A testament to the life-sustaining tradition of storytelling, BoHo’s production of Big Fish delineates the separation between what is “true” and what is “real.”
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.
That said, if anyone reading this review has found themselves curious about opera, but held off on buying a ticket for any or all of the reasons above—now is your time. You are unlikely to have a better chance at a first opera than this production.
As a surviving artifact of a Broadway Gone By, what elevates Anything Goes above its peers of escapist fun is the curious timelessness of Porter’s witty, topical lyrics and infectious melodies.
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
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?