Once again it’s the early 1970’s, and we’re at Manhattan’s popular gay bathhouse where Bette Midler, portrayed at Mary’s Attic by the incomparably talented Caitlin Jackson, came to prominence.
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.
Directed with heart of the season by Nicholas Reinhart and choreography/associate direction by the fabulous Dina DiCostanzo, this enchanting musical highlighting young female empowerment will certainly have a long, successful future following this year’s understatedly triumphant premiere.
Parody is usually best when the person writing it loves the genre. Obviously, Larry Todd Cousineau, who wrote the book and lyrics, loves reality competition shows. The detail and tone of the shows are obvious to anyone who has even watched them once.
You might grow tired of this incessant rhyming, but you won’t of Francis Gadbois’ comedic timing.
Christina Hall has a history with Always…Patsy Cline; she played the title part at Theo Ubique five years ago, and it crops up elsewhere on her regional resume. There’s a reason for that: she’s damn good at being Patsy Cline.