By Barry Reszel When it comes right down to it, who among us doesn’t want to rock out, at least sometimes, to songs entitled “The Bitch of Living” or “Totally Fucked”? Just maybe not at the family reunion. It’s an interesting dilemma for the mostly young cast of Marriott Theatre’s impeccable off-subscription production of the
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 Pop singers Ariana Grande and The Weeknd get “Gotta.” Tell me something I need to know Then take my breath and never let it go If you just let me invade your space I’ll take the pleasure, take it with the pain And if in the moment I bite my lip Baby
By Erin Fleming Light Opera Works celebrates the holiday season with another classic gem of the American musical theatre canon, the Tony Awarding: Guys and Dolls. What’s playing at the Cahn Auditorium? I’ll tell you what’s playing at the Cahn Auditorium…Musical about New York gambler Nathan Detroit trying to organize a craps game while Adelaide
By Patrick O’Brien Four of music’s greatest divas–Roberta Flack, Nancy Wilson, Gladys Knight and Aretha Franklin–placed in a room, and they can’t get out until they have tapped the deep-running well of emotion that has kept them at the top of their game for decades. No, this is not Soul Train meets Sartre, but rather
By Patrick O’Brien As a voice part, the baritone is neither here nor there, being too low for a tenor and too high for a bass. Or, in the parlance of operatic archetypes, neither a hero nor a villain. So where is he, then, or, what is he? Hershey Felder’s neat little bonbon at the