Yippee Ki-Yay Merry Christmas is a fun holiday treat that holds audiences hostage, packed to the roof with 80s references
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.
What’s clear that not unlike the spirit of Christmas itself, the show is a seamlessly collaborative effort devoted to the joy and spreading of peace on the earth and goodwill to all.
What makes Massenet’s opera impressive is not its plot. It’s that, of all the many iterations of this story, Massenet’s may be among the most mature.
This clever trickster, seemingly a middle European version of Anansi the Spider or the witty Hebrew cousin of the American Br’er Rabbit, is portrayed with contagious glee by ensemble member Anderson Lawfer.
Schwartz has expertly tweaked the lyrics and melodies of the original tunes just enough to make his new songs feel familiar but, to those who know these Broadway standards, sound as if they’re being played in a slightly different key.