Drury Lane’s Ambitious, Entertaining ‘Matilda’ Leans Toward the Chaotic

I love Matilda. Specifically the musical which I’ve seen twice on the West End, which is why I was so excited to review Drury Lane’s production directed by Mitch Sebastian. Part of my love comes from nostalgia as I grew up watching the 1996 movie and reading Roald Dahl’s classic novel. The other part of my admiration for Matilda comes from the fact that Roald Dahl wasn’t afraid to tackle tough issues in his books, and this musical doesn’t shy away from those issues either, unlike the 1996 movie. The show themes range from revenge, abuse, power hierarchies, loneliness, trauma, and the loss of adolescence. Continue reading “Drury Lane’s Ambitious, Entertaining ‘Matilda’ Leans Toward the Chaotic”

Porchlight Music Theatre’s ‘A Chorus Line’ Has Some Big Dance Shoes to Fill

In 1975, A Chorus Line introduced a show-biz musical with a new perspective to the Broadway theatre canon. Since then it has been a staple in theatre songbooks across the country. Inspired by true stories, A Chorus Line is the day in the life of a Broadway audition where 16 dancers leave it all on the stage for one of eight coveted positions. Public schools, community theaters, and the largest performance halls have all had boxes of golden tuxedos sent through their doors for that one final show-stopping number. Director Brenda Didier is no stranger to the phenomenon. In Porchlight Theatre’s program for their production of A Chorus Line, Didier wrote that “once A Chorus Line has become a part of your life, it stays with you.” I have to agree. Wholeheartedly. Every production of A Chorus Line is both building off and working against that relationship the audience already has with this musical. Porchlight Theatre’s production gets lost somewhere in the middle and is a shadow of that one singular sensation. Continue reading “Porchlight Music Theatre’s ‘A Chorus Line’ Has Some Big Dance Shoes to Fill”

A Gentleman’s Guide to Love and Murder is Rib-Cracking Fun

A Gentleman’s Guide to Love and Murder, by Robert L. Freedman and Steven Lutvak, takes place in London at the turn of the 20th century, and concerns the adventures of middle-class stockbroker Monty Navarro (Andrés Enriquez) — who, upon learning that his recently deceased mother was disinherited from the obscenely wealthy D’Ysquith family (all played by Matt Crowle), sets out to murder his relatives as revenge. And also so that he can, not uncoincidentally, become next in line to be the Earl of Highhurst. Continue reading “A Gentleman’s Guide to Love and Murder is Rib-Cracking Fun”

Love, Life, and Loss: ‘Little Women’ at Brown Paper Box Co. is a Balm for Troubled Times

Strawdog Theatre is always a lovely space to walk into; I’m a sucker for small, intimate blackboxes, and the alley seating and soft music playing as you file into Little Women, produced by Brown Paper Box Co., is quite calming. The set (designed by Jeremy Hollis) is simple and straightforward in all the right ways, with just a few leather trunks serving as both scenery and furniture. On the ceiling and by both entrances are panels of darkened wood that are evocative of 1800’s New England architecture while remaining unobtrusive. Continue reading “Love, Life, and Loss: ‘Little Women’ at Brown Paper Box Co. is a Balm for Troubled Times”

E. Faye Butler Shines in a Megawatt ‘Gypsy’

The production of Gypsy by Porchlight at the Ruth Page Center for the Arts, represents the very best of musical theatre. Most older musicals rarely stand the test of time in terms of content, their stories often saddled with the most cringeworthy stereotypes and one-dimensional female characters. In contrast, Gypsy, originally written in 1957, may have been is  ahead-of-its time. Inspired by a true story about an ex-stripper turned stage-mom, it still pushes boundaries even in 2018. Pair that with a sophisticated book and lyrics by powerhouse duo Sondheim and Laurents, and a megawatt star like E. Faye Butler, and you’ve got yourself one hell of a show. Continue reading “E. Faye Butler Shines in a Megawatt ‘Gypsy’”

Key Reviews: Caroline, Or Change

These are the first reviews from the second session of The Key: Young Critics Mentorship Program. This year’s cohort is Sierra Carlson, Yasmin Mikhaiel, Aaron Lockman, Elon Sloan, and Lonnae Hickman. All reviews are workshopped and edited by co-facilitators Oliver Sava and Regina Victor. Check out their reviews of Caroline, or Change at Firebrand Theatre in collaboration with Timeline Theatre below!
Continue reading “Key Reviews: Caroline, Or Change”