This was a great year for theater. So much outstanding work. This is a testament to the artistry of the actors, writers, directors, along with costumers, set designers, musicians, dancers, and lighting and sound engineers. You all brought your passion and dedication to the craft. You entertained us, made us laugh and cry and think.
Time to unseal the envelopes and present the winners of the 2025 New England Theater Awards.
Best Comedy/Musical – The Hunchback of Notre Dame (Rhode Island Stage Ensemble)
Best Director – Chris O’Neill, The Hunchback of Notre Dame
Best Actor – Paul Nolette – Harvey (The Arctic Playhouse)
Best Actress – Maddy Cardona – Carrie (The Community Players)
Best Supporting Actress – Rebecca Kilcline – Carrie
Best Supporting Actor – Graysen Mortimer – Laughter on the 23rd Floor(The Arctic Playhouse)
Best Ensemble – The Hunchback of Notre Dame
Best Set Design – The Hunchback of Notre Dame(Chris O’Neill, Tom Viall)
Best Sound – The Hunchback of Notre Dame
Best Costumes – Laughter on the 23rd Floor (Nancy Spirito)
Best Lighting – The Hunchback of Notre Dame(Chris O’Neill, Aimee Ambrosino)
Best Choreography – Hairspray(Theatre By the Sea, Christopher Campbell)
Westerly – Granite Theatre has announced that Addison Roush will serve as Interim Artistic Director for the 2026 season.
“The Board of Directors selected Addison from a field of highly experienced and deeply talented candidates following a comprehensive review process. He will officially begin in January 2026, succeeding Nicole DiMattei, who will step down at the end of the 2025 season.”
“As Interim Artistic Director, Addison will oversee the 2026 season and personally direct three productions. The Board of Directors was deeply impressed by Addison’s passion, collaborative approach, and enthusiasm for community engagement, and looks forward to seeing his vision for the season come to life. With Addison’s guidance, The Granite Theatre will continue to thrive as a beacon for the arts and as a destination for exceptional theatrical experiences in southern New England.”
A graduate of Sam Houston State University with a BFA in Acting and Directing, Roush recently starred as Dr. Frank-N-Furter in The Rocky Horror Show.
“I am thrilled to work with the community and everyone at The Granite to create an unforgettable season. I look forward to sharing my passion and love for theater with everyone,” Roush said.
Wilbury Theatre Group’s “Octet” has a unique premise: a support group for Internet junkies. And it’s a musical.
The eight characters, which include the group leader Paula (Helena Tafuri), Jessica (Chelsea Aubert), Toby (Alexander Boyle), Henry (Jason Quinn), Marvin (Jason Cabral), Karly (Naomi Tyler), Ed (Michael Yussef Greene), and Velma (Jenna Benzinger) sing about their struggle with addiction.
Paula reveals her husband was “paralyzed by a stale pale glow” of his phone screen as they lay together, inviting strangers into their bed.
Henry is addicted to games with the word ‘candy’ in the title.
Jessica made a “white woman goes crazy” video.
Velma spends her time in online chat rooms, debating magic and spirituality with like-minded people.
Dave Malloy (“Natasha, Pierre, and The Great Comet of 1812”) composed the music, which is sung acapella.
Director Josh Short (“American Idiot”) and his musical director Milly Massey provide an effective showcase for the vocal talents of the performers.
A rousing group number, set to the rhythms of a metronome, is a highlight. The song builds in intensity to an explosive climax.
“I am obsessed with my status, I am obsessed with my updates,” everyone sings in an ode to the perils of social media.
Tyler is fun to watch as Karly sings about the peculiarities of finding men on dating apps. Greene joins in as one of the weirdos who looks for love online.
Benzinger delivers a stunningly haunting closing song, as Velma expresses her desire to break free from the virtual world.
At one point, a series of numbers and images are projected onto the walls behind the performers. Lighting designer Andy Russ creates an eerie and highly stylized atmosphere for the inner drama of these lost souls.
“Octet” is a natural fit for Wilbury, which specializes in edgy and thought-provoking productions. This show is proof that musicals do not have to be brainless spectacles, they can actually be about something important.
The subject of Internet addiction could not be more timely. As a society, Americans have become glued to their phones and to social media sites. We can’t seem to escape the allure of sharing our thoughts, our feelings, our desires, our very lives, with complete strangers.
Even more ominously, the rise in artificial intelligence is an even greater threat to humanity than anything we’ve ever faced before. The lines between fantasy and reality are becoming increasingly blurred. “Deep-fake” videos are becoming more and more frequent.
For 100 minutes, we see people who have lost themselves in a fake world. They know they have a problem. How many of us could do the same?
Octet runs through December 21. Wilbury Theatre Group. Performers at the Waterfire Arts Center, 475 Valley St., Providence, RI. Runtime is 100 minutes with no intermission. For tickets, visit http://www.thewilburygroup.org.
Helena Tafuri, Jenna Benzinger, and Chelsea Aubert. Photos by Erin X. Smithers.
The Players’ “Carnivale Moliere” pays tribute to the comedies of legendary French playwright Moliere.
The show consists of three one-act plays translated into English by Albert Bermel.
A man resents his wife’s attention for other men in “The Jealous Husband.”
A buffoon is hired to impersonate a physician in “The Flying Doctor.”
A series of misunderstandings result in mayhem in “The Imaginary Cuckold.”
The humor and characterizations are broad and wildly over the top. Moliere enjoyed poking fun at the lunacy of human beings, especially their petty jealousy, vanity, and fruitless quests for revenge. Many of the performers wear a variety of masks, adding to the overall atmosphere of madness.
How do you quantify the success of a show like this? The basic criteria is whether or not you find this type of humor amusing. I do and I was won over by the sheer exuberance of these performers.
Ryan Leverone (“Into the Woods”) earns many laughs as a pompous and egomaniacal intellectual known as “The Scholar” in “The Jealous Husband.” The Scholar mesmerizes everyone with non-stop verbal barrages in a demonstration of his “brilliance.”
Tyler John (“You’re On The Moors Now”) is absolutely delightful as Sganarelle – “The Flying Doctor.” He misleads the elderly Gorgibus (Chip Lamb) into believing he as a twin brother, Narcissus. This leads to a frantic series of leaps into and out of a house to convince Gorgibus he is two people.
John pretends to be fighting himself by using a curtain in the window and switching sides. The whole routine is a comic masterpiece.
Ian Hudgins is outrageously manic as LaVallee, the “jealous husband” and as Sganarelle in “The Imaginary Cuckold.” Hudgins succeeds at satirizing the jealous alpha male in both stories. His physicality and vocal intonation were a joy to behold.
Lauren Kieler is fiery and strong-willed as Angelique, a woman scorned in “The Jealous Husband.” Kieler milks the pathos and melodrama of the situation for all it’s worth.
Vanessa Sciolto also shines as the lovelorn Lucile in “The Flying Doctor” and as Celie, the instigator of the chaos in “The Imaginary Cuckold.”
The cast also features W. Grant Willis, Adrien Kemper, Yates Akinrolabu, Natalie Joy Balen, Marcia Layden, and Nancy Winokoor.
Director Roger Lemelin has crafted a sharply paced show with a perfect mix of surrealism and absurdity.
“Carnivale Moliere” is a joyful escape from the horrors of the real world and a terrific way to close out 2025.
Carnivale Moliere runs through December 14. The Players at Barker Playhouse. 400 Benefit St., Providence, RI. Runtime is 1 hour, 45 minutes with intermission. For tickets, call 401-273-0590 or visit playersri.org.
Tyler John and the cast of Carnivale Moliere. Photos courtesy of Samantha Hudgins.
In order to have a successful production of Charles Dickens’ “A Christmas Carol,” you need to have a good Ebezener Scrooge.
The Arctic Playhouse has a great Scrooge. Terry Simpson, who played Kris Kringle in “Miracle on 34th Street,” is a pure delight as the selfish curmudgeon.
Simpson has a blast reciting Scrooge’s catchphrase “Humbug” as he declines to give money for the poor, rails against the celebration of Christmas, and berates Bob Cratchit (Kurt Bloom), his faithful employee.
Austin Charette, making his Arctic debut, is exceptionally charming as Fred, Scrooge’s nephew. Scrooge declines an invitation to Fred’s holiday party, preferring to spend the night alone.
The veteran performers acquit themselves quite well.
Bill Cabrera is terrifying as the chain-rattling Jacob Marley, Scrooge’s long dead business partner and friend.
Scott Conti gives an amusing turn as the Ghost of Christmas Present.
Colin McAlpine is appropriately spooky as the masked silent Ghost of Christmas Future.
Allison Krebs makes for a headstrong yet compassionate Mrs. Cratchit.
Brian Lamothe (“Miracle on 34th Street”) also shines as Fezziwig, Scrooge’s good-natured and optimistic former boss.
Emma Kerr serves as the Narrator.
The youth performers are uniformly terrific.
Atticus Gomes brings spark to the Ghost of Christmas Past as he escorts Scrooge on a tour of his past. Gomes previously appeared in “Miracle on 34th Street.” Monty Eagan-Bloom is quite effective as a younger Scrooge.
Alexander McAlpine is appealingly natural as a young Marley and as Peter Cratchit.
Julian Charette is adorable as the youngest Cratchit family member, “Tiny Tim,” who walks with a crutch.
Lloyd Felix’s exquisite set design evokes the gloom and economic hardships of Victorian England. Nancy Spirito’s costumes capture the mood perfectly.
Director Brian Sawyer has crafted a fast-paced show which maintains the heart of Dickens’ message. Jay Burns adapted the story. This is a tale of redemption. Scrooge rediscovers his humanity after years of bitterness.
Simpson shows Scrooge’s evolution as he comes to terms with the experiences of his past. He sees a grim future for himself if he doesn’t change his ways. Scrooge’s joy on Christmas morning is infectious. We see a man being reborn. A miracle of sorts.
This is a show which gives us hope for our future. It is also a wonderful way to close out an unsettling year.
A Christmas Carol runs through December 21. The Arctic Playhouse. 1249 Main Street, West Warwick, RI. Runtime is two hours with intermission. For tickets, call 401-573-3443 or visit thearcticplayhouse.com.
Terry Simpson as Ebenezer Scrooge. Photos by Sandy Smith.
New England Theater 