Stage Write

Thirty years ago, I saw my very first professional musical. I was just a kid, and I was in awe of the performance at Beef & Boards Dinner Theatre. That very same show, The King and I, is on stage now and the magic is still there. It may be tinged with nostalgia for me, but the talent on stage is undeniable. I appreciate that the director and theatre acknowledge how complicated the story is. Though it’s a beloved musical, it’s sometimes accused of falling into the “white savior complex” territory. It’s written by two white men in America and inspired by a single woman’s highly-contested account of her time in the country. But director Brian Jose, who is of Filipino descent, prides himself on understanding that complex balance. He focuses on the story of an unexpected friendship and the joy that can come from “Getting to Know You”. He also cast performers from Thailand, Hong Kong, South Korea, Japan, and the Philippines. All but two of the diverse cast members are making their Beef &

  It’s rare to find a musical that can truly make the old feel new. So many productions feel like a simple spin on something that’s been done before. Hadestown, on stage now with Broadway Across America (BAA), is one of those uncommon gems. Perhaps that’s why it takes a minute to adjust to the show's distinct blend of jazz and ballads. From a train station above to the industrial prison below, the dramatic story is a retelling of a Greek myth familiar to many. The set has a New Orleans vibe with a balcony and a live band on the stage. The musicians give a club feel to the show like you’ve stumbled into a hidden spot in the French Quarter. The set doesn’t constantly change like some BAA shows but it’s beautifully done with some dramatic lighting moments, and it makes great use of the turntable on the stage. Our narrator and guide through the tale is Hermes (Will Mann). He has a beautiful voice and a playful sense of humor. The three Fates are dressed like 1920s flappers and come