By Patrick O’Brien In musical theater, the microphone is a mixed blessing. With it, a performer can be heard over the loudest rock band and can afford to be quiet in a 1,000-seat house. But the microphone presents its own issues, both technical and philosophical. Consider Theo Ubique. The company snatched up acclaim at their
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.
If the audience is meant to buy into how amazing the genre is or how remarkable it was that it was birthed in the very same city where they now sit, why is it that they are given so little exposure to it?
When the bombastity of the play is focused, the sincerity and that Aluma and the Starcatcher ensemble cultivate together is magnificent; moments of tenderness and subtlety are stupendously compelling.
In this story of African-American women from their points of point of view, each unique character contributes to the melange that together, somehow, helps move Celie to redemption.
By Colin Douglas For those of us who grew up during the Eisenhower years, the songs from Richard Adler and Jerry Ross‘ The Pajama Game score provide a blast from our past. Haunting ballads like “Hey There,” as well as sexy, catchy novelty tunes such as “Steam Heat” and “Hernando’s Hideaway” were all familiar standards