Pete Doherty gives shock health update: ‘Body parts were going to have to come off'
Pete Doherty has said doctors warned he would have to have his toes amputated if he didn't make lifestyle changes following his Type 2 diabetes diagnosis.
The Libertines frontman 46, has been open about his health struggles in recent years, claiming in 2023 that he feels 'death is lurking' after years of drug and alcohol abuse took its toll on his body.
Those with diabetes run the risk of foot-related complications as high blood sugar levels can damage blood vessels, affecting the blood flow to feet and legs.
Speaking to Fearne Cotton on her Happy Place podcast, Doherty revealed he had to change his diet and stop drinking to avoid losing his toes.
Foot infections and unhealed ulcers are the primary cause of diabetes-related amputations, with the latter preceding more than 80 per cent of amputations.
'They were going to have to come off,' Doherty said. 'They're kind of on the mend now…I'm letting myself have a drink once in a while, like, every 10 days.
'But something has sort of shifted in me,' he added. 'There's not that need [to drink].'
Doherty said his close bond with his wife Katia de Vidas and their young daughter Billie-May has helped him develop healthier drinking habits.
'It's just evolved, our relationship,' he said. 'The closer we've got, and the more time we've spent together, the less I've needed to do it.
'It turned out she preferred me not on drugs,' Doherty continued. 'I preferred it when she liked me, and we built a life.'
The Libertines frontman said he also felt greater pressure to write his first solo album in nine years, Felt Better Alive, because he thought he didn't have much time left.
'I'd think, 'I'm dying. I've got to write a brilliant song right now'...that would happen a lot,' he said.
'I'm not that arsed really about writing. I love playing music but that need to write and create, it was fuelled by anxiety and darkness,' the musician admitted.
Speaking to Louis Theroux in November 2023, Doherty said of his lifestyle: 'I've battered it, haven't I? I've f***ing caned it. [The] heroin and the crack… I surrendered to that, and then it was cocaine and the smoking and the alcohol, and now it's cheese and the saucisson, and the sugar in the tea.
"It's all gotta go. They told me a little while ago if you don't change your diet then you're gonna have diabetes and cholesterol problems. Death's lurking, you know what I mean? That's why I carry that stick."
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Time Magazine
03-06-2025
- Time Magazine
The Best TV Shows of 2025 So Far
Survive till '25. This was the watchword for Hollywood last year, repeated like a mantra at all levels of the industry, from studio execs to below-the-line crew members. But the strikes of 2023 that delayed releases slated for 2024 were never the only ills plaguing the entertainment sector. So it isn't surprising that the reality within the business hasn't quite lived up to the slogan. Still, the outlook for viewers has genuinely improved since this time last year, when beloved shows were just going back into production. Now, they've returned. The highlights of 2025 so far have included long-awaited new seasons of prestige TV phenomena like Severance and The White Lotus. Even more heartening has been the profusion of wonderful new shows, from star-studded slam dunks The Studio, The Pitt, and Dying for Sex to the surprise smash Adolescence. Adolescence (Netflix) Adolescence is, in many ways, this year's Baby Reindeer: a sleeper-hit British Netflix miniseries that started an overdue, international conversation about masculinity and its discontents. But rather than a semi-autobiographical—and intensely personal—black comedy like creator-star Richard Gadd 's Reindeer, Adolescence is a harrowing drama about the effects of incel culture and the misogynistic manosphere on kids who can't even imagine growing up without social media. In just four episodes that unfold not just in real time, but also as elegantly executed single shots, co-creators Stephen Graham and Jack Thorne relate the tragedy of a 13-year-old boy, Jamie Miller (Owen Cooper), arrested for the murder of a female classmate. That he did kill her is established early on; the question is, why? The standout hour puts Jamie in conversation with a psychologist (Erin Doherty) who gradually untangles the mess of influences that turned a seemingly normal middle schooler violent. Cooper, Doherty, and Graham, who plays Jamie's guilt-stricken father, are all phenomenal. It's no surprise, either, to see the team behind this show kind of taking over TV in 2025. Already this year, Thorne has released two other moving social dramas in the U.S., Toxic Town on Netflix and Best Interests on Acorn. Graham and Doherty, meanwhile, can be seen in Hulu's Victorian crime series A Thousand Blows. Dying for Sex (FX) If it wasn't based on a true story turned podcast, the premise of Dying for Sex might sound so far-fetched as to be offensive. Diagnosed with terminal cancer at 40, Molly (Michelle Williams) dumps her condescending husband (Jay Duplass), recruits her chaotic best friend (Jenny Slate) as her caretaker, and embarks upon a sexual odyssey to compensate for a lifetime of trauma and repression. Specifically, while undergoing invasive treatments, she exerts control over her circumstances by exploring domination. From consensual crotch-kicking to hospice hallucinations, Dying for Sex never encounters a there where it's too timid to go. And it's almost never less than believable, thanks to its grounding in an ordinary person's extraordinary last days; Williams and Slate's electric portrayal of a bond that is the most important relationship in both women's lives; and the balance co-creators Kim Rosenstock and Liz Meriwether strike between humor, heat, and brutal honesty about the universal experience that is death. Forever (Netflix) Judy Blume 's Forever, with its frank depictions of teen sex and detailed account of a visit to Planned Parenthood, has been in the cross-hairs of uptight adults since its publication in 1975. But Blume's empathetic yet clear-eyed portrait of first love became a YA classic anyway. Now creator Mara Brock Akil has updated it for a tech-saturated 21st century, in a remarkable adaptation that resituates what its white, suburban story among Black teens in L.A. The central couple, Lovie Simone's ambitious, working-class Keisha and Justin, a wealthy but lost prep schooler played by Michael Cooper Jr., feel more vivid and specific than the original characters. In a choice that ensures the show resonates with viewers of all ages, Forever also spends time with their wise, loving, inevitably imperfect parents. What Brock Akil and her phenomenal cast preserve from the novel are its most timeless themes—the ecstasy of new romance, the unpredictable nature of youth, the expanded perspective that can only come from experience. Mo (Netflix) In 2022, when Netflix unveiled the first season of Mo Amer and Ramy Youssef 's comedy series based on Amer's experiences as a Palestinian refugee in Texas, Oct. 7 was just another date. But by the time Mo returned for its second season, this past January, the massacre Hamas committed on Israeli soil on that day in 2023 had catalyzed a war that has decimated Gaza. As one of vanishingly few Palestinian American voices in Hollywood, Amer might have devoted what would, unfortunately, be his show's final season to current events. Instead, he confined the story of his alter ego Mo Najjar's family to the months leading up to Oct. 7, opening with a Mexican detour that connected Mo's predicament to that of all immigrants, continuing through the Najjars' Kafkaesque quest for citizenship, and concluding with the their picturesque but by no means carefree visit to a homeland they hadn't seen in decades. By turns hilarious, horrifying, and sublime, Mo broadens horizons by eschewing polemic in favor of conversation. The Pitt (Max) Arriving at a fallow moment on the calendar, propelled by a wave of nostalgia for '90s network television, The Pitt hooked viewers with the promise of ER star Noah Wyle's return to the emergency room, in a new medical drama conceived by that show's producers. That was hardly all the series had to offer, though. An hour-by-hour chronicle of a single shift at a busy Pittsburgh trauma center, the first season surveyed the dire state of public health in America, earning praise from the medical community by highlighting challenges hospital workers routinely face that are rarely represented in TV's many inferior doctor shows. It gave us wonderful characters, from Wyle as a hypercompetent attending physician who is quietly suffering to Taylor Dearden as an empathetic young resident, in a singular performance that resonated with neurodivergent viewers. At its most ambitious, The Pitt pressed its stethoscope to the heart of a nation that, in its many crises, resembles nothing so much as an overcrowded emergency room. The Rehearsal (HBO) Shakespeare may have popularized the idea that life is a performance, but comedian-auteur Nathan Fielder has pushed it to an extreme in The Rehearsal, a reality comedy premised on the assumption that any human pursuit can be improved through practice. While the show's first season rearranged brains with Fielder's increasingly introspective attempt to help a woman rehearse for motherhood, Season 2 has focused on the creator's own, weirdly timely obsession with aviation safety. The big idea—one less mind-exploding than its predecessor but equally engaging—is that open communication between a plane's captain and first officer would prevent crashes. But the digressions, from a psychological profile of hero pilot Chesley "Sully" Sullenberger to Fielder's brilliant response to censorship, are at least as funny and fruitful. I won't spoil the finale for those who've yet to see it; suffice to say the season sticks the landing. Severance (Apple TV+) The three-year interval between the first and second seasons of Severance, accompanied by reports of a writing and production process plagued by ' panic ' over fans' high expectations, didn't seem to bode well for Apple's hit sci-fi thriller. But creator Dan Erickson, director-executive producer Ben Stiller, and their note-perfect cast managed to overcome those anxieties in a new batch of episodes that rivaled Season 1 without repeating it. Set amid employees of a dystopian megacorp called Lumon who've had their consciousnesses consensually 'severed'—creating one 'innie' self for work and one off-the-clock 'outie'—originally presented as a melancholy satire of office culture. This season, however, deepened the show's philosophical undertones, using the love triangle that formed between protagonist Mark (Adam Scott), his innie's soulmate Helly (Britt Lower), and his outie's long-lost wife (Dichen Lachman), as well as the romantic lives of supporting characters, to raise fascinating questions about the nature of selfhood. The Studio (Apple TV+) The year's best new comedy is Seth Rogen's all-star sendup of the film industry ca. 2025, a business beset by AI anxiety, labor unrest, and a pandemic-related cinema apocalypse, whose only formula for success seems to be convincing high-minded auteurs to make movies tied to brands beloved by children. The Studio, which casts Rogen as a well-meaning but deeply insecure executive who's suddenly promoted to studio head, isn't exactly a revolutionary idea. In fact, it pays homage to predecessors like Robert Altman 's The Player. What the show brings to the genre—and what makes each kinetic half-hour of its first season so much fun to watch—is a fierce love of movies that comes through in, for example, an extended homage to Chinatown and such stylistic flexes as a single-shot episode devoted to filming a single-shot scene. A cast that includes Catherine O'Hara, Kathryn Hahn, Ike Barinholtz, Chase Sui Wonders, and a mess of A-list guest stars appearing as themselves (Martin Scorsese, Charlize Theron, Steve Buscemi, Greta Lee, Ron Howard, Anthony Mackie, Olivia Wilde, etc. etc. ) doesn't hurt, either. The White Lotus (HBO) In its long-awaited third season, Mike White's murderous high-end tourism satire was bigger, crazier—and, ultimately, more divisive than ever before. Some complained about the slow pace or the vaguely sketched Thai characters; others got the ick from that excruciating incest subplot. Fair enough. Even I wasn't fully satisfied with the finale, which erred toward predictability in some places and was riddled with holes in others. And yet! White's interrogation of how Eastern spirituality is instrumentalized by soul-sick Westerners succeeded in its wildest provocations. Also, I still can't think of another show that so thrillingly builds tension and explodes pieties purely through piercing dialogue exchanged by ideally cast actors. (This season's MVP list was long: Walton Goggins, Aimee Lou Wood, Parker Posey, Carrie Coon, Jason Isaacs, Patrick Schwarzenegger, Sam Rockwell in an iconic surprise guest arc, returning favorite Natasha Rothwell.) Nor, in a post- Succession world, can I name a show that's more fun to pick apart on a weekly basis. So, is The White Lotus really past its prime? As a poet once said: Piper, NO! Wolf Hall: The Mirror and the Light (PBS) It's probably an indictment on all of us—Hollywood, critics, the viewing public—that one of the greatest actors in the English-speaking world (Mark Rylance) can reprise his riveting portrayal of a singular statesman (Thomas Cromwell) in the long-awaited sequel to a masterly adaptation (Wolf Hall) of the late Hilary Mantel 's marvel of historical fiction… and we're too busy praising The Last of Us to notice. But I'm not here to scold. Rather, take this as a reminder that it's not too late to dive into the excellent The Mirror and the Light, which revisits the Cromwell saga as the once-ascendant advisor to Henry VIII (Damian Lewis) discovers that he, too, is vulnerable to the tyrant's whims. Unshowy direction brings language and performances to the forefront, as Rylance's increasingly lonely, doleful tactician keeps reliving the day he delivered Anne Boleyn (Claire Foy) to her death and is haunted by the ghost of his mentor, Cardinal Wolsey (Jonathan Pryce). Though set in the 16th century, the series' bleak observations about elitism, integrity, and the consequences when flawed people wield absolute power feel remarkably timely.
Washington Post
22-05-2025
- Washington Post
The backstage hustle behind Jennifer Hudson's ‘spirit tunnels'
BURBANK, Calif. — It doesn't take long after I arrive at 'The Jennifer Hudson Show' for the backstage crew to break into song. It's just before 1 p.m. on a Monday in mid-April — a time when the post-lunch slump typically drags into a midafternoon lull. But here at the 'Happy Place,' as the staff and fans have nicknamed the show, the hallway is pulsing with crew members singing, stomping and clapping as they huddle outside Hudson's dressing room and rehearse a new tune for the multi-hyphenate TV host. 'We love J-Hud. It's Season 3. Happy Place is the place to be. We love J-Hud. It's Season 3. Happy Place is the place to be.' On cue, a producer wades through the group, layering in a chant — 'Line up! Line up! Line up!' — and everyone takes their places along both sides of the hallway. Moments later, Hudson appears flashing a broad superstar smile and soaking up the energy as she makes her way to the stage, where a live studio audience awaits. 'That's the thing that gets me going,' Hudson told me earlier, as we sat on plush couches in her dressing room. 'We have 170 shows a season, but soon as I hit that door, I just absorb it all — I just go around in that circle and it feeds me. It sets me up for when I walk out there to host a show.' The musical send-offs, which began off camera during Season 1, have quickly become a viral and signature segment of Season 3 — expanding to celebrity guests as they strut, shimmy, stroll or awkwardly smile and shuffle down the hallway called the 'spirit tunnel.' For each episode, producers write, rehearse and perform an original song for their guests and post their reactions — and rhythm — on social media. Usher gliding down the carpeted hallway in roller skates. Michelle Obama dancing to a reimagining of Stevie Wonder's 'I Wish.' Lee Jung-jae graciously smiling as the crew greets him in Korean. A barefoot Benny Blanco passing out roses to the staff. And 'Lion King' star Aaron Pierre suavely strolling to an earworm refrain, 'Aaron. Pierre. That's Mufasaaaa.' Days, weeks — sometimes even months — of planning can precede each tunnel segment. And while the initial walkout song is filmed and posted online, guests are also treated to a second song off camera when they return from their interview onstage with Hudson. Besides their performance for Hudson during my visit that day, the team also did one of their longest songs to date, welcoming a group of 125 finalists for Nexstar's Remarkable Women of 2025. Next, Roots drummer Questlove was serenaded down the hall as crew members twirled drumsticks. They performed a new song after his interview. And while I was regrettably long gone by this point, a second taping later that day would include an interpretation of Doechii's 'Anxiety' for actor Penn Badgley, which has already earned more than 38 million views on TikTok. The math starts to add up fast: Sometimes the crew is taping up to three episodes a day with tunnel songs for Hudson and her guests — which means the tally can land at 12 to 15 songs total, crew members at the studio told me. 'This season alone, we've done at least 800 or more tunnels,' said producer Angie Green, who helps leads the segment with talent booker Paige Matthews and associate producer Alexis Powell. The payoff, producers say, extends far beyond the nearly 4 billion views the tunnel videos have collectively earned. 'The Jennifer Hudson Show,' which was recently renewed for a fourth season, is part of a new class of daytime TV hosts redefining how their genre connects with audiences in a crowded entertainment landscape. These contemporaries — including Drew Barrymore, Karamo Brown, Tamron Hall and Sherri Shepherd — aren't competing just with each other, but also with streaming platforms and the endless scroll of social media. According to its publicity director, the show has seen momentum in 2025, hitting a season high in mid-March with an average of 789,000 daily viewers. The team also reports reaching 44.6 million viewers this season, ranking third in total audience among talk shows behind 'Live With Kelly & Mark' and 'The Kelly Clarkson Show.' But beyond ratings, the tunnel segment offers a glimpse into the culture that fuels the production behind the scenes, Hudson said. 'It's an experience when you come to the Happy Place — it shows people the environment that's here. What better way to exude happiness and joy than through song and celebration?' The ripple effects are increasingly hard to miss — as renditions and parodies of spirit tunnel songs have reappeared in clubs, churches, classrooms and corporate settings. Kids at a dance organization in Africa reenacted Pierre's segment. A DJ's remix set a dance floor of clubgoers ablaze. Students at a middle school in Georgia spoofed the concept to roast their teachers. And a recent episode of 'Abbott Elementary' worked the tunnels into a running joke. Even off the set, Hudson can't escape the series. 'I go out and I see people form lines and I'm like 'Oh my God, they're about to hit me with a spirit tunnel,'' she said. 'I have been in the airport, I have been in hotels where the staff … just wanted to do it and even when I went to [an NBA] game.' 'We're part of pop culture, which is the dream for anything you're doing in entertainment,' said Andy Lassner, an executive producer on the show who previously helmed 'The Ellen DeGeneres Show' and its popular YouTube channel. 'I could have come up with 55 ideas, I would have never thought of this,' Lassner said of the spirit tunnels, crediting Powell, Green and Matthews for its success. 'Anybody who goes through it, you see them when they come out and it's like they've just been to church.' The spirit tunnel didn't come out of a branding or marketing strategy. It started in Season 1 as simple cheer songs to center Hudson and channel her musicality, charisma and stage presence — gifts that carried her from gospel roots and 'American Idol' to the rarefied club of EGOT winners. 'She really exudes that joy and positive energy, and it just makes you want to create more joy here,' Powell said. 'And that's how the spirit tunnel started — we felt that initiative or that energy to be able to do that for her because we just wanted to give back what she was giving us.' Then Hudson had the idea to expand the songs and include guests. In January 2024, Matthews, Green and Powell led the effort for Season 2. From the moment a guest is booked on the show, 'the wheels start turning,' Matthews said. In a group chat they call 'Tunnel Vision,' crew members begin riffing and researching ideas that reach deep into each guest's history — analyzing their careers, catalogues, accomplishments, personalities, deep cuts and internet lore. When a guest's upcoming appearance inspires multiple ideas for song approaches, a voting method ensues — which can get competitive. 'Like all three of us could have different pitches,' Green said. 'And then we're [each] pleading our case of why our pitch is better. It is a sport.' At the beginning of Season 3 in September, the crew started recording the tunnels for the show's social media pages. Angela Bassett was first. Her face breaks into shock before she dance-struts down the hall. With more than 5 million views, Gwen Stefani's video the following month was the first to go viral, producers said, as the camera captured her delight to the crew's clever adaptation of her 2004 song 'Hollaback Girl.' R&B singer SZA reposted her tunnel on Instagram Stories, writing: 'Waited my whole life for this.' And Lassner said he received a text message from Season 2 guest Chrissy Teigen who wanted another shot at the tunnel. 'I didn't know that tunnel was a big thing — I would have been better in it,'' he recalled her saying. 'She's like, 'I don't have anything to promote. So can I just come back and do the tunnel?'' So far, only one celebrity is known to have been given a 'hall pass' to skip the spirit tunnel: 'The Pitt' actor Noah Wyle, who explained to Hudson he has avoided public dancing since 1984 when he poorly attempted the Worm at a bar mitzvah. Another fear for some — or at least popular on-camera host Speedy Morman — is not being 'famous enough' to pack the hallway. But producers say the tunnel's varying turnout (whether it's sparse or densely packed, extending past the hall into craft services) is not a reflection on a guest's star power. It's just that the staff — which includes production assistants, coordinators, talent bookers and more — still has a show to run. Still, they do get starstruck from time to time. 'I have cried after a couple [songs]' Green said. 'I get really emotional sometimes when it's someone I grew up watching — like I almost lost it when Kelly Rowland went down.' Other celebrities completely surprise them — like Adam DeVine. 'I didn't know he was going to cut up as much as he did,' Powell said. 'He went back and forth. I forgot the lines, I was just so discombobulated.' The chance to brush up against celebrities is far from the main appeal for the producers — it's about giving them their flowers, Powell said. 'We get to celebrate them — it's just a great feeling,' she said. 'And the fact that the world gets to see that and celebrate that with us is truly iconic.' After returning backstage to his second song, Questlove humbly acknowledged the love. 'Thank y'all,' he said. 'Half the world thought that I was W. Kamau Bell.' It's those reactions that make the spirit tunnel feel like more than just a segment, Powell said during our interview. 'We just love tunnels. … When we're done with this [interview], we're going to give you a tunnel,' she quipped as I laughed nervously. For the rest of the day, I braced for one every time I turned a corner. In the end, all I got was a hat, a tote bag and Hudson's signature parting line to guests: 'Will you come back and see us?' Close enough — even without the song and dance.
Boston Globe
19-05-2025
- Boston Globe
You're looking (and sounding) swell, Dolly
Advertisement Though 'Hello, Dolly!' is the warhorse to end all warhorses, it's still got some giddy-up. Modernizing it would not work, and Parent wisely does not try, even though his program note makes clear that today's political climate is much on his mind. His unapologetically old-fashioned production taps into the strength of Jerry Herman's score – which remains hard to resist no matter how many times you've heard it – while showcasing the musical-comedy chops of Aimee Doherty. She plays Dolly Gallagher Levi, a matchmaker and 'marriage broker' in the 1880s who's trying to reel in Horace Vandergelder (an entertainingly stuffy Joshua Wolf Coleman), 'the Yonkers half-a-millionaire' owner of a hay and feed store, for herself. It's a role that has traditionally been played powerhouse personalities whose performances were as extravagant as the oversized hats Dolly favors. Carol Channing originated the role in 1964, and went on to play Dolly twice more on Broadway, in 1978 and 1995. (Channing's return trips to the show inspired a parody in Needham native Advertisement In the 1969 film version, Dolly was played by Barbra Streisand, then only 27, too young for a character who is supposed to be middle-aged. At points along the way, Broadway legends Ethel Merman and Mary Martin also shouldered the role onstage. Doherty's portrayal is more modestly scaled. Rather than seek to overpower the audience at Lyric Stage with sheer bombast, Doherty deploys a winking charm to enlist them as allies, almost co-conspirators, in Dolly's quest to land Vandergelder as a husband. Michael Stewart's book — based on Thornton Wilder's 1954 Broadway play, 'The Matchmaker' — is frequently stilted, so it helps that Doherty has such a deft way with a one-liner. The Lyric Stage space isn't large enough to fully capture the spectacle of two of the show's best songs — the joyous 'Put on Your Sunday Clothes' and the mix of poignancy and determination that is 'Before the Parade Passes By' — but the cast sweeps you up with their sheer energy, creating a kind of controlled pandemonium. Choreographer Ilyse Robbins, as usual, has devised dance moves that simultaneously fit with and elevate the production: a buoyant combination of styles and coquettish poses that leverage the visual possibilities of the women's long skirts. Costume designer Kelly Baker has dressed the cast in period-perfect garb, including, yes, hats the size of flying saucers for Doherty. Advertisement With its curving staircase and signs on either side that read 'Yonkers' and 'Grand Central,' Janie E. Howland's set efficiently communicates a sense of place(s). Music director Dan Rodriguez and his orchestra do stellar work, though they drowned out Coleman at times Sunday afternoon — a perennial problem at Lyric Stage with softer-voiced performers. Beyond the Dolly-Horace drama, the bright lights of New York City are beckoning Vandergelder's chief clerk, Cornelius Hackl (a first-rate Michael Jennings Mahoney), and his innocent assistant, Barnaby Tucker (Max Connor). They soon become entangled with Irene Molloy, a widowed milliner played by the vibrant Kristian Espiritu, and her assistant, Minnie Fay (an amusing Temma Beaudreau), with the women convinced the men are rich and placing meal orders accordingly. Herman, who died in 2019 at the age of 88, was all in on romance, and the actors in his shows need to take an equally unconditional approach. Espiritu beautifully fulfills that requirement in her Act One solo, 'Ribbons Down my Back,' blending delicacy and yearning. Herman is also virtually synonymous with big, brassy anthems (consider his 'I Am What I Am' from 'La Cage aux Folles,' or the title number in 'Mame'). Not for him the ironic distance of his contemporary, Stephen Sondheim. (Who was by far the superior artist.) Brassy though Lyric Stage's 'Hello, Dolly!' is, it's also studded with small, resonant moments. Mark Linehan, who is very funny as Rudolph, the maître 'd at the Harmonia Gardens restaurant, executes a nifty tap break during the title song. Advertisement But the spotlight invariably returns to Doherty, who brings her trademark verve to her performance of the title song, begun as Dolly descends the staircase in Harmonia Gardens. Like Dolly, when Doherty needs to go big, she goes very big. HELLO, DOLLY! Music and lyrics by Jerry Herman. Book by Michael Stewart. Based on Thornton Wilder's 'The Matchmaker.' Directed by Maurice Emmanuel Parent. Music direction, Dan Rodriguez. Choreography, Ilyse Robbins. Presented by Lyric Stage Company of Boston. Through June 22. 617-585-5678, Don Aucoin can be reached at
