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Is it theater or is it magic? In this special presentation by the Huntington in the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End the theatre maker and Drama Desk-nominated mentalist Vinny DePonto will bring the audience on a jaw-dropping, interactive journey. Created and written by Vinny DePonto and Josh Koenigsberg who is a Drama Desk–nominated playwright and screenwriter whose work has been widely produced, with multiple plays published by Samuel French as well as has written numerous screen plays for Disney, Hulu, Lionsgate and Netflix. In addition, his bio boasts numerous productions for TV and films. The super creative performance is under the “mindful” talent of Vinny DePonto as he masterfully delves into people minds while sharing some of his own. It is a mind-bending, gasp-inducing experience where your thoughts play a leading role in the show as DePonto looks into various people’s minds. Following sold-out, critically acclaimed extended runs at The Geffen Playhouse in Los Angeles, and the Arena Stage in Washington D.C, The Huntington now brings to Boston this mind-bending, gasp-inducing experience that masterfully blurs the lines between illusion and reality. It also investigates the surprising nature of memory as DePonto combines psychological tricks, visual art, and immersive storytelling to create this totally unique theatrical experience. He is also a member of the Bessie Award–winning theatre group Third Rail Projects while his solo work has been presented by Ars Nova, American Conservatory Theater, American Repertory Theater, and The Orchard Project. In addition to his live performances, DePonto’s consulting work was featured in the most recent production of Angels in America on Broadway, in Lincoln Center’s Ghostlight, and in several hit television shows on the Discovery Channel, NBC, and Netflix. If you are looking for a family friendly, one-of-a-kind activity that will take you a few steps outside your comfort zone, then this is a perfect entertainment treat like no other. “We’re thrilled to host Mindplay at the Calderwood Pavilion,” says Calderwood Pavilion Manager Katie Most. “I’m so excited that Boston audiences will get to play a role in this incredible, interactive experience of theatre and love every night!” The show is produced by NYCLU/ACLU honoree, three-time Tony award-winning, and two-time Olivier award-winning Eva Price. Her productions have also garnered to date 6 Olivier Awards, 2 Grammy Awards, 2 Emmy Awards, and 19 Tony Awards. Tickets for this event that will be sure to fascinate all, may be purchased at www.huntingtontheatre.org
Step into the whimsical world of Commonwealth Lyric Theater’s production of Pinocchio: The Musical. They have brilliantly reimagined this delightful children’s classic tale, opening the show at Boston’s iconic Emerson Colonial Theatre located at 106 Boylston St. in Boston. This show is based on the famed classic story of a lonely woodcarver and a wooden marionette who wants to be a real boy. It is perfect for all ages, and an ideal production to introduce children to the wonderful experience of live theater. Whether it is a young person taking that first plunge into live theater, or grown-ups who are young at heart, with its breathtaking special effects and dreamlike set design, audiences will be whisked away into an enchanting world, where Pinocchio and his timeless friends meet vibrant new characters.
The Central Square Theater located at 450 Massachusetts Avenue in Cambridge presents Jessica Dickey’s poignant drama surrounds faith, forgiveness, and the cost of speaking the truth. Directed by Reena Dutt, the story surrounds a playwright’s life that is turned upside down when she travels to Florence to study the letters between Galileo and his daughter Maria Celeste. Galileo’s daughter was forced to join a convent after her father’s earth-shattering controversies. The strength of Maria Celeste’s will and own genius as she secretly assists her father in furthering his discoveries about the shape of the universe is captured in those letters. They inspire an exciting path forward for the playwright. The production alternates between Tuscany of present day and the 1600’s which creates a lineal space between the playwright and the audience. The production features Diego Arciniegas, Caroline Kinsolving, and Sandra Seoane-Serí. Tickets for this masterful play that The Chicago Reader stated to be, “Smart and poignant…A quietly moving drama about truth and faith”, may be obtained here at www.centralsquaretheater.org
Lyric Stage brings nine comedic actors to their stage at 140 Clarendon St. in Boston and pairs their dynamic talents with Michael Frayn’s side-splitting comedy. Brimming with slamming doors, wardrobe malfunctions, and even flying sardines, this production makes a perfect holiday outing for friends and family. Directed by the incomparable Ilyse Robbins° with a very clever Scenic Design by Erik Diaz**, the brilliant cast, many members of Actors Equity, demonstrate a perfect rhythm of comedic timing throughout the non stop action. The production surrounds a play-within-a play, which is titled “Nothing On”. It is doomed from the start when the increasingly exasperated director finds that he is managing a company which includes a middle-aged ‘has-been’, an inexperienced and completely clueless bombshell, an overly-sensitive stage manager, and a half-deaf actor to mention a few. They’re all on their way to an opening night that will leave everything in complete shambles both on and off the stage. All out chaos ensues as this group literally and figuratively stumbles, trips and falls over jealousies, inflated egos, and even some unbridled tantrums. The result is a dizzying circus of missed entrances and exits, mucked-up lines, and even falling trousers. As this cuckoo theatrical troupe barrels along it becomes a proverbial fight to get to the finish and the final curtain call. This production includes the following performers: Amy Barker* as Dotty Otley, Grace Experience* as Brooke Ashton, Dan Garcia as Tim Allgood, Eliza Fichter as Poppy Norton-Taylor, Michael Jennings Mahoney* as Frederick Fellows, Joseph Marrella* as Garry Lejeune, Chip Phillips* as Selsdon Mowbray, Samantha Richert* as Belinda Blair, and Lewis D. Wheeler* as Lloyd Dallas. The Props Artisan is Emily Allinson and Costume Design is by Seth Bodie**. The Lighting Design is by SeifAllah Salotto-Cristobal** and the Sound Design is enriched by Andrew Duncan Will**. Tickets for this explosive, laugh out loud, comedy may be purchased here at https://www.lyricstage.com/show-item/noises-off/
A STANDING OVATION for this play, and for every word written and perfectly interpreted in the play, as well as for every actor perfect portrayal of the characters, and too for every Creative and crew member that wrapped their talent around this spectacular piece of theatre craft. Speakeasy Stage brings to their Roberts Studio Theatre at the Boston Center for the Arts, located on Tremont St. in Boston’s South End, this East Coast Premiere of Pulitzer Prize nominee and Edgerton Foundation New Play Award winner Steven Drukman’s witty as well as heartrending tale. Can it be possible to reach the heart with humor when focusing on a serious situation like Alzheimer’s as well as other diseases that may affect persons as they age? Drukman has crafted such a piece. He brilliantly, and ever so carefully, releases painful realities into the audiences psyches with such precise discretion. Intertwining the dialogue and story with the most respectful humor, the audience becomes completely engaged. Directed by Paul Daigneault, the production boasts an impressive cast that includes an all Actors Equity group of marvelously seasoned performers.
Karen MacDonald: Photo by Nile Scott Studios Recipient of several IRNE Awards and Elliot Norton Awards for her performances, as well as The Robert Brustein Award for Sustained Achievement in The Theater and the Elliot Norton Prize for Sustained Excellence, Karen MacDonald* perfectly captures the role of Prudence Payne, an intimidating, waspish woman in her late 60’s who has established herself as a highly respected an exacting book and art critic. MacDonald immediately captures and then holds the audience with her riveting performance of the declining Pru. Her ½ African-American son, Thomas, struggling to be a successful writer, in his mid 30’s, is played by 5 year Broadway veteran (Come From Away) and 3 years Broadway Touring Company member of (Jersey Boys) as well as IRNE Award Recipient, De’Lon Grant*. He demonstrates a dutiful attention for the welfare of his mother. while struggling with chronic edges of personal stress surrounding from their relationship and loneliness. Regarding her son comment about his color, Pru states, ” “Person of color?” Is that the term we’re supposed to use now, you’re “of color?” Pity. So much more to you than your…hue.”.
Marianna Bassham and Karen MacDonald : Photo by Nile Scott Studios IRNE and Elliot Norton Awards for Outstanding Actor and Best Ensemble.as well as a resident acting company member of Actors’ Shakespeare Project, Marianna Bassham*, is perfect as Dr. Dolan, the rigid, 40 year old, hyper dedicated physician and researcher that is involved in the care of Pru. Watching her personal evolution from inflexible scientist to one of a compassionate care giver is marvelous.
Karen MacDonald and Marianna Bassham: Photo by Nile Scott Studios In delightful contrast to the highly educated, sophisticated characters of Pru, Thomas and Dr. Dolan, Drukman introduces two characters that are the exact antithesis. Gus Cudahy.. a patient brought to the facility because his school paid to have his mental acuity checked, is played by Gordon Clapp*, This actor, having trod the boards for decades, boasts a Tony nomination, an Emmy Award, as well as being a recipient of a Theatre World Award and A Drama Desk Ensemble Award. Gus is in his late 60’s, rife with a Boston accent , a little limited by chronic lumbago, and wears the personality of a local blue-collar worker. He proudly boasts being a Custodial Engineer (janitor)…”not a bus driver”. at a private boys school. He finds himself at the same medical facility as Pru..Gus perpetually demonstrates an upbeat, quick witted, and stunningly insightful persona as he attempts to befriend Pru. As the two polar opposites engage, Gus says to Pru ,”Well, know this: when I see you, I capture you. Don’t get nervous. I mean I use the technique—the one the doctor talks about. “Take a mental picture?” Hey, we both know I gotta capture you up here, ‘cause let’s face it, out there? You and me would never”
Karen MacDonald: and Gordon Clapp: Photo by Nile Scott Studios Like his father in many respects, Gus’ son, Art Cudahy, played by multiple IRNE and Elliot Norton Award winner Greg Maraio*, is tough, with his authentic Boston accent. He is in his early 30s and we discover that he once knew Thomas when his city school played a game against the kids at the posh school. Art tells his dad, and also Dr. Dolan, “Pa, you don’t gotta recite your particulars. Yeah, the school’s worried, ‘cause he also drives the bus, and one mornin’ they…I dunno….ended up at JC Penney. And you know kids: they didn’t say nothin’ ‘cause they’re like “Field Trip!”
Greg Maraio and De’Lon Grant: Photo by Nile Scott Studios The show opens in 1988, where Pru is speaking at an award ceremony, having been honored by the fictional American Academy of Arts and Aesthetics (AAAA). She introduces herself by stating to the audience gathered for the prestigious event,, “I’m Prudence Payne, though for as long as I can remember…I’ve always been Pru Payne. Curious. When was Prudence imprudently pruned—to Pru? Why was I thus…dis-membered?” Her distain at being called Pru ultimately plays an important part in this tale. She brilliantly continues with a very funny monologed, subtly and eloquently defacing the AAAA. But, it is during that speech when she evidences the sneaking progression of memory loss. The AAAA had granted her a contingency award. She must produce a memoir in exchange for the award. Pru responds with, “Ah, but a critic, and a woman, must prove herself. Must begin that painstaking process of going from dis-membered to re-membered. Because a memoir is just that, isn’t it: a literal re-membering. Stitching together my far-flung reviews, my perorations and lucubrations—into a body of work.”
Karen MacDonald: and Gordon Clapp: Photo by Nile Scott Studios And thus begins the journey to “remember” her life and put it down on paper. As Pru’s memory starts to fade, her son, Thomas, moves her to a state-of-the-art care facility. Memories of who she once was fade but love begins to grow in the presence of now, and during the times when one can reside in a joyous symphony of a simpler mind. This play is an ideal opportunity to experience a flawless production that truly engages, entertains, (even with an occasional song and dance), educates, while eloquently explores a broad range of emotions. As this play remarkedly provides all the above, it actually leaves the audience with an overt sense of joy. Tickets can be purchased at this link… www.speaskeasystage.com
THROUGH 17: & JULIET
Rachel Simone Webb and some cast:: Photo by Matthew Murphy By flipping the script on the greatest love story ever told it proffers such questions as: What would happen next if Juliet didn’t end it all over her deceased Romeo? Or, what if Romeo never actually died? Shakespeare’s Juliet along with his wife, Anne, and other characters in Juliet’s story begin to gain all-new perspectives. Primarily . it is a heterosexual story surrounding Juliet, that also it includes a long lost love revealed by Juliet’s Nurse, Angelique, which bodes the question, are we ever too old to start again? 
Paul Jordan Jansen (Lance) and Kathryn Allison (Angelique): Photo by Matthew Murphy
Mateus Leite Cardoso (Franchise) and Nick Drake (May)::Photo by Matthew Murphy Get whisked away on a fabulous journey as Juliet’s new story bursts to life through a playlist of pop anthems by the legendary Grammy-winning, songwriter/producer Max Martin who boasts solely having the most No.1s among producers in the history of the Billboard Hot 100 songs chart. . As the creator, along with other musician friends, of all the music for the production. his songs provide the genius backdrop behind this amazing show. Songs like. “Since U Been Gone‚” is totally appropriate for the show. Lyrically speaking, the song was written from a woman’s point of view as she expresses her relief at the end of her troubled relationship. Other musical numbers include “Roar,”, which reached 4 billion hits on YouTube music in May 2024. In addition, songs like “Baby One More Time,” “Larger Than Life‚” “That’s The Way It Is,“ and “Can’t Stop the Feeling!” all sailed up the charts and now artfully speak for Juliet’s new found freedom. This full blown, all stops out, lavish production proved one non stop, hugs production number after another. 
Greater Boston Stage Company at 395 Main St. in Stoneham opens their 25th season of great entertainment with a newly renovated theater and this New England Premiere written by Christina Baldwin, Sun Mee Chomet, and Jim Lichtscheidl. Directed by Producing Artistic Director Weylin Symes, this delightfully funny comedy production was inspired by a UK comedy sketch that was written and recorded in English for German television in 1963. Since 1972, it has aired every New Year’s Eve, and has become a traditional New Year Eve’s viewing event, not only in England but also in Germany, Austria, Switzerland, Denmark, Sweden, Norway, Finland and Estonia. Dinner for One provides audiences an uproarious feast of fantastical funny physical comedy. The production stars two highly renowned Boston-based actors. The Elliot Norton Award recipient Paul Melendy and the noted director, playwright and actress, Debra Wise,
Photo by Nile Scott Studios
NOV. 22 – DEC. 15:THE THANKSGIVING PLAY
Moonbox Productions presents at the siStreet Arts, 2 Arrow St in Cambridge this wickedly funny as well as blistering satire by Native American Playwright, Larissa FastHorse. Annually, with the turkey roasting in the oven, family gathered around the table, while a football game blasts from the tv. Most in the U.S. are celebrating this great American tradition. But, when four, well meaning, white, politically correct performers get together and decide to create a new take on a pageant presentation that goes beyond the often fantasized Indians feeding the starving settlers. Hidden in that charming narrative is the fact they Indians were repaid with genocide. Thus, the four struggle to meet eye to eye as their good intentions turn into outright tension. The group’s attempt to re-envision history while desperately not ruffling any feathers…Indian or otherwise, comes to the fray. Directed by Tara Moses, the four desperately attempt to re-think Thanksgiving. The intimate production just features the four characters. Logan (), is a schoolteacher who wants to put on a culturally appropriate play about Thanksgiving for her students; Jaxton () her lover, whose political correctness is obnoxiously overt;; Caden (),is a fellow teacher and academic who has written many plays gathering dust in his closet and is void of any production experience; and Alicia (), an attractive but totally clueless actress that Logan hired, wrongly thinking that she was of Native American heritage, provides dressing for the show. Logan and Jaxton who head on into the project with self inflated egos seem eager to do something educational as well as create a sensitive theatrical experience for their students. But, due to their narcistic arrogance as well as an abundance of ignorance, they create a play devoid of Native Americans which causes their good intentions to become the plays cringe factor. History and humor, along with a steaming side dish of uniquely American hypocrisy are the dishes that seem to be served up as they fumble their way to create this new conceptual play. Will they and the audience be prepared to eat the words that ultimately get served. Moonbox traditionally supports local non-profits by partnering with a different non-profit organization for each show, giving them greater visibility and helping them to increase the reach and impact of their work. Tickets may be purchased at www.moonboxproductions.org
It is said that “good things come in small packages.” That can also be applied to this fabulous, laugh out loud, production being performed by the award-winning Hub Theatre Company of Boston in the approximately150 seat, intimate as well as diminutive, Plaza Theatre. It is part of the Boston Center for the Arts at 539 Tremont Street in Boston’s South End. Despite its size, the production provides some of the largest laughs in the city. “Tartuffe” is a timeless French comedy by Jean Baptiste Molière. Actually written in 1664, and in in French alexandrines (12-syllable lines of rhyming couplets), it has been performed in French and English for centuries, throughout the globe. The translation by Pulitzer Prize-winning poet Richard Wilbur maintains the satirically funny, rhyming format. Directed by Elliot Norton Award winning Bryn Boice, the cleverly staged comedic tale surrounds a wealthy member of the upper-class named Orgon.
He becomes blindly gullible by the charismatic con man, Tartuffe. The scoundrel, disguises himself as a pious man of God who depends on the kindness of others because he has given all his worldly possessions to others. Much to the painful frustration of his family and especially the perpetually outspoken maid, Orgon and even his mother, has bought into Tartuffe’s righteous rhetoric. Filled with comic flair, Tartuffe systematically manipulates the mindless Orgon.
When he attempts to seduce Orgon’s wife Mariane, he is caught by Orgon’s son, Damis. But the cluelessly blind Orgon dismisses his son’s claim and bans him from the house. He then gives his daughter Elmire, now hysterically traumatized to marry Tartuffe along with his entire estate to Tartuffe. The story is rife with relatable hyper-religious hypocrisy along with the often naïve nature of many humans even today. Fortunately, Doreen, the maid is not so easily fooled. Even Orgon’s children, daughter Elmire and son Damis, along with his wife Mariane ,vow to reveal his ruse and beat Tartuffe at his own game. But will anyone’s efforts defeat the sanctimonious scoundrel Tartuffe who now owns Orgon’s house and gives the family notice to leave or go to prison. So much to mend, if possible, before the final curtain.
Outstanding cast member in the role of Orgon is the multiple Eliot Norton and IRNE award nominee as well as IRNE Award recipient for Best Supporting Actor, Brooks Reeves. He provides us with a brilliantly, mindless and easily manipulated aristocrat. Kudo’s to Lauren Elias for one of the most outrageously funny performances of the outspoken maid Doreen, savior of the family and a proverbial and unbeatable thorn in Orgon’s world. Jeremy Beazlie made for a perfectly cunning Tartuffe, capturing the role with a never ending supply of laughably droll facial expressions, especially when being violently wrestled by Orgon’s son, played by Patrick Vincent Curran. Laura Rocklyn, as Elmire. was the perfectly demure wife of Orgon, despite being sexually harassed by Tartuffe.
Lily Ayotte (Marianne) and Robert Thorpe II (Valere) Lily Ayotte in the role of Marianne, Orgon’s daughter, mastered some of the most delightfully funny expressions through her trials with her father insisting on giving her to Tartuffe in marriage.. Brendan O’Neill as Orgon’s brother Cleante, provided an almost Shakespearean timber to his performance while trying to reason, unsuccessfully with Orgon. June Kfoury as Orgon’s high minded mother, Madame Pernelle, along with Robert Thorpe II (Valere), Steve Auger (Laurent/ M. Loyle) and Kayla Sessoms (Flipote/Officer) round out the cast that all contained perfect comedic timing. The period costumes and make up by Marissa Wolf set the theme while the very clever Scenic Design by Justin Lahue allowed for perfect moments of spying, eavesdropping, running in, out and even for chaotic round about during many events. The lighting design by Narissa Kelliher ideally focused the action on the demure staging space. Experiencing a production so closely, truthfully and magically intensifies the actions, both physically and facially as well as keeps every fabulous word perfectly attainable. Tartuffe is recommended for ages 13 and up due to some themes, romance, and physical comedy. This side-splitting satire as well as hysterically witty play that has been lifted from the Renaissances is packed with witty wordplay, laughable lies, and the pretense of piety. Hub Theatre is a Non Profit and all tickets are Pay What You Can. Tickets for this production that will keep audiences on their toes and on the edge of their seats may be obtained at www.hubtheatreboston.org
THROUGH NOV. 24: HOW NOT TO SAVE THE WORLD WITH MR. BEZOS
Boston Playwrights Theatre opens their 2024-25 Season on the Kate Snodgrass Stage at 949 Commonwealth Avenue in Boston. with the first of two Fall Rep Festival productions. This is a chaotic dark comedy about capitalism. Written by Maggie Kearnan and directed by Taylor Stark, the tale concerns the dangerous fantasy of the “American dream” that prompts audiences to ask: What toxic messages have we received about what our lives can and should look like—and at what cost? The play opens with a throne of red Solo cups, a pile of teeth, the ghost of Pete Seeger, and a little something for dinner. It’s a parallel present, where it is illegal to be a billionaire. Jeffrey Bezos, founder and CEO of Amazon, has agreed to give an interview in exchange for information surrounding the federal case against him. But there is something off about the journalist Cherry Beaumont. A crowd is forming outside, and the onstage Fact Checker has a few important clarifications to make. The fall of capitalism is about to get very messy. The cast consists of Cherry Beaumont played by Becca A. Lewis; Jeffrey Bezos played by Mark W. Soucy; and Fact Checker is played by Robbie Rodriguez. The creative team includes Scenic Designer: Maggie Shivers; Lighting Designer: Zachary Connell; Sound Designer: Anna Drummond; Costume Designer: Chloe Moore; Production Stage Manager: Jess Brennan; Intimacy and Violence Choreographer: Jess Scout Malone; and Special Effects are by Lynn Wilcott. Content warnings include graphic violence, vomit and blood effects, as well as disrobement and discussion of drug use. Tickets for this illuminating production may be obtained at https://www.bostonplaywrights.org/our-24-25-season/#BEZOS
Greater Boston Stage Company at 395 Main St. Stoneham presents the return of this popular, festive revue. It is filled with 1960s holiday hits, perfect for getting into the holiday spirit. So step back in time and rock around the Christmas tree with this fun filled and joyouse seasonal extravaganza of 1960s holiday hits. They are all performed in “marvelous” four-part harmony. Enjoy timeless classics like “Santa Claus is Comin’ to Town,” “Santa Baby,” “Winter Wonderland,” “What Are You Doing New Year’s Eve,” “O Tannenbaum,” and many more! Written & Created by Roger Bean and Directed by Sara Coombs, four fabulous vocalists will entertain, engage and get everyone into the holiday spirit. Tickets are available here at www.greaterbostonstage.org
The Wheelock Family Theatre located at 180 Riverway in Boston brings to their stage this musical version of the classic tale of the loveable characters lifted from Arnold Lobel’s beloved books. With Music by Robert Reale and Book and Lyrics by Willie Reale, the production follows the two best friends as they wake in the Spring from their hibernation and begin planting gardens, swimming in the pond in the Summer, raking leaves in the Fall and go sledding in the Winter. Directed by Leigh Barrett, with Music Direction by David Freeman Coleman and Choreography by Brad Reinking, Frog and Toad learn life lessons along the way as they celebrate and rejoice in the differences that make them unique and special. Part vaudeville, part make believe, and all very charming, A Year with Frog and Toad is a marvelous story of a friendship that endures throughout the seasons. The show runs approximately 60-80 minutes with no intermission…and is suitable for children 3 years old and up. Tickets m
The Huntington Theatre, at their stage located at 264 Huntington Ave. in Boston presents the first installment in Mfoniso Udofia’s nine-play Ufot Family Cycle of plays. They follow the Nigerian Ufot family through three generations. Each play is a stand alone story. Yet when compiled together, they are in nature, similar to August Wilson’s creative legacy of 10 plays known as his Pittsburgh Cycle. August’s plays chronicled the life and struggles of the African-American community during the 20th century. The Ufot Family Cycle of plays also forms a rich and engaging tapestry of storytelling traditions that follows a family of Nigerian immigrants. The playwright, First generation, Nigerian-American, Mfoniso Udofia, despite having grown up in Southbridge, Massachusetts and attending Wellesley College, was inspired by how rarely she was exposed to stories surrounding Africans, African Americans, and her ancestors country.. Supported by partnership with universities, social organizations, non-profits, and a host of community activation partners, Mfonsio ultimately crafted this emotionally engaging cycle of nine plays. Play number one, now on stage at the Huntington is directed by Dawn M. Simmons.
Nomè SiDone* and Abigail C. Onwunali*: Photo by Marc J. Franklin 
Abigail C. Onwunali, Asha Basha Duniani: Photo by Marc J. Franklin While she is working at the gas station she meets a young hooker named Moxie who picks up her “dates” there. Moxie, apparently is almost illiterate but unpleasant circumstances with the “John” propel her to apply for work at the station as well. Painfully struggling with just filling out the work application she awkwardly engages a friendship with Abasiama. This friendship escalates when Ukpong, has again disappeared and Abasiama goes into labor at the gas station.
Joshua Olumide* (Disciple): Photo by Marc J. Franklin Simultaneously and inadvertently present at the station the day of the birthing crisis, is a strange young Nigerian, religious and political zealot called Disciple arrives with an empty gas can to fill his car. He aggressively and then obsessively inserts himself into Abasiama’s life. A week after the birth, Abasiama returns home with her new little girl and finds Upkong there. He tries to sweet talk her with his usual weak excuses but Abasiama hands him the letter from the university that she found a week before stating that Ukong has been dismissed from the school and thus must return to his country. With her new baby in arms, Abasiama is now forced to choose between their once Nigerian Dream and her matriarchal, as well as maternal obligations. The cast of four highly talented actors include the award-winning Nigerian-American Abigail C. Onwunali* as Abasiama; Nigerian immigrant Nome Sidone* in the role of Ukpong, North Carolina seasoned performer Asha Basha Dunian; and regional and film actor Joshua Olumide* as Disciple. The stunningly intricate scenic design by Jason Ardizzone-West is an amazing sight to behold. Focusing on the issue of human nature, this production also helps clarify a common notion regarding immigrants. That those who immigrate do not always leave a homeland that is difficult or horrific but are temporarily here for other purposes. Also, while here,nadjusting to their new home may be quite lonely and difficult. Playwright Mfoniso Udofia states, regarding her character Abasiama, “…..my matriarch (is) – a dynamic and forward-thinking woman from whom an entire Nigerian lineage in America will emerge. I hope this play and Abasiama snatch your heart. She sure caught mine.” Huntington’s Norma Jean Calderwood Artistic Director Loretta Greco added, “….If you want rich family stories, if you want plays with soaring poetic dialogue, if you want plays that change the way you see the world, I can’t wait for you to fall madly in love with the work of Mfoniso Udofia, one of the most theatrically ambitious artists I have had the pleasure of working with.” “Sojourners offers a moving and powerful corrective to the notion that what immigrants leave behind is always awful, and that what they find is always worth the trip.” Tickets for the beginning of this engaging series of plays may be obtained at www.huntingtontheatre.org
Cheryl McMahon as Mrs. Fessiwig: Photo © David Costa Photography Cheryl McMahon has also played 27 years opposite coffee in the dual roles of Mrs. Dilber, Ebenezer Scrooge’s housekeeper and Mrs. Fezziwig. They have worked together to develop their scenes to the point that they are often provide riotously funny highlights in the show. The production is noted for some outstanding dazzling special effects, fabulous costumes along with traditional songs like “God Rest Ye Merry Gentleman,” “The Boar’s Head Carol,” and “We Wish You A Merry Christmas,” This award-winning original production has been seen by more than one million people since its debut in 1989. *Due to some scary special effects, no children under the age of 4 will be permitted in the theatre…including babes in arms. Tickets for this fun way to usher in the holiday season may be obtained at www.nsmt.org
The Reagle Music Theatre of Greater Boston is celebrating their 40th anniversary of “ChristmasTime” at the Robinson Theatr 617 Lexington St. in Waltham. Haul out the misseltoe and holly and ring in the holiday season with Reagle’s beloved Christmas extravaganza. This joyous show will entertain children and adults of all ages. Featuring a cast of more than 100 performers and a live orchestra, this musical production includes precision dancers, a living nativity, a visit to the North Pole, a glimpse of Victorian Christmas in Boston, along with more than twenty yuletide tunes. This beloved and classic Holiday Show has become a popular Greater Boston tradition. Spend the holidays with Reagle this year and leave filled with seasonal holiday cheer. On December 13 at 7pm there will be a special 40th anniversary celebration of ChristmasTime will a magical evening that features all the cherished holiday traditions, from this iconic production but will include a limited number of tickets for access to an exclusive post-show reception, where you can toast 40 years of ChristmasTime with the cast and creative team. Don’t miss this unforgettable holiday event. To reserve your tickets for show date and also to reserve a space for the 40th celebration on the 13th, link here at https://www.reaglemusictheatre.org/DEC. 12 – JAN. 4: DIARY OF A TAP DANCER
The American Repertory Theatre has proudly commissioned this World Premiere at their Loeb Drama Center theatre at 64 Brattle Street in Cambridge and again brings this award-wining Chasing Magic, trailblazing tap dancer and choreographer as well as Drama Desk nominee for Choreography for Broadway’s Funny Girl, Ayodele Casel . She returns to the A.R.T. with this all new production that dance, narrative, and song to share the story of her own life and career from her roots in The Bronx and Puerto Rico to her current stage triumphs. She also is bringing unrequited honor due the extraordinary women tap dancers who came before her as she shares their histories and legacies. The production is directed by Casel’s frequent collaborator and long time friend, Torya Beard, who states, “Ayodele Casel has spent her tap-dancing career not just chasing magic but creating it and sharing it.” This world-premiere production comes with support by Leslie and Howard Appleby. The holiday season is a perfect time to spread joy through the liberating spirit of tap while all the more so through the exceptional choreography and performance brought to the stage by Ayodele Casel as she unleashes the power of reclaiming language, culture, and one’s own identity.
She is joined by her cast that each boast major theatrical credit. These includes Naomi Funaki, Afra Hines, Quynn L. Johnson, Funmi Sofola, Liberty Styles, Annaliese Wilbur, and Ki’Leigh Williams. “I was called to write Diary of a Tap Dancer to amplify our voices, family stories, and artistic lineages and to reflect the multitude of languages that we use to uplift and honor our cultural histories,” says Casel. The production staff includes, Erin McCoy is the production stage manager. Eloia Peterson is the assistant stage manager. Casting is by Jason Thinger, CSA. Casel (Writer and Choreographer) and Beard (Director) are joined on the creative team by Tony and Drama Desk Award winner and Olivier Award nominee Susan Hilferty (Design Dramaturg and Artistic Advisor), Tony and Drama Desk Award-nominated Tatiana Kahvegian (Scenic Design), Camilla Dely (Costume Design), Tony Award-nominated Brandon Stirling Baker (Lighting Design), Sharath Patel (Sound Design), Lucille Lortel and Drama Desk Award nominee Katherine Freer (Projection Designer), Carlos Cippelletti (Co-Composer, Pianist), Ethan Pakchar (Co-Composer), Earon Nealey (Hair, Wig, and Makeup Designer) and Jesse Alick (Dramaturg). Yasmine Lee is the associate director, Matthew Buttrey is the associate scenic designer, Amanda Roberge is the associate costume designer, Jessica Creager is the associate lighting designer, and Joshua Nguyen is the associate sound designer. Tickets for this memorably stunning production may be obtained at www.AmericanRepertoryTheater.org/DiaryofaTapDancer
The joyous, most uniquely entertaining and enduring venue in Boston, Blue Man Group, has had a proverbial face lift. They still have those vibrant blue faces but their popular show has recently been updated and reimagined with additional new acts that include an all new, unforgettable and awe-inspiring, mega-finale. They have been a theatrical sensation in Boston for close to 30 years, but this great show has become even more exciting with its spectacular transformation. Since its debut in 1995, the show’s home remains at the Charles Playhouse, located at 74 Warrenton St., a diminutive way that is located just off 201 Stuart St. in Boston. Although there have been various alterations in the program throughout the years, the magnitude of this new theatrical restructure is over the top wonderful. The program still retains the same quirky trio of blue bald men who manage to say so much without actually saying anything at all. They exude a sense of wide eyed innocence in their static faces, but, demonstrate, through their wild actions and absurdly funny activates, the abandoned curiosity reminiscent of young children left alone in their house. They hurl marshmallow into their mouths at mind boggling distances and at the audience. They also hurl paint balls across the stage that are caught in the mouth and used to spit/create a work of art.
Their love of paint results in colorful spin art or out and out messes as they enthusiastically beat drums that paint has been poured on them. They even spray paint people. They walk, unabashedly through the audience across the arms of the audience’s’ seats, showing no emotion, in search of unwitting candidates for their next on stage, hilariously funny scenario.
Through music and perfectly timed subtle facial expressions, these guys manage to hone in on their topics. They are comedic geniuses that have mastered their art at crafting a uniquely fabulous, intensely ludicrous comedic performance. They continue to magically bring to the audience, without any verbiage, a state of understanding that easily defines the connection to the human condition. This is a technique the Blue Men have always been noted for. The best laughter is when we find ourselves laughing at ourselves. The Blue Men are still utilizing much of the fan favorite music and audience interactions that garnered their award-winning popularity. But, there are delightfully energetic new surprises to discover throughout this new adaptation. Gone is the electronic board that was utilized throughout the show that one had to read to understand what was going on. Now the Blue Men engage with a robotic voice along with fabulously colorful and high energy projections.
Original fans, are rapidly being joined with a whole new generation of all new fans who all find themselves captivated by the newly created score, pounded out with the traditional stellar accuracy by the Blue Men on their tuned PVC pipes. They are backed by an overhead trio of hot, rock musicians. Managing Director, Jack Kenn stated, “Blue Man Group is thrilled (with) this revolutionary new show content…(as) we…transport audiences with new music and new visuals through our partnership with renowned creative agency Pretty Damn Sweet…(along with)…the all-new show finale…that… leaves crowds on their feet.” Blue Man Group debuted at New York’s Astor Place Theatre in 1991. Duplicate versions of the live show expanded to long lived residencies in Boston, Chicago, Las Vegas, and internationally to Berlin, Germany. In addition, multiple North American and World tours have reached move than 50 million people worldwide.
The entire family can come get ‘blued’ as these guys enchant young and Children in the audience are often enthusiastically heard anxiously responding, excitedly anticipating the next silly action by the Blue Men. Note: children under 5 will not be admitted. Since Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group, an audience can always be guaranteed a truly especial experience. Tickets for this beyond belief engaging as well as electrifying, and extremely fun performance may be obtained here by clicking on www.blueman.com/boston
(*) Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the U.S (**) Represented by United Scenic Artists, Local USA 829 of the IATSE
(° )Stage Directors and Choreographers Society
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Actors Shakespeare Project: www.actorsshakespeareproject.org
American Repertory Theatre: www.americanrepertorytheater.org
Apollinaire Theatre: www.apollinairetheatre.com
Arlekin Players: www.arlekinplayers.com
Arts Emerson: www.artsemerson.org
Big Apple Circus: www.BigAppleCircus.com
Blue Man Group: www.blueman.com/boston
Boch Center: www.bochcenter.org
Boston Children’s Theatre: www.bostonchildrenstheatre.org
Boston Playwrights: www.bostonplaywrights.org
Boston Theatre Scene: www.bostontheatrescene.com
Broadway In Boston: www.boston.broadway.com
Brown Box Theatre Project: www.brownboxtheatre.org
Cape Playhouse: www.CapePlayhouse.com
Cape Cod Theatre: www.capecodtheatrecompany.org
Celebrity Series: www.celebrityseries.org
Central Square Theater: www.centralsquaretheater.org
Cirque du Soleil: www.cirquedusoleil.com
Commonwealth Shakespeare Co.: www.commshakes.org
Company One Theater: www.companyone.org
Company Theatre: www.companytheatre.com
Emerson Colonial Theatre: www.emersoncolonialtheatre.com
Emerson Cutler Majestic Theatre: www.cutlermajestic.org
Flat Earth Theatre: www.flatearththeatre.com
Footlight Club: www.footlight.org
Fort Point Theatre Channel: www.fortpointtheatrechannel.org
Fresh Ink Theatre: www.freshinktheatre.org
Gloucester Stage: www.gloucesterstage.com
Greater Boston Stage: www.greaterbostonstage.org
History At Play: www.masshist.org/calendar
Hub Theatre : www.hubtheatreboston.org
Huntington Theatre: www.huntingtontheatre.org
Improve Boston: www.improvboston.com
Israeli Stage: www.israelistage.com
Lyric Stage: www.lyricstage.com
Merrimack Repertory Theatre: www.mrt.org
Moon Box Productions: www.moonboxproductions.org
New Repertory Theatre: www.newrep.org
Nora Theatre Company: www.centralsquaretheater.org
North Shore Music Theatre: www.nsmt.org
Oberon: www.cluboberon.com
Ogunquit Playhouse: www.ogunquitplayhouse.org
Praxis Stage Co.: www.praxisstagecompany.com
Trinity Repertory Theatre: www.trinityrep.com
The Umbrella Arts: www.theumbrellaarts.org
Underground Railway Theatre: www.centralsquaretheater.org
The Underlings Theatre: www.underlingstheatre.com
Wellesley College Theatre: www.wellesley.edu/theatre
Wellesley Repertory: www.wellesleyrep.org
The Wilbur: www.thewilbur.com
Wheelock Family Theatre: www.wheelockfamilytheatre.org
RE: FUTURE PROGRAM LISTINGS PRODUCTIONS ARE INITIALLY LISTED CHRONOLOGICALLY BY ‘OPENING DATE’…WHEN THE OPENING IS PAST, THEY ARE THEN MOVED DOWN THE LIST CHRONOLOGICALLY,.. INDICATING ‘END DATE’ BY THE NOTATION, “THROUGH”…AND THEN IS REMOVED WHEN SHOW HAS ENDED. SO EXPLORE AND MAKE PLANS……………………………….(FYI: * Connotes that a performer is a Member of Actors’ Equity Association)