Kuntz* as Marc, and Remo Airaldi*as Yvan                     Michael Kaye* is Serge, a fairly wealthy dermatologist, who lives alone, while Remo Airaldi* plays Yvan, who is just, a about to embark on later in life matrimony and has just been hired to sell stationary in his future father-in-law’s business, and John Kuntz* takes on the role of Marc an aeronautical engineer who despite being an intellectual is carelessly outspoken and opinionated to the point of being obnoxiously cruel. They stunningly bring to life with astounding comedic expertise the complex personalities of each of their assigned characters. These three gentlemen have been loyal, through thick and thin, solid friends for fifteen years. That is, until they are faced with the reality that maybe they may actually never had anything in common. Serge has purchased this  large canvas with the three white, downward slashes of paint and paid an outrageous sum of money for it.  He is so excited to share his find with his two best friends. Marc takes one look at the painting and openly declares that he absolutely hates it, or worse, that the painting is “shit”.

Michael Kaye* is Serge, John Kuntz* as Marc,  And thus begins the war! As children or immature persons often do, they seek comradery to bolster their opinions. Marc privately engages Yvan with his thoughts regarding Serge’s painting.  Thus, Yvan, who is so often the reserved one in the group, becomes a pawn in the battle of the painting as both Mark and Serge draw him, unwittingly to their individual side.

Michael Kaye* is Serge, and Remo Airaldi*as Yvan    Meanwhile, Yvan, who is traditionally a peace maker, juggling a hysterical fiancé, a mother, and two step mothers over an issue of whose name is on the wedding invitation, desperately remains rather non committal. But, as the conversation accelerates, the most superficial ideals and values that they once joked about are now brought to light with finger pointing and given ridiculous importance.  The superficialities of life, that always seemed to fuel their friendship, now appears to be attacked and worse, at the core of Serge’s reason for making his purchase. We watch as their usual comradery quickly begins to dissolve as the friends each feel a total sense of betrayal by this purchase and begin attacking with verbal swords held high. They all seem to suffer a common, not so attractive weakness that plagues many today.  They only seem to be able to listen to themselves!

John Kuntz* as Marc, the antagonistic work of art between them, and Michael Kaye* as Serge, They painfully lay bare the unique and often ever so fragile attributes that sadly can dominate one’s personality, thus thrusting a figurative knife into each other’s egos while each holding tenaciously on being “right”. Thus, they leave little room for tolerance. The friendship between these once eternal best buddies rapidly disintegrates in the most absurd and outrageously, nonstop, artfully delivered, very funny dialogue. As they trip and stumble over maintaining their male inherent right to be right, the degrading dynamics over this canvas intensifies to the point of them verbally hacking and slashing every little personality quirk inherent in each and then moving on to expand the attack regarding their choice of mates. Ultimately, words totally obliterate any common sense or rational to the point of Marc resorting to fisticuffs. Can this one piece of art really be the actual enemy for all this insanity? Does the story end at a point of no return just to save face and hang on to their precious egos? Can an ink marker help??? The generous sponsors for this years season at Lyric are Paul Kastner and G. Lee & Diana Humphrey, while this production’s sponsors are James & Judith Barr. In addition, the Director is sponsored by Jo-An Heileman. Tickets for this sophisticated and hysterically funny comedy may be obtained here at www.lyricstage.com

THROUGH MARCH 16: HEDDA GABLER

 The Apollinaire Theatre Company, at the Chelsea Theatre Works, 189 Winnisimmet St in Chelsea presents Henrick Ibsen’s classic masterpiece. It that has been adapted by the company from the original translation by Edmund Gosse and William Archer. The Norwegian playwright has long been considered the world’s pre-eminent dramatist of the 19th century and is often referred to as “the father of modern drama.” Written in 1891, this production is directed by Danielle Fauteux Jacques. The story surrounds Hedda, the daughter of a general. She is newly married and feels trapped in a marriage and a house that she does not want. Her marriage and life are boring and she dreams of wealth and the luxury it would bring her. She flagrantly seeks to manipulate her husband, an academic who adores her but who Hedda does not love. Georges Aunt Julia, who raised him, is eager for he and Hedda to have a child. An academic rival of George’s, Eilert Løvborg, brings chaos into their lives, first because he has become accomplished and second, despite travelling with Thea Elvsted, apparently has been a precious lover of Hedda’s. Judge Brack, who lusts after Hedda, demonstrates a lascivious personality, thus entering into Hedda’s manipulative plans to improve her situation and entertain herself, at the cost of those around her. Lastly in this increasing complex tale with a surprising ending, is Hedda’s faithful maid, Bertha (Berte). Employing methods that virtually defined the modern psychological drama, Ibsen stealthily reveals the bitter conflicts and thwarted longings that lie just below the “civilized” transactions of daily life. The cast includes Parker Jennings as Hedda. The role of Hedda Gabler is considered to be one of the great dramatic roles in theater. She is joined by Conall Sahler as George Tesman, Cristhian Mancinas-García as Judge Brack, Joshua Lee Robinson as Eilert Lovborg, Kimberly Blaise MacCormack as Thea Elvested, Paola Ferrer as Julianna Tesman, and Ann Carpenter as Berta. Tickets for this memorably outstanding production my be obtained here at www.apollinairetheatre.com

MARCH 21-23 :THE ADDAMS FAMILY

The Boch Center Wang Theatre, located in Boston’s historic Theater District presents Big League Productions, Inc., celebrating its 31st season of producing and general managing Broadway tours of shows and attractions throughout the world, tour of .THE ADDAMS FAMILY. This devilishly delightful musical comedy is based on the creepy, kooky, yet loveable characters created by the legendary cartoonist, Charles Addams. This comical feast surrounds the edgy but popular princess of darkness, Wednesday Addams. She is all grown up and fallen in love and wants to marry this sweet, smart young man from a, Heaven help them, respectable family. She confides in her father and begs him not to tell her mother which causes, poor Gomez Addams to do something he has never done before. Keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents. Will even a tango save Morticia and Gomez’s relationship after this deception? Will Wednesday’s sweetheart’s family survive an evening at the Addam’s mansion? Will the Ancestors return to their graves after all this chaos? This production is more fun than a jack-o-lantern filled with Halloween candy. Wednesday, became the 3rd most-watched show on Netflix of all time. Tickets may be obtained here at www.bochcenter.org

THROUGH MARCH 22: A MAN OF NO IMPORTANCE

The joy and light of this stunning musical production brings a blast of warmth to the heart and soul. It immediately lifts one from the dreary, dark and oppressive New England winter, seemingly moving us into the blissful like pleasure felt on a spring day. From the first notes played to the closing anthem, it is non stop, smile inducing, highly entertaining, laugh filled…with a possible tear or so, but absolutely is the most spectacular, not to be missed show on stage this season. It is a story of a simple man, a man of no importance, who loves the theater and the words of Oscar Wilde, yet has endured a life long emotional winter not knowing who he really is. After 22 years, Speakeasy Stage Company again brings this wonderful musical to the stage of the Roberts Studio Theatre located inside the Boston Center for the Arts at 527 Tremont St. in Boston’s South End. It marks the New England Premiere of the recently reimagined version of this beloved classic, which now includes the use of four static musicians along with an outstanding cluster of the actors who are also playing a variety of instruments on stage. When the production originally opened in 2002, it won the Outer Critics Circle Award for Best Outstanding Off-Broadway Musical. In 2022 it enjoyed a marvelous resurgence starring the four time Emmy Award winner, Jim Parsons (The Big Bang Theory). It was originally written by three outstanding award-winners that include Terrence McNally (who passed from Covid in 2020), the music by Stephen Flaherty and Lyrics by Lynn Ahrens. This production at Speakeasy is once again being directed by Paul Daigneault. His artistic hand with this show marks the end of his 33 years of service within Speakeasy Stage. His outstanding detailed and stellar directorship is evident throughout the show. This is charming musical tale is set in Dublin Ireland in 1964. It is laden with the seeming simplicities of life back then. But, it was also a time when prejudices were rampant, and being gay could actually land one in prison.

Eddie Shields (center) and the company of A Man of No Importance: Photo by Nile Scott Studios   The tale focuses on Alfie Byrne, a non descript man in his 40’s. He is a bus conductor who rides the bus and takes the tickets from the same locals as they travel to and from work each day. Alfie has two loves in life: the poetry of Oscar Wilde and staging, in the basement of his church, amateur productions with his local theatre troupe, the St. Imelda Players. He has recruited this cluster of performers from his passengers on his bus. But when he decides to produce Oscar Wilde’s, somewhat provocative Salome, that includes the famed dance of the seven veils, church officials from the Sodality of the Sacred Heart try to shut down Alfie’s plans.

Eddie Shields (Alfie is being evicted from St. Imelda’s): Photo by Nile Scott Studios  It is then that the production evolves into a play within a play where Alfie is no longer the director but the star of his own story. The actors in the troupe become their every day selves and take him through a typical day of “A Man of No Importance”. Speakeasy Stage has managed to gather an outstanding cluster of 15 of Boston’s best and extraordinarily talented actors…that include several that originally performed in Speakeasy’s original A Man of No Importance, 22 years prior.  Elliot Norton plus IRNE Award recipient, as well as an ARTS FUSE, and the WISE Foundations Award winner, Eddie Shields* performs the complex role of the uniquely complex but guarded Alfie. For years, he had seduced his passengers by reading excerpts from plays and poetry to love and acquire their now huge fondness for acting. A leading character in Alfie’s cloistered life is his long suffering sister, Lily Bryne. She is played by two time Elliot Norton Award Winner and three time IRNE Award Winner, Aimee Doherty*. Lily is devoted to Alfie, dutifully takes care of him, while perpetually praying he will soon marry as she has delayed her marriage to her boyfriend, Mr. Carney for years, waiting on Alfie to leave. She so beautifully expresses that in her rendition of “The Burden of Life.” She helps with percussion on stage. Lily’s bow, Mr. Carney is played by frequent local and Broadway actor Sam Simahk*. He is the ego centric, self styled star of the theater company, the local butcher and is on the board of the St. Imelda’s Sodality. He too lends his talent on the guitar along with percussion during the show. He brilliantly regales us, joined by the chorus, singing about the joy of acting in the song “Going Up”.

Sam Simahk and Aimee Doherty: Photo by Nile Scott Studios   He and Lily preform a charming and witty duet that judges Alfie’s silly, waste of time, with “Books”. “Just think how bad it looks, to peek through the crack and meet with a stack of books”…“the man needs a wife to ruin his life, not books”.

Keith Robinson (Robbie Fay) and Eddie Shields (Alfie): Photo by Nile Scott Studios Then there is the very straight and ever so handsome, silently coveted love interest of Alfie, the bus driver, Robbie Fay. He is played by Keith Robinson who elevates the music with his vocals as well as his assist with guitar and percussion. He has no interest in Alfie’s plays or poetry but his wonderful vocal led group song “On the Streets of Dublin” totally shows differently with lyrics like, “when I need a poem the streets and gutters will do”…”and there are glasses to raise in the praise in the survivin’ the day”.

Eddie Shields( Alfie) and Rebekah Rae Robles (Adele): Photo by Nile Scott Studios  Then, stepping on his bus is a newcomer, Adele Rice, played by a now Speakeasy two times performer, Rebekah Rae Robles. Alfie is immediately smitten by her, but only as she is the perfect choice for the role of the 16 year old virgin Princess, Salome for his new play. She astounds not only with her lovely vocals and strong performance but also with her expertise playing the violin. The cast also includes two time IRNE award winner as well as Speakeasy’s 2023 recipient of the Thomas M Menino Award for Artistic Achievement, Kerry A. Dowling*, who performed this show 22 years ago at Speakeasy. She also lent her hand on percussion. 

Billy Meleady (Baldy) shares his advise with “The Cuddles That Mary Gave”: with Eddie Shields (Alfie): Photo by Nile Scott Studios  In addition, the two Elliot Norton award winner, Billy Meleady in the role of Baldy, the stage manager also performed the same role 22 years prior.. His rendition of the poignant and at times, very funny ballad, “The Cuddles That Mary Gave”, received a thunderous applause. He also played guitar and helped with percussion. Elliot Norton and IRNE award winner Will McGarrahan* took on dual roles. One as Ernie Lally, a member of the play group, and the other as the flamboyant spirit of Oscar Wilde, He also added music with his playing the piano and a variety of percussion instruments. Four time IRNE and one time Elliot Norton winner, Jennifer Ellis*took on the role of Mrs. Patrick, a young mother of three children. Meagan Lewis-Michelson as Miss Crowe regaled us with her voice as well as with her abilities with the clarinet.

Kathy St. George (center) with the company of A Man of No Importance: Photo by Nile Scott Studios   Then there is the often present on Boston stages, as well as veteran of Broadway and Off Broadway, and too, Elliot Norton award winner, the delightful Kathy St. George*. She is actively singing and dancing across the stage, often toting an accordion, and too a variety of percussion instruments, while playing the role of Mrs. Curtain and the barmaid at the pub, Kitty Farrelly. Ronan Green takes the role of Peter Linehan and provides Irish authenticity with playing the bodhran and the accordion. Proficient actor as well as musician Joe LaRocca is Carson, who fills the musical with ethereal Irish music on a variety of reed instruments throughout the show. Dave Rabinow performing the Catholic priest, Father Kenny, adds another guitar to the mix of cast made music. Last but no where least, is Wyatt Anton as Breton Beret. He is a senior at Boston Conservatory at Berklee who, besides singing, also graces the production with his mandolin and guitar. Lyrics from the song, “Man In The Mirror” that Alfie ponders who he is, expresses his true feelings. “Every night in the mirror is a face of a man in prison”. Thus, Alfie bears a overwhelming struggle with having to face his personal truth as well as the consequences of who he really is. Will he be able to embrace “the love that dare not speak its name.”​

Eddie Shields (Alfie) and Will McGarrahan (Oscsar Wilde)” Photo by Nile Scott Studios  And too, if he believes the prompts from the spirit of Oscar Wilde to show himself as he really is will he have to experience the ugly reactions of all the people around him that have been so long fueled by rampant bigotry? Can he listen to his own advice that he shared with Adelle in the song that is reprised throughout the production…to ‘Love Who You Love”? Will Alfie finally break free and embrace him self? The scenic design by Jenna McFarland Lord, is a magnificent blend of church and pub where the audience is intimately wrapped in a horseshoe arrangement facing the set/stage. The costume designs by Rachel Padula-Shufelt perfectly drops the player right into early 60’s Ireland. The Lighting design by Karen Perlow** controls all the various moods within the story, while multiple Elliot Norton Award winning Ilyse Robbins’ choreography heightens the joy with some truly fun dance routines throughout this production. Tickets for this gorgeous gem of a show that truly sparkles with the joyous power of absolutions granted by true friends, may be obtained here at www.speakeasystage.com

MARCH 26 – APRIL 27: DON’T EAT THE MANGOS

The Huntington Theatre at the Calderwood Pavilion, in the Boston Center for the Arts, 527 Tremont Street in Boston’s South End, brings to the stage Ricardo Pérez González’s wickedly funny tragedy. Obie Award winner David Mendizábal, after directing the acclaimed world premiere production, is lending his talent to directing this play at the Huntington. The story takes us to the playwright’s beautiful, tropical homeland, the island of Puerto Rico. Here, he artfully immerses us into the lives of three, uniquely different but closely connected sisters who live just outside the most populated part of Puerto Rico, the Capital city of San Juan. A hurricane is threatening the island. Due to their diverse age differences, the women’s lives have taken various directions. The oldest is Isma. She is a spinster who has absorbed the responsibility for taking care of her aging parents in their home. Papi,(their father) is paralyzed, requiring frequent mechanical suctioning of the mucus from his lungs. Otherwise, he would suffocate. Mami (their mother) is again in a struggle battling the painful symptoms of her cancer. The middle sister is Yiyi. She is prosperous and the wife of a top construction manager who has recently been offered a huge job in the U. S. But, as such, the move would create a major impact on her sisters. The youngest, is Wicha. She is a single mother, a teacher and one, who often focuses her energy on social causes. The storm brings thunder, lighting, wind resulting in power outages. Simultaneously, thunderous protestations rise among the sisters as a bright light is shed on the reality of the love/hate relationships that has existed within the family structure. With the power failure, the father’s suction machine no longer is functioning. The only resort is intensive manual suctioning to keep him alive. Remembrances of how their self-righteous and narcistic father physically abused them, while open handedly gave to outsiders for personal praise, while his family often went hungry. Beyond those ugly truths, other secrets rise that may or may not be already known, secrets emerge which will innervate the sisters to correlate the outcome. The playwright utilizes incredibly frank dialogue for the audience to truly gain insight into the emotional and individualistic depth of each character. How, as family members, faced with a crisis, what we in a situation and how we think it should be dealt with, is completely different from one another. The resulting bottom line, as stated by The Huntington Norma Jean Calderwood Artistic Director, Loretta Greco, “It speaks to the story of our moment. Look around: no one is okay.” Don’t Eat the Mangos had its world premiere in March 2020 right before the pandemic at San Francisco’s Magic Theatre led by Loretta Greco. It was first produced in the Boston area in 2022 as a co-production between Apollinaire Theatre Company and Teatro Chelsea. “Don’t Eat the Mangos is a reminder that great American family dramas are still getting written. The kind where each scene cuts straight to the pith. The kind that glares a light into relationships’ forbidden corners. The kind whose honesty is so unsparing, it’s contagious: when such truth is before you, you can’t help but look at your own life.” – San Francisco Chronicle. Tickets for this funny, insightful, no holds barred, stunning play may be obtained at www.huntingtontheatre.org

MARCH 27 – APRIL 13: NIGHT SIDE SONGS

The American Repertory Theatre brings to the Cambridge Masonic Temple at 1950 Massachusetts Ave. in Cambridge this A.R.T. commissioned, World Premiere that has also is produced in association with the Philadelphia Theatre Company. Written by the Richard Rodgers Award recipients, Daniel Lazour and Patrick Lazour (We Live in Cairo, Flap My Wings). It was inspired by American writer, philosopher, and cultural critic Susan Sontag’s observation that, “illness is the night side of life. Everyone who is born holds dual citizenship in the kingdom of the well and in the kingdom of the sick.”  This is a communal music-theater experience performed for—and with—an intimate audience. The ninety-minute new musical, explores the intimacy of illness, mortality, and the incredible dignity of caregivers through the story of Yasmine Holly, a fictional character that was formulated from interviews with real doctors, hospital staff, and patients. Night Side Songs gives voice to doctors, patients, researchers, and caregivers with insightful humor, grace, and profound empathy as it artfully melds the realms of the well and the sick. Directed by Taibi Magar (We Live in Cairo, Macbeth In Stride) the event gives voices all the above, including to researchers who fight to find the cures. A folk-inspired score is blended with stories that span time and provide perspective while taking the audience on a journey that brings everyone closer to the truth of life. The cast members include Jordan Dobson as Harris/​Ensemble, Robi Hager as Doctor/​Ensemble, Brooke Ishibashi as Yasmine/​Ensemble, Jonathan Raviv as Frank/​Ensemble, and Mary Testa as Desiree/​Prudence/​Ensemble. While the creative team includes Scenic Design by Matt Saunders, Costume Design by Jason A. Goodwin, Lighting Design by Amith Chandrashaker, Sound Design by Justin Stasiw, Music Direction and Piano Arrangements by Alex Bechtel. This production contains discussions of terminal illness. It thus is recommended for ages 15+. Support for the development of Night Side Songs was provided by The Bob and Alison Murchison New Work Development Fund. Tickets for this meaningful and poignant production may be obtained at www.americanrepertorytheatre.org

MARCH 28 – APRIL 19: THE PLAY THAT GOES WRONG

Greater Boston Stage Company at 395 Main St. in Stoneham brings this side-splitting comedy of errors that will leave you in stitches as everything that can go wrong during a production, actually does. Directed by Tyler Rosati, this hysterically funny comedy was written by Henry Lewis, Jonathan Sayer and Henry Shields, founders of the British based Mischief Theatre Company. Based on a seemingly unending list of real-life accidents and problems that can occur in a traditional show, it has garnered a number of nominations and winning eight major awards from the UK to Broadway. Broadway World voted it the Funniest Play of the Decade. The production opens as the Cornley Polytechnic Drama Society’s stage crew is tweaking last minute issues with the set. But before they finish adjusting the mantelpiece their call curtain time and have to vacate the stage immediately. The head of the company announces the title of their new murder mystery while the spot light seems to be perpetually missing him. It is “MURDER AT HAVERSHAM MANOR!” He inwardly intimates that the company has had production issues in the past but assures the audience that this new production will be perfect. It immediately evolves into trips, faulty lighting, stuck doors that impede entrances and…yes, fragile mantelpieces. But those are small potatoes as actors are knocked unconscious, elevators fail and even 2^nd floor staging collapses. The characters consist of Chris (played by ) takes on the role of the Inspector. He is head of the drama society, frustrated by his acting troupe and is anxious over the success of this ne production. Robert (played by ) takes on the role of Thomas Colleymoorre in the show. He fancies himself as a Richard Burton type and is self absorbed, clueless to his own errors and wants to take Chris’ position as President of the Drama Society. Max (played by ) has the role of Cecil Haversham. He has never acted before, breaks character by engaging with the audience and thoughtlessly bumbles through the production. Dennis (played by ) is in the role of the butler, Perkins. He is joyless about anything theatrical. And as such, hopes to springboard his social life by being on stage. Audience laughing is absorbed as a personal failure on his part. Trevor (played by ) and Tina (played by ) are the lighting and sound operators who have little use for actors, and just what to get on with the show, despite engaging on occasion with the audience. They suffer minimal focus. The cast all boast British accents except for Jonathan, an American, (played by ) in the role of Charles Haversham. He features himself as cool and collected, and does actually care about the success of the show. The British actress, Sandra (played by ) in the role of Florence Colleymoore, is vain ingénue who trips over her own ego centric, cutthroat manner. Features her future in Hollywood so the success of the show is integral to her performance. Finally, is Annie, an American, (played by) in the role of the Stage Manager. Her constant focus has been behind the scenes until she is forced to step into the show. Her acting obsession goes way out of control. Tickets for one of the most fun shows in theaters today may be purchased here at www.greaterbostonstage.org

MARCH 29 & 30!: PAW PATROL LIVE! “A MIGHTY ADVENTURE

 Nickelodeon and VStar Entertainment Group bring to the stage of the  Boch Center Wang Theatre  at 270 Tremont St. this all-new live stage show that picks up where Paramount Pictures’ #1 box office hit, PAW Patrol: The Mighty Movie left off. Audiences will join Chase, Marshall, Skye and the rest of the “PAW-some” pack in Adventure City. The pups will be charged up like never before, as they use their Mighty Pup Powers to work together to super-save the day. With heroic action, catchy tunes, and “bark-loads” of interactive fun, this electrifying new experience is sure to leave tails wagging and audiences cheering! Based on the top rated animated preschool series PAW Patrol, airing on Nickelodeon and produced by Spin Master Entertainment, the show promises a high-stakes super-powered adventure for fans of all ages. Following their last film episode when the pups had saved Adventure City, the story now continues with a “PAW-some-est” ever, street party celebration. But when supervillain scientist Victoria Vance is left out of the festivities, she unleashes her latest invention to crash the party and steal the spotlight for herself! It’ll take the power of paw-sitivity and mighty teamwork to outsmart Victoria and make sure Adventure City’s biggest bash goes off without a hitch. Since its debut in 2016, this production marks the fourth PAW Patrol Live! touring production. created by VStar Entertainment Group and Nickelodeon. PAW Patrol Live! shows have been providing lifelong memories and spectacular theater experiences. For 6 million people in over 40 countries. Tickets may be purchased at www.pawpatrollive.com

APRIL 8 – 13: RIVERDANCE

The Boch Center Wang Theatre at 270 Tremont St. in Boston, brings to their stage the return to the city of Riverdance, now observing their 30^th Anniversary bringing its wonderful fusion of Irish and international dance and music. Since coming onto the world stage, the production has captured the hearts of millions worldwide. The Grammy award-winning music and the infectious energy of the show boasts mesmerizing choreography and breathtaking performances that leaves audience in in awe and are what originally established Riverdance as a global cultural sensation. This all new anniversary tour is a spectacular production that rejuvenates the much-loved original show as well as contains new innovative choreography, costumes, state of the art lighting, along with depth additions of stunning projections and motion graphics. And for the first time Riverdance welcomes “The New Generation” of performers, all of whom were not born when the show originated 30 years ago John McColgan, Director of Riverdance said “ It is both a privilege and a delight to celebrate 30 years of Riverdance and the unique journey it has taken us on. In those 30 years the show has…” continuously evolved…”yet remaining true to its Irish roots. On this upcoming tour we look forward to welcoming ‘The New Generation’ of artists while paying tribute to the talented performers, creators, dedicated crew, and the millions of fans who have made Riverdance a worldwide celebration of music and dance.” Audiences, new as well as solid long term fans, will enjoy a unique and memorable performance as it blends the traditional and the contemporary, showcasing the skill and passion of the world-class of dancers, musicians and singers in the Riverdance ensemble. Composed by Bill Whelan, Produced by Moya Doherty and Directed by John McColgan, Riverdance should not be missed. Tickets may be obtained at www.bochcenter.org