Category Archives: Reviews

By Katrina “Kat” Reynolds

MR. PARENT presented by Playhouse in the Park through Oct. 6th. I attended the opening night performance. 

Maurice Emmanuel Parent in Mr. Parent presented by Playhouse in the Park. Photo credit to Mikki Schaffner Photography

As its first 2024-2025 season offering in its Rosenthal Shelterhouse Theatre, Playhouse in the Park brings us MR. PARENT written by Melinda Lopez and Maurice Emmanuel Parent. Telling the story (or stories, rather) of an actor turned public school teacher in order to earn a steady paycheck, MR. PARENT is a one-person show told by the actor himself.

Director (and conception collaborator) Megan Sandberg-Zakian ensures the play space is used to its fullest. Incorporating a rather simple yet versatile set designed by Cristina Todesco, our actor-playing-a-teacher keeps the action going with steady movement. Lighting Designer Karen Perlow does an excellent job with mood-appropriate lighting – from the stark light of a classroom to the dimmer lights of a tense scene being performed in an audition.

As one can imagine, it can be difficult to go on at length over a 90 minute, one-person show. That does not mean, however, that this show lacks the proverbial punch. As an artist myself, I certainly have a kinship of sorts with Mr. Parent – but it is not necessary to share this kinship in order to get something from his art. The stories of a gay man of color trying to navigate the need to make his passion a way of paying the bills alone is a wonderful point of view for all to see. In addition, the transition from accepting a gig as a theatre teacher in the Boston Public School system for the stability by day so he could pursue artistic passion by night – leading him to realize he had actually learned to care about these children who sometimes lacked such care at home is a wild ride.

Mr. Parent (the writer/actor) gives audiences an all-encompassing performance that is clearly drawn from the students who touched his lives for a few short years. His delivery is spot-on and he keeps up the momentum easily. In addition, his tales are hilarious, relatable, touching, and heart-breaking – and even educational! Yes, there is a white board and dry erase markers and you will be taken to school.

In case you didn’t know, teachers have a thankless job – especially those in the public school sector. MR. PARENT is ultimately a love letter to those whose passion is to educate and better our future leaders with personal experiences to back it up. Maurice Emmanuel Parent is a passionate and sensitive human being who knows how to tell a story and this show is a lovely piece.

Click here for more information about the production.

By Katrina “Kat” Reynolds

DIAL M FOR MURDER presented by Playhouse in the Park through September 15th. I attended the opening night performance. 

Photo by by Mikki Schaffner Photography.

2024 marks the 70^th anniversary of the classic Alfred Hitchcock film DIAL M FOR MURDER – so what better way to celebrate than by seeing a stage adaptation by the same name? Playhouse in the Park’s 2024-2025 season opener (and co-production with Alley Theatre) at Moe and Jack’s Place (The Rouse Theatre) brings audiences the tale of a man who carefully plots the murder of his wealthy wife. Frederick Knott’s screenplay on which the film was based has received a slight makeover by playwright Jeffrey Hatcher’s adaptation, but his choices are keen and all of the key factors have been kept intact.

Not enough great things can be said about the series of beautiful stage pictures director Tatiana Pandiani creates for DIAL M. It should come as no surprise that she is also an accomplished choreographer as the blocking is very much like a suspenseful ballet. Ms. Pandiani’s understanding of the text is remarkable and perfectly complemented by the impressive set designed by Marcelo Martinez Garcia. Short of the less-than-ideal happenings in the home in which the story takes place, I would gladly live in the opulent apartment if for no other reason than the gorgeous Art Deco French doors.

Lighting Design by Yuri Nakase Link and Costumer Design by Rodrigo Munoz seem to serve as additional characters to this tale. Lighting choices are smart and decisive and paint the mood very clearly in each moment. The costumes are perfectly tailored to each actor and the spectator immediately knows who each character is by their style. The choice of colours in both lighting and costume design is the crème de la crème.

With a cast of five incredibly talented artists, it is virtually impossible to choose a favourite. Playing the role of Tony Wendice, a charming failed writer who decides to plot some dastardly deeds, is Brandon Hearnsberger. Mr. Hearnsberger embodies the role of a seemingly distinguished English gentleman who has a dark side. With a spot-on dialect and expressive facials, you may find yourself so eager to know what he’ll be doing next that you’ll forget to hate him.

As Tony’s wealthy wife Margot, Teresa Zimmerman is extraordinary! Aesthetically the picture-perfect blonde bombshell of Hitchcock’s dreams, Ms. Zimmermann does not give us typical “damsel in distress” energy. Her execution of this role is enviable and I quite fell in love with her, almost exactly at first sight. Ms. Zimmermann shows us that Margot’s ability to keep secrets is perfectly matched with Tony’s ability to do the same. Tens across the board!

In addition to our failed couple, the stage boasts the talents of Geena Quintos as Maxine Hadley, a no-nonsense New York crime writer who speaks her mind quite plainly and dazzles in the period wardrobe. We are also graced with Cincinnati acting royalty by the casting of Justin McCombs as Lesgate and Barry Mulholland and Inspector Hubbard. Mr. McCombs owns the stage every moment he is on it and is able to elicit both disdain and pity from the audience with seemingly little effort. Mr. Mulholland is exactly the kind of inspector the good guys want and the bad guys fear – and like his Cincinnati colleague, he dons a hat like he was made for it.

In summary, DIAL M FOR MURDER is an excellent time at the theatre for both those who have seen the 1954 film and for those who have not. With top-notch directing, an incredibly well-written story, and superb performances, you will not want to miss out on this thrilling ride.

Click here for more information about the production.