Actually, two things for sure: the nascent Blank Theatre Company’s got chutzpah. Their antidote to a Christmastide already filled to bursting with Charles Dickens is more Charles Dickens.
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 Children’s theatre is, stereotypically, a world of bright colors, loud music and cloying sweetness. For some reason, it’s considered such a monumental task to get a young audience into the theatre to begin with that many companies are afraid to do anything but the safest, blandest entertainment for them once they
The calculated, tactically rich performances beckon the senses to invest in the story. With the beautiful backdrop of a lush greenhouse, Midsommer Flight has created something as magical as it is natural.
There’s much to admire, particularly Janie Killips’ arrangements of classic Irish folk music, as well as beguiling, yearning original music of her own.
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.