Mar 12

A Relationship Is A Series of Negotiations: “Stereophonic”

Tour presented by ATG Entertainment
Written by David Adjmi
Original music by Will Butler
Directed by Daniel Aukin 
Featuring: Jack Barrett, Claire DeJean, Steven Lee Johnson, Emilie Kouatchou, Cornelius McMoyler, Denver Milord, Christopher Mowod

Now – March 15, 2026
Emerson Colonial Theatre
106 Boylston St
Boston, 02116
Link to a Bostix Deal

Article by Kitty Drexel

BOSTON — The official summary for Stereophonic says it mines “the agony and the ecstasy of creation as it zooms in on a music studio in 1976.” An up-and-coming rock band recording a new album finds itself on the cusp of superstardom. Internal and external pressures could “spark their breakup… or their breakthrough.” Written by David Adjmi, directed by Daniel Aukin, and featuring original music by Arcade Fire’s Will Butler, Stereophonic shows its audience the creativity, drugs, and drama of writing and recording a stellar, best-selling folk rock album, a la Fleetwood Mac’s Rumours.

Stereophonic is just one of many works inspired by the saga of Fleetwood Mac and Rumours. Daisy Jones & the Six, the best-selling novel and the Amazon T.V. show, and an episode of Agatha All Along are others. Stereophonic earned 13 Tony nominations and won five awards in 2024. Its cast album rocks and stands on its own as great entertainment (whether you enjoy Fleetwood Mac or not). The touring production is a solid theatre that represents well the artistic creative process, massive egos, and the heartbreak of losing a family through interpersonal drama.  Continue reading

Jan 31

Daddy Only Loves Winners: “The 25th Annual Putnam County Spelling Bee”

Hive’s Cast of “The 25th Annual Putnam County Spelling Bee.”

Presented by Hive Theatre Company 
Book by Rachel Sheinkin
Conceived by Rebecca Feldman
Music and lyrics by William Finn
​Directed & Choreographed by Margaret McFadden
Musical Director John Eldridge

January 22, 2026 – February 1, 2026
Plaza Theatre at the Boston Center for the Arts
539 Tremont Street
Boston, MA 02116

Critique by Kitty Drexel

“Caterjunes,” from UrbanDictionary.com
An old Nantucket whaling term with only one known citation.
“The neap tide draws. The Leviathan nears. Caterjunes.”
Definition by the_roflsauces from January 1, 2009.

BOSTON — Wednesday night’s subway and road traffic was awful. We braved massively crowded red, orange and green line cars to stumble our way to the Boston Center for the Arts. Hive Theatre Company presented The 25th Annual Putnam County Spelling Bee. We’re happy to say the production was worth all of the effort to get to the BCA. 

(A note to BCA employees: The weird smell that lived in the largest bathroom is in the lobby now. It’s heinous. Is it coming from the ceiling, the floors, the walls? Investigate it. Y’all need to do something before patrons stop buying tickets. It’s unfair to everyone to charge money and subject us to whatever is going on in there. Additionally, the paper towel dispensers aren’t loaded, and some of the soap dispensers don’t function. Caring about community includes caring about its spaces. Your hardworking janitorial staff can only do so much when the entire space requires renovation. )   

This is Hive’s second production and follow-up to last Fall’s The Wolves. The company says it engages the work of teens and young adults in its production. Its artists might be young, but they display a maturity beyond their years. From the minor details in its design to the character work of its actors, The 25th Annual Putnam County Spelling Bee is a solid production worth the weary steps across the ice and snow.  

The 25th Annual Putnam County Spelling Bee had a Broadway production directed by James Lapine in 2005. Its revival, directed by Danny Mefford, is currently running in New York at the New World Stages. A production famous for its 4th wall breaking, volunteer embarrassing hijinks and special guests off-Broadway included Daniel Radcliffe and Lin-Manuel Miranda. Hive’s production did not feature anyone terrifically famous on Wednesday. There is still time. 

Rachel Sheinkin and William Finnis’ musical turns the show’s audience into the audience for an elementary school spelling bee (as indicated by the title). Stakes are high for six prepubescent kids (Cameron Nye, Anna Wright, Alex Kennedy, Kaden Mays, Ashley Ha, Maya Gopalswamy) battling for the title of spelling bee champion and the chance to go to the finals in Washington. They spell real and pretend words while offloading intimate details about their personal lives. We experience secondhand embarrassment and, hopefully, mass empathy for these socially awkward, over-stressed kids who lack the experience to know that other opportunities for success will eventually arise if they keep going. 

Amanda Wade tackles the role of zealous adult judge and previous spelling champ, Rona Lisa Peretti. She is matched by Josh Telepman as the second judge and super creep, Vice Principal Panché. Salavatore Guillermo Garcia plays comfort counselor with a heart of gold and hand of juiceboxes, Mitch Mahoney. 

For folks familiar with the musical, characters such as Leaf Coneybear, Marcy Park, and William Barfeé are infamous for their quirky personalities. Hive’s production is notable because it’s clear that the entire cast dug deep to make their characters as eccentric as possible. From a tween political pundit-in-training to an ex-con, our actors made it delightfully weird.    

Margaret McFadden’s staging and choreography take great advantage of the set design by Kevin Deane Parker. Actors are flinging candy into the audience, running across the stage, and even forming a brief kickline. McFadden’s most inspired staging appears in “Magic Foot” and “I Speak Six Languages” thanks to castmembers Mays and Ha. Mays commits to the bit and gives us unusual athleticism for an antisocial speller. Ha is a quadruple threat: high kicks, the splits, and a short moment on the Music Director John Eldridge’s piano all while singing in multiple languages. McFadden’s Act 2 Love Ballet receives special mention for adding unexpected sweetness to a vulnerable moment between Barfeé and Ostrovsky (Gopalswamy). 

Additionally, scenic designer Parker and costume designer Samantha Wolfrum provide subtle depths to the production. Parker put matching functional waterbottles with matching Spelling Bee labels by each contestant’s chair, even the volunteer contestants, which matches the judge’s banner which matched the ceiling banner. An anti-bullying poster looked real. Wolfrum paid special attention to the details of her costuming: Peretti donned a glammy bee brooch. Coneybear, who dressed himself, wore a frog fannypack and a frog finger puppet. 

With all the subtle and unsubtle work going into The 25th Annual Putnam County Spelling Bee, we would be remiss if we didn’t offer some words of caution. A production such as this one invites the cast and its audience into a niche community within a niche community. Hive Theatre had many friends and family in its audience on Wednesday evening. Its actors invited many laughs. There were also laughs from inside jokes and friendships with audience members. 

Generally speaking, inside jokes should be avoided. They alienate an audience who may or may not know what is going on. The joke isn’t funny if everyone isn’t involved. Invite friends and parents to a dress rehearsal to get your giggles out. Paying patrons may not give you a second chance.   

In a poignant moment during The 25th Annual Putnam County Spelling Bee, the character Logainne Schwartzandgrubenniere, played by Anna Wright, goes on a heated tirade about the pointless renaming of the Gulf of Mexico and the Kennedy Center to appease a certain orange-skinned, vulva-throated pedophile protecting president with an ego so fragile that Fox News covers his terrible golf scores instead of national protests. We must consider what kind of world we are leaving our children’s children. Even we thousandaire, childless catladies need to be concerned about the next generations of American citizens, inside and outside of Greenland. Our kids are concerned for us all. That alone deserves our respect and support. 

Fuck Ice. 

Dec 30

When kindness and representation aren’t enough: “Wonder: The Musical”

Garrett McNally and Donovan Louis Bazemore in Wonder. Photo: Hawver and Hall

Presented by American Repertory Theater
Based on the novel “Wonder” by R.J. Palacio and the Lionsgate and Mandeville film Wonder
Book by Sarah Ruhl
Music and Lyrics by A Great Big World (Ian Axel and Chad King)
Directed by Taibi Magar
Scenic design by Matt Saunders
Featuring: Melvin Abston, Kaylin Hedges, Alison Luff, Garrett McNally, Javier Muñoz, Nathan Salstone, Max Voehl 

December 17th, 2025 – February 8th, 2026
Tickets
Loeb Drama Center
64 Brattle Street, Cambridge, MA 02138
Online playbill

Review by Maegan Clearwood

This production depicts bullying and contains fog, haze, strobe, and flashing lights. Recommended for ages 9+.

CAMBRIDGE, Mass. — With the debut of Wonder: The Musical, the A.R.T. was simultaneously presented with a monumental opportunity and an obstacle. The source material, R.J. Palacio’s 2012 book of the same name, has been lauded as a groundbreaking story of empathy through its first-person portrayal of Auggie, a preteen boy with a facial difference. A Google search for reviews brings up words like “uplifting,” “heart-rending,” and “inspirational.” 

These very terms that are used to praise the novel are, however, at the root of frequent critique from members of the disability* rights community. Stories about disability far too often rehash tired tropes, portraying disabled characters as “objects of inspiration or charity,” as Professor Ari D. Ne’eman noted in a Harvard School of Public Health panel about the musical, rather than complex people in their own right. These tropes point to the fact that such stories are about disabled people, but not by or for them. (Editor’s note: We in the disabled community call this Inspiration Porn, a term coined by comedian and activist Stella Young. Check out her 2014 TEDx Talk. )  Continue reading

Dec 09

A Jumbled Jukebox Experience: “Ring of Fire: The Music of Johnny Cash”

Photo by Meg Moore/megpix.com.

Presented by Merrimack Repertory Theatre
Created by Richard Maltby, Jr., Conceived by William Meade
Adapted from the larger-cast Broadway production by Richard Maltby, Jr. and Jason Edwards
Co-direction: Karen Oster and Correy West

Choreography: Correy West
Cast: Patrick Dinnsen, Nathan Yates Douglass, Jenna Fawcett, Andrew Frace, Celeste Vandermillen

November 26-December 14, 2025
Merrimack Repertory Theatre
Lowell Memorial Auditorium
50 E Merrimack St.
Lowell, MA 01852

Review by Craig Idlebrook

Content advisory: Ring of Fire: The Music of Johnny Cash is suitable for teenage and adult audiences. This musical celebrates the iconic Johnny Cash, featuring details of Johnny’s career, covering topics such as substance abuse, firearms, violence and murder.

Much has changed in the fifty-six years since Cash first recorded A Boy Named Sue. Some may feel that “A Boy Named Sue” is sexist and outdated, and this is certainly a reasonable view. However, just as it did in 1969, the song invites more than one interpretation. Please read here for some additional thoughts:  Further Reflection on A Boy Named Sue

LOWELL, Mass. — It is never a good sign for a biographical staging when the person you came to the play with leans over in the second act and asks, “Which one of those guys is Johnny Cash?”

It may be a testament to the music of Cash and the skillful performance of the small cast that this question only arose in the second act. Too often, we were swept up by the sweet harmonies and Americana-before-it-was-Americana sound on stage.

That’s just the rub. Was this a play or a concert? The title seems to disclose that the performance is intended solely to be the “music of Johnny Cash”, but the action on stage had just enough theater to be confusing. There is brief dialogue, some pantomime, and some direct musical-like interaction to provide a few breadcrumbs into the life and times of Johnny Cash, but not enough to follow the trail to lead to the full picture of his complicated and rich biography.  Continue reading

Dec 02

Have Yourself A Horny ‘Lil Christmas: “Sweeney Claus: The Demon Father of Sleet Street”

Photo by Michael von Redlich. Ryan Landry as Mrs. Leaveit and Thain Bertin as Sweeney

Presented by the Gold Dust Orphans
Written by Ryan Landry
Directed by Kiki Samko
Choreography by Hallie Nowicki
Music Direction and Arrangement by Tad McKitterick
Sets & Costumes by Scott Martino
Lights by Matthew Brian Cost
Props by Ryan Landry and Gina Carmela
Sound by Ryan Landry & Tad McKitterick
Spotlight Operation by Keith DeSutter
Wigs by Shaun O’Connor
Production Assistance by Clare Strickland and Clare Newman
Featuring: Ryan Landry, Thain Bertin, T Perry, Mary Mahoney, Tim Lawton, Kiki Samko, Scott Martino, Gina Carmela, Sarah Jones, Tad McKitterick, Lizette Morris, Dominika Zawada, Joey Pelletier, Hallie Nowicki, Marilyn Wilson, Simon Huynh, James Brooks Jr., Phaedra Ferrini, Lara Williams.

November 29 – December 21, 2025
The Iron Wolf Theatre
South Boston Lithuanian Citizens Association
368 West Broadway, 3rd Floor
South Boston, MA 02127

Critique by Kitty Drexel

UPDATE 12/02/2025:  Ensemble member Lara Williams was improperly credited in a previous draft. Her name is now correct. 

SOUTH BOSTON — December has arrived and so has this year’s Gold Dust Orphans Christmas panto parody, Sweeney Claus: The Demon Father of Sleet Street by Ryan Landry. It’s a rollicking good time! Get your tickets before they sell out. 

Sweeney Claus marries the Sondheim and Wheeler musical Sweeney Todd: The Demon Barber of Fleet Street to Christmas capitalism via the Gold Dust Orphan panto tradition. It follows the essential plotlines of the Sondheim classic with some deviations. Dasher (Thain Bertin) is a disillusioned sea captain who lands in Scituate, Massachusetts, to set up his barber shop and search for his lost wife and daughter. Dasher finds himself in the spare room at Mrs. Leaveit’s (Landry, giving the people what they want by occasionally showing some leg) bakery. They concoct a plot with an aptly named sailor, Semen (T Perry), to rescue Dasher’s daughter, Johanna (Mary Mahoney). Continue reading

Nov 13

A Romy & Michele Adventure: “Romy & Michele: The Musical”

Photo by Valerie Terranova.

Romy & Michele: The Musical
Presented by Stage 42
Book by Robin Schiff
Music and lyrics by Gwendolyn Sanford & Brandon Jay
Directed by Kristin Hanggi
Choreographed by Karla Puno Garcia
Music supervision by Keith Harrison Dworkin

TICKETS
New York, NY

Review by Kitty Drexel

NEW YORK — Last week, I attended the American Theatre Critics Association’s yearly conference in New York. It was lit! (R.I.P. “lit,” T.O.D.: 10:26 AM, 11/13/25) Press tickets were made available to attendees in exchange for coverage. I attended Romy & Michele: The Musical at Stage 42 on November 6 as part of the conference. 

I streamed the movie after securing tickets. Romy & Michele’s High School Reunion is fun. Not good, not bad. Fun.  I’d watch the movie again if it happened to be on. I feel the same about the musical. I wouldn’t go out of my way to see it if a local theatre was producing it, and I didn’t know anyone in the cast. I would totally attend as press to see what a different cast did with it. Because it’s fun. Some revolutions are built on fun.  

Based on the 1997 cult classic screenplay by Robin Schiff, Romy & Michele’s High School Reunion, Romy & Michele: The Musical is now playing off-Broadway at Stage 42 in New York. Romy (Laura Bell Bundy, who nails the accent and even brings the accent to her sick vocals) and Michele (Kara Lindsay, who gives Lisa Kudrow a run for her money and belts with equally as sick vocals) left their 80s Arizona high school for L.A. after graduation and never looked back. Except now, they are looking back.  Continue reading

Nov 10

Oh, to be young, green, and safe to live from my truth: “Lizard Boy: A New Musical”

From left: Chelsie Nectow, Keiji Ishiguri, Peter DiMaggio; photo courtesy of Benjamin Rose Photography.

Presented by SpeakEasy Stage Company
Written and Composed by Justin Huertas
Directed by Lyndsay Allyn Cox
Music Direction by Violet Wang

October 25-November 23, 2025
Stanford Calderwood Pavilion
Boston Center for the Arts
527 Tremont St
Boston, MA 02116

Run-time: 1 hour 30 minutes, no intermission

Critique by Diana Lu

BOSTON — It’s been ten years since Lizard Boy: A New Indie-Rock Musical premiered in Seattle, and SpeakEasy Stage Company has proven its Lizard BOY is a capable and self-assured MAN-phibian. Under the direction of Lyndsay Allyn Cox and the musical direction of Violet Wang, SpeakEasy’s invigorating revival allows the many strengths of the show’s impressive score and cast to shine, while also exposing its narrative limits.

Lizard Boy finds Trevor, a gay, green-skinned twenty-something, on the first anniversary of a painful breakup. While looking for love, he reveals this is the only night of the year he leaves the house—and the anniversary of the childhood dragon attack that turned his skin green. As the evening unfolds, he finds companionship, an archnemesis, a superpower, his soul truth, and maybe… the end of the world!  Continue reading

Oct 19

As Mysterious As the Dark Side of the Moon: “The Ballad of Little Jo” 

Presented by The Treehouse Collective
Music by Mike Reid
Lyrics by Sarah Schlesinger
Book by Sarah Schlesinger, Mike Reid, and John Dias
Directed by Katie Swimm
Music Directed by Jeff Kimball

Digital Playbill 

October 24 – November 2, 2025
The Plaza Theatre
The Boston Center for the Arts
Boston, MA

Critique by Kitty Drexel

Duration: 2 hours 30 minutes with one intermission

BOSTON — The curious story of cattle ranching and mining pioneer Little Joe Monahan was brought to light when the trailblazer passed away in 1904. Monahan had lived and died as a successful male business owner in Idaho, Oregon, and northern New York. After his death, an unprofessional undertaker preparing Monahan for burial leaked to the Buffalo, NY, press that Monahan was born AFAB. His legacy reminds us that trans people have always existed despite some cis folks’ intentions to erase them.   

There is a lot we don’t know about Little Joe Monahan. Much has been lost to time or otherwise sensationalized by early journalists. Monahan was first memorialized in the 1981 play Little Joe Monaghan by Barbara Lebow. A 1993 movie of the same name starring Heather Graham, Sir Ian McKellen, and Rene Auberjonois further romanticized Joe’s story (and borrowed heavily from Lebow’s play). The Treehouse Collective presents another romanticized adaptation, The Ballad of Little Jo, through Nov. 2 at the Boston Center for the Arts. Continue reading

Sep 30

So it is to be war between us… An Unsolicited, Unprofessional, Largely Unedited Critique of “Masquerade” in New York City

From the “Masquerade” Facebook Page.

Masquerade NYC presented by LW Entertainment
Based on The Phantom of the Opera by Andrew Lloyd Webber 

Loosely based on the novel by historical hottie Gaston Leroux
Lyrics by Charles Hart and Richard Stilgoe
Book by Richard Stilgoe and Andrew Lloyd Webber
Directed by Diane Paulus
Additional cast and crew credits
https://www.instagram.com/masqueradenyc

Now through February 1, 2026.
Performed at 218 W 57th Street, NY 10019 

Critique by Kitty Drexel

10/01/2025 Update: The critique now contains personal photos.

NEW YORK: In March 2025, cryptic messages from The Phantom of the Opera popped up across the internet asking his fans if they missed him. We did. In June 2025, Masquerade established its presence on social media. On June 30, tickets became available on the MasqueradeNYC website. They sold out in hours. When I didn’t snag a ticket during the first sold-out sales event, I theorized the show’s instant popularity would inspire an extension. Producers are horny for cold, hard cash and won’t turn down more if it’s assured. It turns out I was right about my prediction. On July 9, an email advertising the production’s extension was sent to subscribers. 

After paying an egregious amount for tickets in July, I added my name to the Phantom’s “visitor ledger” by buying a ticket for Sept. 17, 7:30 PM. I nearly wet myself with excitement planning my arrival at the not-so-secret venue on a public street, to speak the secret password for entrance into the Phantom’s lair, and to give myself over to the Music of the Night.  Continue reading

Sep 23

Still Sad, Lovely, and Alive: “Rent”

Aaron Alcaraz (Mark Cohen) and Austin Turner (Roger Davis) with the cast of “Rent.” Photos © Paul Lyden

Presented by North Shore Music Theatre
Book, Music, and Lyrics by Jonathan Larson
Direction and Choreography by Marcos Santana
Music direction by Robert L Rucinski
Musical Arrangements by Steve Skinner
Original Concept/Additional Lyrics by Billy Aronson

September 16 – September 28, 2025
North Shore Music Theatre
54 Dunham Rd.
Beverly, MA 01915

Critique by Craig Idlebrook

BEVERLY, Mass. — When I first heard that North Shore Music Theatre was staging a production of Rent, I was a bit surprised. After all, the theatre is more well-known for crowd-pleasing musicals that will appeal to an older audience than for edgy, newer shows like those I first saw in college. Then it hit me. Rent has long ago passed the realm of edgy or new, and I had just gotten my AARP card in the mail.

Rent first burst onto Broadway in 1996 and stunned many theatergoers with its frank and humane depictions of the LGBTQ+ community, the AIDs epidemic, and those struggling with addiction. Set in a decaying New York City in 1989, the rock musical refused to allow its characters to be afterschool special-shallow, either as heroes or as cautionary tales. They were complicated, flawed, and lovely. The play’s beating heart was its depiction of the power of found family among non-conformists. Continue reading