To Chicagoland musical theatre aficionados who didn’t already know (and plan accordingly), Meghan Murphy is this production’s Lady of the Lake. Don’t make me repeat that…proceed to the link at the bottom of this review and buy your tickets.
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.
Rather than the traditional musical form, Midsummer bills itself as a “play with music,” which seems an apt description. Gordon McIntyre’s indie folk score serves more as thematic highlight and scenic transition than any kind of showstopper.
It’s a musical that finds more music in its silences than most others can find in their whole songbooks. Also, like a mirage, it will vanish from Chicago in time, so get in line.
Because you really haven’t been welcomed to the Renaissance until the exhuberant Jonathan Butler-Duplessis ushers you in with song and dance.
And when it comes time to play in the fun and fertile playground of the tropes a starship adventure has to offer, director John Hildreth boldly goes. He comes from 30 years of improv experience, and indeed the whole show feels like a long-form improv not only in tone but in execution.