Indeed, it’s near impossible to take one’s eyes off the brilliant triple-threat Davis when she’s onstage. Her strong vocals (“Shine,” “Born to Boogie,” “The Letter”), lovely movement and spot-on timing all permit Davis to act as the necessary go-between the hardened mining family and the possibility to achieve artistic fulfillment.
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.
The breakout star of the show is Quinn Kelsey as Rigoletto. A young star with a fast rise in the industry, this role is likely the one that will catapult him to sit among the greats.
The year-in-the-life set-up may be well-trod, but McCraney’s perspective turns Choir Boy into something vital. Most importantly, his language is damn near music itself: lulling and lyrical one minute, prickling and stimulating the next, and percussive and jarring right after.
This homage to Ellington would not be half the show without the crooning of Evan Tyrone Martin. A gifted singer, he keeps his acting simple, adding in calculated expression in choice moments, allowing the music to speak for itself.
A spoof and reimagining of the classic TV series Bewitched, the original musical is told through the binoculars of Gladys Kravitz, the lovable voyeur next-door to a household of witches.