The impression given is that Shriner has plumbed her depths enough to be able to acknowledge her flaws without wallowing in them.
The musical theatre reviews featured here are written by reviewers, not critics. These impressions and opinions are from individuals passionate about musical theatre and represent, in most cases, one observation of one performance. The primary purpose in publishing reviews is to help patrons decide whether a production is a good use of their time and entertainment budget. Our reviewers are also encouraged to creatively shine a light on particularly good work done onstage and backstage, understanding that successful productions happen because of the work of many. Finally, ChicagolandMusicalTheatre's reviewers are asked to walk into a show expecting enjoyable entertainment—because that's the mindset of patrons who buy tickets to professional theatre.
So a lot of firsts, but for what cause? What can we in the here-and-now take away from a retrograde fairy tale about a reclusive blind princess and her restrictive father — so restrictive, in fact, he forbids any mention of sight or light in her presence?
It’s not just that the design is ugly, though it certainly is, it’s that it actually undermines the author’s intent. Wagner wants the audience to like Siegfried, even as they acknowledge that his selfishness and refusal to think critically about the events in which he finds himself embroiled are real problems that will lead to tragedy in the cycle’s finale.
In any case, the days are getting shorter, we could all use some warming up, and BoHo and Marston have got the fire going with its central triangle of players.
By Ian Rigg All through the Broadway Playhouse, in Chicago so pretty, audiences were stirring for Emerald City. ‘Twas the Night Before Christmas is a warm holiday selection, under Jacqueline Stone’s hysterical direction. With inventive warm spirit and magical whimsy, Emerald’s theatre for young audiences is anything but flimsy. If Ken Ludwig’s heartfelt writing passes