Mostly Musical Theatre

You’ll love this “Million Dollar Quartet” at Tibbits.

Run don’t walk to catch the outstanding musical Million Dollar Quartet at Tibbits Opera House in Coldwater. It’s a lovely 90 minute drive from Ann Arbor, and well worth a day or evening at this historic theater.

You might have read one of my reviews of MDQ in the past – I’ve seen five productions in the past several years, but it is a show I love with a great premise: based on a real jam session at Sun Recording Studio in 1956, manager Sam Phillips brings together his contract musicians Carl Perkins, Johnny Cash, Jerry Lee Lewis, and Elvis Presley (along with his girfriend du jour) for one day only. It was recorded, and later a documentary. There’s some scheming about contracts, but that is all unessential next to the music, all performed by the actors themselves.

Playing out on John Charles lovely studio set, under the direction of Paul Kerr, the outstanding performers give us a lesson in mid-50’s early rock and roll (and in Carl Perkins case his easy-going rockabilly sound). Kevin Ludwig is exellent as Elvis to the point that I couldn’t imagine anyone else playing the part. His girlfriend Dyanne (strong voiced Jessica Vanek) is also terrific belting out some girl tunes and singing occasional backup. Tarif Pappu is a solid Carl Perkins (his brother Jay played by Orion Vandenberg plays a mean bass), Zachary Tate is spot on as Johnny Cash (he also serves as Musical Director), and Mitchell Wiley is the best Jerry Lee Lewis I have ever seen in the many productions of this musical that I have attended. Rounding it out is drummer Brady jacot who plays a funny Fluke Holland. Chad Tallon ties it all together as owner Sam Phillips and he is a strong actor holding his own amidst the musicians.

You’ll be nostalgia bound with the musical score, but you will leave enthralled by the performances in this exceptional Million Dollar Quartet (plus some).

Million Dollar Quartet continues at Tibbits Opera House, Coldwater MI through June 21st. Tickets at tibbits.org or 517-278-6029. Photo courtesy Tibbits Opera House.

La Cage Aux Folles is heartfelt and tuneful at Croswell Opera House

The Croswell Opera House continues their summer season with the heartfelt and tuneful “La Cage Aux Folles, which opened last night in Adrian, MI.

Based on the French play and film of the same name (which a few years later was also the basis for the hit film “The Birdcage”) the musical is Jerry Herman’s final original score and features a lighthearted joke-filled old-fashioned book by Harvey Fierstein. It won 6 Tony Awards in 1983 including best Musical, Score, and Book. The musical was also revived on Broadway in 2005 and 2010, both winning Best Revival of a Musical. So the show arrives with a vaunted history to the Croswell stage. (I personally appeared alongside the original Broadway cast in the Best of the Best AIDS fundraiser in NYC at the Met Opera House.)

The Croswell’s production is directed by John MacNaughton, Musical DIrection by Jonathan Sills, and Choreographed by Dean Shullick. Just like the Broadway productions, the show is at its best when it moves, sings, cracks jokes. It slows down in it’s extended dialogue scenes and clocks in at 2:50 with an intermission, which is longer than the current Les Mis. But it’s a standard book musical which sets everything up in Act I and then pounces on the main themes in Act II. The show looks great and is colorfully lit.

Eric Parker is outstanding as Georges, longtime showman and partner of the more flambouyant Albin (ZaZa in the drag counterpart) played by Johnny Reed. Their son Jean-Michael (always on point Matthew Porter) announces to dad that he’s getting married and asks him to keep Albin away from the ultra conservative family when they come to visit (delightfully nasty and funny Lane Hakel and Dawn Kingman). Therein develops the drama and once it gets going, its a doozy. What Fierstein and Herman create is a message-filled musical that doesn’t feel like it is bombarding you over the head with its themes of family, inclusion, and love. The show is accessible to all theater-goers and is part of its many years of success on Broadway.

Jerry Herman’s score is one of his finest, and while he preferred Mack & Mabel, I prefer Hello Dolly!. The songs are tuneful and lush, from “I Am What I Am,” to “The Best of Times”.

Highlights include an utterly ridiculous and hilarious “masculinity lesson”, the drag show Cagelles many numbers, and colorful costumes, wigs, and makeup…and if you don’t tear up at the end then you are an ogre, sir.

La Cage Aux Folles continues at the Croswell Opera House through June 22nd. Purchase tickets ONLY on their website or phone number and not from any third-party ticket seller. croswell.org or 517-264-7469 — photo courtesy The Croswell Opera House.

Spring Awakening is genuine, emotional, nothing short of perfect (Review)

Guest Review by Colby Spencer Cesaro

Spring Awakening is essential viewing for our time. The production presented by the Ann Arbor Civic Theatre brings the audience into a world that is both foreign and antiquated but also quite relevant to our lives today. The cast highlights the show’s rich combination of alt rock and witty dialogue capturing the inner conflict imposed by coming of age that most parents, much less the rest of society, cannot help their teenagers navigate.

Imagine a world governed by strict puritanical rules where parents view their children’s actions and academic successes as a direct reflection on themselves and where public appearances are of utmost importance. I could be talking about today or 130 years ago as not much has changed. Spring Awakening brings forward the inner turmoil, embarrassment, excitement, and yes awakening, that occurs in every person as they grow from child to adult. Addressing topics like consent, abuse, sexuality, rape, depression, and suicide, the show is not for those who would shy away from the reality presented. Spring Awakening brings together quite a serious storyline with poetic lyrics, alt-rock melodies, and all the fun of teenagers at a concert.

Ron Baumanis’ production is genuine, emotional, and nothing short of perfect. The Arthur Miller Theatre’s intimate environment allows the audience to see every facial expression and movement by the cast. Susan Pearlman’s costumes are incomparable. Colored-coded everything in rainbow shades, yet still reserved, providing an air of the time and a playfulness essential to this production (plus the custom-sewn pockets in each actor’s costume are enviable, no notes). Patricia Mazzola’s movement work shines through as the cast always knows what to do with their arms and bodies. This is harder to manage than you might think! In Spring Awakening intimacy takes front stage, literally, and Jared Hoffert’s work with the cast was crucial to making this production feel very real.

The orchestra on stage paired with handheld microphones for each cast member brought levity and fun to a storyline rife of drama and heartache. Daniel Bachelis’ music direction is flawless. Having strings with piano and percussion added a perfect layer of richness to the music that highlights the lyrics in each musical number. The combination of a simple set that allowed the actors to do their work along with strategic lighting design by Bennett Black ensured the audience’s attention was pulled in the intended direction.

Finally, the actors. I cannot speak highly enough of these actors. The audience could feel the longing of each character. The desperation, the need, and the joy were shared so willingly by each of the actors on the stage, their voices carrying messages necessary for adults across the world to hear, sung with such passion and seriousness. Mackenzie Finley’s lyric voice and drawing presence provided a seamless combination of innocence and desire. I wanted to run on stage to give AJ Dagenais’ Moritz a hug and tell him he is loved. He embodied the true turmoil of his character and I hope that every parent watching was as moved by his performance as I was.

I could go on and on about each actor, each song, each production point and then talk about it all over again. Do yourself a favor and see this absolute treat of a show. The yearning, pain, rejection, love, and forever optimistic Purple Summer. You will feel something, I guarantee it.

I provide my very highest recommendation.

Spring Awakening runs through June 8th at the Arthur Miller Theatre, Ann Arbor, MI. Purchase tickets through their web site at A2CT.org – do not purchase from third party sales sites online.

Anastasia is a gorgeous confection at the Croswell Opera House

Aubree Lauren as Anastasia and Mary Rumman as the Dowager Empress (Photo courtesy Croswell Opera House, c 2025).

Perhaps you saw Anastasia on Broadway. Perhaps you saw it on tour. And perhaps your first experience will be at the Croswell Opera House which opened a gorgeous picture-perfect confection of a musical last night to kick off their 2025 summer Broadway season.

The book by Terence McNally with the Music and Lyrics by Stephen Flaherty and Lynn Ahrens is as solid as musical theater comes – based on both the animated 20th Century Fox movie, as well as the play by Marcelle Maurette. If you love the animated movie let me tell you right off the bat, there is no Bat, and there is no Rasputin. Instead you’ll find a slightly darker tale with memorable characters, romance, music, and a deep sense of yearning-to-belong. Of course, the basic conceit is: after the Romanovs (Tsar Nicholas II and his wife Alexandra and their children) were all executed by the Bolsheviks in St Petersburg, did daughter Anastasia somehow get away to join her grandmother later in Europe? Historically, no. Theatrically, well, there’s wonder involved here. And all those beloved songs from the movie are all here too.

The production is absolutely gorgeous with exceptional set design by Leo Babcock, stunning costume design by Sabriyah W Davis (twice the audience gasped at her creations), moving projections by Crosby Slupe, and colorful lighting design by Rachel Slupe. Musical Direction is outstanding by Gabriel Brent Hagedorn, and the always-terrific conductor Raymond Novak leads an orchestra of 14 that sounds twice it’s size. Whether its in royal palaces and residences, a moving train car (bravo), or Paris the show is absolutely beautiful.

Stephen Kiersey directs with a solid sense of purpose – everyone here has a role and a track that has meaning; Choroegrapher Sarah Nowak creates delightful (and in the case of the ballet, stunning) choreography, Jen Pan provides lively fight/intimacy Choreography, and Karl Kasischke’s sound design is perfect — this production is ready to dazzle from the get go.

Speaking of dazzling, it is hard to imagine a more perfect Anya (Anastasia) than Aubrie Lauren who captivates the audience every moment she is on stage, whether drawing you in with her lyric vocals or capturing those moments of confusion, hope, betrayal, and charisma. Of course Maxwell Lam has charisma to spare as Dmitry, and love-triangle/bad guy Gleb is played by big-voiced Brian Jones. Jeffrey King is particularly good as Dmitry’s sidekick/mentor Vlad Popov (P-O-P-O-V) and Love Ruddell turns in another wonderfully voiced (and wickedly funny) Countess Lily. Mary Rumman is perfectly in-tune with high society and fallen royalty as the Dowager Empress. The entire cast is outstanding from top to bottom. I’m running out of superlativces to use here — singing, dancing, acting are in top form throughout — and ooof, those almost instantaneous costume changes. Another small marvel.

If you are looking for a new recent Broadway musical with wonderful music, a solid story, and absolutely gorgeous production design, get your tickets right now and be transported to a world that The Croswell Opera House knows how to create and send you out on air — and entirely entertained and enchanted. And that is no small wonder indeed.

Very Highest Recommendation.

Anastasia runs through May 18th at the Croswell Opera House, downtown Adrian, MI. Purchase tickets ONLY through their web site at croswell.org or by calling 517-264-7469 – do not purchase from third party sales sites online.

It’s Never Not 5:00 at Dio’s hilarious The Play That Goes Wrong

Take 8 hilarious actors, put them on an amazing set that is like an out of control 9th actor, throw in a dumb murder mystery, props that break, set pieces that collapse, actors who get knocked unconscious, and stir it all together into one big concoction where anything that can go wrong will go wrong, and you have the Dio’s current entirely sold-out offering, The Play That Goes Wrong, where it’s never not 5:00.

Steve DeBruyne directs a fast-paced production on Matt Tomich’s collapsing set (he operates that too!), with costumes by Norma Polk, Props by Eileen Obradovich, and fight, stunt, and intimacy direction by Jen Pan and Joe Wright.

Henry Ballesteros, Dylan Benson, Michael Cicirelli, Kori Fay, Brendan Martin, Ash Moran, Maddie Ringvelski, and Antonio Vettraino comprise the cast and they are outstanding at playing the inept cast and crew of the British Cornley Drama Society’s production of The Murder at Haversham Manor. Their specialties are (not) playing dead, pratfalls, slapstick, dropping lines, slipping, sliding, banging, thrashing, yelling, understudying on the fly, and all sorts of nonsense.

Two of my favorite sequences in the show include a scene in which one actor gets ahead by one line but continues anyway, giving responses before questions are asked. In another, a handful of characters are caught in an endless loop of inane murder mystery dialogue because one character has forgotten their next line – it’s a scene so flawless I couldn’t catch my breath by the end of it from laughing so hard. See if you can figure who causes the commotion, Bravo.

Throw in a great meal and you have the perfect night out at the theater. To see if you can get on the waiting list for cancellations, call the theater after noon (517) 672-6009.

Very Highest Recommendation. Photo, The Dio Theatre and Entertainment.

Astonishing TITANIC at University of Michigan

I rarely review educational theater productions, but I think we have all come to learn that the University of Michigan Musical Theater program isn’t your ordinary college theater but a nationally known professional training ground leading directly to Broadway. That being said, they opened the musical Titanic last night at the Power Center and it is among the best productions I have ever seen at the program, and better than the most recent professional tour of the production.

As usual I won’t mention student names since it is educational theater, but there is some phenomenal talent on stage here – from all of the passengers and couples in the three classes to the serving staff and crew, the vocals here are phenomenal. The direction by André Garner is rigid where it needs to be and fluid where it does not; and the choreography by Molly Garner adds stunning life to numbers like “Barrett’s Song” and “Doing the Latest Rag”. Eli Sherlock’s set design and Shelby Loera’s lighting design work brilliantly on the large Power Center stage. Brittany Crinson’s wigs and Suzanne Young’s costumes are stunning. I must admit that I did miss the projections of longitude and latitude, date, and knots that the production usually uses on the sides of the stage, which gives you a sense of the speed (and later the tragic stoppage).

I have to state up front that I have previously played J. Bruce Ismay in Titanic, and am intimately familiar with the show and score. Tyler Driskill does an outstanding job of musical direction of the large cast, and conducting the exquisite orchestra playing Maury Yeston’s lush music. The show itself won numerous Tony Awards 28 years (gulp) ago. Peter Stone’s tightly written (and often humorous) script, and Yeston’s music really make this a musical one you will long remember. Using the slightly adapted version of the script and score (as did the recent UK production and tour) it puts back the suicide scene and Charles and Caroline’s “I Give You My Hand” which were cut on Broadway.

There are only a handful of rear balcony seats remaining for the nearly sold-out weekend run but I would suggest you snap them up right now before they are all gone. The audience was ecstatic, on its feet before the lights had even come back up for the curtain call. Word of mouth is strong. Those few tickets won’t last so get them now. Sail on, Titanic!

Titanic the musical continues at the Power Center, Ann Arbor, through Sunday April 20th. Tickets at https://tickets.smtd.umich.edu/6357 Photo copyright The University of Michigan School of Music Theatre and Dance.

Sense and Sensibility: The Musical is charming and emotionally rich (Review)

Guest Review by David Kiley, Photo courtesy The Encore Musical Theatre Company

Paul Gordon’s Sense and Sensibility: The Musical is a lush, romantic adaptation of Jane Austen’s beloved novel, blending period charm with contemporary musical sensibilities. First premiering in 2013, the show transforms Austen’s tale of love, loss, and sisterhood into a sweeping musical experience with heartfelt melodies and elegant storytelling.

Gordon’s score is undeniably one of the highlights of the production, now being presented by Encore Musical Theatre in Dexter through March 16. His compositions strike a balance between classic and modern, evoking the Regency era while remaining accessible to contemporary audiences. The melodies are lyrical, rich, and often deeply emotional, mirroring the inner lives of the lead characters—the Dashwood sisters [Chelsea Packard as older sister Elinor and Jessica Grove as Marianne]. Songs like “Somewhere in Silence” and “The Wrong Side of Five and Thirty” beautifully capture the characters’ longing and societal struggles, while “I Must Leave You” and “On the Wrong Side of Love” showcase Gordon’s ability to convey heartbreak and resilience through music.

The story follows the Dashwood sisters—sensible, reserved Elinor and impulsive, romantic Marianne—as they navigate love, heartbreak, and societal expectations after their father’s death leaves them financially vulnerable. Ms. Packard and Ms. Grove are strong voices, both with Broadway backgrounds.

The lyrics, though occasionally predictable, effectively express the characters’ emotions and move the plot forward. The show’s romantic ballads are particularly striking, drawing the audience into the passionate yet restrained world of Austen’s heroines.

Gordon’s adaptation remains largely faithful to Austen’s novel, distilling its core themes of love, duty, and emotional restraint.

The musical preserves Austen’s wit and social commentary, though some of the novel’s more nuanced character development is sacrificed for effective pacing. The script emphasizes the emotional arcs of Elinor and Marianne, giving both women distinct musical identities that reflect their contrasting personalities. While Elinor’s songs tend to be restrained and introspective, Marianne’s numbers burst with youthful passion, effectively highlighting their differing approaches to love.

Matt Bogart as Colonel Brandon, an older suitor for Marianne, is especially strong, both in his vocals and acting. He is also the director of this production. Adam Woolsey as Edward Ferrars, suitor for Elinor, also is quite strong with subtle comedic timing and good vocals. Leah Fox is music director and does a splendid job of leading the small string and woodwind combo with herself conducting from the keyboard.

Very strong supporting performances are turned in by Sanchi Pandey as headstrong and flirty Lucy Steele, and Marlene Inman as Fanny Dashwood and Mrs. Jennings. Ms. Inman elevates the matronly characters in a way that charges the stage with fresh energy. Mitchell Hardy as John Dashwood and Lord Middleton is amusing and is well paired with Ms. Inman.

The set, by Sarah Tanner leans toward elegant minimalism, allowing the music and performances to take center stage. Costuming by Marilee Dechart is well executed for the 19^th century English manor houses in which the action is set. Chris Goosman directs sound and Robert Perry is lighting designer.

Sense and Sensibility: The Musical is a charming and emotionally rich adaptation of Austen’s novel. Gordon’s score is beautiful and evocative, capturing the tension between sense and sensibility through melody and lyricism. While it may not delve as deeply into Austen’s social critique as the original novel, the musical succeeds in translating the story’s heart and romance to the stage. Fans of Austen and period-piece musicals will find much to love.

Show and ticket information can be found at Encore’s website. https://theencoretheatre.org/

Outside Mullingar is a delightful romantic comedy at the Dio Theatre

With a lovely script by John Patrick Shanley (Doubt) though closer in tone to his screenplay for Moonstruck, the Dio has crafted Outside Mullingar a lovely Irish romantic comedy that opened last night in Pinckney.

What’s more, since so few people (including myself) have ever read or seen the show before the play has a quality that grabs you right into this family story and keeps you wanting to know what happens next. There is a lot of humor in this midlands-of-Ireland set romance, but also plenty of family angst, love, hate, death, faith, and redemption to keep you on your toes.

Covering a period of five years, the basic story follows two neighboring families with their parents, adult kids, missed opportunities and risks, and one big romance. And like all good romantic comedies, it makes you laugh, cry, and leaves it’s “big ending” for the final minutes of the show.

The four-member cast is outstanding – Adrian Diffey plays family patriarch Tony Reilly, and he beautifully balances spunk with more senior moments; his son Anthony Reilly is played by Peter Crist back on the Dio stage who creates a subdued, sometimes baffled character that keeps everything bottled up, until it isn’t anymore; Next door Aoife Muldoon is played by Fran Potasnik and I swear to God her dialogue is stuff I heard my grandmother say a thousand times, spot-on perfect; and Sarah B Stevens plays her daughter Rosemary Muldoon (originally Debra Messing on Broadway) and creates a pent-up, funny, self-suffering woman in love with her neighbor who has never shown interest in her. It’s so real it will break your heart.

Everything plays out on Matthew Tomich’s lovely inside/outside midlands set, with some terrific new tech surprises in store for you! Director Steve DeBruyne allows the play to develop at a nice comfortable pace and it is performed with 7 scenes without an intermission. Musical interludes allow not only for set and costume changes but also reflection of the passing of time, and the loss of those dear to us, as well as a recognition that one year sometimes doesn’t make one bit of difference, let alone five years.

Not being aware of the play before, my friend Nate Adams (The Only Critic) pointed out afterwards that it had been made into a movie (Wild Mountain Thyme) with substntial changes to the script, which I had also not seen.

I really loved everything about my evening here last night – from the great meal, to a brand new (2014) Broadway play I had never seen before and which now is probably one of my favorites.

Highest Recommendation.

Outside Mullingar continues through March 9th at the Dio Theatre, downtown Pinckney, MI. Tickets are selling fast so get yours now. 517-672-6009 or diotheatre.com Photo courtesy The Dio Theatre.

Dio presents a sparkling “It’s a Wonderful Life – A Live Radio Play” (Sold out)

Entirely sold out through December 23rd ( call the box office at (517) 672-6009, Tuesday through Saturday from noon to 2pm to be placed on a cancellation list), The Dio has created another tremendous production for the holidays – “It’s A Wonderful Life – A Live Radio Play – which sparkles with holiday cheer and talent. It’s a misnomer to call it a Live Radio Play — it’s actually a fully staged 5-person production of the story under the guise of presenting it as a radio play – which conjures images of music stands and scripts. Nope, not here – each of the studio “characters” plays multiple parts, and it is all memorized and fully staged on Matthew Tomich’s beautiful radio studio set.

Steve DeBruyne directs with creativity here – things move quickly with so many parts – it probably helps that he mastered much of this with Guttenberg! a few seasons ago. “On The Air” and “Applause” signs occasionally blink to remind the audience what to do. A Foley desk sits center stage for sound effects. If you have never seen the movie on which it is based (shame on you), you won’t have any problem following the story – and if you have seen it yearly for say 50 years, you will be delighted by the many Easter Eggs herein. I won’t spoil it for the lucky folks who have tickets. But you will be delighted.

Each of the actors plays multiple roles, including their “radio studio” character – Hayden Reboulet is outstanding as George Bailey – his enthusiasm is infectious – as is the energy of each of the performers. Monica Spencer is a terrific Mary. and matches Hayden beautifully in their many scenes together. Nolan David plays multiple characters including radio host; known for his voice work, his performance is hilarious and characters are instantly recognizable. Switching back and forth causes often hilarious results (watch the cigar, the pipe, the hat, the open coat, the closed coat) – Bravo. Amy Schumacher is as funny here as she was spooky in Doubt earlier in the year and is a local theater treasure. Dylan Benson has been making the rounds of the local theaters and is a pleasure to have back at The Dio – he gets to play many of the secondary characters as well as Clarence, who (spoiler for the two people reading this who have never seen the movie) does indeed get his wings.

Steve DeBruyne (director), Eileen Obradovich (props), Norma Polk (costumes), and Matt Tomich (Set, Lighting, Sound) continue to make one of SE Michigan’s most formidable production teams and their efforts show here in this true classic.

Very Highest Recommendation.

Croswell creates a colorful, tuneful, delightful SpongeBob Musical.

The Spongebob Musical opened last night at the Croswell Opera House and it’s a big, colorful, tuneful musical for all ages (note: younger kids need to be able to sit through two one-hour acts). Well-Directed and Choreographed by Debra Ross Calabrese, there is some masterful world-building happening here that is all appropriate for a, well, sponge that wears pants and a tie and lives in a pineapple under the sea.

If you are familiar with Spongebob, you’ll instantly recognize all the characters here, though the show itself has more in common with “You’re a Good Man Charlie Brown” than, say, Beauty and the Beast”. Street clothes represent the various characters and everyday props become coral, lava rocks, Spongebob’s stretchy arms, and it is an imagination-filled joyful experience. If you are not familiar with the cartoon, here’s a quick primer:

Steven Kiss is ideal as Spongbob (A sponge) vocally and physically, as is Matthew Johnston as his starfish BFF Patrick. Sabriyah Davis makes for a spunky Sandy the squirrel (just go with it), Jeffrey Beam an appopriately smug Squidward, Jeffrey King a fun Krabs, Hallie Yuen his vocally gifted daughter (a whale) Pearl (again, don’t ask). Even the “bad guys” here are terrific — Maxwell Lam is hilarious as tiny plankton Sheldon, as is Meg Lam as as his computer-girlfriend Karen (I warned you, don’t ask, just go with it). Procedings are occasionally interrupted by tv-newsfish Perch (Michael Yuen) and Patchy the Pirate (Kylie McElrath), bringing the laughs. The entire 40-member cast is always in wild Spongebob-character and the action stops only for more “dramatic”moments, like the lovely “I Guess I Miss You” in the second act.

The songs are written by a stellar lineup of some of the hottest musicians in the business including Sara Bareilles, Steven Tyler and Joe Perry of Aerosmith, Cyndi Lauper, John Legend, Panic! At the Disco, They Might be Giants and many more. See if you can figure out who wrote what without looking it up. The miracle here is that the songs are really good and despite all the different talent they blend together seamlessly.

Special Kudos to the sound team here — Karl Kasichke who designed it and Kylie Bushman who serves as live Foley Operator throughout — it is essential in making the show Spongebob-worthy: from Spongebob’s squeeky shoes each time he takes a step, to Squidward’s walking and ink-squirting sounds and Pearl’s whale walking sounds. Hilarious stuff that keeps the sound team on their toes for over 400 cues.

Everything looks colorful and cartoonish on Leo Babcock’s set, Rachel Slupes lighting, Crosby Slupes projections (extraordinarily well integrated), Beth Flumignan’s amazing props that just keep coming and coming and coming, and Abbie Sage Hall’s costumes that both amaze, work practically, and use imagination and skill to create this Bikini Bottom community. Ray Novak conducts the outstanding orchestra, and Aaron Roos provided vocal direction.

Go, grab tickets, get a drink before the show, bring the entire family, and enjoy this colorful show. You’ll occasionally shake your head and think “what the heck are they doing?” but there is absolutely no way you won’t have a great time whether you are 8 or 80. It’s just one of those shows that has no right being as good as it is. Because it’s good. The script is good, the music is good, the jokes are good, the cast is good, and the production design is good. It just works. Just don’t think too much while you are enjoying this delightful musical.

Highly Recommended.

The Spongebob Musical continues at the Croswell Opera House through December 1. Tickets at croswell.Org or 517-264-SHOW. Buy tickets at Croswell ONLY, they do not use third-party ticket sales. Photo: courtesy The Croswell Opera House.