In light of distressing news and large shifts in the culture of our society, Dickens’ work is now more essential than ever. Kindness is invaluable, and this production overflows with warmth and tenderness.
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.
For a one-act of such obviously colossal scope and ambition — for a composer’s operatic debut, at that — Everest is freakishly assured, and, as it transpires, justifiably so.
Norris tackles the infamous belting tessitura of “Tomorrow” with fabulous technique and an innate musical sense.
Emilie Lynn is practically perfect as the enigmatic and magical Mary Poppins. Her high soprano voice alludes to the lilting soprano of the inimitable Andrews, while also leaving no doubt that she, too, is a “Mary that we love.”
A collaboration between DMT Entertainment and Roxbury Road Creative presents Eleanor’s Very Merry Christmas Wish, a new little Christmas musical that justifies the nation’s anticipation of the holiday season through rich aesthetics and richer heart.