Anyone looking for an outing with the kiddos should definitely check out “The Princess and the Pea.”
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 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
These were the activists who claimed their page in history by riding Greyhound and Trailways buses between Southern states after Jim Crow ignored the Supreme Court’s ruling declaring segregated public buses unconstitutional.
Tom Jones’ poetic work plays like a children’s book that only adults and rather precocious kids truly grasp the tragedy of. That’s just the subtle significance that Citadel Theatre’s new production is going for.
Assuming the worst — not even a single Gershwin mashup, remix, or reinvention — we at least have An American in Paris as an eminently graceful swan song that does something new with this old and vital music in its own way.