Is she playing the emcee as an androgynous man, or as a woman in drag? It’s unclear and it’s great that it’s unclear. Welcome to Berlin.
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.
Certainly, the players earn high marks, especially the central pair: Will (Nick Rehberger) winningly and manically in pursuit of the winsome noblewoman Viola de Lesseps (Kate McGonigle), disguising herself as a man to play in the Bard’s all-male company.
He deftly captures both the alluring charisma of the real Disney as well as the private mania inherent in a person whose response to a world of death, conflict and uncertainty is a seemingly endless supply of platitudes about “magic” and “dreams.”
In The Bible, Jesus is called: Wonder Counselor, Prince of Peace, Son of the Most High, Hope of Glory, Mighty One, Morning Star, Lamb of God, Bread of Life, Truth, Word, Way. Chicagoland stage veteran Evan Tyrone Martin’s Jesus adds Dulcet-Voiced One, Uncertain Leader and Vulnerably Human. Superstar, indeed.
Teatro Vista has put together an utterly tremendous production. Its scale is as intimate as it is grand, as small as it is seismic, mirthful, mournful, mystifying.