By Bryson David Hoff Staging the supernatural is a tricky affair. While theatre-going members audience are willing to suspend their disbelief for a certain level of artifice, there is still a razor-thin line between being inventive and taking the viewer out of the immediacy of a scene. This is a line that Lyric’s production of
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.
Perhaps that’s what TATC’s “Almost Heaven: John Denver’s America” does best—memorializes the delicious canon of music with ties that bind relationships. I
With expert environment and tight direction, the other reason Shear Madness succeeds is that every actor is adept at creating a character— they have to be, because they don’t know which ending they’re performing.
Anyone looking for an outing with the kiddos should definitely check out “The Princess and the Pea.”
By Colin Douglas They sound like a good idea on paper, and there have been dozens bouncing around Broadway and on National Tours over the years, but the jukebox musical isn’t much more than a concert with some narrative. There are two formats in this style of musical theatre. There’s the show that creates an