, Goodspell features music by Stephen Schwartz with lyrics inspired by Christian hymns penned also by Schwartz. The pop/rock score features an assortment of catchy tunes ranging from anthems to folksy homilies to scorching ballads. Director Matt Raftery opens the show with a cappella style featuring a blend of individual and various parts harmony from his ten member cast. This technique produced a weirdly haunting prologue that set the tone for the show.
In Monstrous Regiment, Borogravia is at war. Again. Polly Perks (Sarah Price) cuts her hair and joins the army (as a boy) in order to find out about her missing brother. Soon, she discovers that there are other girls disguising as boys in her unit. This band of misfits must survive corporeal Strappi (John Ferrick) and the strong sergeant Jackrum (Christopher M. Walsh) and the goofy Lt. Blouse (Robert Kauzlaric), This insane leadership is made plausible by the sheer cunning of the band of girls.
Since the premise of Tyrant is preposterous and the dull repetitive message scenes and rules-talk sessions are boring, Tyrant collapses under the weight of its own making. The play’s ending is both shocking and unsatisfying even if you accept the show’s premise. The show is too long and repetitive as it tries to cover too many themes. Freedom for all is surely lacking in an over regulated society. We get that so why concoct such a depressing future? I don’t believe the homeless problem will lead us to regulate away our freedom. That is why we have courts.
This Damn Yankees is an intentional recreation of the 1955 work, It is rare that you’ll see Damn Yankees with no cuts and with a full orchestra and even rarer that you’ll see as fine a player as Rudy Hogenmiller playing Mr. Applegate. Damn Yankees is a clever, tuneful nostalgic trip back to the Golden Age of Broadway musicals. It is a trip worth taking.
Whether or not you’ve ever heard of the Andrews Sisters, I’m positive you’ve heard their music in one form or another. Their music and style has infused itself into American pop culture and there’s no shaking it loose. Although the younger generation didn’t grow up with the Andrews Sisters music, they’ve most likely heard their grandparents playing them or in the background of old cartoons and period films. A Musical Tribute to The Andrews Sisters is a thoroughly entertaining revue, making old and young feel nostalgic
The direction and construction of the play was superb. The actors were all extremely lively and realistic, holding their characters well as the play quickly jumped from vignette to vignette. Anne Joy gave an especially genuine portrayal of Evie, truly living on stage.
Theatre is capable of doing many things, but one thing it does exceptionally well is allow the viewer to step right into the lives of others. Eat Your Heart Out is one of those plays where you forget that you’re sitting in a theatre and instead become a fly on the wall of someone else’s life. This is not one to miss.
Although we idolize artists and their affect on us can be profound, their struggles are intrinsically human. An artist’s journey is no more profound than what the average person deals with day to day. The only difference between an artist and anyone else is that an artist chooses to express their thoughts and emotions through a medium designed for consumption. What to Listen For does a great job of describing the ineffable qualities of relationships and music; however some of the actors’ performances make the production fall just short of coherent. I recommend seeing this show if you’re looking for something new, but if you prefer seeing something more traditional and polished I would proceed with caution.
Funny, spectacular, and engaging, Ask Aunt Susan will entertain while sneaking in immensely timely commentary. It’s easy to find comfort on the internet, but at the end of the day we are all human beings who yearn for tangible interactions. If you find yourself buried in your tiny screens, come to the theatre and spend some time with Aunt Susan. Take the time to be in a physical room full of people instead of a chat room and let Ask Aunt Susan carry the burdens of the digital age.
But, I must say that the production worked nicely given is was a musical filled with teenage hyperactivity. Fans of the movie and fans of Broadway pop will find much to like here.
Everything this production has to offer can be derived by reading Saltzman’s bio and by listening to his recordings. On top of his meek performance, the production was peppered with video projections, which only seemed to function as a means for cheap laughs and a multi-media edge. The production wouldn’t have been nearly as disappointing if it hadn’t been based on an aggressive promise to present new music and profound ideas