Stage Write

Six the Musical does not disappoint! The 90-minute, no-intermission show is a pop concert mashup with Tudor history. The women are the six wives of Henry VIII and are competing to see who has had the worst life. Their stories are no joke. Despite the humor that’s dominant, there are elements of sorrow woven throughout. Many of these women lived lives dictated by greedy men and their fates made that clear. That said, this show is blistering with energy and sass. It kicks off with attitude and passion, swinging seamlessly from power ballads to a German rave while keeping the audience engaged. Each solo number gives a queen a chance to shine while a completely female band provides live backup. The lyrics pack centuries-old history into each song, conveying the women’s stories with eloquence. The costumes, designed by Gabriella Slade, are a true work of art. Each queen has a distinct color, gold, green, black, red, pink, and blue. Their outfits are gorgeous creations, bedazzled, and stud...

  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...

For more than 60 years, the tale of Atticus and Scout has captivated the world. As a novel, a film, and then as a play, audiences have loved the complex story of a father trying to do what’s right as his raises his young children. This Broadway Across America production features Aaron Sorkin’s adaptation of the book. Sorkin chooses to begin with the end in his script, which works perfectly because so many people already know the story. There’s no worry about spoiling the ending. It’s a verbose production, though I would expect nothing less from him.     In this adaptation there’s much more emphasis on the trial than the coming-of-age story. There are more conversations between Atticus and the other adults, Tom, Cal, the judge, and Bob Ewell. In the novel, it’s Scout story, and we see the plot unfold through her eyes. This iteration of the play is much more focused on Atticus. It’s like seeing a behind the scenes glimpse into the original Mockingbird. The story is the same bu...

  The greatest musicals, the ones with a lasting impact, combine two important things. The first is a powerful story and the second is a great score. Few musicals do that as brilliantly as Les Misérables. It’s a story of mercy, grief, redemption, and the ripple effect that love has on everyone it touches. Every time I see the show, something new stands out to me. In this Broadway Across America’s production, I was struck by Javert’s story. This is the first time I’ve seen the show since the wild polarization of our nation built to its current fervor. Javert’s worldview is painfully legalistic, leaving no room for mercy or the acceptance of growth in others. That story hit differently this time as I recognized how common it has become to refuse to see your “enemy” as a real person. Empathy is in short supply and the cautionary tale of Javert’s obsession with justice is more harrowing than ever. Preston Truman Boyd did a beautiful job with the character and is a towering presence o...

  Broadway Across America does big musicals well. Obviously, the trend of movie-to-musical has touched every genre, but Disney musicals tend to translate well in that medium. Aladdin is no exception. Everything is big, bright, sparkling, and bursting with color. The special effects don’t disappoint. There are lightning-fast costume changes and spectacular sets. The Cave of Wonders is particularly impressive.   The show feels different through the eyes of a child. Critics might feel overwhelmed by the hugeness of the cast, set, and costumes, but for kids it's magical. A favorite movie comes to life in front of them and the production nails that. The magic carpet ride alone is worth the price of admission for the look of sheer joy on your kiddo’s face. The musical has learned from some of its Disney predecessors. In The Little Mermaid, the annoying sidekicks didn’t translate well to the stage and in Aladdin, those characters are wisely eschewed. Instead of a querulous monkey...

It was freezing outside, but School of Rock was heating up Clowes Memorial Hall last night. The Broadway Across America production is based on the 2003 movie of the same name. The musical stays close to that version, but comes alive in a different way. The plot focuses on Dewey, who is a bit of an immature loser. He thinks his band will make it big any day now, but doesn't really have a backup plan. When he finds himself substitute teaching a group of precocious kids he's surprised to find a new passion. The show doesn't really get moving until he meets the kids and discovers they love music as well.   Merritt David Janes takes on the role of Dewey, originally played by Jack Black. He actually does a better job in the scenes where he's not mimicking Black's mannerisms. His heartfelt moments are frequent, but they work well. Lexie Dorsett Sharp is Rosalie, the strict principal of Horace Green prep school. Her big number, "Where Did the Rock Go?", is a b...

I think we all felt the earth move a little bit at Clowes Hall this week. Beautiful, the musical of Carol King‘s life, is on stage now. The singer/composer famous for hits like "It's Too Late" and "You've Got a Friend" had a incredible career and the musical chronicles her rise to stardom in the 1960s. I went into the show thinking I knew only two of King's songs, instead I was blown away by her body of work. Whether she sang the song originally or created it for another band like The Drifters or The Shirelles there were so many familiar oldies. I intentionally ignored the set list in the program until after the show because each new numbers provides a surprise as you hear her compose it with her lyricist husband. Those big reveals are half the fun of the show. In that way, the show is reminiscent of Jersey Boys. At times you hear a song in the early stages of creation and you get to watch its evolution as it moves from the songwriter...

Kinky Boots is the story of Charlie, a young man who inherits his father’s failing shoe factory in England. In a last ditch effort to keep the business going, he joins forces with a drag queen named Lola to create a line of high-heeled boots. The story, based on real events, is fun but it also carries a serious message about accepting those who are different.  In the second act Charlie says something that sums up the entire production. He tells Lola that when she’s not there, there’s a big gaping gap. This is so true of the show. It's not that the scenes without Lola are bad; they just don't have the same magnetic energy. Timothy Ware’s electric performance as the sassy cabaret performer carries the show. He has an energy that steals every scene. During the number “Not My Father’s Son” he also shows a tender vulnerability that gives an added heft to the shows message. His performance is just as powerful when all the sequins are stripped away. Charlie, played by Cu...