Takeaway number two from Brown Paper Box’s Little Women production is that I’d love to be Tessa Dettman’s agent, or better yet, write the review that started a war among agents to represent her.
Reviews
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.
Being evil never seemed more fun than taking in Black Button Eyes’ ‘Evil Dead: The Musical’
Black Button Eyes successfully tackles the violent, satirical humor of “Evil Dead: The Musical” with energy and pluck, transforming the Pride Arts Center into a rural battlefield for demons to rise and fall in the wake of one hard-boiled hero.
Feel the ‘Thunder & Lightning’ of Broadway In Chicago’s ‘The Lightning Thief: The Percy Jackson Musical’
By Erika Brown Thomas Broadway In Chicago presents The Lightning Thief: The Percy Jackson Musical for an extremely limited engagement at the Oriental Theatre. This bestselling book, now adapted for the musical stage is a treat for loyal fans – although you don’t have to know anything about it to understand and enjoy! The only
Music Theater Works’ poetic ‘Into the Woods’ is solstice-worthy musical theatre
Thankfully, director Rudy Hogenmiller trusts the music and libretto enough to direct the piece in a straightforward fashion that makes this production a solid Sondheim primer, for anyone ready for next-level musical theatre performance.
Broadway in Chicago’s stark touring production of ‘Fiddler’ embraces the musical’s universal messages
By Patrick O’Brien To discuss Fiddler on the Roof, one must first talk about the descriptor “universal.” It’s certainly apt for this beloved musical, to be sure. Name a single culture that has not in any way been influenced by internal or external forces to either adapt or shed their traditions, or perish. Impossible. There’s
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