Schwartz has expertly tweaked the lyrics and melodies of the original tunes just enough to make his new songs feel familiar but, to those who know these Broadway standards, sound as if they’re being played in a slightly different key.
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 Bryson David Hoff Shakespeare’s poetry, at its best, has a dreamlike quality that has been praised ad nauseam for its beauty and escapist qualities. Because of this lushness, it seems only natural that Midsommer Flight’s annual production of Twelfth Night, presented in the Lincoln Park Conservatory, is shaping up to be something of an
Celebrating the show’s 50th anniversary, Director Robert Estrin and Musical Director Ryan Brewster let the music in this multi-genred “rock” opera take center stage.
What Snowgirls lacks in any sort of substance, it more than makes up for with its bawdy premise, its deliciously smutty humor and its commitment to making a glittering holiday delight.
It’s a well-tuned machine, to be sure, but not worn out. Quite the contrary; from the get-go, the performers are ingratiating, singing carols, cracking wise, and getting everyone up to speed on how things are going to work out. (Most importantly, applaud when the “applause” sign lights up.)