That being said, the talents at Theatre at the Center manage to lift this poltergeist of a play out of Purgatory–or at least stave off its condemnation to Hell.
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.
By Barry Reszel If a dufus like Seymour Krelborn can nurture man-eating flora to develop delusions of world domination, well then sure as heck the composer responsible for the stage and screen soundtrack of modern time can make Krelborn’s story infinitely more entertaining than the 1960 B-horror movie on which its based. Alan Menken (music)
Perhaps most important of all, Horak gets audiences to believe that her Charity truly believes. And who doesn’t need a few more people like that in their lives?
Frankly, the entire cast is incredibly competent and enthralling to watch—an ensemble of notable young voices to be treasured in the Chicago theatre community for seasons to come.
The monotonous, rhythmic chanting drags out any spark of energy hiding in the writer’s stagnant artistic struggle into non-existence, suffocating the audience with the slowed pace.